2025 Music Reviews
Lily Allen, West End Girl (2025) C
The failed relationship Ms. Allen had with actor David Harbour seems to be one of the main topics of this latest release - she accuses him of various misdeeds in a cutesy manner, although her own personal history is a sixty car pile-up (feel free to look it up), so she's not the most reliable narrator. The somewhat juvenile "Pussy Palace" is more fun and catchy than it should be, and track number eight suggests she's aware of what's being said about her in the darkest corners of the Internet. But still ... save it for your therapist.
Arcade Fire, Pink Elephant (2025) C+
After a string of flops this "indie" Canadian outfit has finally put out a tolerable record ... and it only took me three separate listens to come to that conclusion. Sure, there are missteps - "Circle of Trust" and "Alien Nation" are clunky "dance tracks" or something - although there are large portions that are actually decent, like the alarming opener "Open Your Heart or Die Trying," the endearing ballad "Ride or Die" and closer "Stuck in My Head." Considering there have been multiple sexual abuse allegations against Butler, who's been married to Régine Chassagne since 2003, I can't help but interpret the entire LP as a love letter/apology to her and an admittance of weakness. Is he sincere? Time will tell - until then, clean up your head, clean up your heart....
Big Thief, Double Infinity (2025) C+
Lenker and the boys have been known to be kind of on the "depressing side" of music, so here's a slightly different change of pace - the title track and the Rusted Root-esque "Words," for example, are enjoyable listens. The problem is that the rest of this meager nine-track album are basically B-sides and not the band at its best.
Black Country, New Road, Forever Howlong (2025) C
Even with the absence of former lead singer Mr. Wood, the rest of the band figured out a way to keep themselves going, but with this current lineup they've made a soft but drab record that is sorely missing the crackling chaos and dynamic energy he brought to each and every track. While the first two records sounded like a dizzying dive into neurosis and self-loathing ... now they're closer to Sarah McLachlan, minus the begging to donate to sick puppies.
The Black Keys, No Rain, No Flowers (2025) D
Auerbach and Carney were never exactly in competition for the Songwriting Hall of Fame - reading the lyric sheet is like something high school kids could come up with - but even the music itself is rather drab. After thirteen records, maybe this is all you're left with: they're not even running on fumes anymore. They need to call AAA and have their jalopy junked.
Bon Iver, Sable, Fable (2025) D+
He first found fame with "For Emma, Forever Ago" back in 2007, but for this release Vernon's drifted far from being an indie/folk darling to trying to make what can best be described as R&B and soul with a hint of gospel ... and it's slightly embarrassing for him, since he clearly thinks what he has to say is somehow "deep" and "wise." It's as affecting as reading the journal of "that one friend" who decided to go on a two week hiking trip and came back "transformed by the elements." Give everyone a break, buddy....
Benson Boone, American Heart (2025) F
Boone's trying his darnedest to sound like Adam Levine, except then he becomes even more flamboyant so he gets into Sparks territory ("Mystical Magical"). Maybe this kind of "heartfelt" pop sludge is what audiences crave, but I find it obnoxious. Also, he keeps talking about "when we were young" ... my guy, you're 23 years old.
Sabrina Carpenter, Man's Best Friend (2025) B
Before this latest LP from Miss Sabrina was officially released, the cover was leaked and there was all sorts of discussion in the media about whether she's "anti-feminist" or a submissive and all this other nonsense, but it turns out the nice young lady from Quakertown, Pennsylvania is mostly sarcastic ... and maybe a little frustrated with her love life. There are only twelve tracks on this sub-forty minute record so she's not trying to tire her listeners out, plus she adds just a bit of a (currently trendy) country sound to accompany her snarky (but playful) attitude. Just because she's a blonde doesn't make her a ditz: get with the times.
Car Seat Headrest, The Scholars (2025) C+
The strongest aspects of Will's aesthetic - and I've been keeping track of his career before his big break when he was engaging with people on Tumblr - are both his delivery (which is both nasal and yet oddly emotive) and his smart lyrics, although I'm a bit concerned he might be buying too much into his own "hype" with multiple tracks that are too long and aimless. Self-indulgence can sometimes be a good thing ... except here I'm wondering if he's drifted too far into unwarranted self-importance. Whatever it is, I'm sure he'll figure it out....
