review
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The long wait for Cyhi The Prynce’s debut album doesn’t make this utterly average project an easy pill to swallow.
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With GFOTYBUCKS, PC Music’s GFOTY has created a disorienting collage of absurdly hedonistic electropop.
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Contemporary flamenco artist Rosalía makes her stunning full-length debut.
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No Shame is not without a few highlights, but on the whole it’s Hopsin’s most tone-deaf album to date.
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Utopia is one of Björk’s most majestic and revealing albums yet, but it’s also her most bloated and unkempt.
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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.
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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.
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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.
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Elusive NYC hip hop duo Armand Hammer is back for one of the grimiest rap records of 2017.
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Liars’ TFCF is one of the band’s most isolated, tedious, and disappointing releases yet.
