For 3,117 reviews, this publication has graded:
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35% higher than the average critic
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3% same as the average critic
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62% lower than the average critic
On average, this publication grades 7.7 points lower than other critics.
(0-100 point scale)
Average Music review score: 65
Score distribution:
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Positive: 1,687 out of 3117
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Mixed: 1,319 out of 3117
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Negative: 111 out of 3117
3117
music
reviews
- By Date
- By Critic Score
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- Critic Score
Unusual musical choices, like the inclusion of glockenspiel on “Denon,” create some sonic interest. More than anything, though, Camera Obscura excels at generating a mood and a sense of warmth. If they stick too closely to familiar sonic territory on Look to the East, Look to the West, it is, at least, one that they’ve mastered.- Slant Magazine
- Posted May 2, 2024
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With Forgiveness Is Yours, Saoudi and company achieve that objective—with a patina of sophistication.- Slant Magazine
- Posted Apr 24, 2024
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Though Fu##in’ Up maintains the same track sequence as Ragged Glory, the titles have changed, each borrowing a lyric from the songs themselves. And when the album does deviate musically from its source material, it does so with subtlety and purpose.- Slant Magazine
- Posted Apr 24, 2024
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The album finds Clark at her most fragile and ferocious, seeking beauty among the waste and wreckage of 21st-century life. Itself a beautifully ugly thing, All Born Screaming is a visceral examination of art and nature when both are pushed to the brink.- Slant Magazine
- Posted Apr 23, 2024
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The Tortured Poets Department plays out as a pop album that sounds fine enough but sure is long-winded.- Slant Magazine
- Posted Apr 22, 2024
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The album’s 10 brisk, lightly rocking songs evoke the radio-friendly pop-rock of early-2000s Sheryl Crow or Jewel while sometimes, as on the title track, looking further back to ’70s soft rock a la Carole King.- Slant Magazine
- Posted Apr 10, 2024
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Only God Was Above Us is ultimately just another (very good) Vampire Weekend album rather than a radical shift. It essentially sees the band dressing up their patented medium-paced, occasionally frantic, symphonic rock in see-through disguises.- Slant Magazine
- Posted Apr 3, 2024
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It’s an album of Americana not in the banal, produced-by-Dave Cobb sense, but in the truest senses of narrative and musical form.- Slant Magazine
- Posted Apr 2, 2024
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Mixing R&B and electronica isn’t uncommon in pop music today, but For Your Consideration boasts an unusual combination of production polish and musical eccentricity, harking back to Björk’s early solo albums and Timbaland’s work with Aaliyah.- Slant Magazine
- Posted Mar 19, 2024
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The way Crutchfield’s crystalline voice penetrates her music’s often beautiful, serene instrumentation on Tigers Blood dovetails with her gutting truth-telling.- Slant Magazine
- Posted Mar 18, 2024
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With Bright Future, Lenker stands on the confidence of her talent, complemented by production choices that neither distract nor detract from the emotion of her songwriting.- Slant Magazine
- Posted Mar 18, 2024
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WWW may be a candid and sophisticated analysis of the dark side of fame, but it’s also eminently entertaining and occasionally funny, and it (re)establishes Whack as one of the most creative rappers in the game.- Slant Magazine
- Posted Mar 15, 2024
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But if the album’s unwaveringly restrained instrumentation holds it back from ranking alongside Musgraves’s best work, it’s still a welcome shift away from the country pop of 2018’s Golden Hour.- Slant Magazine
- Posted Mar 12, 2024
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If there’s a primary critique to be leveled at Eternal Sunshine, it’s that the midtempo R&B that defined Grande’s last two albums, Positions and Thank U, Next, is once again so prominent. The house-pop “Yes, And?” is a bit of a bait and switch, as only two other tracks on the album, the disco-infused “Bye” and the Robyn-esque “We Can’t Be Friends,” stray from Grande’s preferred musical mode. That’s not to say that the album’s R&B fare isn’t satisfying in its own right.- Slant Magazine
- Posted Mar 8, 2024
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Blue Lips epitomizes what a return to form should strive for: to serve as a reminder of past greatness, yes, but to also be a bold departure from what’s come before, embracing risks and pushing boundaries, even if it occasionally teeters on the edge of excess.- Slant Magazine
- Posted Mar 4, 2024
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Not content to be tied to a single genre, location, or mood, Webster finds pleasure in the discomfort of feeling like she doesn’t belong.- Slant Magazine
