The Irish singer's third features an excessively poppy sound, incorporating elements of finger snaps, YouTube-commercial folk-pop, and 2020s disco pop that are at odds with the album's classical literary-inspired theme promised at the first track, a detriment more insufferable than the uneven quality of the songs themselves.

Out here waiting for dude to fully flop so he could finally make his oUtlAw pRoGreSsive bLUegRass album

Gabe Lee's most refined work to date, despite being stripped down to almost entirely acoustic instruments. The addition of harmonies and multi-layered vocals bring a delightful and expansive quality to the music. The interplay of string instruments in the chorus of 'When Jesus Got the Blues' and the wistful European folk instrumentation in 'Merigold' evoke a range of emotions, though not always matching their lyrical content.

'Drink the River' sees Lee continuing the considered and measured ... read more

The timely solo debut from the Fontaines D.C. frontman combines polished folk production and his deep vocal range while incorporating more diverse nuances of melancholy and world-weariness compared to the band's albums following the diminishing marginal utility of their trilogy.

Taylor Swift's third album, Speak Now, has been her most rock-infused work to date. On the new Taylor's Version, unlike the re-record of Fearless, the electric guitar elements thankfully remain intact and play a prominent role in the overall sonic landscape. The new version showcases a more enriched vocal delivery and a meticulously balanced instrumental arrangement, surpassing the mixing consistency achieved in Red.

However, the vault tracks face similar challenges encountered in Fearless ... read more

A fragmented record in almost every way, with the left-leaning views seen in Run the Jewels conflicting with the homophobia jokes in the song 'TALK'N THAT SHIT!' and the ambiguous attitude towards abortion. These contradictions undermine the coherence and sincerity of the album's overall message. Furthermore, the involvement of different producers contributes to a lack of consistency between the songs. The first six tracks, regardless of their actual instrumentation, exhibit an overbearing and ... read more

The singer-songwriter's new album attempts to explore new (not exactly, perhaps) musical territories but lacks the depth and cohesion expected from a seasoned artist like Lewis. Produced by Grammy-winning Dave Cobb, the album lacks a consistent sound and fails to establish a distinct character, the execution cluttered and chaotic. It suffers from lightweight songs that lack substance, diluting the album's potential. Lewis' decision to embrace a more laid-back and fun approach is commendable, ... read more

Amaarae's sophomore album embraces global influences, drawing inspiration from diverse musical styles. While some tracks shine brighter than others, her high-pitched vocals captivate with their lovely and intimate charm. However, a few lesser tracks fall short in their attempt to complement the Afrobeats sounds, lacking the necessary production finesse. The shorter song lengths have their pros and cons, preventing creative stagnation (or shock values wearing thin; there's a punk rock section ... read more

Weathervanes is a testament to Isbell's ability to create music that delves deep into the human psyche, confronting the darkness with unflinching honesty. The self-produced album urges us to embrace the uncertainties, find meaning in the midst of despair, and acknowledge that true strength often lies in our capacity to surrender control. Ultimately, it allows us to dwell on our own struggles and, in the end, find solace in our shared humanity.

Not your average jazz rap record: Overall's organic blend of the analog and the electronic is quite unique; with an approach that features more improvisation than sampling, his inner struggles seem to have got a musical outlet.

New deluxe version includes a Red throwaway carried by detailed songwriting, a beach with clearer and more crispy production (hence 'til the dawn), and an unnecessary Ice Spice feature whose unassertive flows doesn't fit with the song's melodic sensibilities.

Individual ratings for new songs: 75/70/65 (OG is 80).

Jack Harlow's third finds him rapping on sample-heavy tracks with decent flows and surface-level introspection (including a de facto humblebrag on how it must have been "his skin color" instead of hard work that helps him succeed), not to mention his newly adopted chipmunk soul is put up against his former pop rap carefreeness.

Sabrina Teitelbaum's self-titled debut as Blondshell is mostly about her reliance on (toxic) relationships, which often come with a certain level of self-destruction. At times, the songwriter hints at the dark side of a relationship and the complex humanity in it. It might also be her own exploration in this coming-of-age album—she's "adjacent to a lot of love", as Teitelbaum puts it, observing from a distance for her quiet/loud introspection.

Mundanities and "strangeness" of small town life in the South with a bittersweet revelation: every day is a battle; some ruin it to get over it, while for more and in most cases, they simply endure such suffering. Wednesday offer no judgement, instead portraying those mires oftentimes neglected by mass media, and their unique mixture of wall of sound and steel guitars helps with that.

It's 2023, and mainstream is still making disco-tinged dance-pop, what can one say? Anyway, a serviceable record with some solid production, albeit a faceless one, that's much more beguiling than the self-proclaimed personal monstrosity, "Brightest Blue."

Daughter's night-time wistfulness about a transatlantic relationship is a welcome motif in times like these. Tonra's ethereal vocals complement the record's reverb-laden, indietronica/dream pop-lite production well. The last line on the album sums it up: nocturnal animals keeping each other up.

But there's also a bit more optimism in it, too. A sense of acceptance can be felt on "Be On Your Way," lead single and one of many tracks on the album that deal with long-distance ... read more

Ocean Blvd abounds with self-referential details, and it's Del Rey and her music at their most desolate. She asks about the big questions in life: death, memories, future (professionally and personally), and family, all so straightforward it at times comes off a bit mundane and trivial. The record could do away with the Jon Batiste-influenced pianos, momentum-destroying interludes, and oftentimes too self-indulgent production choices, but the openness to it and the calmness of its delivery ... read more

For Gonzalez, nostalgia is still his escape, and weapon.

Features more generic country-sounding instrumentals than his second but was made as ambiguous as possible to reach wider audience. Would rather turn to those snappy 808s, which are at least entertainingly bad.

Denver duo's sixth is a front-loaded album with a more expansive soundscape thanks to new pop rock influences.