Some of Angel Olsen’s unique personality traits as a singer-songwriter sadly get lost in All Mirrors‘ grander instrumental palette.
Sturgill Simpson’s rock experimentation on Sound & Fury sometimes goes over well; other times it goes awfully awry.
Terror Management‘s often humdrum production and lack of development makes it one of Billy Woods’ least gratifying works. It’s still a cut above many rappers’ best, though.
For the most part, uknowhatimsayin¿ is an amusingly subversive update on some classic rap formulas.
If you have a relatively high threshold for lo-fi recordings, you should find Come in to be one of the year’s most creative and impassioned rock albums.
There’s no doubt DaBaby can flow; it’s just unfortunate he spends so much time on KIRK, as he says, “fuckin’ around.”
Hobo Johnson displays a rare level of vulnerability amid sharp fusions of hip hop, rock, pop, and more.
Brittany Howard undergoes an eclectic reinvention on Jaime.