Former award-show contestant Melanie Martinez’s debut album proves she’s not afraid of catching listeners off-guard. Cry Baby focuses on societal issues and toxic relationships through childlike metaphors. It’s definitely odd, but it relishes in its oddity and eeriness--there’s a reason this record connected with so many alt-pop fans in 2015. While certain tracks are executed relatively well, others (ex. Training Wheels, Tag, You’re It) take their theme too far and ... read more

While it’s pleasant to hear Camila pay tribute to her Latin roots, most of Familia sounds like it could fit on any of her past records. As usual, there are a few great pop moments, but still nothing outstanding. The album cover doesn’t make sense with much of the subject matter, and it feels rushed and unfinished as a whole. There isn’t much else to say.

- Lyricism 19/30
- Production & Instrumentation 14/20
- Creativity 5/10
- Authenticity 5/10
- Cohesiveness 4/10
- ... read more

Camila Cabello is floating throughout her second record—hopelessly in love but also learning to love herself. Romance has much more personality than her debut. There are some great pop tracks (ex. Shameless, Living Proof, Easy) and impressive vocals. However, sometimes the vocals are the least enjoyable part of the album. Her pronunciation is difficult to understand at times, and the high notes sound nasally. While this album does feel personal to her, the long list of collaborators ... read more

Fifth Harmony’s Camila Cabello is quite a polarizing figure in pop music. Her debut is a brief collection of love songs that show off her vocal chops, but there aren’t any creative risks or outside-the-box songwriting. It comes off as a bunch of attempted radio hits thrown together--there isn’t necessarily any story she’s trying to convey. That isn’t to say there aren’t highlights—Never Be The Same and Into It are both lively tracks with great melodies. ... read more

Conan Gray has never sounded better than on Found Heaven. With help from Max Martin in production, he emulates synthy 80’s pop—even changing his vocal inflections to better match the sound. His influences are obvious. The record does lose momentum around halfway through, but it picks back up with Bourgeoisieses—a fun boppy track about a desire to live the high life. The experimentation works out—this is easily the most interesting music he’s ever made. Finally, ... read more

Superache by Conan Gray is difficult to pinpoint. Conan is still working with long-time collaborator Dan Nigro, but this time he's recruited acclaimed songwriter Julia Michaels as well. While it’s a little more grown-up than his debut record, it’s still held back by unimpressive songwriting and seemingly radio-crafted tracks. When Conan is vulnerable, he shines—tracks like People Watching, Astronomy, Jigsaw, and Family Line are perfect examples. He can be deeply introspective ... read more

Modern pop is predominantly being ruled by women, but Conan Gray is an example of a young male voice with potential for pop stardom. There are magnetic melodies and dance-worthy moments throughout Kid Krow. Wish You Were Sober and Maniac embody the playful style of early One Direction or Taylor Swift’s 1989. Production is unimpressive at times, but as a whole, it’s a stellar debut. With age, he will likely only improve his craft.

- Lyricism 20/30
- Production & ... read more

Older is a fitting name for Lizzy McAlpine’s third full-length record—she sounds older. The songwriting feels more grounded and mature than it's ever been. The album covers a breakup, along with the fear of aging and Lizzy attempting to discover who she is/will be. The soft instrumentation lets her voice and storytelling take center stage. On tracks like Movie Star and I Guess, she's completely in her element. It’s another honest, mellow piece of work and her best project to ... read more

On her second album, Lizzy McAlpine stays true to her singer-songwriter roots while also adding more pop elements to her production. The record starts a bit slow—it doesn’t catch your attention until around the halfway point. Ceilings is a phenomenal song and the highlight of the project by far. It showcases the star that Lizzy could be with all of the correct ingredients mixed—she has the individuality and writing chops to stand out among her peers. However, Five Seconds Flat ... read more

Up-and-coming singer-songwriter Lizzy McAlpine’s debut album is a mellow, honest project with lots of potential. She sounds gorgeous over the light guitar, and the songwriting is solid—her storytelling and narration are comparable to a young (perhaps Fearless-era) Taylor Swift. Her youth is evident. The sound does become repetitive after a while—you find yourself waiting for a moment of change after so many melancholic and similar-sounding tracks. There are beautiful moments, ... read more

