By virtue of its richer synth layering and better integrated vocal guests, Good Faith is a step up from Madeon’s 2015 debut.
As is tradition, Anthony reacts to the list of 62nd Grammy Awards nominees.
H.A.Q.Q. is the culmination of all of Ravenna Hunt-Hendrix’s musical innovations this decade.
With meandering melodies and directionless songwriting, Mount Eerie teams up with Julie Doiron for a sequel to 2008’s Lost Wisdom that pales in comparison to the original.
Everybody’s Everything, while a mixed bag, isn’t the tasteless cash grab that posthumous releases these days tend to be.
Little to none of Doja Cat’s eccentricity makes it onto Hot Pink.
The fourth installment of Matana Roberts’ COIN COIN series is instantly one of the decade’s most compelling jazz projects.
Head-scratching interludes notwithstanding, Michael Kiwanuka’s latest album is his boldest yet.
For all its impassioned vocal performances and effective updates on the forms of Kate Bush and Björk, Magdalene isn’t quite greater than the sum of its parts.
Westside Gunn’s grimy vibe remains the best thing going for him, while songwriting remains his Achilles heel.
