I can’t say I was looking for a collaboration between two of emo’s lousiest voices, and the results leave little to be remembered. The lyrics are so painfully cringeworthy, fundamentally misunderstanding what can make emo music so affecting to begin with. It’s so concerned with how bad our protagonists feel they forget to do anything interesting. Avoid at all costs.

There’s more of a dance element to the beats here, but Little Simz of course raps her ass of to make it all worth it.

What Now is an impressive step forward for the Alabama Shakes frontwoman, cutting off the rougher edges of her previous work to seamlessly flow between neo-soul, dance-punk and elated funk that could fill out a stadium.

A surprise birthday album for the eternally youthful Pharrell is a playful experience. Nothing serious here but the seriously fun yacht rock vibes throughout this City of Limitless Access.

Eschewing political themes for pure music does Declan McKenna wonders on his latest record. It’s perhaps his easiest listen, with enough variety and great grooves to warrant multiple listens.

Man, Idles just continue to disappoint me. TANGK is supposed to be their danciest album yet but it just puts me to sleep. Joe Talbot’s voice is obnoxious, the lyrics draw from the worst parts of liberal punk ideology and there’s a distinct lack of grooves. Just because you name a song after an iconic 80’s pop group doesn’t mean your song will be as fun as theirs.

In need of a folksy country record that’s competently made with some memorable tracks? Then The Past is Always Alive is for you.

Drawing more than ever from 1970’s pop music like T-Rex and the Doobie Brothers, I can’t help but feel MGMT are getting too far away from what made them stand out to begin with. That being said, the highlights of Loss of Life are fantastic, like “Nothing to Declare” and “Mother Nature”.

The Australian trickster’s first album of original songs in 7 years is good for sure, but I can’t help but feel he plays it a little too safe throughout. The musicianship is top notch, but it’s missing a magnificent moment like “Big Enough” or “The Whole of the Moon”. The latter half of the record is especially snoozy, but I can dearly recommend the first half.

If Radiohead continues to be dead in the water, then The Smile is the perfect filler. Drawing from the more melodic sections of previous record A Light for Attracting Attention makes Wall of Eyes another enthralling listen from Thom Yorke and friends.

After a few albums of trying to expand their sound, Real Estate return to the simplicity of Atlas and the results are immediately apparent. Daniel is a lazy river to flow down, with chill vibes and solid melodies throughout.

Never ask Chromeo to do anything but make music about being lonely/sad about relationships, because when they try on Adult Contemporary, the results are more miss than hit. They mostly stick to their guns though, and while it’s pretty forgettable, you can enjoy Adult Contemporary for the brief time its on.

The much-hyped band’s debut record lives up to the billing. There’s no waiting on Prelude to Ecstasy, as from beginning to end you’re treated to a baroque masterclass. Abigail Morris’s voice stand tall over these lushly instrumented tracks, with no expense spared on detailing every corner of the record. Could they be an industry plant? Who cares if the music is this good?

Kacey has made her divorce album, so naturally it was time for her recovery-from-divorce album. Deeper Well seeks to comfort as her transition to single life happens, sounding similar to her best record Golden Hour, if not as harmonious.

Long one of pop music’s most underrated acts, let The Last Resort be the moment in time Holiday Sidewinder becomes a household name. Her 3rd record is a smooth mixture of 80’s pop and modern music, consistently catchy and full of salacious imagery. Frequent references to Greek gods and sunny shores give The Last Resort an intriguing vibe, and Holiday’s vocals make this paradise a place must-visit.

Jack Antonoff’s heart is in other people’s music, not his own. This self-titled album from his solo project is a middling collection of songs that sound like filler for an album by The 1975.

Lightly inspired by the Darren Aronofsky film and heavily influenced by her divorce, eternal sunshine finds Ariana Grande sticking to what she knows. It’s a lesser version of the R&B pop she’s excelled at, with fewer radio hits than any of her previous albums. Is it listenable? Yes. Will I always choose thank u, next or Sweetener over it? No.

Our favorite slacker this side of Mac DeMarco has dropped what I think is her best album yet. She’s spent years honing her brand of melodic soft rock and the fruits of her labor are excellent. Outside of the weird Lil Yachty appearance, Underdressed at the Symphony is one of the mellowest and best records of 2024 so far.

It’s been a while since his last release, but Damon McMahon’s unique approach to indie pop remains captivating. Death Jokes isn’t as thoroughly captivating as his breakout 2018 record Freedom, but any fan can find enjoyment in McMahon synthesizing his sound more.

One of the great joys of being a music fan in the modern era is seeing people lose their minds about every new Twenty One Pilots album. Seeing the vitriolic hate or the fanboyish praise just makes me laugh every time, because I fall somewhere right in the middle. Clancy has its moments, like the swell rocker “Next Semester” or the very catchy “Navigating”. It’s just there’s nothing here worth getting overworked about. It’s fine indie rock that’s a ... read more