Pitchfork’s latest reviews and analyses of music news and album releases offer a comprehensive look at the evolving landscape of the music industry. From pop and R&B to electronic and rock, the reviews cover a wide range of genres, providing insights into both new and established artists.
Clairo’s third album, “Charm,” delves deeper into a soft-rock sound, showcasing her understated new confidence in songwriting. Marissa Lorusso highlights how Clairo’s evolution is marked by a subtle yet significant shift in her musical approach.
Matthew Schnipper reviews “Leviathan” by d’Eon, describing it as a blend of telegenic and tongue-in-cheek elements. The Montreal composer’s ersatz chamber music demonstrates a balance between affection and satire, making it a unique addition to the electronic genre.
Syzy’s “The Weight of the World” is analyzed by Kieran Press-Reynolds, who notes the California producer’s ability to merge digicore, hyperpop, shoegaze, and ASMR into a chaotic yet captivating soundscape. This next-gen dubstep album is a testament to Syzy’s innovative approach to music production.
Omar Apollo’s “God Said No” is reviewed by Aimee Cliff, who praises the singer-songwriter’s ability to transform the darkness of romantic estrangement into glittering pop gems. Apollo’s second album is a blend of longing and assertiveness, showcasing his growth as an artist.
Matthew Blackwell’s review of “Small Medium Large” by SML highlights the quintet’s debut album, recorded across four nights of longform improv at L.A.’s Enfield Tennis Academy. The album marks an exciting milestone in the city’s emerging jazz scene, offering a fresh and dynamic sound.
Vampire Weekend’s fifth album, “Only God Was Above Us,” is described as a self-mythological journey into old sounds and haunts. The band explores new territories while revisiting their roots, creating a masterfully knotty album that resonates with both old and new fans.
Annie Clark’s self-produced seventh album, “All Born Screaming,” sees St. Vincent going for a hard reset on her project. The album retains her sharp edge as a songwriter while making the music sound exalting, inspiring, and thoroughly romantic.
NxWorries’ “Why Lawd?” is reviewed by Dylan Green, who notes the duo’s sly, smooth-talking rap&B sound. Anderson .Paak and Knxwledge’s second album layers doubt and insecurity into jet-setting antics and featherbed-plush beats, showcasing their growth and maturity.
Sumac’s “The Healer” is described by Patric Fallon as the peak of the experimental metal trio’s career. The four-song, 76-minute album is dense and invigorating, highlighting the band’s dexterity, creativity, and clarity of purpose.
Kamasi Washington’s third album as bandleader, “Fearless Movement,” is reviewed by Andy Cush. The star saxophonist tries to balance his habitual gravitas with a newfound sense of fun, though party music doesn’t come to him as naturally as heroic high drama.
Maggie Rogers’ third album, “Don’t Forget Me,” is praised by Marissa Lorusso as her strongest yet. The album showcases Rogers’ wise, clear-eyed, melodious voice, marking her growth as a singer-songwriter.
Dirty Three’s first album in 12 years, “Love Changes Everything,” is described by Grayson Haver Currin as a discovery of newfound spontaneity. The veteran instrumental trio summons some of the most beautiful and emotional work of their career.
Camila Cabello’s fourth LP, “C,XOXO,” is reviewed by Harry Tafoya as a transitional record mistakenly labeled as a statement album. The pop star’s impressionistic tale of lost love and aimless youth is electrifying but inconsistent.
Pitchfork also revisits significant albums from the past, offering in-depth looks at records not previously in their archives. Happy Mondays’ “Pills ‘n’ Thrills and Bellyaches” is described as a hedonistic and sampledelic Madchester masterpiece that reinvented post-punk for the rave era.
Frankie Goes to Hollywood’s “Welcome to the Pleasuredome” is revisited as a subversive 1984 debut from the UK synth-pop group. The album’s exquisite sound and provocative themes made it a landmark in pop music history.
Iasos’ “Inter-Dimensional Music” is highlighted as a foundational new age album from 1975. The alluring, slightly fried soundscape was channeled directly to its composer from an inter-dimensional entity named Vista.
Ice Cube’s 1990 debut solo record, “AmeriKKKa’s Most Wanted,” is described as a groundbreaking piece of hard and funky reality rap that introduced the tabloid decade.
Cyndi Lauper’s massive debut, “She’s So Unusual,” is revisited as a slyly feminist new wave pop record whose undeniable singles helped usher in the MTV era.
Judy Garland’s mythical 1961 live album, “Judy at Carnegie Hall,” is described as a late-career triumph that helped to outline the shape of queer fandom for decades to come.
Fishmans’ 1996 masterpiece, “Long Season,” is highlighted as a landmark of Japanese rock that fits a lifetime of aspirations and daydreams into a single 35-minute composition.
Lou Reed’s 1982 solo album, “The Blue Mask,” is revisited as a strangely alluring comeback that made good on the promise of a lasting rock’n’roll icon.
These reviews and analyses from Pitchfork provide a rich tapestry of music news and album releases, offering readers a deep dive into the ever-evolving world of music.
Source: Pitchfork
