JAM

I discovered this album shortly after its release thanks to Pitchfork. I remember being in middle school, drawn in by a rare 9.5 score adjacent to that fascinating cover art—a red-lit number wrapped in a bold circle. What’s funniest to me today is I still haven’t read their review on the album - Not out of the blue for me to do - But why go back now? Their verdict, and the praise from countless other outlets was enough: ... read more

BRAT is sharp, neon-drenched record that thrives in tension. It braids club euphoria with self-exposure, outputting mainstream pop sheen with experimental distortion.

The production is the obvious star. Charli and her collaborators have crafted a sonic world that feels both warm and abrasive, familiar yet alien. The beats land with intent, and even the more chaotic moments feel anchored by purpose. It raises the datum in merging the commercial sound-lust and the avant-garde without losing the ... read more

Hozier's self titled is a romantically tainted, ghospel-infused Rock n' Roll debut with layers of replay value. Nearly a decade since its release, I still frequently return. Instrumentally, Hozier constructs an apocalyptic stage accompanied by his vigorous vocals and layered guitars. The stringed instruments seamlessly combine with the echoic background singers to amplifiy tension with Hozier's own throbbing performance. And while this debut delivers with sharp instrumental composition, his ... read more

Superdream consists of dreamy electro-pop vocals and instrumentation. The album is evenly split between instrumentals and vocal-featured tracks. I enjoyed the majority of the album's efforts. Jack Stell attempts various electronic sub-genres, and succeeds in most avenues. We experience glossy digitalized guitars and chimes which echo remnants of holiday-season magic (Awaken). Alternatively, he infuses synthetic trumpets with an upbeat, trap-influenced precussion (Pale Blue Dot). Theses ... read more