In Fearless (Taylor's Version), Swift recovers her musical legacy and delivers a much more faithful, sharp, and powerful reinterpretation of her classic 2008 album.
Although on their new album they are still able to scare their listeners with creepy crescendo and synthesizers, Godspeed You! Black Emperor's G_d’s Pee AT STATE’S END! doesn't show anything that hasn't been done before.
On her first album after her overdose, Demi Lovato sings powerfully about learning from her past and building a better future.
The collaborative album by Shepherd, Sanders, and The London Symphony Orchestra is a profound experience and emerges as an unexpected partnership.
Josiah Wise's second studio album demonstrates that the New York-based singer is in better clouds, singing about affection and Black gay love through bold and ambitious songs.
Evanescence's first album with new songs in almost a decade doesn't sound new at all.
On her forty-sixth album, Loretta Lynn still manages to deliver catchy and fun songs without giving up her skills as a composer, which has always delivered vivid lyrics.
Canadian singer Justin Bieber's sixth album makes up for all the mistakes of his latest release but still doesn't go beyond pop romantic songs.
Leaning on more intimate aesthetics and a more closed universe, Lana Del Rey's sixth album shows the best of the beginning of her career with what made her last album an excellent project.
British singer Tom Grennan's second album shows several improvements, but it's too far away from something that really stands out.
The first project entirely in Spanish by the American singer Selena Gomez has influences from reggaeton and sensual lyrics, but it seems as limited as her last project.
The Scottish duo's first album in 16 years is sharp, heavy, and dense while still captivating. While they seem to be 16 years more mature, they seem to have come back from where they left off.