- Posted Feb 29, 2024
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Playing Favorites proves that Sheer Mag can show off their softer underbelly just as skillfully as they do their fangs.- Slant Magazine
- Posted Feb 27, 2024
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Repetition is a big one, and not just in the sense of saying the same word over and over again—which Yeat does on “Psychocainë,” whose chorus has him shuffling through several permutations of the phrase “I forgot”—but in songs that, though they’re certainly cutting edge when compared to what else is out there, begin to blur together over time. But while that prevents 2093 from sounding quite as forward-minded as its title suggests, Yeat is finally tapping into a style he can confidently call his own.- Slant Magazine
- Posted Feb 27, 2024
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Mannequin Pussy offers an answer in their refusal to accept the status quo. Through a balance of firebrand punk and intoxicating power pop, I Got Heaven is a musical expression of self-governance and all the pain and pleasure that comes with it.- Slant Magazine
- Posted Feb 27, 2024
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Even as de Casier explores the experience of uncertainty, she exhibits confidence in her identity as a singularly detail-oriented artist.- Slant Magazine
- Posted Feb 23, 2024
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Almost every song on Girl with No Face was written and produced by Hughes, and this creative autonomy gives the album a personal touch that past releases like 2017’s CollXtion II lacked. The songs here are imbued with an obvious newfound strength and confidence.- Slant Magazine
- Posted Feb 22, 2024
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With Untame the Tiger she’s left behind the world of magical animals and imaginary beings she once used to sing about, but her melodies and arrangements retain a touch of the timeless and otherworldly.- Slant Magazine
- Posted Feb 21, 2024
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After spending most of their career up to now signed to a major label, MGMT seems to have found space to make the kind of music they want without sacrifice here. The anxious tension of unmet expectations that used to hang over them is gone—and you can hear it in the songs.- Slant Magazine
- Posted Feb 20, 2024
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Despite confronting such daunting themes as grief, addiction, and identity, The Past Is Still Alive rarely feels heavy. Much of this owes to Segarra’s reliably triumphant outlook in the face of adversity. .... Credit also goes to producer and co-engineer Brad Cook, who helps couch Segarra’s words in unfussy Americana that’s easy on the ear.- Slant Magazine
- Posted Feb 20, 2024
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Sonically, it’s a triumph, a delicately textured musical realm that begs to be luxuriated in. What’s missing is the same level of songwriting that elevated Howard’s previous work. There are a few standout tracks, but no burrowing hooks on the level of “Don’t Wanna Fight” or “Stay High.” The only time she comes close to those earlier songs is on the propulsive “Red Flags.”- Slant Magazine
- Posted Feb 13, 2024
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Tangk underpins its more personal and emotional lyrics with rich, layered arrangements. It’s in this delicate balance of sound and sentiment that the album finds its groove—not always in the heights it occasionally struggles to reach, but in its earnest exploration of love.- Slant Magazine
- Posted Feb 12, 2024
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There’s a tension in Wolfe’s music between a tendency to overdramatize or cloak her pain in gothic imagery and a genuine yearning to be heard and understood. While the former can feel facile, She Reaches Out to She Reaches Out to She more often manages to arrive at the latter. Wolfe’s songs might avoid specific details about her actual life, but the sturm und drang coursing through them is potent and deeply felt.- Slant Magazine
- Posted Feb 6, 2024
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Challenging, startling, and deeply powerful, this rallying closer confirms what the previous nine songs already suggested: that Carlisle is a singular artist and that Critterland is a worthy addition to the canon of country-folk classics.- Slant Magazine
- Posted Jan 26, 2024
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Whether Wall of Eyes is a last stop for the Smile or merely a layover to some yet-undefined place, it’s an undeniably mesmerizing trip.- Slant Magazine
- Posted Jan 24, 2024
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On her sixth studio album, What an Enormous Room, she pulls back on the eccentric, stadium-ready rock of 2021’s Thirstier in favor the kind of introspective dirges that characterized her early work. As a result, the album offers slightly less in the way of hooks but homes in further on themes of anxious attachment and personal growth.- Slant Magazine
- Posted Jan 23, 2024
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Tucker and Brownstein deserve credit for continuing to take risks and experiment with Sleater-Kinney’s established sound, resulting in another solid effort in an unexpectedly fruitful late period.- Slant Magazine
- Posted Jan 16, 2024
