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.
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.
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.
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.
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.
Produced by Nis Bysted e Sonic Boom, Danish band Iceage’s fifth record features well thought out lyrics alongside nice instrumentation while the band faces their fears inside their own homes.
Squid’s debut record, Bright Green Field, shows that the British band has a lot of potential, delivering symbolic lyrics alongside bold sounds.
Weezer’s hard-rock-inspired album features some generic and lackluster tracks, but it still manages to provide catchy moments.
Leaving perfectionism aside, Royal Blood's third album, Typhoons, arrives with free yet lost songs.