Sawayama’s sophomore album is a suitable soundtrack to unravel inner traumas at a party for one.

There is an overflow of talent and technique on Black Country, New Road’s impeccable sophomore record.

Musgraves’ fourth LP is a hard-to-resist country record with pop aspirations and disco influences—forty-six minutes of unavoidable ear-lending.

Rosalía’s colorful collage of clashing elements works against all odds, thanks to her sensibility as a respectful global curator.

Beyoncé’s sixth LP is a jaw-dropping parade of intrepidity led by an artist serenading her roots, her family, and herself.

On her third LP, Lorde channels a beach vibe while not doing anything ambitious.

Falling in and out of love under the stroboscope and the vibrating booms. That’s what Lorde’s second LP is about.

ANTI’s slyly psychedelic narrative initially divided critics and listeners, but ultimately, the album became the pinnacle of Rihanna’s career.

Jacklin’s third album stands out as her most sonically versatile.

On his debut studio album, Apollo transposes from seriousness into playfulness in seconds.

Zefanya’s euphonious voice is made hostage on an LP plagued by stuffy songwriting.

Gen Z is revamping jazz and blowing life and accessibility into a genre undergoing decreasing exposure.

The sophomore album by the Brooklyn-based artist is introspective but grand on its own terms.

Following up her critically acclaimed debut album ‘Heard It In a Past Life,’ Rogers delivers a lyrically daring second record.

The fifth record by the English singer and songwriter is as out as it gets.

A debut that proves authenticity isn’t about rejecting artifice—it’s about knowing exactly which filters to use.

The timid highs of Styles’ third record make up for its dull moments.