The catchiest album of the decade? Honestly, it’s in the conversation. It feels right that PinkPantheress is finally getting her flowers and that people are moving past the “TikTok artist” dismissal. These melodies are absurdly infectious, some of the stickiest pop writing in recent memory. Standing ovation.
🌟 Illegal, Girl Like Me, Tonight, Stars, Noises, Nice to Know You, Stateside, Romeo
“Angel of My Dreams” is genuinely a top-25 single of the decade, no notes. The rest of the album is solid too, just very front-loaded. I think part of my reaction is that I had sky-high expectations for JADE, so what follows inevitably feels a little deflated. Not bad by any means, just not as sharp or exciting as it could’ve been.
🌟 Angel of My Dreams, It Girl, FUFN, Midnight Cowboy, Fantasy, Lip Service, Plastic Box, Natural Disaster
So. Much. Fucking. Fun. Yeah, I’m convinced anyone who hates this album just hates fun. It’s loud, stupid, infectious, and completely unashamed of it.
Side note: this is easily the best album Pharrell has produced in years.
🌟 Big Poe, Sugar on My Tongue, Sucka Free, Mommanem, Ring Ring Ring, Don’t Tap That Glass / Tweakin’
This album has been weirdly dismissed. The idea that it came out “too soon” after Short n’ Sweet or that Sabrina shows “no growth” just doesn’t hold up for me. We don’t punish Lana, SZA, or Billie for sticking to a defined style, and Sabrina shouldn’t have to ditch her wit or disappear for three years just to be taken seriously. There are genuinely solid bops on the back third here, even if none quite hit the highs of Short n’ Sweet. Still, ... read more
I should’ve listened to the title. A real step down from Diamonds & Dancefloors.
🌟 None
Five years later, and I can confidently say this just isn’t good. The vibes are muted, the songwriting feels thin, and the whole thing lands with a thud instead of a glow.
🌟 Solar Power
For an album called BITE ME, this thing has no teeth. It's all bark, no bite. No edge. No real attitude. Just a whole lot of generic filler from a woman with a shit ton of charisma.
🌟 Leave Me Alone, Shy
It’s fine. I just wish more of the tracklist leaned into the Eurovision chaos of “Joyride,” because that song absolutely rips. That said, I do like when she circles back to her roots on “Boy Crazy,” and “Yippee-Ki-Yay” is basically the modern-day “Timber.”
🌟 Joyride, Yippee-Ki-Yay, Boy Crazy
-1.6 points for that one "Writer in the Dark" performance where she shushes the crowd. Jk jk. This is a really strong record and one of the most influential albums shaping the modern bedroom-pop landscape.
🌟 Green Light, Liability, Supercut, Homemade Dynamite, The Louvre, Writer in the Dark
Absolutely is super vibey, and when it hits, it really hits. It’s the closest thing we’ve got to modern D’Angelo. Not every moment sticks, but the atmosphere and musicianship do a lot of heavy lifting.
🌟 The Dress, Many Times, Annie, Big Mike’s
It's a mixed bag.
🌟 Bust Your Windows, Need U Bad, Lions, Tigers & Bears, One Night Stand, In Love With Another Man
Hot take: this is what Lemonade wanted to be and never fully pulled off. It’s quieter, more intentional, and emotionally precise, letting restraint do the heavy lifting instead of spectacle. Every moment feels considered, grounded, and genuinely lived in.
🌟 Rise, Weary, Cranes in the Sky, Mad, Don’t You Wait, Don’t Touch My Hair, Where Do We Go, F.U.B.U.
This album has two things that really grind my gears, and no amount of hype has fixed that.
First is Lorde’s framing of Pamela Anderson and Tommy Lee’s stolen sex tape on "Current Affairs." Calling it “beautiful,” “pure,” or an expression of “freedom” is honestly indefensible. That tape was leaked without consent and Anderson was in an abusive relationship with Lee. The leaked tape was an absolute violation of privacy, and Anderson has ... read more
This one’s disappointing. HAIM usually writes some of the stickiest alt-pop and rock songs of the 21st century, and that spark feels mostly gone here, with the big exception of “Relationships,” which is genuinely a Song of the Year contender. I hate to say it, but Ariel Rechtshaid might really have been the band’s secret fourth member. You can hear his absence all over this album.
🌟 Gone, All Over Me, Relationships, Down to Be Wrong, The Farm
What a statement. Easily the best Latin-pop album in recent memory, and a real glimpse at where pop music is headed. The way Rosalía folds reggaeton, jazz, ambient, alt-pop, and a dozen other sounds into one sharp, cohesive vision is kind of unreal. Nothing here feels limited or cautious. The genius is in the details, the metallic clatter, the dead silence before she suddenly snaps, the absurd little choices, like the Cupcakke gulps on "Bizcochito." The production moves with ... read more
It’s cute. The singles are easily the standouts, and honestly I can’t help but root for her, even if the niche, gay, pop-intelligentsia insistence that this is the greatest album since Ray of Light is completely ridiculous. Fun, harmless, and wildly overpraised.
🌟 Diet Pepsi, Aquamarine, High Fashion, Fame Is a Gun, Headphones On
Surprisingly, this is a fantastic album. The production is sharp, the vocals are stellar, and when it’s on, it really soars. The songwriting dips a bit in the back third, but taken as a whole this still feels like Miley’s magnum opus.
🌟 End of the World, Easy Lover, Golden Burning Sun, Walk of Fame, Every Girl You’ve Ever Loved
The quintessential summer album. It’s rare for an album cover to so perfectly capture the sound and energy inside, but Amaarae absolutely nails it here. The blend of Pan-African, Caribbean, and Middle Eastern dance music is seamless and thrilling. Yes, her voice is an acquired taste, but once it clicks, this album hits ridiculously hard. Bright, addictive, and endlessly replayable, it just slaps.
🌟 All My Love, Angels in Tibet, Co-Star, Princess Going Digital, Big Steppa, Reckless ... read more
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Recent Review Comments
On CHUNJuwu's review of Madonna - Madonna
"I don’t mean to be a hater, but saying Madonna brought disco to the mainstream is historically inaccurate. The mainstream disco era had largely ended by 1979, especially after the Disco Demolition backlash. This record came out in 1983, four years after that cultural shift. I also wouldn’t classify this as a disco album. Does it take inspiration from disco? Sure. But it’s much more a reflection of the rise of 80s synthpop and dance-pop."
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