Occasional slip-ups shouldn’t obscure appreciation of Kid Cudi’s fantastic vocal performance.
Alex Szeptycki
Pop Review: Jean Dawson’s “Pixel Bath” — Awash in Riches
Jean Dawson’s Pixel Bath is one of the most exciting releases I’ve heard this year.
Pop Review: Gorillaz’s Exhilarating “Song Machine”
Song Machine rejuvenates the band’s core identity; it is the best music Gorillaz has made in a decade.
Folk Album Review: Fleet Foxes’ “Shore” — Finding Serenity in Anxious Times
For Fleet Foxes, Shore is impressively consistent. Each track presents a meticulously detailed soundscapes deepened by Robin Pecknold’s varied meditative perspectives.
Pop Album Review: A.G. Cook’s “Apple” — Half-Baked
A.G. Cook’s undeniable talent shines through in spots, but the record suggests that the celebrated producer has a ways to go before stepping into his own as a solo artist.
Music Album Review: Lomelda’s “Hannah” — A Wonderful Tenderness
The intimate emotions captured by Hannah are enhanced by Lomelda’s ability to be both revelatory and inscrutable in the same breath.
Rock Album Review: Bright Eyes Return — and They Haven’t Missed a Beat
Down in the Weeds, Where the World Once Was is a natural next step forward for Bright Eyes, evolving while remaining true to their core identity.
Hip-Hip Review: Aminé’s “Limbo” — Playfully Mature
In Limbo, Aminé’s become more reflective, yet he never loses sight his boisterous mischievousness.
Pop Review: Glass Animals Lose Their Voice
The Oxford band’s third album dispenses with personality in favor of bland trap pop.
Pop Album Review: Oliver Tree’s “Ugly Is Beautiful” — Embracing Our Inner Kookiness
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.