After an explosive start and some of the band’s most energetic tracks from their recent albums (The Runner, Black Bull), Foals returns to more melancholic songs (Into the Surf, Neptune) on the rest of the album. With a more successful atmosphere and more memorable tracks, this second release of 2019 is, in my opinion, better than the first.

When you come from the grunge of Nevermind, as I do, Superunknown feels like grunge for grown-ups, with its hard rock influences, its solos, and Chris Cornell’s incredible vocals. I did find the songs a bit too long overall, but that’s offset by memorable riffs like those on “The Day I Tried to Live” or “Black Hole Sun,” to name just a few, and the heavy, dark atmosphere gives the whole album a nice sense of cohesion.

In addition to collaborating with outstanding artists, Anderson .Paak up top, Kaytranada proves his versatility time and again on this album, whether it’s with the jazzy “Weight Off,” the trap track “Drive Me Crazy,” the funky “Breakdance Lesson N.1,” or “You’re the One” with its neo-soul touches. The album is, in any case, tailor-made for summer and maintains its light, danceable vibe throughout, even if a few tracks toward the end ... read more

The chaos that I found off-putting on *Dusk in Us* has given way to furious yet masterfully executed tracks. The vocal variations and emotional depth are also a real triumph for a genre that can easily veer into caricature in this regard. The first half, consisting of short tracks, is highly compelling and is balanced by a second half that is longer but just as powerful.

Don’t be fooled by the warm tones of the album cover; *Urn* is very much in the same vein as its predecessors: cold and epic. A violent, intense coldness, yet one that relies on soaring violin melodies and clear vocals to bring a touch of gentleness. The musicians put their virtuosity at the service of emotion, but it is the epic quality that takes precedence over everything else—on nearly every track.

Weezer's rock (Blue) oscillates between a massive sound (“My Name Is Jonas”), lyrics that are easy to sing along to (“Undone,” “The Sweater Song,” “In the Garage”), and mostly simple, effective song structures. The atmosphere, beneath its innocent exterior, seems deeper than it appears and took me back to my teenage and young adult years, even though I wasn’t listening to Weezer at the time.

A magnificent, well-paced galactic journey that offers a wide range of moods: mystical (“Altitude Lake”), epic (‘Ummon’), dreamlike (“Son Dong's Cavern”), and, of course, psychedelic. Much like the excellent “Citadel on a Satellite,” the tracks are both dense and airy, so you never get tired of them despite the album’s runtime of over 1 hour and 10 minutes.

The singer’s simple yet powerful lyrics (mostly in French) are like a punch in the face—but a good one. An ingenious blend of electro, noise, hip-hop, and punk that creates a sense of urgency and stress that’s, paradoxically, highly addictive.

Fuudge's music is both diverse—blending a wide range of psychedelic influences—and consistent with their heavy sound. The tracks get straight to the point, with most clocking in at under 3 minutes, or even 2 minutes and 30 seconds, and the lyrics—concise and explicit—reinforce the album's in-your-face vibe.

Probably one of the best albums blending pop and classical music. The compositions shift effortlessly from the grand to the lighthearted. Some tracks are emotionally powerful, and Rosalia’s magnificent voice is the album’s greatest strength.

After listening to this recently, it’s clear that the production is pretty flat and the themes and moods are repetitive. That said, the nostalgia is definitely there, and despite the overall sappy, saccharine vibe, I still enjoy listening to some of the tracks.

This compilation is very comprehensive and really showcases the compositional talent of this iconic duo. I discovered many tracks that are just as good as the well-known classics, and although their sound remains firmly rooted in folk, there are a few rock influences here and there.

With its distinctive style and lucid, socially conscious, and intimate lyrics, Les Louanges invites us into a thoroughly enjoyable musical world. The tracks are infused with new influences, notably those of Mk.gee, and reflect on the artist’s time spent stepping back from the music scene in recent years.

While not exceptional, Joni Mitchell’s voice still has a beautiful range, and she allows herself plenty of rhythmic and melodic freedom. The songs are touching (“River,” “My Old Man,” etc.) and sometimes quite catchy (“Carey,” “All I Want,” etc.), which makes for a very enjoyable listening experience overall.

While this album is highly experimental (especially for its time, I imagine), it also has an aura of a masterpiece, particularly given the artists involved in the project, but I have to admit it didn’t really win me over. Among the experimental tracks, only “Venus in Furs” is worth keeping; the rest are at best uninteresting (“Heroin”) and at worst irritating (“European Son”), and ultimately it’s the more mellow tracks that are the most enjoyable, ... read more