Golden Hour blends dream-pop and country into something so soothing it feels like it should be common, yet it remains strangely one-of-a-kind. It’s puzzling how Musgraves’ later releases never quite managed to recapture the same quality.

Kacey’s soft voice is the album’s backbone. Every layer of instrumentation is built to complement her without stepping ahead, and it works beautifully thanks to the ethereal songwriting and melodies. The project’s scope is ... read more

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

RÜFÜS DU SOL's 4th LP is a step backwards from their previous releases. Sonically, "Surrender" is lighthearted. They double down on the high-pitch synths, and project a glossy tone that enacts a journey of ascension. The writing and vocal performances thematically match this focus - the cover art aligns too. Although Surrender's artistic presence is well defined, I am disappointed with its execution.

The diversity of instruments is fair, but the euphoric soundstage is ... read more

Time traveling back to this album, I appreciate this album for where it took us, but it also highlights how far Flume's music (and this type of music) has progressed since then. This album's sound today feels too outdated and bare-boned for my current (and future) taste. Along with some unfitting vocalists surrounding the track-list, I don't see myself returning to this album. Of course, there are few exceptions that define Flumes best work.

Favorite Tracks: Insane, Change, ... read more

Their 4th album repeats the traditional sound from their previous releases. Smooth, simple, and warm, Pacifico is an enjoyable listen, but does not offer anything unique, especially compared to their collection since 2017. However, it's evident that their music has never intended to be anything more than a calming background to a golden sunset. Pacifico does its job well.

Favorite Tracks: Pacifico, Hideaway, Wave of You, On Time, C'est La Vie, Famous
Least Favorite: Feels The Same, Next Thing, ... read more

Lastlings have a cool electronic atmosphere complimented with a fitting female vocalist. Both the vocal performances and production lack versatility, making the songs difficult to differentiate from one another. This hurts its replay value.

Favorite Tracks: Take My Hand, I've Got You, Out Of Touch
Least Favorite: Visions

Morgan Wallen's debut is decent. I think his lead singles help him differentiate from the rest of the crowd, but there isn't enough unique content to make the album memorable.

Favorite Tracks: Up Down, Had Me by Halftime, Whiskey Glasses, Little Rain, Chasin' You, Talkin' Tennessee
Least Favorite: Happy Hour, Gone Girl, If I Know Me

"Dangerous: the Double Album" packs many of my favorite songs from the year. Side A presents a more introspective tone, which I favor over side B's country rock energy. The slower tracks capture some fantastic power, primarily thanks the writing team's capability to maximize Morgan's expandable voice.

For a 33-Track album, Its consistency astonishes me. I love the bonus tracks too. But... it's still a double album. Any trim would be beneficial, especially on side ... read more

I love the 80's influenced melodies powering "Sob Rock". Mayer's guitar continues to fit his gentle voice with style. Though safe, this release is thematically and sonically tight. Periodic repetitive songwriting damages the album's consistency, but it still stands as one of his strongest, distinct-sounding albums to date.

Favorite Tracks: New Light, Shot in the Dark, Til the Right One Comes, All I Want Is to Be With You, Last Train Home, I Guess I Just Feel Like

Least Favorite: Why ... read more

Thomas Rhett's discography mirrors many aspects of his personality. As he grew into a family man, his music followed. Rhett's early work consisted of sloppy energy with an abundance of cringe-worthy attempts to be sexy and fun. At one point, he was my least favorite pop-country artist. As his career's progressed, he's slowly managed to replace these embarrassing moments with authenticity. His previous release, "Center Point Road", outlines Rhett's potential as well as his setbacks. ... read more

"Presence" is a pleasant listen from start to finish. Petite Biscuit incorporates plenty of guitar and piano melodies tagged with adventurous high-pitched vocal recordings. The experimental tracks are my favorite, and I wish there's more. Although his debut is enjoyable, a chunk of the track-list is formulaic, which makes several songs sound like B-side variants of the popular tracks. "Sunset Lover" for example, is undoubtably the most popular song of Petit Biscuit's career ... read more

"Center Point Road" has a few highlights, but suffers from mediocracy. the majority of this 16-track LP is listenable, but skippable. Thomas Rhett has matured a bit since his previous projects. His songwriting is a bit more genuine and versatile, but it still suffers from cliché/corny moments. I think if he puts more time into his songwriting, his catchy voice and charismatic personality will naturally follow and craft a thoughtful, fun, consistent album.

Favorite Tracks: Look ... read more

"SOUR" is brutally honest. Olivia Rodrigo leaves no filter on her perspective. Her writing is painfully yet admirably vulnerable, and she effectively presents her intensified insecurities following a treacherous teenage heartbreak. She captures a sturdy balance of emotion and pop. While her debut is charged with melancholic passion, it rarely mistakenly downs itself in its own pity. Its rough edges are purposeful and sonically composed.

Although this project is lyrically sharp, I ... read more

RÜFÜS has grown a lot since their debut. Looking back on "Atlas" today in preparation for the trio's 4th album release, It's fascinating to compare their work on here vs today's (7/13/2021) new single, "Alive". This debut project serves as a skeleton to their later releases. While I enjoy the mixing, "Atlas" is bare boned compared to the "Solace" and "Bloom", making many tracks fit, but not stand. I enjoy this album, but I respect it ... read more

"Brightest Lights" is my perfect blend of rhythm and ambience. I've fallen in love with this album's versatility. The upbeat, yet calming house-influenced instrumentation fits exceptionally well with many of the featured vocalists. It emphasizes a unique set emotions and vibes.

This project uniformly averages out to ~ 5 minutes per track. Daniel Goldstein intentionally builds each song with a gradual, steady pace, similar to RÜFÜS DU SOL's work. Lane 8's buildup ... read more

Kasbo's sophomore release learns from previous flaws and delivers a more focused, immersive, and consistent electronic experience. Similar to his debut album ("Places We Don't Know"), "The Making of a Paracosm" is mysterious and natural with intertwined echos of female vocalists. While not as diverse as Kasbo's previous work, the power greatly makes up for any instrumental diversity concerns. This album is meticulous and visionary. I look forward to Kasbo's future ... read more

"Parachute" puts the spotlight on the vocalist more than any other LP/EP he's ever released, which makes my track-by-track opinion extremely volatile. The production is consistent and (for the most part) shines when given the opportunity, but its weight is minimal. Mehdi Benjelloun (Petite Biscuit himself) leads the album's vocals, which is a change a pace form his previous work. Half of the album compliments his voice well, and the result is fantastic. But, his vocal talent is ... read more