Contemporary flamenco artist Rosalía makes her stunning full-length debut.
No Shame is not without a few highlights, but on the whole it’s Hopsin’s most tone-deaf album to date.
Utopia is one of Björk’s most majestic and revealing albums yet, but it’s also her most bloated and unkempt.
Sharon Jones and the Dap-Kings’ final record is a celebration of everything that made the soul revivalists great since their inception in the early ’00s.
King Gizzard has released a proggy new album into the public domain, and it’s perhaps the band’s most holistic and ambitious effort this year.
Jaden Smith’s latest film is an auditory one, exploring the lyrical follies of a rich-kid-turned-mediocre-rapper in desperate need of perspective as he produces 70 minutes of egotistical propaganda in the hope it will launch his rap career.
Elusive NYC hip hop duo Armand Hammer is back for one of the grimiest rap records of 2017.
Liars’ TFCF is one of the band’s most isolated, tedious, and disappointing releases yet.
Destroyer’s latest record is an awkward helping of new wave pastiche.
Cloud rap sorcerer Yung Lean returns with his most enjoyable and aesthetically mature album to date.