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While the lyrics offer a precious few glimmers of defiance, Hackman’s production choices, featuring mostly instruments played by the musician herself, have the verve to suggest not only an artistic resurgence, but a personal one.- Slant Magazine
- Posted Jan 11, 2024
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Tracks like “Balloons” and “Afro Futurism” feature some of the fiercest political critiques and nimbly performed rapping of Warner’s career. Her delivery is poised yet casual, her charmingly nasal voice full of weariness and vulnerability.- Slant Magazine
- Posted Dec 14, 2023
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Without the distractions and clashing frequencies of a full band, one can better appreciate how the album has been cut together, with subtle musical segues, clever editing, and consideration for overlapping lyrical themes.- Slant Magazine
- Posted Dec 7, 2023
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The album presents a trio that’s getting back on their feet and figuring out how to be a unit again. It’s a feeling that’s echoed in the re-issue’s 11-song “warts-and-all rehearsal” recorded during a live taping of the television series Party of Five in 1999.- Slant Magazine
- Posted Nov 17, 2023
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The album’s satisfying and detail-rich production choices, courtesy of co-producers like Greg Kurstin and Mura Masa, achieve a tonal cohesion throughout.- Slant Magazine
- Posted Nov 13, 2023
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So while the album may play it a little safe, it also smartly plays to its creator’s strengths.- Slant Magazine
- Posted Nov 13, 2023
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With Phone Orphans, Veirs exposes her creative process and, in doing so, maps out the rich topography of her psyche.- Slant Magazine
- Posted Nov 1, 2023
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The album’s first half remains stronger overall, but it’s the latter half that more fully justifies the re-recording. The five new “From the Vault” tracks are all solid, though they don’t function as a true thematic and aesthetic extension of the album in the way that the additions to Red (Taylor’s Version) did.- Slant Magazine
- Posted Oct 30, 2023
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Songs like “Re-entering” and “World on Fire” in particular feel like nothing more than wandering sketches. Still, Hval and Volden’s modus operandi has been to push barriers, regularly tickling some pleasure point you didn’t know you needed, while perhaps neglecting the one you thought you did.- Slant Magazine
- Posted Oct 23, 2023
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As high-energy and catchy as most of Hackney Diamonds is, though, the album also showcases a few tracks that suggest that the Stones might be better off embracing their age rather than asserting their eternal youthfulness (“I’m too old for dying and too young to lose,” Jagger declares on “Depending on You”).- Slant Magazine
- Posted Oct 19, 2023
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What Something to Give Each Other lacks in poignancy, though, is made up for by the joy with which it embraces queer pleasure.- Slant Magazine
- Posted Oct 12, 2023
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Water Made Us is an undeniably human album, authentic and sincere in its navigation and preservation of love, all told through the lens of Woods’s own experience.- Slant Magazine
- Posted Oct 12, 2023
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Diamond’s critique of online culture and its effects on our self-perception aren’t new. The crucial difference here is that she locates herself inside the machine, without claiming she can escape the traps she sings about. Diamond constructs a world of exaggerated femininity without drowning in irony.- Slant Magazine
- Posted Oct 4, 2023
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These contrasts—between the intimate and the grand, the divine and the natural—dovetails with what Stevens has always done best as a songwriter: bridging the universal and the personal. Javelin doesn’t just feel like a return to form—it feels resurgent.- Slant Magazine
- Posted Oct 2, 2023
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“A Barely Lit Path” effectively locates the humane within the machine, the ghost in the shell, and further affirms Again as one of Lopitan’s most sincere and spellbinding statements yet.- Slant Magazine
- Posted Sep 29, 2023
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Whereas the earlier album was full of light, poppy beats, there’s more nuance to be found in the saturated, driving hooks here.- Slant Magazine
- Posted Sep 27, 2023
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Though these tracks are perfectly adequate, even pretty (especially the vocal melodies on “Evicted”), it’s disappointing to see the band play it safe on an album that aims to be their most adventurous in years. Of course, the band proves that they can still write pensive ballads without succumbing to the clichés of contemporary indie music.- Slant Magazine
- Posted Sep 26, 2023
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The album’s consistent layer of distortion and commitment to brooding unify the songs and solidify Yeule’s unique, and grim, musical style. With Softscars, Yeule expands, refines, and masters their creative vision.- Slant Magazine
