album review

‘The Life of a Showgirl’ explores life in love and in the public eye

Yet I felt many of TLOAS’s songs’ lyrical content did not show the same flow or evocative language that her previous pop records are still loved for.

“From the Pyre” by The Last Dinner Party shows the band is here to stay

They continue to find gold by mining their blend of glam rock and baroque pop with snappy choruses and memorable lyrics and retread this ground entertainingly, while also delving into new ideas to keep things fresh.

“Reflecting” on Melt

Not for Radio, which she calls her “alternate reality” is not the end of The Marías, just a side endeavor.

“Vie”: a return to comfort, a loss of life

“Vie” delivers peppy synth and the fun, sexual lyrics that fans have come to expect and enjoy.

Not Sick of “Lovesick” by the Happy Fits

That being said, “Lovesick” has all the hallmarks of a classic Fits album and is a welcome step forward for the band.

Pain to Power proves that Maruja can create jazz-punk catharsis in long-form

What emerges is a furious yet meditative statement: a debut that doesn’t just protest — it sings, screams, whispers, and builds meaning.

HAIM’s fourth album is a celebration of quitting

“I quit” contemplates themes of newfound independence after leaving a complex relationship.

“SWAG II” is Justin Bieber reinvented

Justin Bieber is not the teenager the world fell in love with 15 years ago.

La Dispute’s “No One Was Driving the Car”: The long-awaited return to post-hardcore poetry

Overall, “No One Was Driving the Car” is a passionate and often poetic return to La Dispute’s signature style.

Big Thief’s “Double Infinity” is a leap into a psychedelic future

The record floats between folk rock, neo-psychedelia, and country folk while teasing out a looser, more playful side of the band.