There’s interesting experimentation here, but things tend to get pretty hammy.
Posthumous albums are a gift and a curse.
Then it sets about making its characters’ trip through the pearly gates as much of a riot as possible.
Including Janelle Monáe, Cardi B, Kali Uchis, Sleep, Kacey Musgraves, and more.
At its core, the album is a series of observations about the places our minds go in the dark of the night.
Some bands stay alive by rehashing the hits. Others stay adjacent to whatever’s new and popping. Nine Inch Nails is too cool to play that game.
One artist released a good album disguised as a nonevent, the other released an event album that’s sort of inessential.
A few less hands on deck would’ve done this album better.
These songs are destined to dominate karaoke nights.
It doesn’t pretend to have answers for why evil perseveres.
It is almost surgically all-inclusive. There are nods to every region of American rap music and nearly every era of Wayne.
The New Orleans rapper uses the series to track his evolution, but how does each one hold up years later?
It comes out with breathtaking surprises but also a few duds.
Her songs are short and intimate, but they never seem slight.
Twenty-five years in, they’ve still got it.
“Everything has so much weight, but it’s all just chapters.”
And sometimes brilliant, too.
Mac Miller is finally making the music he’s always wanted to make.
Apparently, everything is everyone else’s fault.