- Posted Sep 21, 2023
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Only Tension’s title track, with its digitally enhanced vocal hook, veers into territory that could be described as “experimental.” Which is to say, for better or worse, Tension is another Kylie Minogue album.- Slant Magazine
- Posted Sep 19, 2023
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Despite occasional missteps like that and “Pretty Isn’t Pretty,” which feels like a risk-averse treatise on an important issue, Guts is more consistent than Rodrigo’s debut. Her writing has gotten more precise, which makes both her self-criticism and frequent barbs hurled at others land all the better. She’s also writing with a knottier, less easily resolved perspective this time around.- Slant Magazine
- Posted Sep 11, 2023
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The Land Is Inhospitable and So Are We’s numerous emotional peaks, from “Star” to “My Love Mine All Mine,” are so moving that the listener may also be convinced that love is a light in a dark world, a pillar of fire in the wilderness. Indeed, Mitski’s ability to pack so many gut-punches and inspired ideas into half an hour remains uncannily impactful.- Slant Magazine
- Posted Sep 11, 2023
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Like Hersh herself, the album resists convention and refuses to be pinned down.- Slant Magazine
- Posted Sep 6, 2023
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If Hit Parade isn’t Murphy’s best album, it’s certainly her wildest and weirdest.- Slant Magazine
- Posted Sep 6, 2023
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Everything Is Alive may not boast the lo-fi grit of Slowdive’s earlier work, but the band’s skill for scrupulous melodies is undiminished here. The album evolves Slowdive’s well-established sound with more electronic textures, creating a conceptual sonic landscape that buzzes with life.- Slant Magazine
- Posted Aug 29, 2023
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Her lyrics have always been gut-wrenching, but what sets Spellling & the Mystery School apart from her past work is how seamlessly and vividly those words have been reinterpreted. With a vibrant kaleidoscope of sounds and ethereal ambiance, Cabral brings both her fantasy world and reality to life.- Slant Magazine
- Posted Aug 25, 2023
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He seems less concerned with what he’s saying than with the emotion and feeling his music conveys. It’s a bit of a lopsided approach, but few in today’s hip-hop landscape can truly be considered an auteur the way Scott is. While his artistic vision may be a shaky one, there’s no denying that Utopia, bumps and all, is one hell of a ride.- Slant Magazine
- Posted Jul 31, 2023
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Albums like The Loveliest Time are deliberately fragmentary, meant to fill in the pieces of her discography, and in that sense, this one is a wild success.- Slant Magazine
- Posted Jul 28, 2023
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Love’s Holiday finds Oxbow operating in a slightly different, more restrained register, but that means the album doesn’t quite reach the heights of its towering predecessor.- Slant Magazine
- Posted Jul 24, 2023
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Despite music that can come off as overly precious, though, Cut Worms is a tight set of songs that display Clarke’s facility for songcraft.- Slant Magazine
- Posted Jul 21, 2023
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While The Ballad of Darren may be an emotional journey, it lacks a proper conclusion—though that’s likely by design.- Slant Magazine
- Posted Jul 18, 2023
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Wall’s band approaches the tropes of western swing with a perfectly light touch, keeping the mood grounded and intimate, never hokey or ironic.- Slant Magazine
- Posted Jul 17, 2023
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There simply isn’t much in the way of staying power to the bleary “Patience” or any of the three throwaway bonus tracks beyond some absurdist lines and a few neat vocal melodies. But taken as a whole—something that’s frequently overlooked in a singles genre such as rap—this unabashedly creative album showcases its creator’s ever-developing abilities.- Slant Magazine
- Posted Jul 10, 2023
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If the original Speak Now highlighted what Swift needed to do to refine her artistry, Taylor’s Version proves that she’s actually done it.- Slant Magazine
- Posted Jul 10, 2023
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The music throughout I Inside the Old Year Dying rattles and quakes in stark contrast with Harvey’s studiously composed intellectual exercises. Which is to say, this is an album that gives about as much as it asks in return, even if its medieval trappings and intentional obfuscation do risk letting listeners walk away feeling more bewildered than moved.- Slant Magazine
- Posted Jul 6, 2023
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Initially, the musician’s sophomore effort, In the End It Always Does, seems to follow suit, with a summery ambience, songs about emotional distance, and her unmistakable voice. As the album unfolds, though, her approach feels like it’s been flipped, with vocal hooks taking a backseat to highly textured folktronica instrumentation and a more impressionistic rendering of desire.- Slant Magazine
- Posted Jun 30, 2023
