Occasional slip-ups shouldn’t obscure appreciation of Kid Cudi’s fantastic vocal performance.
Jean Dawson’s Pixel Bath is one of the most exciting releases I’ve heard this year.
Song Machine rejuvenates the band’s core identity; it is the best music Gorillaz has made in a decade.
For Fleet Foxes, Shore is impressively consistent. Each track presents a meticulously detailed soundscapes deepened by Robin Pecknold’s varied meditative perspectives.
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.
The intimate emotions captured by Hannah are enhanced by Lomelda’s ability to be both revelatory and inscrutable in the same breath.
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.
In Limbo, Aminé’s become more reflective, yet he never loses sight his boisterous mischievousness.
The Oxford band’s third album dispenses with personality in favor of bland trap pop.
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.