It comes and goes just the right amount of time to be an enjoyable 2010s pop throwback.

If the oddball and quirky, but vulnerable, writing manages to hit the spot for you, the varied, alternative production will certainly make this album one of the favorites of your year.

I was listening to Blonde on a really terrible day. I was attacked by a dog. Nothing in my life has reminded me of my humanity like listening to White Ferrari while holding my bleeding hand.

In the beginning, God created The Beatles and Geese.

I'll say, its bombastic, theatrical soundscape certainly took some time to grow on me, and it still has the potential to continue growing. But it is a simply splendid record. Mr. Greep presents a question through the lens of this often vulgar and disillusioned narcissist character: What is the worth of a tyrant's masculinity if he's dead? The point of view throughout the album's narrative is that of a man who deems himself so important that he's a holy figure. His ... read more

It's pretty friggin cool. I've never heard EDM in a pocket like this before.

There are a lot of elements that make The Boy Who Played the Harp what it is, and while they are all intriguing and sincere, nothing truly sticks the landing in making cathartic music. Dave is not pulling any punches on this tight tracklist, delivering only 10 songs after 4 years since his last album. Each song is full of intention and weightiness, with themes about grappling with deeply personal anxieties. It's a commendable project. Dave's lyricism lacks nuance. He spits bars that ... read more

Kevin Parker is NOT brat :(

I certainly don't think it's a horrible listen, but for one of the most prolific genre-bending artists of the 2010s, this EDM experiment is a definite disappointment. The sound barely holds any weight, quickly fading into background music. There's no interesting writing to grasp onto, but the occasional instrumental can inspire a pleasant head nod. I enjoy tracks like Dracula and Afterthought.

A broken, chilling, psychedelic folk experience. The allure of the state of Maine haunts me like a ghost, and this is perhaps South Maine's greatest indie record. It captures a twisted, gothic American reality so well with muddied production that is a truly unique style.

It's an awesome listen. While I think the energy dies a bit by the end, these girls still manage to put together some killer, classic-feeling rock tunes.

I saw this album cover, and I thought it was one of the coolest things ever. It's so eye-catching, and I'm so glad it did, or else I don't think I would have listened to this beautiful piece of art. Hannah's arrangements are so full and vibrant, and her writing is so whimsically poetic. It's genuinely like reading a poetry book sometimes, with such strong, vivid wordplay. I love how there are so many literary elements in the writing that tangle together the songs, from ... read more

Maria Zardoya's solo debut certainly meets expectations, and that's not exactly what I was hoping for. Not For Radio is rather indistingusihable from The Marias to a casual enjoyer such as myself, but the vibes are still potent as usual.

Quinnisa really does take after her mother in an excellent. The Wickies present a cool psychedlic folk palette for their debut record. While the production is surprisingly great, I think the young Maine duo of Quinnisa and Aiden have a lot of room grow in way of their writing and instrumentation.

Don't think this record's sound is that coherent; there are some experimental hiccups as PARTYOF2 finds where they land as an artistic duo, but there are some great tracks in its tight runtime, and I've been loving these guys for a long time, so I can't hate.

It's a truly whimsical experience, from the alluring poetry of dancing puppets and fire witches, to the fantasical jester flutes and faie musical progessions. Not the most mesmerizing album I've heard, but it's certainly the blueprint for all art rock to follow that I personally love.

I literally can't say anything without Swack commenting... so I'll just say the predictable... the mixing has issues, and the writing isn't that captivating, but there's something about the fact this tape exists that makes me not want to look away.

When one of the GOATs of rap, who was never really that good at all, makes an album like this... it just fails to evoke any emotion. With poor pop hooks and bare, skinned production, KOD leaves me with my face in a drooling stupor before I snap back awake, as if nothing happened at all.

Águas De Um Mar Azul was a highlight.

Despite being a serviceable tribute to the late great Prodigy, Mobb Deep just can't quite capture the same magik with a mixed bag of production and performances.

Straight Outta Compton is iconic, but holds little substance outside of its historic hold on the hip hop art form. It seems the extent of its vulgarity for the time period is important, but it hasn't aged quite well, nor does its messaging seem that nuanced, especially compared to other politically charged hip hop of the '80s.