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Review: Baroness Rebound From Tragedy With a ‘Purple’ Haze
Review: R. Kelly Crowns Himself in More Than One Way on ‘The Buffet’
Review: Archy Marshall’s Alter Egos Are Moody and Mature on ‘A New Place 2 Drown’
Review: Sunn O))) Return to Their Primordial Origins on ‘Kannon’
Review: Lizzo Is Primed for WRRRLD Domination on ‘Big GRRRL Small World’
Review: Coldplay Are All Too Eager to Exit Gracefully With ‘A Head Full of Dreams’
Review: Lil BUB’s Comeback Album ‘Science & Magic’ May Be Her Storied Career’s Best
Review: Foo Fighters’ Best Record in Years Is the Tragedy-Stricken ‘Saint Cecilia’ EP
Review: Parquet Courts Art for Their Suffering on ‘Monastic Living’ EP
Review: Junglepussy Teaches Us How to Get ‘Pregnant With Success’ in Ten Easy Steps
Review: Pop Is Rebuilt in SOPHIE’s Own Mysterious Image on ‘PRODUCT’
Review: Age Ain’t Nothing But a Bummer for Adele on ’25’
SPIN Electronic Report: Special Request Evokes Pirate Radio, Hunee Imagines Vibrant House
Review: Ty Dolla $ign Lays All Doubts to Rest on His Long-Awaited ‘Free TC’
Review: One Direction Are Directionless on Inconclusive Finale ‘Made in the A.M.’
Review: Sorry Seems to Be the Easiest Word for Justin Bieber on ‘Purpose’
Review: Sadie Switchblade Is Rock’s Most Beautiful Loser on Dyke Drama’s ‘Tender Resignation’ EP
Review: Oneohtrix Point Never Puts Us Through Puberty Again on ‘Garden of Delete’
Review: Young Thug Continues to Turn Rap Into an Unsolvable Maze on ‘Slime Season 2’
Review: Rustie Reimagines Maximalism on ‘EVENIFUDONTBELIEVE’
Review: GoldLink Explains It All on ‘And After That, We Didn’t Talk’
Review: Eric Church Retreats From the Dark Side on ‘Mr. Misunderstood’
Review: Grimes Preaches Wonderful and Horrifying Hyperspace Gospel on ‘Art Angels’
Review: ‘Montage of Heck: The Home Recordings’ Is a Reminder That Kurt Cobain Is Dead
Review: DJ Paypal Makes Footwork Funny on ‘Sold Out’
Review: We’ve Awaited Kate Boy’s Debut ‘One’ Since the Midnight Sun
Review: CeeLo Reminds Us He Predicted Meghan Trainor on the Gauche ‘Heart Blanche’
Review: The Ever-Inventive f(x) Are Gunning for World’s Greatest Pop Group on ‘4 Walls’
Review: Ellie Goulding Accepts Her Pop Mission on ‘Delirium’
Review: Guitars Are the Only Confessions on Laura Stevenson’s ‘Cocksure’
Review: Carrie Underwood Sells Outlaw Country Its Soul Back on ‘Storyteller’
Review: 5 Seconds of Summer Rewrite Pop-Punk Into Boy-Band History on ‘Sounds Good Feels Good’
Classic Reviews: Pulp, ‘Different Class’
Review: Rabit Finds the Beauty and Horror in Religious Ritual on ‘Communion’
Review: DJ Khaled Epitomizes the Small-Stakes Rap Event Album With ‘I Changed a Lot’
Review: Wolf Eyes Will Still Flambé Your Soul on ‘I Am a Problem: Mind in Pieces’
Review: Horrendous Become the Springsteen of Death Metal on ‘Anareta’
Review: Ty Segall Thrives on His Lack of Self-Editing Once Again on Fuzz’s ‘II’
Review: Beach Slang Put Out an APB for the ‘People Who Feel Like Us’
Review: Joanna Newsom Doesn’t Need a Triple Lindy to Make a Splash on ‘Divers’
Review: D.R.A.M. Cha Chas His Way to Sing-Rap Ecstasy on ‘Gahdamn!’ EP
Classic Reviews: Smashing Pumpkins, ‘Mellon Collie and the Infinite Sadness’
Review: VHÖL Rip the Flesh From Thrash’s Corpse on ‘Deeper Than Sky’
Review: Christine and the Queens Share the Crown With Everyone on Self-Tilted Debut
Review: Beach House Pull Their Weightless Compositions Back to Earth on ‘Thank Your Lucky Stars’
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