Neko Case, Neon Grey Midnight Green (2025) B+
For the first time in her dignified career, Ms. Case decided to self-produce this latest record of hers, and a large portion of the album contains her usual blend of wistfulness and defiance. "Defiance" is a strong opener with a wonderful string section, "Winchester Mansion" is a throwback to the 50's ... and yet I'm not sure what she was thinking with "Tomboy Gold" (at least it's brief). This is who the Porcelain Cat from West Reading should aspire to become when she reaches adulthood.
Chance the Rapper, Star Line (2025) C-
After the failure that was 2019's "The Big Day," this is slightly more listenable ... except it also sounds like an hour-long TED Talk (with samples and collaborators) in which Chance rambles on about self-improvement, resilience and basically what a wonderful person he is. He's so full of "empathy" and "positivity" he makes Kendrick seem like Bushwick Bill.
Tyler Childers, Snipe Hunter (2025) D+
A few times he tries to be more rock and roll than country - which is nice, honestly - although the trappings of the latter get the better of him: he attempts to get with an older woman on "Oneida," talks about spreading rabies on "Bitin' List," mentions pill abuse on "Nose on the Grindstone," etc. Also, there are shout-outs to syphilis, chlamydia and koalas ... but curiously racism, boiled peanuts and incest aren't mentioned. Funny how that is, y'all....
Clipse, Let God Sort Em Out (2025) B-
Opener "The Birds Don't Sing" (with John Legend) is deeply-felt - it has siblings Malice and Pusha T reviewing their past with a mixture of nostalgia and emotional pain - and then it goes on the warpath, with an All-Star team of collaborators (Kendrick, Pharrell, Nas, The-Dream). I'm not sure it's a "great" rap record - even at a slim forty minutes it can be a little patchy, with some moments that don't quite mesh - although it's made with an abundance of confidence and plenty of smart wordplay.
Lucy Dacus, Forever Is a Feeling (2025) B
After working with the rest of Boygenius on their previous album, Lucy returns with another LP that shows off not only her sarcasm but also her sensitivity: she's as capable of dismissing a person as she is expressing her desire for love (albeit with reservations). It isn't a groundbreaking record by any means and definitely not her best - it could have used a more sonic 'complexity' - although she has a sweet delivery and something meaningful to say with it.
The Dare, What’s Wrong With New York? (2024) D+
Honestly? Not much really, except James Murphy can sleep easy at night.
Deafheaven, Lonely People With Power (2025) C
It's strange that I never really got behind this Frisco-based blackgaze outfit considering how I tend to groan about the current lack of popularity for metal - guitarist Kerry McCoy certainly does his part with the heavy riffs, but their whole soft/loud "dynamic" has always seemed clumsily executed to me.
Destroyer, Dan's Boogie (2025) B-
Perhaps he caught me in a strange mood, because this latest record from Canada's Mr. Bejar really won me over with his grin-inducing sarcasm - it does wear out its welcome after a while (playing smarmy is tricky) and certainly isn't for every listener, but I think it's one of his better releases ("Your Blues" is a high bar).
McKinley Dixon, Magic, Alive! (2025) C-
His goody-goody "wholesome" approach may win some listeners over, but to me he comes across as an even cornier Will Smith ... who likes to babble a lot.
Doja Cat, Vie (2025) B-
The Eighties has never been my favorite era of music - much of it has aged as poorly as disco - but Doja revitalizes it in a pretty bouncy way (even with the sax samples!), and those sarcastic barbs really roll off her tongue. It's better than I thought it would be, although I have a couple of questions. Why recycle the Knight Rider theme for "AAAH MEN!"? What's with the Kanye impersonation on "Gorgeous"? And why 'out' a former "boyfriend" on "Stranger"? He's just an actor, after all....
Franz Ferdinand, The Human Fear (2025) D+
For their sixth LP, they don't sound like they're making progress or evolving as a band - sure, there's a new female drummer, but the melodies and Kapranos' lyrics are often so basic they could be played during a show made for children. Or maybe their first album was just a fluke?
