MUNA’s self-titled latest is a clunky, uneven affair plagued by wild vacillations of quality and thoughtless lyricism. Synthpop has seen a huge revival in the…
A Bit of Previous executes a fine balance of evolution and reminiscence, revisiting the sounds of their early career from an appealingly more aged perspective. The…
The highs on Harry’s House hit, but the record as a whole is sadly lacking in the charming crooner’s usual energy. One of the most compelling and…
The late ’90s and early ’00s were a blur of bright colors and bubblegum. Pop culture felt shiny and good, like the entire world was…
In both its raucous joy and delicate introspection, Familia finally finds Camila establishing a sound and perspective distinctly hers. Although she’s been part of the…
Run, Rose, Run is a companion album that works surprisingly well on its own, imperfect but better than a James Patterson collab has any right…
Crash isn’t reinventing the dance-music wheel, but it’s still an energetic and enjoyable listen that highlights Charli’s talent for hooky pop. Charli has been at…
Love Sux finds Avril Lavigne blending her punk and bubblegum influences to the best effect in ages. When Let Go, Avril Lavigne’s debut album, was released…
Slut Pop is a dull novelty record about sex without much to offer beyond shock value and a desperate bid for naughtiness. In the past…
Even when Frayed at Both Ends isn’t peddling Lewis’s particular propaganda, it’s a mostly turgid, mediocre affair. In July 2021, Aaron Lewis released “Am I the…
Mitchell’s first solo work since Hadestown is a warm, lingering look into the past. Hadestown has ruled the last decade of Anaïs Mitchell’s career, and…