Haim let in some new styles on Something to Tell You, but they crucially remain masters of rhythm.
On their first album in four years, Goldfrapp synthesize all their many sounds and modes to get at the core of their musical identity. They find a beautiful, poppy, platonic ideal.
Just as this album highlights Williams’ most existentially despondent musings to date, it is also the most fizzy record Paramore have ever recorded.
ISON is an album that gets under your skin and lingers in your thoughts. As warm and inviting as it gets at times, Sevdaliza was right not to make it too easy on the listener.
Refreshingly, SweetSexySavage is at its best when it’s most exuberant, giddy in the face of haters and common sense alike.
I See You, the third album by the xx, sounds like an attempt to incorporate everyone’s talents into a new version of their sound, one true to their roots but richer and more varied.
On Fin, what Syd seems to want to portray most of all is an admirable, inspirational confidence, a young woman singing and rapping while totally at ease with the beats that please her most.
Since the drastically superior Paradise Edition reissue of Born to Die, Del Rey has neither swayed nor settled. Instead, doubling down on her palette of inky blues and blacks, the singer-songwriter has delivered a trio of dark, dense, radio-agnostic albums that stand wholly apart from any of her pop music peers.
On Rest, Gainsbourg doesn’t just reveal her pain, but monumentalizes it, lays out a red carpet, and invites people to watch. Her refusal to be sequestered by grief is, quite literally, a death-defying feat.
It’s a remarkable, meditative work, as he processes grief and navigates self-discovery.
On Take Me Apart, her first studio album, she takes the cerebral, corporeal world she’s built into the domain where it can historically live best: a new, outré, rhythmic pop galaxy that honors but outpaces its peers.