FLOOD

“Skullcrusher” is an exciting, strange collection of songs from a new songwriter who showcases immense promise.

The EP marks the Colombian-Canadian songwriter’s first release since cutting ties with her major label.

The Courtneys offshoot roams across tennis courts and parties they don’t want to attend on “Somewhere.”

“how i’m feeling now” finds Charli stuck at home with her own anxieties and a tumultuous relationship.

Lipa’s vocal dexterity and blissful pop production carry the weight of her second record.

Sophie Allison on how she’s handling being stuck inside and her post-release reflections on “Color Theory.”

Australian singer Martha Brown explains how familial research and a move to LA inspired her glittering debut.

The celebration of indulgence contended with Deborah Dugan’s firing and Kobe Bryant’s tragic death.

From peachy to rotten, we highlight seven tracks from 2019’s produce section.

Kim’s dissatisfaction with and aggression toward toxic American capitalism are burned into this album.

“xx” is as melancholic as ever a decade after the London trio introduced themselves to the world.

The heart of “IGOR” deals with lust and obsession—a spectrum of desire requiring listeners to think long and hard about the reality of a relationship.

The British singer-songwriter’s debut deals with mental health and coming to terms with the limits and manipulations of our wellness industry.

Although the pressure to be politically correct and proportionally progressive was strong, the live performances championed female talent and admiration. 

The singer-songwriter and LA native talks about her new album “Quiet Signs” and surviving on an emotional battlefield.

Women are using music to detail exactly how they want it (NSFW). We’ve compiled twelve of the best examples. 

On “Evil Genius,” Gucci’s raps about his past are piled with repetitive tropes and uncreative imagery.

Finding a balance between joy and self-seriousness, this is the quartet’s finest and most decadent album to date.

“Aviary” walks like a duck and talks like a duck, in album terms, anyway, but the more you pay attention, the less it fits in.

The music industry, like history, repeats itself, which is why Greta Van Fleet feels deceptively refreshing—at least to talk about.