Amazing cut from the Irish singer.

This single by the pop-rock enfant terribles is focused less on the structure and more on the vibes. The result is a spectacular fusion that may very well be The 1975's best single in their decade-long history.

Harpist Mary Lattimore teams with electronic savant Julianna Barwick for a neoclassical ambient experience. The LP contains a fair amount of highlights, but it is not a project that is a stand-out.

NARCISSIST becomes MUSIC after over 4 years. Double entendre aside, the result is incredibly middlebrow. Few tracks stand out, despite another star-studded lineup. It sounds like Carti has been hanging around Ken Carson and Destroy Lonely too much, replacing artistic care and growth with capitalized spelling.

After many delays and even a parody leak by Mario Judah, the new Playboi Carti album has finally arrived. It contains some of his greatest creations to date, complete with some platinum-tier features. However, the production works only half the time, leading to the belief that Pierre Bourne's mark is indelibly missed. The album's ingenuity will likely leave the listener satisfied with what it represents rather than what it offers.

Here it is! The debut studio record from the Atlanta-based rapper is bold and innovative. It is the kind of syrupy sugar-rap that hooks the listener with the right kind of repetition that never exits the mind, no matter how hard you try.

The LP could equally be viewed as the propulsion of South Carolina producer Pierre Bourne. His production choices excellently match Carti's infectious ad-libs and flow. The features are wide-ranging and bring out the best in them—Skepta sounds ... read more

Even if it contains its flaws, the debut mixtape from the Atlanta rap phenom is filled with groundbreaking sounds, highlighted by the hypnotic MAGNOLIA.

The Sydney-based pop punk outfit doubles down on the accessibility without sacrificing much of their identity. It's fun but oftentimes predictable.

Melanie Martinez undergoes a desperately needed stylistic shift to questionable results.

The CRY BABY character and aesthetic had run its course—there is so much of the Lolita quirk that I could personally be subjected to. In turn, we get an alien transformation with the intention of educating the listener to the abstract concept of death. The tissue lacks not connectivity, but clarity and quality.

Even for its time, this EP was not more than ramshackle K-12 asides. The quality is poorer than its predecessor and noticeably more imbecilic in its runny theme.

In hindsight, I am amazed this album was as appealing to me as it was several years ago (previous 8/10). With a fresher mind and much more music having been consumed, the album's aesthetics are uncomplicated but borderline problematic.

The production is often janky and stunted, relying on dated genre tropes (the SOAP build-up and drop is emblematic of the most generic big room house tracks that had been milked out by Martin Garrix a year earlier) and tacky instrumental choices (even the ... read more

The album is imperfect; however, it is one of the best-produced Christian rap albums of the past decade. There is a very noticeable Donda influence that permeates the record, for better and worse. THE SECOND COMING contains noticeable highlights (LA DREAMS feat. The Game and PRAY & RISE are quality tracks regardless), making for a good listen overall, even if the sound is a little derivative rather than innovative.

As a whole, THE POWERS THAT B is a fascinating clash between two very distinct sounds that incorporate the first and second halves.

UP MY SLEEVES is a contender for the greatest DG opener as well as the title for "least accessible track" due to its wonderful cacophony. CENTURIES OF DAMN and ON GP are contenders for best back-to-back tracks, tackling intensely dark places and a rare showing of vulnerability. Jenny Death's opener, I BREAK MIRRORS WITH MY FACE IN THE UNITED STATES ... read more

A common misconception about GOVERNMENT PLATES is that the album is minimalist. It is a disservice to mostly instrumental albums, particularly since Ride is utilized on many of these tracks.

GOVERNMENT PLATES would be the last DG album until 2018's YEAR OF THE SNITCH, where the band cranked up their experimentation and yearning for different sonic landscapes that were new to their history. GOVERNMENT PLATES does use Ride differently, opting to have him rap in a few select tracks but ... read more

You know the controversy, record label aims to restrict creative freedom, said artists respond by leaking their music for free and using the album's title written on a bandmate's erect penis as the cover art. It is the sort of real-life legend that just so happens to be emblematic of the album as a whole: throbbing with perversion and paranoia.

The group triple down on the electronic and strip the instrumentals back to near minimalism, allowing MC Ride to be at the forefront of the ... read more

Frantic and skeltered, the debut studio album by the Sacramento noise group is anarchical pandemonium. Despite a few of their least impressive songs appearing on their catalog, it is chock-full of highlights and some of their greatest creations. The music is beautifully cacophonous, a more elaborate and electronic-based sound from their debut mixtape, EXMILITARY.

Twisted beyond belief, yet unlike anything of its kind, Death Grips' first official release is groundbreaking. If the Satanic 'Beware' does not appeal to you, the epileptic 'Guillotine,' uber-aware 'Klink,' thunderous 'Takyon,' futuristic 'Culture Shock,' or catchy-as-all-hell 'Known For It' sound too abrasive, this mixtape is NOT for you. As for me, the brilliant samples that prevent this from qualifying as a studio album are a ... read more

The latest installment from the collaborative superduo ¥$ is nearly irredeemable from front to back. From lazily applied concepts that rip off the original, to AI Kanye, to more disgusting lyrics, this studio effort outdoes its predecessor in the worst ways.

Despite the catchiness of CARNIVAL and some genuinely interesting ideas, 'Vultures' plays down to Kanye's strengths while Ty Dolla $ign tries his hardest to show passion. The finished product is a low point for Kanye, and this is ignoring the multiple problematic themes and lyrics throughout.

Its extreme brevity is a travesty for the ages, for in the seven tracks packed in this self-titled album, the listener is transported through a psychedelic odyssey that fuses pop rap, art rock, and R&B among a plethora of genres. It delicately handles the topics of mental health, unlike anything else in the mainstream.