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Michete Plays With Dolls and Minds in ‘Come Get It, Daddy’ Video
Review: Desiigner Is Already Repeating Himself on His First Tape, ‘New English’
Review: We Really Love the Julie Ruin’s ‘Hit Reset’ (But They’d Rather Not Know)
Review: Blink-182 Guess What Growing Up Is on ‘California’
Review: Bat for Lashes’ Side Is Always a Bit Lonely on ‘The Bride’
Review: Maxwell Relieves That Stress (on His Syllables) With ‘blackSUMMERS’night’
Review: Blood Orange Is Fired Up and Ready to Go on ‘Freetown Sound’
Review: Allow DJ Shadow to Re-Endtroduce Himself on ‘The Mountain Will Fall’
Review: Mumford and Sons Travel to ‘Johannesburg’ for a Little Eat, Pray, Banjo
Review: Little Big Town Are a Room That Could Use a Roof on ‘Wanderlust’
Review: Swans’ Actual Swan Song Is a Cloud of Unknowing on ‘The Glowing Man’
Review: Red Hot Chili Peppers Don’t Quite Escape From L.A. on ‘The Getaway’
Review: G.L.O.S.S.’ ‘Trans Day of Revenge’ Is a Dish Best Served Fast
Review: Nick Jonas Chills Out and Gives Us What We’re Yelling For on ‘Last Year Was Complicated’
Review: Garbage Have Finally Upgraded to Version 3.0 on ‘Strange Little Birds’
Review: Gojira Deserve to Take Experimental Riffage Mainstream on ‘Magma’
Review: YG Is ‘Still Brazy’ After All These Years
Review: Diarrhea Planet Are Only Half-Polished Turds on ‘Turn to Gold’
Review: The Kills’ ‘Ash & Ice’ Has Too Much Ballast to Weather the Storm
Review: Mitski Really Gives Emo Something to Write Home About on ‘Puberty 2’
Review: Paul Simon Is Still Filling Out a (Corporeal) Form on ‘Stranger to Stranger’
Review: Chicago Wunderkind Joey Purp Is Clear-iii’d as Ever on ‘iiiDrops’
Review: Brandy Clark Saved the Hits for Herself This Time on ‘Big Day in a Small Town’
Review: Fifth Harmony’s ‘7/27’ Is Sadly Not All That Worth It
Review: Big Thief Are Halfway to a Low-Strung ‘Masterpiece’
Review: Ariana Grande Asks Why We’re Wearing That Stupid Man Suit on ‘Dangerous Woman’
Review: William Tyler’s Instrumental Folk Is History on ‘Modern Country’
Review: Tegan and Sara Write the Pop Album They’ve Earned on ‘Love You to Death’
Review: Kvelertak Grow the Black-Metal Family Yggdrasil on ‘Nattesferd’
Review: PUP Proclaim ‘The Dream Is Over’ But Proudly Welcome the Nightmare
Review: This Is a Long Drive for Car Seat Headrest on ‘Teens of Denial’
Review: The Hotelier’s ‘Goodness’ Is Awfully Modest About Its Greatness
Review: Twin Peaks Mature Like Billion-Dollar Babies on ‘Down in Heaven’
Review: Chance the Rapper Turns Atheists Into Believers on ‘Coloring Book’
Review: ‘Colleen Green’ Wants to Be Your Joey Ramone on Her New EP
Review: Meghan Trainor Justifies Her Uncanny-Valley-Girl Pop on ‘Thank You’
Review: Marissa Nadler Paints With All the Colors of the Dark on ‘Strangers’
Review: James Blake Haunts Our Dreams on ‘The Colour in Anything’
Review: White Lung Claw Their Way to ‘Paradise’
Review: Modern Baseball Lay Their ‘Holy Ghost’ to Rest
Review: Come Test Death Grips and Get Sliced on ‘Bottomless Pit’
Review: Radiohead Gracefully Submerge Into ‘A Moon Shaped Pool’
Review: Jessy Lanza Does Retro-Futurism Proud on ‘Oh No’
Review: Aesop Rock Won’t Shut the Hell Up on ‘The Impossible Kid’
Review: Four Decades In, Wire Are Hardly Frayed on ‘Nocturnal Koreans’
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