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Williams’s most lyrically conceptual album to date, centered around resilience, revival, and renewal.- Slant Magazine
- Posted Jun 28, 2023
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Even if one were to dismiss Business Is Business as nothing more than an anthology of loosies, Thug’s ostensible leftovers, like the brassy “Uncle M” and heart-wrenching ballads like “Jonesboro,” are still electric. In this sense, the album’s greatest strength is keeping things strictly business.- Slant Magazine
- Posted Jun 27, 2023
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The tropical closing track, “That’s Right,” feels even more leftfield, a quirky but apt conclusion to an album that captures the fickle, out-of-body aftermath of heartbreak.- Slant Magazine
- Posted Jun 26, 2023
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While their emotional palette may feel rooted in anger, unlike Regional Justice Center, the band’s more melodic passages strive to express it without becoming trapped by it.- Slant Magazine
- Posted Jun 21, 2023
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It proceeds in the same white-knuckle way as the group’s last four releases. It is, though, defined by the quality and craftsmanship that’s expected of Swans.- Slant Magazine
- Posted Jun 20, 2023
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Almost every other song on Michael relies on a similar arrangement of choirs, pianos, and organs, which risks becoming tiresome, though its sonic divergence from most mainstream American hip-hop today is refreshing. In that sense, the album is a kindred spirit to the prolific British collective Sault, who incorporate lush R&B and gospel into their eclectic sound.- Slant Magazine
- Posted Jun 16, 2023
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Joy’All’s tone is light, even flippant at times. After a scant 10 tracks and barely 30 minutes, you might be left wanting a deeper exploration of some of Lewis’s more complicated feelings about this new phase of her life.- Slant Magazine
- Posted Jun 9, 2023
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What follows is a collection of wiry, introspective songs that break from pop conventions while asserting the life-affirming power of love.- Slant Magazine
- Posted Jun 8, 2023
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While Monáe specializes in sprawling, ambitious concept albums, she’s often strongest in distilled form. And The Age of Pleasure sustains its energy in a way that her other, sometimes wildly variable albums have never quite managed.- Slant Magazine
- Posted Jun 8, 2023
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Girl with Fish, then, is an economical calling card and the sound of a band coming into their own.- Slant Magazine
- Posted Jun 7, 2023
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Each instrument stands out because the individual parts are so austere. On Space Heavy, King Krule proves that power sometimes comes with restraint.- Slant Magazine
- Posted Jun 6, 2023
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There’s long been a political edge to Protomartyr’s doom-and-gloom art rock, and it’s heartening that the band continues to avoid sloganeering and boring moralism.- Slant Magazine
- Posted Jun 2, 2023
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Brandy Clark mostly pulls back on the spirited provocativeness of Clark’s earlier work, with lyrics about loss accented by a musical motif of heartfelt strings, but its standout tracks deploy the traditional themes and sounds of country in inventive ways.- Slant Magazine
- Posted May 23, 2023
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Rather than cutting and pasting samples and calling it a day, he skillfully weaves them together with improvisational live instrumentation. With Animals, analog and electronic, and past and present, are placed in an engaging dialogue.- Slant Magazine
- Posted May 22, 2023
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Despite some slipshod sequencing and periodic bouts of pretension, the album manages to articulate a working thesis for Kesha’s artistry that exists independently from the apparatus of purely commercial exhibitionism.- Slant Magazine
- Posted May 18, 2023
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Boo turns footwork’s roots—hip-hop, house, IDM, and drum ‘n’ bass—and spins them into something that sounds like a totally new language.- Slant Magazine
- Posted May 17, 2023
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Lyrically, Goldfrapp occasionally leans too far into pop simplicity. ... Later in the album, though, when Goldfrapp gets more experimental—or at least dispenses with conventional pop structures—things begin to feel more immersive.- Slant Magazine
- Posted May 9, 2023
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Even if it isn’t necessarily a pivotal effort, [The Chicago Sessions] is marked by an endearing lack of affectation that only one of the greatest country songwriters can achieve.- Slant Magazine
- Posted May 4, 2023
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Relative to the musician’s entire body of work, the album’s unflagging optimism and embrace of new age ambience are joyously therapeutic.- Slant Magazine
- Posted Apr 28, 2023
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What’s Your Pleasure? boasts a more sophisticated, diverse palette—including Italo, house, and funk—but its follow-up’s fluffier philosophy reflects Ware’s obvious elation at finally being able to bring her music to life in a club setting.- Slant Magazine
