A promising comeback for Neurosis.

As a work of an indie musician crossing over into pop, the album relies too heavily on so-called "safe formulas," sacrificing much of its personal identity.

It finds a certain balance between the sharp electronic sounds of Body Talk and the gentle inward exploration of Honey.

Sufjan of Michigan era

After the album opens with a theatrical, over-the-top style, the subsequent tracks fail to build up enough bold, distinctive expression to break through this 'fixed pattern.' Instead, they gradually become stiff, dull, and exhausting amid the clichéd—or rather, trite—bombast. This is due both to the overly cluttered arrangements that leave no breathing room for the listener and to the creator's inherent conservatism.

Fragmented structures plus repetitive earworm hooks make it as forgettable as a flood of short videos — you hear it, then it's gone.

There are already too many artists blending country and folk. The musical mediocrity and monotony of this one keep it from standing out.

His voice isn't strong enough to hold down the lead vocal role across the whole album.

In recent years, while retro synthesizers have become a common staple in pop music arrangements, few albums have managed to harmoniously blend 80s Freestyle, New Wave, R&B with the lo-fi textures of 2020s underground music quite like "Erotic Probiotic 2" has. Under the husky, freewheeling vocals of Nourished By Time, the signature bouncy hi-hats and punchy kick drums of the 808 drum machine keep the album's overall sound from becoming muddy or unpleasant. Whether it's ... read more

Jessie Ware's previous album "That! Feels Good!" — while intended as a continuation of the disco sound from "What's Your Pleasure?" — came across as warmer and more extroverted rather than the cooler vibe of the latter, which at least counted as exploring a different facet of the same genre. But frustratingly, on this new album, that musical ambition and experimentation have almost completely vanished. Tracks like "Superbloom," ... read more

Counting from 2015's "Woman," the foundational figure of the Neo-Soul movement has returned after an 11-year hiatus with her comeback album "To Whom This May Concern" — the most "distinctive" and memorable new album I've heard this year so far. True to its title, Jill Scott's performance never hides the fact that she's singing only for "those whom this may concern." Her confident, bold, and "straight-talking" vocal ... read more

As the first album James Blake released as an independent artist, "Trying Times" continues his signature experimental electronic style while also showcasing his unique interpretation of the word "grandiose." In most cases, when people describe an album as "grandiose," they might be emphasizing its epic instrumentation, sweeping strings, and overwhelming choirs. But the "grandeur" presented on this album feels more like an internal tension — using ... read more

An album that was tragically "sabotaged" by its opening track. I don’t know how many people were drawn in by the "highly recommended" tags from critics, only to be scared off by the first song — and I was no exception. It wasn’t until I gritted my teeth and made it to the second half that I finally understood why this album is worth hearing: the collision between breakbeat splicing and rhythmic groove. Take "Sicko!" featuring billy woods, for ... read more

This is arguably Gorillaz's best-received album since “Plastic Beach” — a strong foundation laid by its star-studded collaborator list, its exploration of death and farewell, and its rich fusion of diverse genres. When the closing melody of "The Sad God" slowly fades away, listeners can almost find something close to "release" within the sorrow alongside the band. However, the album's overuse of Indian elements is truly embarrassing: sitar, ... read more

The breathing, organic instrumental arrangement is a signature feature of what might be called "Mitski-style folk." Take the track that left the deepest impression on me from the album, "I'll Change for You" — the languid jazz style and slightly tipsy, intimate confession feel free and spontaneous. In terms of arrangement, the relaxed piano playing and the occasional interjections of brass carry a sense of improvisational off-kilter rhythm, striking a balance that ... read more

A very classic combination of harp, neoclassical, and New Age, made even more profound and serene by the warm tones of electronic synthesisers. Ethereal vocals and gentle harp plucking run throughout the album, complemented by restrained production control—it genuinely soothes the listener without ever falling into emptiness or pretentiousness. Of course, this extreme stylistic conservatism also makes it feel somewhat repetitive and monotonous, like the most classic cup of plain tea. For ... read more

To be frank, this is the first new album this year that has genuinely given me a headache. I'd sum it up as a prime example of the contemporary “sadness peddling” formula in atmospheric music: using heartbreak, psychological trauma, or similar events as a backdrop, putting a Slowcore filter over it, and then drowning everything—mumbled, unintelligible vocals and thin, uninspired instrumentals—in a sea of massive reverb. There's no personality, no ... read more

“Does Bruno Mars not know how to sing softly?" — That was my biggest question after listening to the whole album, as his straightforward, dynamics-free vocals gave me a headache. No need to bring in other artists for comparison—just comparing him to himself, his performance on the lead single “Leave The Door Open”from his previous collaboration album shows a clear difference in texture and nuance that's far superior to what he delivers on tracks like ... read more

I still remember the first time I clicked on this album—the intro of the opening track “Aperture” actually struck me as “kind of interesting”—but that all crumbled to ashes the moment Harry Styles' passionless, perfunctory vocals came in. All I felt was a strong wave of lifelessness and the stale, soul-crushing aura of a nine-to-five job. If you're making a dance album, even if you can't deliver passionate vocals, at least add some vocal ... read more

There’s no denying it—this album really shines when it comes to its depth of thinking. The title, “Only God Was Above Us,” actually comes from a news report about a plane accident. During the flight, the plane’s ceiling blew off, but somehow, it landed safely in the end. That phrase was the headline the New York Daily News used for their story about it, and you can even see that headline on the newspaper in the album cover. It’s a bit of a playful, ... read more