The Dublin band's debut album is generic, dull, and lacks an edge. But at least they manage to deliver a few catchy songs.
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.
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.
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.
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.
Norwegian singer-songwriter girl in red’s debut album shows an amateur singer dealing with the crises of young-adult life and building catchy songs around it.
On their third album, Greta Van Fleet fixes the mistakes of the past by making new ones, delivering an album with no personality instead of just a copy of another band.
Evanescence's first album with new songs in almost a decade doesn't sound new at all.
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.