"come here" and "joe blazey" show some promise, but i can't decide whether the rest of this album sounds like the theme song to the "oh, they're super underground, you probably haven't heard of them..." crowd or if it sounds like nothing at all, hollow and devoid of entertainment value.

apart from "four years ago," "napalm girls," and "black moon," which i didn't think were all that great anyway, this album is super boring, which sucks because most of its performances are so energetic and really do sound like they should be something, but at the end of the day it's really forgettable and doesn't feel like it was anything at all.

i liked this a lot more than i thought i would. that being said, i think the album as a whole is still pretty mid, but there are definitely some songs from it that i'd be more than happy to listen to again, like "reasons i drink," "losing the plot," and "reckoning." this is probably going to grow on me!

new sound, good results. "bastards," "praying," "rainbow," "boots," "godzilla," and "spaceship" are all fuckin great cuts from kesha's entire discography.

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original score: 74
no original review

as kesha's earlier work grows and grows on me, the transition period between her sleazy take on pop music and her much more grown-up pop rock stuff just sounds even more awkward to me. warrior is too slick to fit in to her earlier stuff, but it doesn't have the same level of maturity as her later music. "die young," "crazy kids," and "all that matters (the beautiful life)" are the only songs i really return to from this album.

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original score: 75
no ... read more

cannibal just sounds like animal b-sides, which isn't really a bad thing. "we r who we r," "sleazy," and the "animal" remix are standouts, but the rest is pretty solid as well.

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original score: 72
no original review

kesha's debut album was some of the most forward-thinking pop music of its time, and it's just a huge fucking mood, i don't know. you've got the huge anthems like "your love is my drug," "tik tok," and "take it off," as well as the less recognized jams such as "backstabber," "boots & boys," and "animal," and it all sounds so cohesive and like,,, good!!

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original score: 80
no original review

i love the psychedelic furs, and until now, forever now has been my favorite album of theirs. their return, though? fuckin amazing. wholly consistent and it really places me right in the 1980s. "ash wednesday," "come all ye faithful," "hide the medicine," gosh.,..,

i wasn't that impressed with last year's dogrel, since it didn't really sound all that,, complete,, to me, but i think that a hero's death is a huge step up in that regard, actually feeling like a final product. the first half of it is absolutely amazing, with great songs like "televised mind" and "a lucid dream," but wow,, the back half is really disappointing.

it's a punk album?

katie dey's mydata is just as intriguing and mystifying as her previous album, solipsisters, and i vibe with it even more than that album because it's about gay computers or something.

soul lady is a magnificent blend of k-pop and city pop, the first of which i don't really listen to and the second of which i love immensely. the city pop elements of this album really shine through during its best moments, and there's nothing about it that i can say i dislike because, well, it's so good.

one of the most enjoyable and energetic rap albums of the year,, flo milli injects so much of her personality into the music and it just,, works so well.

i've always loved jessy lanza's airy, spacious, yet oddly robotic production, especially on her second album oh no, but all the time just doesn't appeal to me as much as that album did. of course, the funky production and jessy lanza's soothing voice are still as great as ever, i can't help but feel like the core songs themselves aren't as strong as on other albums of hers. "anyone around" and "over and over" are highlights.

still a phenomenal album by all means, but some songs have just grown on me a bit more than others.

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original score: 100
original review:
taylor swift has always been a great (or at least interesting) lyricist when given the chance, so seeing the pop production that normally surrounds her music take a backseat to highlight the lyrics is really great, and if taylor wanted to continue down this singer-songwriter path in the future, i would not be opposed to it at all. this is going to ... read more

one of the most diverse and interesting punk albums i've heard this year, all packed into a digestible twenty minutes.

although lianne la havas's striking and versatile voice carries the album at points, there wasn't a moment where i lost interest, especially during the album's highlights: both versions of "bittersweet," "read my mind," "can't fight," "weird fishes," and "courage."

i think that the softer songs on this album are phenomenal, like "everybody loves you," "march march," "young man," and "set me free," i thought that the rest of it was just kind of... there?

seeing that ultimate success today comes from a band that i haven't really been a huge fan of in the past, i was really surprised that i liked it as much as i did. it's super aggressive and raw for a post-punk album, which i found really refreshing, and it was just,, all around a great listen.

maybe we could has some super smooth garage production and vocals, but most of the album just kinda doesn't do anything with either of them. "insomnia," "my gemini," and "a mirror" all do something to set themselves apart from the rest, which is good at least.