Skeleton Tree is meant to be a record for everyone, a naked, honest depiction of true grief in musical form ... This stands as possibly his greatest achievement, as much a sorrowful exploration as a loving sendoff only for his fans, but more importantly, for himself.
Lost in the Dream is a sad record, but it’s also a hopeful one, enriched by the journey of its own heartbreak and the possibilities that remain.
Sleep Well Beast sees The National flourish with candid lyrics and diverse song craft, embodying the band’s continuing evolution and life’s constant change.
While m b v is a record that is more than capable of standing on its own, at the same time it also sounds exactly like the sort of thing that we might have expected My Bloody Valentine to produce two decades ago, and this noticeable lack of allegiance to the present is perhaps the most potent thing about this entire revisionist affair.
Where Innerspeaker aspired to impress us at every turn, Lonerism is much more discreet and less concerned with being as seductive as possible. This album is more confident in itself, preferring to offer songs that grow on you rather than immediately instigate enthusiasm.
To put Magdalene in context, it’s clear that FKA Twigs has created her best album so far. It combines the addicting complexity of M3LL155X’s production aesthetics with the more elaborate and thoughtful songwriting of LP1.
Whether she’s touching on the impact of losing a legend like Bowie or battling her own demons, Strangers in the Alps is a vibrant and rare debut that’s not afraid to tell it how it is.
It’s ugly and beautiful; one moment subdued and the next blistering.
They are masters of atmosphere and intrigue, and flirting with pop music has only further aided their chameleonic nature, with this being their most satisfying and diverse effort in many years.
This is a complex, stunning, and challenging record that will undoubtedly alienate some. But if you’ve enjoyed Holter to this point, it is worth investing the necessary time. Aviary touches every corner of her sound, resulting in an enchanting, if slightly dizzying, fifth album.
Whatever voodoo made their unapproachable sound so damn fun and cathartic is completely gone. In its place is a something altogether darker and uglier, but ultimately more brilliant and enrapturing than ever before.
E MO TION isn’t a stablemate of innovation, nor does it have an elaborate, all-encompassing concept; its allure stems from its consistency, with each and every track seamlessly passing the baton to the next without any significant dip in momentum.
Outside of “Love Again,” the album is chock-full of jams from front to back, and RTJ2, in its astonishing scope and finesse, continues a tradition of greatness for the unlikely duo, and serves as one of the more distinguished bright spots in an otherwise stale year for hip-hop.
Going from lyrics of “this is how I feel and it sucks,” to “this is how I felt, and I got through it,” coupled with the band’s most bright and catchy music to date, After The Party is not only the band’s strongest album lyrically, but their most upbeat, fun, and catchy record yet.
Deciphering the message in her words relies on just how much time the listener is willing to devote to the album, but with music this brilliant, the task seems all the more alluring.