This hollow collection of MAGA-coded repentance bops comes across like the shameless grift it is. Let's not forget the 30-minutes of actual silence! It’s a baffling, self-indulgent wreckage of a legendary career.

Superbloom is a fun, catchy disco-pop ride that stays comfortably in the lane she’s dominated for years. However, it lacks the undeniability of her previous two records and begins to drag under the weight of its own lush production.

The self-engineered scale of this project is undeniably impressive. However, the melodramatic theater-kid insecurities keep this from truly reaching the art-rock peaks it climbs towards.

It’s not bad per se, but it’s incredibly cheesy and corny. Snoop is just going through the motions here, resulting in a project that feels like a bad caricature of his own legacy.

Dense and unwelcoming yet meticulously composed, this is easily one of the year’s more difficult listens. While the craft is undeniable, the experience feels a bit too stagnant for its own good.

It’s "professional death metal" to a fault: every box is checked, every dissonant riff is in its right place, and the production is muscular. However, it lacks that spark of genuine inspiration to push it to greatness.

It's enjoyable and doesn't overstay its welcome. A solid collection of ideas, but it feels like tsubi club is still figuring out which version of himself he wants to commit to tape.

It’s a bit underwhelming. What’s exciting about this genre is the subversion of expectations, not doing exactly everything expected, and HALO is about as "exactly expected" as it gets.

It’s just Thundercat being Thundercat, so it's fine. After a six-year wait, Distracted sounds like every other thing he’s done, proving that his whole discography is starting to feel a bit samey.

If there is a fine line between "atmospheric drone" and "sustained laziness" then Sunn O))) falls squarely into the latter here. This self-indulgent slog mistakes slow-loudness for profundity.

While this split album concept sounds good on paper, there is a distinct lack of balance needed to sustain interest. This feels like too much and not enough at the same time.

I found this to be enjoyable, my head was bopping along to it, but it all sounded a bit too similar, and I feel, more gimmicky than a lot of the math rock I prefer. I’d write more but there’s no more to say.

In trying to buy his way into "legend" status with high-profile features, Yeat has managed to trade his unique, alien-rage DNA for a bloated, budget-Kanye costume. Made my ears feel like they were being held hostage.

What an awesome ride this was, though the first half is where this especially shines. There's something for everyone here, even the slower songs were catchy and had fun moments. Totally worth the hype!

It's fine. Nothing here is blowing me away or redefining the dance floor. There's a distinct lack of the emotional gut-punches that defined her peak. It's ultimately just there.

Towing the line between solid and hollow, I can't help but feel like Kanye is trying to buy back the "Old Kanye" fans with "New Kanye" grievances. Still, compared to Vultures, this is a step in the right direction.

I enjoy dälek, they're the progenitor of a lot of the abrasive hip hop I enjoy. While this doesn't reinvent their wheel, it's a masterclass in how to stay loud, relevant, and righteously angry.

An enjoyable listen from start to finish. U is much smoother and more digestible than most contemporary electropop albums, and it’s honestly better for it. My only real gripe? The distinct lack of a Danny Brown feature.

This is a solid but bloated album that suffers from a few boring stretches and underwhelming climaxes. I would have rated it higher if it was about 20 minutes shorter and didn't have so much synthesizer.

The whole thing bleeds together like "baby's first trap playlist." If this derivative slog is the best my city has to offer, then I'm disappointed in my city. No shocker that Cole and Thug carry this thing.