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Review: Future Sings the Computer Blues on ‘Purple Reign’

2015 could have ended Future’s career. After years of calling himself an astronaut, Fire Marshall Future, and even Future Hendrix, he embraced a villainy that…
Matthew Ramirez / January 25, 2016

Review: Kevin Gates Needs No Assists to Fuse His Yin and Yang on ‘Islah’

Way back on the intro to his 2012 mixtape Make ‘Em Believe, Kevin Gates boasted, "I got more than one major willing to sign me."
Renato Pagnani / January 25, 2016

Review: Meek Mill’s Career May Be a Pillar of Salt But on ‘4/4′ He Rubs It in Drake’s Wounds

New surprise EP 4/4 isn’t just the first major Meek Mill release without the word "dream" in the title, it’s the first to not have…
Dan Weiss / January 22, 2016

Review: Savages Weren’t the First to Make Love a Battlefield on ‘Adore Life’

Savages' conflicted thesis statement for their seething sophomore LP, Adore Life, lopes into the album's stark black-and-white frame on its flamenco-tinged second track, "Evil": "Don't try to change /…
Harley Brown / January 22, 2016

SPIN World Report: Radiohead Guitarist Aids an East-West Summit, Karina Buhr Punks Brazil

This latest dispatch from the great musical world extending beyond American shores is dedicated to the inauthentic, with absolutely no pejorative connotations intended. Let the…
Jason Gubbels / January 22, 2016

Review: Suede’s Grandiose and Chilling ‘Night Thoughts’ Keep Them Awake

The mark of a successful relationship is if its parties can evolve together. Britpop luminaries Suede proved theirs could be built to last when they reunited after a…
Rachel Brodsky / January 21, 2016

Review: Ty Segall Knows a Guy Who’s Tough But Sweet (It Ain’t Him) on ‘Emotional Mugger’

True to his not-modern music, Ty Segall promoted his latest solo album, Emotional Mugger, with several old-fashioned industry techniques. He set up a number you…
Annie Zaleski / January 20, 2016

Review: Roly Porter Savors, Then Smashes the Silence on ‘Third Law’

Roly Porter enjoys the silence. The London-based producer's favorite parts of unleashing the sub-bass as one half of U.K. dubstep duo Vex'd (alongside musical partner Jamie Teasdale) were…
Harley Brown / January 19, 2016

Review: Anderson .Paak More Than Makes Up for Lost Time on ‘Malibu’

Time has always been of the essence for Brandon Paak Anderson, now just Anderson .Paak, a singer-rapper from Oxnard, California who learned to make the…
Sheldon Pearce / January 15, 2016

Review: 18-Year-Old Kodak Black Has Already Faced Jail’s Horrors on ‘Institution’

Where’s the line between telling a story and glorifying it? That's the question plaguing violent music made by young artists, particularly rappers who specialize in…
Israel Daramola / January 12, 2016

Review: Brothers Osborne Take Country to the ‘Pawn Shop,’ Leave With Something New

More than a quarter-century after Uncle Tupelo released the genre-defining No Depression, does the term "alt-country" still mean anything? If Brothers Osborne are to be…
Andrew Unterberger / January 11, 2016

SPIN Overlooked Albums Report: Aesop Rock and Homeboy Sandman Eat a Whole Food Web

We're inundated with so much music now that, more and more, great collections of songs go unnoticed — especially when music critics go into hyperdrive during…
SPIN Staff / January 8, 2016

Review: Hinds Beat Your Brains By the Beachside on ‘Leave Me Alone’

It's hard not to like Hinds. The Madrid-based ascendants from Spain's robust DIY rock scene don't even bother with pleasantries before offering to take you dancing…
Harley Brown / January 7, 2016

Review: David Bowie Remains the Original Starman on ‘★’

Finally, David Bowie’s recorded an album that comports with my idea of a David Bowie album in 2016: art-damaged ballads on which several excellent musicians…
Alfred Soto / January 6, 2016

Review: Pusha T Rocks Out With His Rocks Out on ‘King Push – Darkest Before Dawn: The Prelude’

What’s so markedly scary about Pusha T is that he desires to be the villain. It’s not about machismo (he rarely speaks of women thus degrading…
Dan Weiss / December 18, 2015

Review: Baroness Rebound From Tragedy With a ‘Purple’ Haze

You’d name your albums after colors too, if you could paint like John Baizley, the RISD dropout who fronts Savannah psych-metal heroes Baroness and designs…
Dan Weiss / December 14, 2015

Review: R. Kelly Crowns Himself in More Than One Way on ‘The Buffet’

The Buffet, R. Kelly’s 13th album, is like the 12 before it: hard to enjoy objectively. Per usual, we’re confronted with the prospect of an allegedly…
Dan Weiss / December 10, 2015

Review: Archy Marshall’s Alter Egos Are Moody and Mature on ‘A New Place 2 Drown’

Archy Marshall has been gradually creaking the door open, letting the light in on his gloaming guttersnipe blues, ever since uploading U.F.O.W.A.V.E. — his 2010 collection of minimally…
Harley Brown / December 9, 2015

Review: Sunn O))) Return to Their Primordial Origins on ‘Kannon’

From the Seattle birth of drone-metal duo Sunn O))), they've always imbued their creaking compositions with a sense of reverent, primordial purpose — as…
Colin Joyce / December 7, 2015

Review: Lizzo Is Primed for WRRRLD Domination on ‘Big GRRRL Small World’

Lizzo’s hardly the first artist whose personality is so big you can hear her struggling to corral it onto one album, much less one song.
Dan Weiss / December 7, 2015
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