Boasting some of Charli's most exceptional work to date, I still think a deluge of underwhelming features holds it down.

Not much reason to return to this release other than for the incredible "Boom Clap".

Charli's debut proves she's always been ahead of the curve.

The start of this album is packed with classics, and if you can jive with the consistent potency of '02 pop-rock, this might even be a great record for you.

The soundscape is amazing! I think that the performances could be stronger and the project as a whole could have more meat on it, but it's an enjoyable little pop experimentation.

This is not a classic.

BRAT for boys!

Conan Gray's theatrics just aren't my speed.

While Mic's saxophone interludes and passages are certainly the most lovely part of this album, it's mostly bogged down by below-average hip-hop beats and weak lyricism.

Chance opens Star Line with inventive, soulful production and sharp lyricism that quickly dives into dry pop territory, limping to pick itself back up in its last leg.

Dijon expands his soundscape in his second album with more creative production, this time mixing in more glitchpop and gospel to his staple avant-garde approach to Soul and R&B and performances that are just as passionate.

Heck yeah! I don't think this is anything truly great, but it's so fun and goofy, I had a blast being subjected to whatever this was.

What I presume to be Ethel Cain's debut album is mostly a slog, sonically unable to bolster her storytelling with a unique sound. Rather, singer-songwriter Hayden Anhedönia's sound seems derivative of other pop artists like Lana Del Ray, Taylor Swift, and even The Weeknd. She seems to still be mostly ironing out her artistic voice here, leaving the project to age less than savorably. Still, I think the closing passages of the album are incredible, with Televangelism, Sun Bleached ... read more

Ethel Cain is the American Gothic. This prequel to 2022's "Preacher's Daughter" paints an incredibly cathartic image of southern suffering, coated in thick layers of droning rock, drawn out like the dry, sad heat of a southern United States August. Paced between these passages of lengthy ambience are a tight variety of tracks with curious storytelling. My favorite of these is the two lead singles pasted back to back. "F* Me Eyes" is a retro pop ballad that brings ... read more

JID continues to cement himself as one of the greats of the modern hip hop era. While it can be difficult to follow up on the phenomenal Forever Story, God Does Like Ugly is still a compelling concept about the dichotomy of Destin's southern cultural upbringing and the systemic violence of his home. Glory is a track that reveals the nature of the album sonically, with JID's curseless bars compared to the sampled choir that serves as its own character within the album. Community and Gz ... read more

A biting combination of emo and post-rock, its instantly nostalgic feeling makes it simply one of the most influential emo albums of all time.

While rough around the edges, Ghais is a rapper to keep your eye on. He just hasn't quite hit his stride like some of his other contemporaries.

Moanin's central melody is infectious enough to prove Art Blakey is one of the greats.

Charles Lloyd's jazz movements are so sharp and profound, but the length of the record can be tiring for some.

Undercurrent is cool and gentle, perfect for an evening of relaxation. I enjoy the focus on piano and guitar, especially considering it's from 1962, but it doesn't feel as stellar as other jazz records I've heard.