The best parts are just immaculate, but a lot of the album just feels like a safe choice, and doesn't meet the electropop expectations set by the first tracks. Cheerleader is a SOTY candidate, but everything else struggles to match its highs. That said, this is definitely the kind of music we need right now. Our modern depression needs to sound like something other than modern depression.

This has me feelin like Michael Cera in his swag era.

EDIT: I was so wrong, this album FUCKS

A seven-year wait has produced an album near the level of their magnum opus.

'Paradise State of Mind' may be retro revival, but it doesn't totally duplicate its influences. The production is absolutely gorgeous, with both echoes of the past and modern flourishes. The strings are so beautiful throughout, and enhance the impact of each song so wondrously. Despite the major shift in sound and concept, it's still a Foster The People album. It's catchy as hell, and ... read more

The Willy Wonka of rock has finally perfected his formula, successfully fusing the garage-rock bombast of The White Stripes' debut with the zany avant-garde flavors of 'Boarding House Reach'. This new confection fresh from the eccentric halls of Third Man Records is sure to delight even the most sour of listeners.

Evolution isn't always a linear process, especially in art. 'Into the Blue' sees Frazer finding footing in more than just his trademark retro-revival sound with a mixed bag of heartbreak and sensuality.

Aaron Frazer's previous album, 2021's 'Introducing...', was a spectacular showing of retro-infused soul, courtesy of Dan Auerbach and Easy Eye sound. I will admit, I was somewhat perplexed when hearing that Aaron would depart from Easy Eye for his sophomore ... read more

Zach Bryan is the king of emotional Americana at this point. 'Pink Skies' doesn't reach the same heights as 'Jake's Piano' or 'El Dorado', but it still tugs at the heartstrings all the same.

He's created a monster alright: a disgusting hybrid of his current sound and his old shock-baiting lyrics. This isn't the return of Slim Shady, this is just sloppy fanservice, a last ditch attempt to save face after a decade of seeming like a grumpy has-been. The lazy sampling and shitty chorus don't help either. At least the video's kinda fun...

This is clearly influenced by Electric Light Orchestra and Jamiroquai, and I am here for it. This album might be worth the long wait.

This is literally just a Blur b-side.

I'm starting to feel nostalgic for Future Nostalgia. These past two singles have NOT been it...

Aaron's back, and he's got another set of masterfully produced, retro-infused soul tracks. Payback is an uptempo number, with spectacular guitar work and luscious strings. Into The Blue is a more mellow cut, with a spacey and even psychedelic vibe. Into The Blue evokes a Spaghetti Western without leaning heavily on overplayed tropes.
Payback - 85
Into The Blue - 87

This is not lead single material. This might end up being the best song on the forthcoming album, a worrying sign given that it wouldn't crack the top five best tracks on their previous effort 'Social Cues'.

I expected this album to be the final nail in The Black Keys' coffin. Instead, 'Ohio Players' has proven that they're alive as ever, while bringing Beck and others along for the ride.

Though I enjoyed their previous effort, 'Dropout Boogie', it was clear that The Black Keys were headed down a path of irrelevance and mediocrity. Since their 2010 breakout, Dan and Patrick's signature blend of blues and alternative has become a staple of car commercials and stadiums, turning a once-fresh sound ... read more

Fuck y'all, this is a good album

After the catastrophic 'Father of All', there was only one choice left for Green Day: starting over. Saviors is a fitting title, because this album has saved Green Day from becoming yet another middling legacy act. Is the songwriting immature? Yes. Is that a good thing? Abso-fucking-lutely. What this album lacks in lyricism, it gains in fitting the ethos of pop punk. Simple-yet-catchy songwriting and instrumentals that evoke their heyday are the driving forces ... read more

I feel sorry for retail workers, this is going to dominate airplay in every fast fashion store for the next decade. In other words, it doesn't stand out at all, especially in a crowd of (better) house-revival pop.

It truly amazes me how The Black Keys are able to produce great albums for other artists while making music this uninteresting. Still, not terrible, just uninspired.

The singles for this were great (especially White Horse, which may very well be song of the year), but the rest of this album just felt like songs that didn't make the cut for Starting Over. That being said, even when Stapleton phones it in, he still manages to make great albums.

Danny Brown is on some next-level shit, and Peggy's beats go hard as fuck. This sounds like Outkast on crack, and I'm here for it.

The combination of Easy Eye Sound's immaculate instrumentals with Robert Finley's charismatically delivered vocals is just a perfect match. In a year with few major blues releases, this one takes the cake.