FKA Twigs, Eusexua (2025) B
In interviews, Ms. Twigs always seems so demure and soft-spoken, but then you hear her on this record and she's free to express herself in the fullest, completely willing to be sexual and playful. She has to possess one of the most sultry deliveries in music, and though there are missteps - I could have done without "Striptease" and "24hr Dog" - her team-up with Kanye's daughter (on "Childlike Things") is a blast and on contemplative closer "Wanderlust" she engages in a little self-criticism.
Alex G, Headlights (2025) B-
The first three tracks are actually solid - I like the mandolin on "Afterlife" - although it does sag a bit in the middle section before springing back and ending on a strong note. In parts I can hear the influence of none other than Bruce Springsteen (especially on the last track, "Logan Hotel (Live)" - I wonder if Mr. Giannascoli spends a good deal of his free time hanging out on the shores of Jersey.
Geese, Getting Killed (2025) A-
They may be very young - and lead singer Winter made his own solo record this year (which is also very good) - but it might be time for everyone to start admitting their brand of avant-rock - inspired by the Stones and Can (and possibly tribal music) - is some of the most exhilarating and inventive new music being put out there? They're chaotic, dizzying and never predictable ... and play like there really is a bomb planted in their car.
Freddie Gibbs & The Alchemist, Alfredo 2 (2025) C
This schizo-collab is more or less the same as the first: Gibbs separates the entire female species into "bitches" and "hoes" and then proceeds to babble on about how their only function is to service him orally, while Uncle Alchemist presents beats that either belong at the coolest jazz club you've never been to or a cop-buddy sitcom from the 70's that was never filmed.
David Gray, Dear Life (2025) D
His slightly cracking/liquor stained voice remains a strength, but the songs themselves are rather static and the lyrics aren't remotely as poignant as previous recordings. Both "Eyes Made Rain" and "Sunlight on Water" are particularly banal, although the other tracks aren't significantly better.
Haim, I Quit (2025) D-
There are several strange "artistic decisions" in this latest LP from the Haim ladies: not only do they sample George Michael for opener "Gone" and U2 for closer "Now It's Time," but "Relationships" sounds like a Paula Abdul song, "Down to Be Wrong" and "Take Me Back" could be a Sheryl Crow B-sides and the rest could be from the mediocre end of 90's pop radio. Are they quitting because they're out of new ideas?
Tim Hecker, Shards (2025) D+
The title Mr. Hecker chose isn't totally inappropriate, because for yet another record he's shown he can concoct a very interesting set of sounds, only to find he doesn't know where to go with them, so they basically loop around, stop whenever he sees fit and remain fractured bits. Most of the tracks run under five minutes long, but even lengthier closer "Sunset Key Melt" fails to develop into something significant.
The Hives, The Hives Forever Forever the Hives (2025) C
Simply because they made a very good garage rock album a quarter of a century ago ("Veni Vidi Vicious") and have three decent tracks on this record ("Enough Is Enough," "Legalize Living" and the title track) doesn't make them "elder statesmen" of music or anything honorific like that. Can they still make a little noise? Yes, but the misses between 2000 and now far outweigh the hits.
Horsegirl, Versions of Modern Performance (2022) B+
It's unfortunate I missed this when it initially came out because this trio of (then) teenagers, who were influenced by the likes of Le Tigre, Kleenex/Liliput and other female punk outfits, not only go hard but also they're also far more clued in and clever than most of their peers. In the absence of life experience, choose poetry.
Horsegirl, Phonetics On and On (2025) B+
Following a rather stunning debut, this college-aged trio have returned with another charming indie-pop gem: I know they're into all kind of different types of music, but who'd have thought they'd lean into more of a Krautrock direction ("2468," "Switch Over") with a touch of Nico. It just works for them: their timing is impeccable and they don't clutter up their material with unnecessary effects. The lyrics are suitably ambiguous, although I gather they're fed up with certain people in their lives ... but dealing with it: same here, ladies.