- Posted Apr 26, 2023
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Occasionally, such stylings verge on the generically anthemic on First Two Pages of Frankenstein. ... The songs here are otherwise richly stacked with detail and sonic shadings.- Slant Magazine
- Posted Apr 26, 2023
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The album’s greatest asset is its immediacy, with its best songs seemingly allowing De Souza to get things off of her chest after years of holding it all in. It’s a shame, then, that All of This Will End often also indulges indie-twee clichés.- Slant Magazine
- Posted Apr 25, 2023
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Although Iqbal demonstrates a profound understanding of genre and influences, Dreamer occasionally only dabbles in these styles rather than fully immerses itself in them. ... Nevertheless, Iqbal’s prowess as a singer and songwriter shines through with richness and depth.- Slant Magazine
- Posted Apr 25, 2023
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While the grooves are solid, there are few truly memorable riffs or solos to speak of on 72 Seasons. Even when the band does manage to recall the trappings of their early days, as on the thrillingly breakneck “Lux Æterna” or the Iron Maiden-style “Room of Mirrors,” the arrangements generally lack the intricacy and dynamics of their classic albums. ... This is more than made up for, though, by James Hetfield’s vocal performances.- Slant Magazine
- Posted Apr 20, 2023
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Most of Jesus Piece’s experimental tendencies are confined to intros and outros on …So Unknown. The album feels more defined by genre than the band’s past work. But there’s no denying that the anger running through it is contagious, and creates a stark contrast to the majority of recent pop-rock, which carries a mood of depressed resignation.- Slant Magazine
- Posted Apr 14, 2023
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Perhaps the album could have felt a tad more engaging if it attempted to do a little more both sonically and lyrically, but Slim and Swae, as well as longtime producer Mike-Will-Made-It, know exactly what they excel at and they do an excellent job at doing just that.- Slant Magazine
- Posted Apr 10, 2023
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The album serves as a continued refinement of the talents that he displayed on 2006’s immense Harmony in Ultraviolet and 2016’s confrontational Love Streams, even if it’s ultimately not as consistent. Its atmosphere is so suffocating that “Anxiety” may accurately sum up most listeners’ emotional states after listening to the album in full—and considering No Highs’s ambitions, that’s perhaps the highest possible praise one could bestow upon it.- Slant Magazine
- Posted Apr 7, 2023
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Compared to some of their iconic contemporaries, A Certain Ratio never quite got their due, but the niche they’ve settled into in recent years serves their legacy well.- Slant Magazine
- Posted Apr 5, 2023
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All of the wobbling between tempos and styles might sound haphazard, but it’s executed with precision. And Hartzman’s snatches of Americana imagery—rain-rotted houses, parking lots, “piss-colored bright yellow Fanta”—ultimately cohere into an evocative portrait of the fringes of American life.- Slant Magazine
- Posted Apr 5, 2023
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But for each jagged, dissonant song that Yaeji hurls into the mix, there’s a smoother, more melodic counterpart, showcasing the artist’s intuitive sense of balance. The album’s more straightforward tracks, like “For Granted” and “Done (Let’s Get It),” serve as a testament to Yaeji’s ability to craft infectious hooks without sacrificing her distinctive experimental edge.- Slant Magazine
- Posted Apr 5, 2023
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Even as the album’s lyrics shift focus to the normalcy of life after loss, the production remains varied. “Future Lover” is swathed in distorted electric guitars, while “Isolation” embodies its title by stripping back the album’s emergent indietronica style in favor of a lone acoustic guitar. These shifts, however subtle, keep Stereo Mind Game from stagnating.- Slant Magazine
- Posted Apr 5, 2023
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The Price of Progress proves that they haven’t forgotten what made them great.- Slant Magazine
- Posted Mar 29, 2023
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At the stage in their career when most bands are content to just repeat themselves, the unfamiliar palette of Continue As a Guest is a revelation, and certainly doesn’t preclude the other members of the New Pornographers from making their presence felt. Most notably, Zach Djanikian contributes tenor and alto sax on several tracks, expanding the album’s timbre in new and unexpected directions.- Slant Magazine
- Posted Mar 27, 2023
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Good Luck fits roughly into similar experiments by Backxwash or JPEGMAFIA, but it’s even harder to pin down to a single genre. It’s an album that testifies to the liberating potential of making a racket.- Slant Magazine
- Posted Mar 23, 2023
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