#MusicReview
Ariana Grande's petal: When Vulnerability Becomes a Performance of Restraint
Gracie Abrams' 'Daughter From Hell' Is Stuck in the House It Built
Kelela's new avatar and the Era of Reinvention
Madonna's Confessions II: Returning to the Dance Floor, Returning to Herself
Vince Staples' Cry Baby: lean, urgent storytelling with live-rock power
Love, Loss, Ambiguity: Rodrigo Redefines Romance on you seem pretty sad for a girl so in love
bitknot and the Beauty of Digital Disorientation
Girlfriend By Grace Ives: On Learning How to Stay Alive
Aldous Harding and Rebellion Against the Content Machine
Charli XCX’s 'SS26' and the Empty Coolness of Modern Apathy
HALO by Tiffany Day: Aesthetics of Overload
Kehlani's Self-Titled Return Finds Clarity and Confidence in a Calm R&B Reentry
Brent Faiyaz’s Icon: Softening the Myth With the Mask
Hemlocke Springs' the apple tree under the sea: Fairytale in Synth-Pop
White Feather Hawk Tail Deer Hunter: The Return of Lana Del Rey
The Top Ten Albums of 2025 That Are a Must-Listen
FKA twigs’ EUSEXUA Afterglow: Moodier and Stranger Companion
The Art of Loving By Olivia Dean: A Love Letter In Pop Soul
Happiness Is Going to Get You By Allie X: Self and The World
LUX by Rosalia: Her Most Ambitious Album Yet
Everybody Scream by Florence + The Machine: Jubilant, Haunting, Cathartic
Lily Allen’s West End Girl Is a Harrowing Divorce Album
The BPM by Sudan Archives: Half Flesh, Half Machine
Between Reverence and Revolt: on Pitchfork’s Polarising Legacy
“A Matter of Time” by Laufey: Bold, Cinematic, Romantic
"The Subway" by Chappell Roan’s Ode to Hope, Heartbreak, Healing
"Who’s The Clown?" by Audrey Hobert: Debut as Self-Performance
Willoughby Tucker... by Ethel Cain: Desire, Longing, Memory
Beyoncé, Cowboy Carter, and Whitewashed Country Music Racism
Brat by Charli XCX: Camp, Capital, and Confession as Aesthetics
Is Recession Pop Making a Comeback? How 2025's Soundtracks Reflect Our Lives