Vince Staples’ new self-titled album is his least compelling project so far, yet its authenticity sheds a light on one of the most important names in today’s experimental hip hop landscape, uncovering an honest self-portrait of the Long Beach rapper.
The Dublin band's debut album is generic, dull, and lacks an edge. But at least they manage to deliver a few catchy songs.
The final piece in the trilogy of EPs by the Zimbabwean-born Australian rapper isn't quite as good as the other two but manages to prove the singer’s unquestionable talent.
Revealing a shift from her last projects, Cabral seems to fully embrace the baroque pop genre in The Turning Wheel. This is a record filled with orchestral instruments generating intersecting melodies, featuring emotion-evoking, and striking breathy vocals on top of triumphant melodies.
British singer Laura Mvula's third studio album is the best of her career. Bright and colorful songs explode in lust for sensuality as she also becomes a more aware person about herself and those around her.
Lady Gaga's 2011 album is a timeless milestone in pop music. Born This Way features the strongest songs of the last decade and shines with its originality. Born This Way’s tenth-anniversary edition is a catastrophe beyond measure. The six new reinterpretations of the songs on the album sound characterless and downright dull and don't do the original version any favors.
On her autobiographical third full-length record, American singer and songwriter Lucy Dacus shows the best compositions and the most intimate sound of her career.
The third album by the singer by California shows both that she has good production and good writing, and that these two factors are not enough to make a genuinely good and memorable album.
Norwegian band Kings of Convenience’s first album in 12 years arrives with old habits: simplistic and warm songs that embrace the listener in a friendly feeling filled with fond memories.
On her first mixtape, English singer Griff proves to be one of the biggest bets for the next few years, however, still showing that she needs a lot of work and polishing to get there.
On their seventh record, the American band Garbage goes back to their roots, delivering catchy but political tracks. It’s their strongest album since 1998’s Version 2.0.
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.
