King Gizzard & The Lizard Wizard appear to understand the inanity of concept albums by making an inane concept album. "Murder of the Universe," especially the first disc, sounds like a dime-store paperback sci-fi novel as we follow along with an Altered Beast, Balrog, and a robot who desires to be live – to feel the act of vomiting – only to die. Reading along feels like a chore, especially during the first disc, as it reveals a poor attempt to write Samuel ... read more

DJ Khaled's "Grateful" is 90-minutes and 23 tracks of formulaic, soulless rap. More a playlist than an album, "Grateful" is chock full of uninspiring beats. Thankfully, several of the featured tracks redeem the album on the very basic basis that they add some flavor to the turgid record. However, even those spicy bits offer a bland experience.

Two tracks stick out: "Wild Thoughts" featuring Rihanna and Bryson Tiller and...well...I lied. On "Wild ... read more

No doubt Royal Blood's "How Did We Get So Dark?" contains energy. Every song features some kind of blistering, bass-led riff and pounding drums. Unfortunately, after two songs, those riffs quickly dull. One listen reveals the album; a second listen reveals that there's nothing else there.

If you like this record or are searching for a similar sound, I recommend checking out '68's newest album "Two Parts Viper." Even though '68's record has several faults, it provides a ... read more

Quick background note: I've never been a fan of Portugal. The Man. There's only one band in my life capable of inserting punctuation into the middle of their name (Godspeed You! Black Emperor) and that's still pushing it. Portugal. The Man's 2007 sophomore album, "Church Mouth," introduced me to them. While I dug their bluey sound, nothing stuck with me. They sounded like many other blues/rock oriented bands at the time. You can only guess my shock when I heard "Woodstock" ... read more

Classic Review #1:

With every passing year, it feels more and more appropriate to call "Kid A" a "classic." As we approach its seventeenth birthday, "Kid A" still elicits the same feelings – isolation, euphoria, everything great music produces – I felt the first time I heard it, which was, appropriately enough, when I was seventeen years old. Yet "Kid A" does not launch me down a road of nostalgia, a longing for my teenage years. Visceral ... read more

I have an odd affinity towards early 2000s Weezer. Not so much the "Green Album" – although I do love several songs from that record – as "Maladroit." There's something about that collection of songs that always captures my attention.

I mention Weezer here since Charly Bliss' debut record "Guppy" sounds remarkably similar to "Maladroit," from its guitar sounds to its incessant hooks and angsty lyrics. Charly Bliss capture and hold my ... read more

Big Thief's sophomore album "Capacity" is downright beautiful. Led by vocalist Adrianne Lenker, whose performance on "Mary" automatically catapults her to the top of my list for best vocal performance of the year, adeptly winds her breathy, heartfelt melodies over country-tinged, folk rock foundations. I think it's safe to say that Lenker's voice – melody and lyrics – are what keep me coming back for more.

This is not to suggest that there is nothing worthwhile ... read more

Cigarettes After Sex formed in 2008. Since then, they've released an EP (I.) and several singles. Their self-titled debut album showcases their abilities to write dreamy, hazy, and sonically consistent songs. This sonic consistency leads one to take a splendid nap while listening. Singer/guitarist Greg Gonzales's breathy voice will lull you to sleep as he speaks romanticisms.

I have nothing truly bad to say about this record except this: once you hear one song, you've heard them all. From the ... read more

I had never listened to London Grammar before. "Truth Is a Beautiful Thing" reveals a band comfortable in a very particular sound: reverb-heavy dirges with Hannah Reid's beautiful vocals. And it is clear that Reid's vocals are the most important thing. "Truth Is a Beautiful Thing" is a nice record with some nice songs, but the album's glacial movement and redundant ideas showcase London Grammar's shortcomings and dependency on comfort.

It's pretty easy to compare London ... read more

Phoneix's "Ti Amo" is a glossy, synth-heavy pop record made for dark times. It's a little burst of escapism that doesn't ask for much. Although these descriptors sound nice, they also represent the album's shortcomings. For "Ti Amo" lacks any sense of urgency, energy, or creativity.

