Maroon 5’s seventh record is their most pop but also the worst. It features lazy lyrics and a totally generic sound. Seems to be born of lackluster disinterest.
On her fifth record, Welsh singer and songwriter Marina delivers her best work to date: catchy hooks, great production, and well-written lyrics. However, everything about it sounds old.
On his second solo record, Vampire Weekend’s former member Rostam delivers some nice and catchy hooks and promising sounds, however, nothing sounds really concrete
Michelle Zauner‘s lyricism on her new record, Jubilee, is firm, surgical, and sharp, and her sound, although not the best, is still pretty great.
The London alternative rock band's latest release is a homogenous amalgamation of songs that can be seen as both a mirror of the band members' souls and a warm embrace in those who listen to the record. It’s grand, passionate, mind-blowing, and bold.
Canadian poet and singer Mustafa’s debut record features pleasant sound, poetic compositions, and beautiful tributes, however, seems afraid to go beyond its comfort zone.
black midi's second record shows the English rock band going even bolder on their sound: their lyrics are more elaborate, their sound more visionary, and the full package seems prettier and deeper.
Japanese musical group CHAI’s third record, WINK, shows ambition but often sounds boring and dull and almost always lacks energy.
Ohio duo Twenty One Pilots’ sixth record, Scaled And Icy, features the most mediocre songs of their career — it’s their weakest album to date.
Disney star Olivia Rodrigo’s debut record, SOUR, features catchy songs composed of nice sound and well-written lyrics, however, it doesn't go beyond that.
Jay-Z's protégé J. Cole’s first album in three years features some catchy songs but still sounds premature.
St. Vincent’s sixth record is her most cohesive so far. Featuring catchy yet elegant tracks, Daddy’s Home is a well-built and well-structured 1970s-based vintage universe.