Jane Remover, Revengeseekerz (2025) C+
Ever since the release of "Frailty" (using the pseudonym "Dltzk") I've been closely following what Jersey Jane's been doing and for this LP - which even includes Danny Brown as a guest! - I like the messy and noisy nature of it even though it's a bit more cluttered than necessary, and Jane relies too much on the auto-tune/vocal distortion. Still, it's a record that demands your attention - it literally wrings your neck - and I expect future efforts to be even further refined: after all, Ms. Remover is a precocious 21-year-old.
Japanese Breakfast, For Melancholy Brunettes (& Sad Women) (2025) C-
The title offers a blatant clue that it's not going to be an upbeat album, but after experiencing success with "Jubilee," this is a major step down for Zauner, whose nasally delivery over what's essentially mall pop eventually wears the whole thing out, and the songs don't "end" as much as simply "fade out." A surprise appearance by Mr. Bridges on the country-ish "Men in Bars" briefly shakes up the dynamic - it could have used more eccentric touches like this to add some dimension. As it stands, this morning meal consists of instant coffee with no cream, unsalted egg whites and wheat bread.
Miles Kane, Sunlight in the Shadows (2025) B
Bravo to Mr. Kane from England for keeping the spirit of rockabilly alive - he's more lively than the Black Keys and owes a debt of gratitude to T. Rex (especially on "Electric Flower") and early Brian Eno. My only gripe is that it's a little derivative and he could have added a few more personal touches on the genre ... but he captures my sentiments perfectly on "Always in Over My Head."
Kesha, Period (2025) C-
There are some tolerable pop-friendly bits here from the 38-year-old (who acts like she's in her early twenties), such as "Joyride" and "Delusional," to go along with the more irritating numbers (the Daft Punk-ish "Love Forever," "Glow," etc.) ... although it depends on how you feel at the moment. Her moods vary too: one minute she wants true love, the next she'll take all the boys you got, then sometimes she'll take a lady too. She thinks you're a four, which must mean she's a ten. And by that I mean she has about a 10th grade reading comprehension level. (I kid, she's kind of a hot mess.)
Lady Gaga, Mayhem (2025) B
This is a nice throwback for the multi-talented icon - the first six tracks, in particular, bring to mind the hits that made her a pop star in the first place. The production team she brought together do a nice job slightly tweaking her sound: it's catchy and campy ("Zombieboy") and references the disco-era without succumbing to the worst aspects of that genre. Oh, and did I mention I still think she's a wonderful actress? Or maybe I'm eternally biased and simply rooting for a fellow Italian....
Lorde, Virgin (2025) B
Ms. Ella has mentioned during interviews for this record that she's been 'going through' some things, so the title of this LP doesn't refer to sexual purity so much as becoming "reborn," which is evident with fabulous jungle-inspired opener "Hammer" (which could have been produced by Goldie). Comparatively speaking, she's one of the more poetic singer-songwriters of her generation and while the second half of the record isn't as dynamic as the first, her wordplay helps carry it through. Oh, and for super-fans of hers: if you purchase the vinyl version, on the inside sleeve there's a photo of her lady bits. Those plastic pants have to be hot....
Machine Gun Kelly, Lost Americana (2025) D
To his credit, Baker does take time to address his own struggles with addiction and problems with his personal life and seems like a chill guy and responsible dad, but his Sad Boi Tumblr-like lyrics become annoying very quickly ... and even worse, he interpolates Third Eye Blind's "Semi-Charmed Life" on "Starman" and
Semisonic's "Closing Time" on "Can't Stay Here." But heck, he looks like a male model and wakes up next to Megan Fox, so he'll be fine as long as he tries to stay sober.
Maroon 5, Love Is Like (2025) C+
Levine's found success doing TV work like "The Voice," and it started to feel like this band of his wasn't a priority ... and while there are some solid pop bits on here ("Hideaway," "I Like It" with Sexyy Red), it runs less about twenty-eight minutes long and does seem a little hastily cranked-out (what's with the surprise sax on "All Night"?). And for the record: love isn't like drugs, because anyone can find drugs.