The record as a whole is enjoyable. "J-Boy" and "Role Model" bounce along nicely and capture summer's shimmering sunlight. "Lovelife" evokes romantic late evening ... read more

You have a problem when "Bon Appetit" is the most intriguing – musically, lyrically, sonically, etc. – song on the album.

Katy Perry's "Witness" is a dullard: no song makes you want to listen to the next one. Everything sounds the same: plain, boring, contemporary pop music that is all style and no substance.

There is nothing to write about since there is nothing to grasp on to.

In her debut album Off the Radar, Tel Aviv-based musician Noga Erez confronts violence, sexual assault, and global political issues, all the while recontextualizing pop/club sounds into fear-ridden landscapes. Off the Radar sustains itself musically and lyrically, but does, at times, lose its energy. Nevertheless, Erez's Off the Radar sounds like pop music for cynics. And somehow, someway, Erez makes them all dance.

There remains an irresistible necessity to let your body move. "Dance ... read more

Dan Auerbach's "Waiting on the Song" is a breezy, poppy, lighthearted affair. Reminiscent of works produced by Phil Spector, Auerbach's self-produced record feels more like an attempt to refine his production skills as opposed to making an album that needed to be made.

The songs don't require your attention; the only thing they do require is your enjoyment of 60s/70s pop records. It's an album based solely on what it sounds like, not what any of the songs actually say.

It's an ... read more

Amber Coffman's debut album mixes pop, soul, R&B, and, at least with the track "City of No Reply," dancehall elements, to address issues of loneliness, isolation, love, and love lost. The result is fine: there is nothing especially bad about the record but there are very few high points.

The opening track "All to Myself" offers the record's catchiest chorus, but the song requires some revision as it overextends its welcome. "If You Want My Heart" builds into ... read more

Mark McGuire's "Vision Upon Purpose" is a dreamy, synth-heavy, and guitar-driven affair. Unfortunately, the bulk of the album sounds similar. With no discernible song structures, each track delves into a single idea and expands it for several minutes. The album's final track, "The Fire Keeper" ditches the synths for acoustic guitars, making for the album's most unique track.

"Vision Upon Purpose" isn't necessarily a bad album. But it's not interesting either.

On her second album, Bonnie Raitt's spectacular collection of blues-rock and folk songs feature a swaggering young singer and guitarist at her best. Every song works so wonderfully, especially the ethereal "Too Long at the Fair," with shimmering slide guitar in the tracks opening segment and a beautiful walking bass line to enter into the body of the song. "You Told Me Baby"'s imaginative guitar solo is a highlight on a highlight-filled record.

I had never heard this album ... read more

IN MANY WAYS, alt-J's "Relaxer" mirrors the title: soothing, folky tracks litter the majority of the record. Nothing wrong with folk songs – I love good folk songs – but alt-J's idea of folk masks lyrical importance. Their reimagination of "House of the Rising Sun" is so forgettable that I have a hard time remembering what it sounds like 10 seconds after it has concluded. The longest track, "Last Year," is a beautiful folk song. However, it's gorgeous ... read more

Bleachers' "Gone Now" thinks a bit too much of itself. Some good pop songs save this overwrought album such as "Don't Take the Money" and "Hate That You Know Me." However, there isn't much to hold your hat onto here as many of the songs fall flat or are just plain forgettable. "Goodbye" simply reiterates the second track "Goodmorning" and it's not quite clear why: is this a concept album? I will definitely return to some of the bigger, better ... read more

Fun, upbeat, electronic album. Tracks occasionally reiterate ideas but that does not detract from the record's sheer power. Definitely enjoyed this record and look forward to listening to it again.

Short, punchy emo/punk album. High flying melodies punctuate each song, but nothing truly captured me during the first listen. Some of the longer songs, especially the album's final track, could have benefited from some editing down. Emo has a place, but sometimes the overly melodramatic can get on my nerves. Enjoyable, but need another go around to get a better sense of the record.