Birth of Violence‘s stripped back presentation, despite its bewitchingly dark vibe, mostly exacerbates the relatively weak songwriting.
Ameer Vann’s comeback EP is pretty bitter and one-dimensional.
House of Sugar is sprinkled with some brilliant and beautiful ideas, but is on the whole marred by an unsatisfying flow, dodgy songwriting, and faint lead vocals.
With their self-titled debut, The Highwomen prove themselves to be a versatile country supergroup with a unique perspective.
Charli is a near-perfect balance of trusty pop formulas and PC Music experimentalism.
I’m not disappointed. That’s for sure.
Alex Cameron has a talent for writing witty and smart songs about love and masculinity from a male perspective.
Many of the songs on Is He Real? are either too underdeveloped or lacking in a distinct voice to capitalize fully on the fundamentals and promising concept IDK brings to the table.
EarthGang’s shortcomings become apparent when they tone the intensity down midway through Mirrorland.
Just when you thought your melon had run out of ’90s and ’00s songs he wishes he repressed, here’s a whole ‘nother batch!