Matmos, Metallic Life Review (2025) C-
The theme for this latest project by Daniel and Schmidt is "metal," so expect to hear all sorts of clanging objects, but it seems like something Squarepusher or Autechre might have made decades ago ... and just when the several of the pieces start to gain steam, they fade out (this goes for the lovely "The Chrome Reflects Our Image"). They probably aren't interested, but they could make a tidy profit as Foley artists for Hollywood....
Mogwai, The Bad Fire (2025) C-
These talented Scottish fellows have been doing this for far too long to expect fans to find much to celebrate here - the songs don't have any "lift" and kind of circle around before the inevitable fade-out. Still, there are worse things to do than listening to Stuart and the lads jamming after a couple of pints ... and closer "Fact Boy" is trippy enough to send an aging hipster straight to sleepy-town.
My Morning Jacket, Is (2025) D
It's been quite a few years since this group's put out anything worth listening to, and it's not changing here: opener "Out in the Open" starts with a bit of pep, but then it succumbs to its own musical and lyrical banalities ("The world moves on / Life goes on / Love was all that mattered"). Is that a sample from a Charlie Brown Special to start "Time Waited?" Are they trying to imitate Pink Floyd on "Die For It?" Ready, set ... fall on your face.
Panda Bear, Sinister Grift (2025) D+
Not only has Animal Collective's decline been noticeable since 2009, but Noah's has as well, and for whatever reason he's still convinced he's a psychedelic Brian Wilson, abusing the heck out of the delay and trying to sound like he's singing in a watery cave.
Perfume Genius, Glory (2025) D
For his previous recordings, Hadreas would at least combine his sharp social commentary (mostly pertaining to the LGBTQ+ community) and combine it with dynamic electronica, while this is frill-free and consistently morose, with many of the tracks blending into each other. Where did the pep go? Or the righteous anger?
Ariel Pink, With You Every Night (2025) F
Pink's whole "spooky" aesthetic (with 80's effects) is no longer effective - after all, he's been doing it for over a decade now - and being a goofy troll doesn't work so well when you're approaching fifty (although I need to remind myself of this on occasion). But the real question is: did Mommy make him his dinner the night after he "attended" the January 6 insurrection? And did he congratulate himself after saying he'd like a felon/child rapist/dictator to sodomize him?
Pulp, More (2025) B
The legendary U.K. outfit's first album in 24 years sounds like they've still got the spirit ... although they might be a little bit rusty: Jarvis' voice is in top form but his lyrics aren't quite as razor-sharp as they once were, and his band is meticulously synced up even though the melodies aren't as catchy as they once were. But even the outfit operating at partial capacity still outshine most others - opening track "Spike Island" is a good radio hit, and the two closing songs add a touch of melancholy (although I could do without "Tina").
Addison Rae, Addison (2025) D+
It's easy to mock a very popular social media "influencer" for making a record, although Ms. Easterling does set herself up for ridicule with her sub-Tumblr lyrics ("So I cry only in the rain") and presenting herself as this Lana-esque "bad girl," which isn't believable for a millisecond (I don't think she's ever taken anything stronger than caffeine and a maybe a single Advil). But if you're in the mood for cheesy fun, "Diet Pepsi" and "Fame Is a Gun" fit the bill.
Snõõper, Worldwide (2025) B-
These folks from Tennessee sure did study the Punk Playbook: there hard, driving drums and guitars while a female lead singer chants robotically. Who cares if it isn't mixed well and sometimes the vocals get drowned out? So what if there's a Beatles cover? Or that they might be influenced in part by Joy Division? Being an "egg punk" means you don't care about the trivial ... because everything's trivial.
Sofi Tukker, Butter (2025) C-
This follow-up to their 2024 record "Bread" has the duo moving in a different direction by taking songs off that album and giving them a "bossa nova" touch by bringing together multiple collaborators (including Seu Jorge) to sing in Portuguese. Although it has a pleasant vibe, I suppose, it also feels like a bit of a novelty: it's the most pleasant kind of artistic tourism. For a true challenge, their next release should be called "Knife" and done in the style of Norwegian black metal.
