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Joanne is a surprising departure for Lady Gaga. Moving away from the loud, intricate, in your face pop hits to a more subdued, raw sound in search of something more authentic. The ironic thing is it may have proved the character of Gaga that she had built was her true authentic self.
24k Magic is pure old school funk/R&B nostalgic gold. Any number of it's songs could strongly stand amongst many of the classics and the way Mars is effortlessly able to fully embody the sound and the spirit of the era he's working in is truly impressive and unparalleled.
The Altar tries to bring an edge and darkness to pop that has some very hit and miss production that at times can feel more trendy than authentic. Her personal, vulnerable songwriting is the real highlight of the album.
Process is the long awaited debut of music's hidden 'it' man and it delivers in every way imaginable. The production is a fantastic blend of R&B, pop, and electronic that kept me engaged throughout. While his unique voice and deft lyricism showed the special kind of talent he is. Amazing debut.
Divide will undoubtedly be a commercial hit that will continue to catapult Sheeran into mainstream stardom. I found myself singing and humming along, but it's simple and idealistic songwriting left a lot of it feeling empty and uninteresting.
Collie Buddz returns after more than a decade with an album even more carefree and commercial leaning than his first. After all of this time, he still sounds great and can really spin an infectious tune, but there's not much there past the surface level.
I really didn't know what to expect from The Chainsmokers but somehow what we got on their debut still felt expected, like I've heard this a million times. For a group with a song as big as "Closer" their album is oddly muted and underwhelming.
While there are a few moments in Lust for Life that drag a bit, Lana is still able to wring out interesting narratives and songs from her now familiar melancholic style. As a whole, I don't know if I loved it more than my favorite project of hers, Born to Die, but there are definitely moments in here that I do.
Toro y Moi has returned with yet another super enjoyable album that shows off his incredible breadth as an artist. His brand of indie electronic lo-fi pop is always unexpected but usually in the good way, like this here.
Something To Tell You was my first Haim experience and it left me impressed not only with their great harmonizing and melodies, but also their deceptively accessible sound that belies their underlying complexity and stylistic breadth. It's a wonder they're not bigger than they already are yet.
Arcade Fire has delivered a mixed bag with Everything Now. There are some really great moments of synth heavy pop-rock here that get undercut by poor songwriting and flat messaging, despite their noble intents.
Phantogram's genre blending production on Three, paired with Sarah's powerful, yet airy vocals make for one of the most unique and standout albums this year.
AIM continues M.I.A's experimental ways, but her production and songwriting sound disconnected and lacking the "bite" of her previous works.
Stoney is pure style over substance. Full of that "trill pop" sound he basically birthed, with mainly forgettable verses, but big, catchy hooks, and irresistible melodies. It's a solid debut that proves he's more than just "White Iverson."
Rennen was such a unique listening experience that produced an interesting dichotomy between the modern synths/beats and the melancholy vocals. It's a mesmerizing album that showed SOHN to be a world class producer.
The Chief was a strong debut from the 'Classic Man' singer that despite having some familiar elements of generic top 40's pop, did enough to create a mostly unique approach that I think solidified him as a legitimate artist, and not a gimmick.
After Laughter was a surprising return from the traditionally pop leaning punk-rock band that not only managed to reinvent and reinvigorate their sound but has made me a fan in the process. Their 80's pop influenced sound combined with Hayley's still great vocals and punk musings made for an unexpectedly great combination.
This was my first Feist album and it was an exceptional piece of art; full of raw emotion, minimalist production, and her incredibly layered voice. It was a surreal listen that left me floating through the ether and it's one of my favorites of the year thus far.
Lorde set the bar extremely high her first go around, and I was anxious to see if she was more than a flash in the pan. Needless to say, she substantially improved on her brand of brooding teen pop in just about every way. Her production is as lush as ever, her songwriting still well beyond her years, and her smooth, raspy voice brings everything home. Melodrama delivers every step of the way, making it one of the best albums I've heard all year.
Funk Wav Bounces Vol. 1 is a short, slight detour from what Calvin Harris is normally known for. It's generally enjoyable but doesn't leave much of a lasting impression or take many risks. Here's to hoping for more from Vol. 2.
Katy Perry promised meaningful pop music and something career altering but instead we got more of the same generally solid pop music that doesn't go more than waist deep.
Kesha was definitely at a career crossroads and Rainbow was just the new direction and sound she needed to ensure it's longevity. It was a highly personal affair that felt like she was finally able to express her true artistic voice, and it's a good one.
Trip felt like Jhené Aiko's most fully realized project yet and a major improvement over her major debut. It was just nowhere near as psychedelic as it was implied or as I hoped for, and ended up being a pretty straightforward ride.