6/10
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ZillaKami and SosMula bring a ton of bark and not too much else to this debut City Morgue album.
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Mudboy is one of the oddest trap rap albums I’ve heard in a while.
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Among Tim Hecker’s least direct efforts, Konoyo at its best is sonically and conceptually rich thanks to contributions from gagaku ensemble Tokyo Gakuso. Unfortunately, the sound-play is lacking on a few of the pieces.
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Lil Wayne is in rare form on the best parts of his fifth installment of the Carter series, but bogs this album’s full potential down in a number of underwhelming cuts too.
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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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$uicideBoy$’s debut album delivers a dark and grimy vibe, but the duo hasn’t evolved much artistically since they first started turning heads on Soundcloud.
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Magus is Thou’s best produced album yet and is, like Heathen, admirably ambitious in scope. However, the band’s sound still isn’t dynamic or enthralling enough to warrant the 75 minute runtime.
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Though it’s a pretty solid work of modern psych, Smote Reverser isn’t the wall-to-wall excitement that Oh Sees’ last few albums have been.
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Be the Cowboy is arguably Mitski’s most mature release, but most of the songs feel like a faint breeze.