Sparks, Mad! (2025) 😡👍
Both of the Maels are in their late 70's, so it's impressive they're still making music ... and as mildly annoying as a lot of this is with its campy nature and repetitiveness ("I-405 Rules" is grating), being critical of them is just plain mean. They're literally "grandfathered in," and some respect for the decades of work they've put in (and tours they've gone on) should be applauded. Come on Rock & Roll Hall of Fame: put 'em in.
Stereolab, Instant Holograms on Metal Film (2025) C
Back in the 1990's, Sadler and the lads were one of the hottest groups on the indie scene ("Dots and Loops" was a personal favorite), but then they started to get cold, broke up and then finally teamed back up ... and the result is mostly the same old thing, and what's worse is it all sounds like B-sides off of their earlier albums.
Suede, Antidepressants (2025) D+
Yet another Britpop outfit who first made a name for themselves in the 90's resurfaces with a new record, except aside from the title track (which is catchy and a bit indebted to The Fall), the tracks sound quite homogeneous and are almost interchangeable. Lead singer Brett Anderson is apparently trying to address "dark issues" (hence the Bacon-inspired cover) but this doesn't get within a thousand miles of "the edge."
Swans, Birthing (2025) C+
It's neat that Gira, who's in his early 70's, is still making music under the Swans moniker (a project he began in 1981, deactivated for several years and then reformed) except I'm not exactly sure what "new" terrain he's exploring with this latest release, since it has the same aesthetic as the last five records: he chants pseudo-apocalyptic phrases for two hours over droning instrumentals. The effect is strong in parts - I'm glad he never lost his pessimism - except it also becomes a tad numbing after a while.
Taylor Swift, The Life of a Showgirl (2025) C
The Pennsylvanian Porcelain Cat is back once again, but the issues I've had with her previous records are unfortunately not going away anytime soon: she still imagines herself as a teenager who "can't find love" and feels rejected, and the music is so meticulously produced and "safe" (to ensure sales and sold-out tours) she's not able to develop as an "artist" and actually take some risks. Or - and I hate to say it (because I actually do like her) - is this her literal "ceiling" and all anyone should ever suspect of her? I'll admit there are a few nice tunes on here ... but if she thinks for a hot second she's anything like Elizabeth Taylor, does that mean Travis Kelce is her Richard Burton?
Tame Impala, Deadbeat (2025) D+
Parker's talent has in making psychedelic-influenced 'indie rock' - his lyrical ability has always been lacking - but for this latest effort he continues his downward spin: opener "My Old Ways" and the second track "No Reply" have a certain simple lo-fi appeal, but the songs that follow are mediocre: "Dracula" and "Loser" are corny, the middle of the record is flat and then on "Ethereal Connection" and "End of Summer," he tries imitating Underworld. Come on, mate, get your head back in the game (and stop living up to the title).
Tune-Yards, Better Dreaming (2025) D+
In the best moments from her previous records, Garbus was able to properly combine off-beat melodies with her distinctive voice, except now she's sure she can overpower a stale production with yelping and hollering humdrum pronouncements. Sorry, but no one's seeing rainbows these days.
Tyler, the Creator, Don't Tap the Glass (2025) B+
Following the release of the much-denser "Chromakopia" last year, Tyler decided to put out this twenty-eight minute LP and it's quite an enjoyable mini-record with an emphasis on just having a blast: "Big Poe" is a nod to 80's rap, "Sugar On My Tongue" is a sarcastic take on "sexual pop" and both "Don't You Worry Baby" and "I'll Take Care of You" (the latter with a nice Nintendo-like piano piece playing in the background) are dreamy. The man has layers to him, I tell ya. And I agree with him: I don't trust white dudes with dreads, either.
Kali Uchis, Sincerely, (2025) B-
Kali's fourth studio LP, "Orquídeas," provided a nice showcase for her voice and range while this, her fifth, really shows how how charming and warm she can be: the title isn't meant to be a sarcastic joke. Unfortunately, she also glides a lot on her innate abilities, and too many of the pieces on here play it entirely too safe.
Sharon Van Etten & the Attachment Theory, Sharon Van Etten & the Attachment Theory (2025) D
Sharon may have a new backing band, yet this latest LP is severely lacking: she's too fond of repeating herself (and comes across as being either drowsy or hung-over ... perhaps both) and the music itself sounds like severely watered down 80's synth dreck.
