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.
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 fourth album, Detroid-formed The Armed seems to regress to their early career stage, delivering a total amateur record.
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.
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.
Evanescence's first album with new songs in almost a decade doesn't sound new at all.
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.
On her third studio album, Tennessee singer Julien Baker delivers intimate acoustic folk songs but seems unable to create nuances and something really different from the rest.
Nick Cave and Warren Ellis' first non-soundtrack album is grand, bold and sharp. CARNAGE has the most violent lyrics and the most determined sound in years.
On her second studio album, New York-based singer Cassandra Jenkins surrounds herself with people, observes dialogues, and tells stories while working on her grief and trying to find herself.