A significant upgrade from his two previous mixtapes, The Definition is an incredible body of work. My favorites here are Human, Carry Your Throne, and Run Wild. There isn't a bad song here, although it really is a collection of songs and not an album, so the lack of a theme or central idea hurts the project a bit.

Jon Bellion's long awaited return to music remains one of my favorite albums of 2025. This album completely lacks the biggest weakness of Jon's earlier projects; basic/safe writing. There really is a song for everyone here, you could tell me any one of these songs is your favorite and it'd make sense (except, of course, the interlude). My favorites are Kid Again, the title track, and Rich and Broke. The features don't really add too much to the songs they're on but ... read more

While I was lukewarm with this album at first, it really grew on me a ton the more I listened, especially tracks JT and Adult Swim. The conclusion is quite unlike that of his first album but still just as impactful. Standout songs for me are JT, Stupid Deep, Blu, and Cautionary Tales. Couples Retreat and The Internet are the two weakest on the album, just feeling kind of basic and unoriginal, but not bad.

This will always be one of my favorite albums of all time, my only complaint is that some of the songs feel a bit safe at times. Sonically, the album is consistent and excellent. Lyrically it can be safe at times but really meaningful throughout. Songs like The Good In Me, Hand Of God, and All Time Low stand out as career highlights. The story of the album is really impactful and is completed so well in the outro of Hand of God.

This album is all over the place, sonically and thematically. Its all a result of the concept, which I appreciate, however it leads me wanting more of some sounds and less of others. Career highlights here include Lonely is the Muse, Panic Attack, Hometown, The End, Darwinism, and Alice of the Upper Class (a bonus track). I love the evolution of the interlude-like Letters to God. But some songs, like Dog Years, Arsonist, and I Never Loved You just don't add much to my enjoyment.

Objectively, this might be Halsey's best album (aside from maybe Badlands), but it's just not my vibe sonically to rate super high. While the haunting atmosphere works really well on songs like Ya'aburnee and Bells in Sante Fe, it feels almost boring in other places (The Tradition and Whispers for example). The rock moments are excellent. And although I love 'I am not a woman, I'm a god,' it does feel out of place here, sonically.

Definitely a controversial album in Halsey's discog, but I find the album extremely addictive and return to it often. All of the singles are incredible, and album tracks such as killing boys and Ashley stand out as some of the best in her career. Dominic's and Alanis' Interludes use their featured vocalists extremely well in the story telling of the album, though I'm not a fan of the inclusion of SUGA in his interlude (simply because I don't think we need Korean in a ... read more

Even if it is slightly worse, this album is an excellent follow up to Halsey's smash debut. I do find the interludes to be a bit unnecessary and question their necessity to the narrative (especially Good Mourning), but the songs on the album are great. Now or Never and Bad at Love stand out as excellent songs even as popular radio singles. Unfortunately, some of the best songs are bonus tracks (Heaven in Hiding and Angel on Fire), but other standouts on the standard include Hopeless and ... read more

Halsey came out swinging with this album, even the "weakest" songs on the album are absolute bangers. Songs such as Ghost, Roman Holiday, and Young God are incredible listens. The entire album has such a memorable vibe, it feels as though you are transported to the badlands when listening. My least favorites are Castle and Coming Down, but even those songs are so good I can't really call them weak.

For a debut album, this is definitely a good project, but it doesn't hold up as well compared to the rest of her career. The vocals are struggling a little, and many of the songs in the middle of the tracklist are weak. Teardrops on My Guitar is by far the best song here.

It's fearless but with the most iconic song of all time, Untouchable.

Vocally, this album is an incredible improvement to the original and platinum editions. But the vault tracks added here, with the exception of standout Mr. Perfectly Fine, are pretty boring or average at best. While the standard edition is well improved, I can't say that the added tracks were especially necessary.

Going back after the Taylor's Version project, it's hard to not acknowledge the rough vocals on some of these tracks, such as Forever & Always and Change. But other songs with stronger vocal performances, such as Breathe and Fifteen, have a nostalgia to them that make them very enjoyable. The songwriting here is excellent, especially for an 18 year old, and it's easy to see why this is the most awarded country album of all time. Still, not my favorite though.

The best thing this rerecord did was add Ours to the official tracklist. With the exception of Foolish One, a career highlight, the rest of the vault songs feel unnecessary, evidence that Taylor's decision to leave them off the record originally was correct. The rerecorded songs are fine but mostly not better, and the lyric change in Better Than Revenge feels like an unnecessary attempt to apologize to Camille Belle without actually doing so, the line change doesn't affect the meaning ... read more

A really great album, especially considering that Taylor is the only writer on all of these songs. Even without a major pop hit, the album still shines in its writing on highlights such as Enchanted, Back To December, and Last Kiss. There's also some pop rock on songs such as The Story of Us, Haunted, and Better Than Revenge that stand out as highlights. Never Grow Up is an incredible moment that almost everyone can relate to. While some tracks such as Mine and the title track may be ... read more

Truly a standout album in Taylor's career... But not in a good way. The album is really brought down by the baffling single choices, the rest of the album is mostly good. Songs like I Think He Knows, MAATHBP, Daylight, and DBATC stand out as career highlights. But who the hell thought releasing INTHAF was a good idea.

Even if some popular songs like Style feel messed up compared to the original, there's enough good here to make up for it, and the vault tracks really shine as some of Taylor's best, making you wonder how the f*ck How You Get The Girl and You Are In Love ever made the tracklist before those 5. It's no wonder the album outsold the original in its first week.

This was never my favorite Taylor Swift album, even if it is maybe the easiest to listen to. While songs like Style and Blank Space are deservedly some of Taylor's most popular songs, some tracks in the latter half almost don't deserve to be on the same tracklist (I'm looking at you, How You Get The Girl, and bonus track You Are In Love). It's a really good album but not always something I'm pining to listen to.

Only a bit worse than its sister album evermore, folklore's storytelling really makes it a standout album in Taylor's career for many. The track run from the opener all the way through illicit affairs is pretty perfect, other than a couple strange production choices on mirrorball and this is me trying. After that though, the album feels a bit weaker towards the latter half with songs like peace and epiphany feeling uninteresting and unnecessary. The bonus track, the lakes, might be ... read more

Taylor's often under looked 9th studio album that's superior to its predecessor and sister album, folklore, if only barely, shows off Taylor's writing skills in career highlights such as cowboy like me, tis the damn season, and Coney Island. Bonus track right where you left me is also a welcome addition. Aaron Dessner's production adds to the excellent atmosphere, making this a perfect listen during late fall into winter. Though some songs like Dorothea and no body no crime ... read more