Girl in Red’s debut album is a brief yet engaging collection of self-produced pop songs. She lets the world in on her difficulties with anxiety and depression as well as telling the story of an on-and-off relationship. The synths and guitar mixed help create an edgier atmosphere than anything she’s released before—it’s both fun and creative. However, the lyrics don’t contain much depth. She might catch you off guard with her honesty and blunt choice of phrasing. ... read more

On Surrender, Maggie Rogers dives headfirst into a rockier indie pop than we’re used to. The soul and honest lyricism that makes her unique is still there—just slightly altered to fit more of an acoustic guitar sound. The record is a collection of love declarations reminiscent of female artists of an older generation. The wild, powerful highs are so high that they make you forget about the lows (ex. I’ve Got A Friend). Her authenticity in a pop landscape that has evolved into ... read more

The video of Pharrell Williams amazed by music prodigy Maggie Rogers has made rounds on the internet countless times. One thing is for sure—he saw the potential immediately. Heard It In A Past Life is a grounded, soulful debut from one of alt-pop’s most overlooked stars. While cohesive, there is also variety—Alaska is a delicately produced pop track, Past Lives is a powerful piano ballad, and Say It has an R&B-style beat in the chorus. Midway through Fallingwater, Maggie ... read more

If you thought you had Halsey figured out, her fourth record will prove you wrong. She isn’t going the typical pop route anymore. She flirts with different genres and production styles but doesn’t sound too far out of her element. The project feels unsettling and introspective, but that’s intentional. If I Can’t Have Love, I Want Power is a cinematic journey—even if you don’t particularly enjoy it, it’s sure to make you feel something.

- Lyricism ... read more

Following a public breakup after her partner’s infidelity, Halsey finds herself at her most vulnerable and experimental. She dabbles in country and rock sounds and recruits some unexpected collaborators (ex. Dominic Fike, Alanis Morissette, BTS). The level of lyricism wavers depending on the track. She seems to let her intense feelings guide her. While Without Me is a meticulously crafted pop song, 929 is Halsey babbling her thoughts to a simple guitar chord. Manic is her most chaotic ... read more

In Hopeless Fountain Kingdom, Halsey plays Juliet in a Shakespere-inspired concept album. However, without the monologue in the first track, the theme is difficult to pick up on. There are some fun moments with the typical Halsey glisten to them (ex. Heaven in Hiding, Bad at Love, Strangers), but as a whole, it’s a step backward from her debut. There are exceptionally weak lyrics (ex. Lie) and production is uninspired at times. While Badlands was mostly fresh and unique, this record is ... read more

Halsey’s debut album is a cold, synthy story of flawed people and relationships. Badlands signified the beginning of an era for edgier female pop stars. The aesthetic, the sound, even the style of singing—everything feels so signature to 2015. For its time, it was somewhat provocative. Of all of Halsey’s work, it’s probably the most culturally impactful. While it’s lost some of its magic over the years, it’s a record that transports you to where you were the ... read more

On Tate McRae’s sophomore album, she feels a little more like a rising pop star. She’s recruited acclaimed songwriters Ryan Tedder and Amy Allen, and there are some excellent melodies. The production has also improved for the most part since her debut. However, the record is still surface-level. Instead of stemming from a creative vision, every track seems crafted for radio—down to their lengths. McRae’s voice also sounds different--and not necessarily in a good way. ... read more

Tate McRae’s debut album is an unimpressive collection of heartbreak pop songs. She recounts the story of a breakup that negatively impacted her self-esteem through surface-level lyricism and mediocre production. Some moments feel truly vulnerable, but they’re executed with little conviction. From the random Nelly sample to the line “stupid boy making me so sad”, there isn’t much to celebrate. If you’re searching for a timeless pop album, you should probably ... read more

Decades into her career, Beyonce is more motivated than ever. After 2022’s cheerful, house-inspired Renaissance, Queen Bey dips her toes into (or cannonballs into the deep end of) country. The instrumentals of the genre are fitting for her deep, soulful voice. She pays tribute to the legends before her (ex. Dolly Parton, Willie Nelson) while also making it her own. There are unanticipated collaborations with Miley Cyrus and Post Malone, and some tracks that are still reminiscent of her ... read more