Reviews
their first in a decade is a welcome comeback
“After we do that, we all the time discuss every album as if it is likely to be the final,”...
Killer Mike Offers Impressive Empathy and Vague Politics on His Comeback Record ‘Michael’
Within the Aughts, Killer Mike was a fiery maelstrom, the South’s reply to Ice Dice, and an Atlanta polemicist comfy...
Dream Wife – ‘Social Lubrication’ review: the most fun they’ve ever had
Dream Spouse have all the time been able to dismantle the patriarchy and rail in opposition to the injustices and...
Ezra Williams – ‘Supernumeraries’ review: an artist firmly and confidently finding their feet
On their debut album, Ezra Williams embodies the concept of transformation as a lot as they sing about it. The...
Queens of the Stone Age – ‘In Times New Roman’ review: dark, sludgy, brutal
Amidst private turmoil, and declining areas for arduous rock within the public consciousness, Queens of the Stone Age’s Josh Homme...
Christine and the Queens’ Movie-Length Pop Opera Is an Emotional Journey
It takes 97 minutes to take heed to Christine and the Queens’ shifting, three-act pop opera, Paranoïa, Angels, True Love,...
Christine and the Queens – ‘PARANOÏA, ANGELS, TRUE LOVE’ review: pop auteur’s operatic gamble
In 2014, the artist referred to as Christine and the Queens didn’t introduce himself to the world a lot as...
Taeyong – ‘SHALALA’ review: a pixelated dreamscape of intimate anecdotes
Inside the already vibrant realm of Ok-pop music, NCT stand out as beacons of eccentric kitschiness. It’s no shock that...
Janelle Monáe Just Solved Summer With ‘The Age of Pleasure’
When Janelle Monáe was engaged on her fourth album, she road-tested it the place it was meant to be heard:...
Amaarae – ‘Fountain Baby’ review: electric anthems from a fearless cultural disruptor
When Ghanaian-American singer Amaarae dropped her 2020 debut album ‘The Angel You Don’t Know’, she was instantly dubbed an alté-pop...
