2018
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I Loved You at Your Darkest is a solid blackened death metal album that’s occasionally marred by Behemoth overextending itself, or treading the water it waded with The Satanist.
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Twenty One Pilots take their catchy songwriting, genre blending, and emotional lyricism up a few notches on Trench.
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Logic is, as always, well-intentioned and likable on YSIV, but his music remains middle-of-the-road.
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Kero Kero Bonito make their Polyvinyl debut with a pretty radical departure from the signature sound cemented on Bonito Generation. Thankfully, Time ‘n’ Place is every bit as good as that album.
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Despite its slightly cumbersome 100-minute runtime and spotty concept, DROGAS Wave is a surprisingly solid addition to this phase of Lupe Fiasco’s career.
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A round-up of the greatest albums Anthony reviewed over this past month.
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JMSN’s new album doesn’t reinvent the soul and R&B wheels, but but does show a deep appreciation for the genres’ aesthetics and has quality production and songwriting in spades.
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While it’s certainly pleasant and stands out in the current mainstream music landscape, Hozier’s latest EP doesn’t offer much that indie songwriters and folk artists haven’t done better in the past couple of decades.
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Abstract hip hop fans ought to give budding ornithologists a shot, even if it isn’t one of Milo’s standout albums.
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The all-American boyband makes its major label debut with an album that shows emotional and creative maturation despite occasionally gimmicky production and some members getting outshined by others.
