For his sophomore solo release, he’s trying something even more ambitious: asking the world to crossover to him.
Trifilio is a very good songwriter with a lovely, somewhat folk-toned voice, and Beach Bunny are all good musicians who’ve attained an impressive amount of musical know-how in their few years together.
On Rough and Rowdy Ways, Dylan is exploring terrain nobody else has reached before—yet he just keeps pushing on into the future.
The K-Pop boy band’s latest blockbuster is full of stylistic experiments that all flow together.
Even when Making a Door Less Open gets a little clunky, it remains compelling.
Their second album is a multi-faceted R&B treat, full of glistening vocal chemistry, sharp writing, and a self-determination you want to get up and cheer for.
Future Nostalgia is a breathtakingly fun, cohesive and ambitious attempt to find a place for disco in 2020. Incredibly, Lipa is successful: the upbeat album that she decided to release a week earlier than planned is the perfect balm for a stressful time.
For longtime fans who are expectantly, perhaps giddily, steeling themselves for another brutal LP from Apple, Fetch The Bolt Cutters will not disappoint.
High Off Life is Future at his most optimistic, as the man from Pluto decides to send out a positive message.
If you’re just looking for some catchy pop-punk rock & roll tunes, they’ve written 10 of those, and most of them are real good.
What the album actually has to say about climate change is often lost under the admittedly beautiful, meticulously composed wreckage.
Manic is about the here-and-now real world and her fight for a place in it as a young woman.
It’s the sound of an artist blooming into some of the best music of her career.
Reunions is a nuanced, probing record that finds Isbell more restless than he’s been since Southeastern, a rich portrait of an artist eternally searching deeper within himself.
The Savages frontwoman explores electronic sounds and stream-of-consciousness self-analysis for a dark, compelling listen.
Mostly, Gaga has focused Chromatica’s spectrum on the kind of body-moving music that comes naturally to her. Dance music will always be her salvation, and her pop renaissance couldn’t come at a better time.
The organic, delightfully earnest tracks blend Miss Colombia‘s avant-Latin sonic palette with revered cross-generational traditions, forging a new world of musical borderlessness that Pimienta is glad to call home.
Eternal Atake is Lil Uzi Vert’s best album yet, with a cohesiveness, slick concept, and performance that justifies every ounce of hype.
For Miller, Circles exists as a form of therapy; as he seeks to break out of old patterns of thinking, these steady reminders to embrace the present and let go of everything else to form a new pattern: a means of resilience, and maybe even a path to liberation.
On Suga she sounds warm and vulnerable, unsure how to carry on without her mama to guide her, but determined to do her proud.
In 1975, Homegrown evoked an organic hippie ideal. Right now, the title has more depressing overtones. But, in a sense, it’s hard to think of a better time to hunker down and listen to songs of anguish, confusion, and isolation.
The music turns much darker Ghosts VI, which, by proxy, makes it the more interesting of the two.
The band’s first album in seven years is an admirable, inspiring example of grown-up grunge.
These are age-old ideas, but they don’t feel that way when he’s singing them. It’s par for the course for an artist who specializes in embodying pop archetypes, and making them new again.
The agit-rap duo’s fourth LP was recorded before America was ignited in protest, but it still feels perfectly apt for 2020 America.
Gomez re-enters public life with grace and clarity, two very rare finds indeed.
Sophie Allison follows her 2018 breakthrough with a sucker punch of emotion.
Focus too deeply, and it feels less like a collection of songs and more like a showplace for his sonic finery. As mood music, though, it’s a sweet trip.
The New Abnormal still manages to find a fresh, albeit more low-key, way into the woozy late-night grandeur they’ve always been so skilled at evoking.
On her latest album Saint Cloud, the 31-year-old songwriter trades in the indie-rock neurosis of her previous work for a mellower, twangy sound that nods towards her roots in Birmingham, Alabama. But her piercing observations have only grown sharper with time.