Despite the lower volume, Bruce Springsteen sounds positively invigorated on Western Stars. With a new sonic palette and renewed focus on the LP as a means of writing short stories, it’s easily his best album of new material since 2007’s Magic.
Offering sanctuary to anyone with a soul full of longing, At the Party with My Brown Friends is a beautiful affirmation of our common needs and a reminder that love is possible.
It is through this searching and continual movement that Hatchie etches her own lines to define her persona through her music, constantly propelling herself and her ideas in new directions and trusting that we’ll keep up.
Though House of Sugar can be a difficult record, those who take the time to delve into its layers will be treated to a piece that captures the modern psyche in a way few other pieces of art manage to do.
Immunity highlights her vulnerabilities while showcasing the full range of her formidable strength as a producer and songwriter.
The record is a labor of love, and it was also made by completely independent artists, which makes it even more impressive.
Crushing is by and large a breakup album, but it’s more a reckoning with one’s mysterious and daunting personal potential than a reflection on someone else.
Lewis’ songs have always been mature and introspective, but On the Line reaches new heights as she explores from a changed perspective.
The record and its seamless transitions from one heavily enticing, tender, and softly delivered track to the next paints a captivating and enthralling self-portrait.
This is an album for the day ones, a soundtrack to the Dade County summer experience filled with aggressive parties, violence, and the consequences they demand.
Their focus on meaningful songwriting and infectious camaraderie lead to a project whose sum is greater than its parts.
With Map of the Soul : Persona, they deliver a ready-for-action EP, hopping easily between genres like hip-hop, rock, R&B, and trap in a multifaceted exploration inside the lives and hearts of one of the biggest boy bands on Earth.
Now, Anderson .Paak has learned how to use those tremendous resources to his advantage and made a personal statement to satisfy his nostalgic soul. Ventura is lean and lovely.
Charli packs in plenty of wow and proves to be more than worth the wait.
While concise in length, MAGDALENE paces FKA twigs through the unguarding of her traumas, ceremoniously giving way for her next act.
With Heard It in a Past Life, Rogers proves that the success of her singles was no mere accident.
More a revitalizing burst of energy than a passing of the torch, Better Oblivion Community Center frequently finds Bridgers and Oberst bringing out the best of each other.
The brilliant auras of sound and feeling swirl together to create moments of joy and tranquility; Flamagra is an experience that invites listeners to come together and listen to what that fire has to say.
David Berman is one of our greatest living songwriters and he’s returned in beautiful, melancholic form as Purple Mountains to speak to the lifelong nihilistic depressive in all of us.
Beware of the Dogs shines in its concrete approaches to meaningful subject matter.
The simplicity is mesmerizing, inviting us into meditation as light piano pieces and sparse, melodic lines weave through an omnipresent haze shimmering with feathery light.
Jaime is 35 minutes of almost solely uninterrupted greatness.
When I Get Home offers so much to be immersed in ... With the album and accompanying video, Solange emerges a true visionary with a piece of self-discovery that trusts its audience enough to eschew hand-holding and easy answers.
i,i is a mature masterpiece and a stunning marriage of ambition and technique.
Faye Webster’s understated, self-deprecating persona almost dares you not to take her seriously. Don’t be fooled. Atlanta Millionaires Club is a masterpiece of claustrophobic intimacy that brings compelling immediacy to a time-tested story.
Morbid Stuff is a bold step forward for PUP, an incredibly mature record given how filled with anger and contempt it is, containing true moments of insight.
Bandana concentrates the grimy energy of Piñata into an even more potent punch, and the result is a knockout.
Fear Inoculum lives up to its daunting expectations with songs that showcase Tool in peak performance as musicians and compositional arrangers.
Father of the Bride may not have the initial excitement and glistening energy of the band’s now-classic first three albums, but it offers a rewarding and audacious achievement of its own.
With Cuz I Love You, Lizzo has sidestepped the majority of frustrating industry standards to present a musical breathe of fresh air. The record is purposefully compact, genre-blending, unifying, reaffirming, devoid of corniness.
By closing the door on the philosophies and musical approaches he used to take, Tyler discovers an open window, leading him to new, peaceful strength and mastery of his craft.
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.
All Mirrors is a successful example of how being bold and staying true to yourself pays off. Undeniably, this is Olsen’s most cohesive, self-aware, and searing album to date, and the era of Olsen is far from finished.
Woods embodies the cultural makeup of Chicago, tackles the multiplicity of identity, and balances her dominance with flawlessly selected features that build her up.
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.