Viagra Boys, Viagr Aboys (2025) B+
It seems like the Boys are keeping the Shrimp Train humming along with this fourth record, which is irreverent and cacophonous and loaded with absurd lyrics from heavily-tatted, part-American front man Sebastian Murphy. Opening track "Man Made of Meat" starts it off with a lot of fire and sarcasm and that same energy carries it all the way through to closing bit "River King," which sounds like a contemplative ballad, but probably can't be taken seriously either. Being punk means eating cigarettes for breakfast and drinking yourself to sleep.
Wavves, Spun (2025) D-
If you want to listen to Blink-182, just put Blink-182 on. And while Weezer's been on a down slide for the past few records, at least Rivers sometimes has something interesting to say.
Wednesday, Bleeds (2025) C-
Cloning machines aren't (currently) real, but if you designed a particularly rickety one, tossed Best Coast in there, fiddled with buttons until sparks shot out of the top, this band is what you'd come up with: sometimes they do power pop, other times they're trying to do country ("Elderberry Wine" and "Phish Pepsi" are really grating).
The Weeknd, Hurry Up Tomorrow (2025) C
There was a news clip last year that mentioned Tesfaye was considering dropping "the Weeknd" moniker and I thought it was a good idea since doing so might allow him to take his music in a different direction, because this ninety-minute LP is more of a sign of hubris and limited talent, as he spends the entire record unimaginatively recycling himself: he's so wounded and full of scars, he keeps hooking up but can't find love, etc. Despite the debacle that was HBO's "The Idol," I still think he holds his own as an actor ... he just needs to challenge himself as a songwriter.
Wet Leg, Moisturizer (2025) A-
After their memorable debut record, those wondering if these two ladies from the Isle of Wight (and their three bandmates) would take a step back are sorely mistaken - in fact, I'd argue it's even more polished in comparison: they're either in love, trying to convince themselves they're in love or not ready for it at all, preferring to duke it out ... physically. The first five songs are genuine standouts, but the rest of it are nice, too ... and it contains the most adorable Pokémon-themed song I've ever heard (which is followed by "Pillow Talk," where Rhian sounds like a stalker).
Cameron Winter, Heavy Metal (2025) B
In case you thought the post-rock band Geese took an unorthodox approach to both lyrics and melodies, Winter's second solo LP is even more wonky: expect discordant sounds (horns out of nowhere!) and vocals influenced by, of all people, Captain Beefheart. And get ready for lines like "Baby horses on my chest are trying to push me out to sea" and "You'd like to keep my salesman's teeth, wouldn't you, baby?" Most will be alienated, but intelligent babble is my jam.
Lola Young, I'm Only F**king Myself (2025) C-
Some of her singles ("Big Brown Eyes" being a major one) sounded fine and I can always appreciate a good salty attitude, except this album is full of questionable artistic decisions: aside from "Not Like That Anymore" there aren't many standout tracks and it's entirely too eclectic, with each song belonging to a different genre ... and then there are strange sound effects scattered throughout. She has a good, emotive voice, she just needs a bit more focus.
Youth Lagoon, Rarely Do I Dream (2025) B-
A rare medical crisis in 2021 seems to have permanently transformed Trevor's voice - instead of this fey wisp, it's slightly raspier, and it gives his music a different edge. While it kind of fades out a little in the second half (especially with those "nostalgic" sound clips), tracks like "Speed Freak" and "Lucy Takes a Picture" help to hold it up.
Singles of the Year: Baths: "Governed," Sabrina Carpenter: "Manchild," Indigo De Souza: "Heartthrob," John Glacier (Featuring Sampha): "Ocean Steppin'," Horsegirl: "Switch Over," Miles Kane: "Electric Flower," Lorde: "Hammer," Pulp: "Spike Island," Show Me the Body: "One Train," Smerz: "You Got Time and I Got Money," Squid: "The Hearth and Circle Round Fire," Wet Leg: "Catch These Fists," Youth Lagoon: "Speed Freak"
Back