While looking for 50 Words For Snow, she has found 50 other original ways to express herself effortlessly, creating another intriguing piece of work.
While still dreamlike, Have You in My Wilderness, Holter’s fourth album, is something clearly felt — the ocean spray on the warm breeze, the sun baking exposed limbs, a hand glancing across your skin before drifting away.
Uchis builds off a classic foundation of soul, R&B, funk, and blues, bursting outward in dozens of innovative contemporary directions. On Isolation, she never sounds trapped in another era; she sounds free and inventive.
Despite its heightened complexity, Too Bright still fosters an intelligible world where Hadreas can bridge the distance between his vulnerability and self-assuredness.
Don’t be shocked that this album is mid-level pop, be surprised that even at 20, Miley can open her scope to encompass country, hip-hop, ballads, and even the electronic impulses of today’s pop.
Much like Angel Olsen’s also excellent album from this year, Li isn’t exactly blazing new territory in terms of emotional revelation but is in uncomfortable territory, realizing that her voice is her own and using it for what feels true to her.
Of course, the album is a highly polished product and not some diary page. But it feels lived in, truthful, authentic. thank u, next is a personal statement from a generational talent who is still only 25 years old.
Emotion rolls out banger after banger, all while sustaining a remarkable level of complexity and compassion for everyone in Jepsen’s solar system.
Anti takes risks and disregards convention in a way that only a true superstar like Rihanna could pull off.
It’s groovy and funky and sultry, and it takes things seriously while still being joyful. It encourages freedom of form, in the sense of both body and art.
What separates the coven of sisters from their UK contemporaries, however, is that their debut doesn’t define them explicitly. It balances expectations with mystery, aligning their identity with a roulette of vantage points.
Williams boasts undeniable talent, but her gusto requires the sharp songwriting and clever instrumentation of her bandmates, and After Laughter testifies to what happens when a singer like Williams is met with a group of quality instrumentalists.
Gaga isn’t naked on Joanne, but she has stripped off the flank steaks and AutoTune. The result is a work that may not close any circles, but instead start the pattern of a new shape: something weird, but compelling, and largely authentic.
Yes, MASSEDUCTION is worthy of being treated like an event, but whether or not it tops her previous two excellent efforts is a little tougher to support.
Del Rey’s voice flourishes. Inside the album’s big, vintage swing, she sings herself into places that Born to Die, with its pop veneer, couldn’t touch.
After Visions, the only thing Grimes could do was to grow as big as the landscape around her. Here’s her mountain.
Her metropolitan butterflies aside, Swift’s songwriting is as consistently razor-sharp as it’s ever been.
21 is a good album that shows the world Adele’s talent, but one that is just a precursor to bigger and better things.
Whatever missteps there may be, Eilish’s commanding, yet vulnerable, performances easily overcome them to create one of the best debut albums of the young year.
Monáe is, as always, a true master of melding genres, influences, and styles. Her central themes of identity and internal conflict are as tangible on Dirty Computer as they ever have been.