Steve Lacy – Oh yeah? Album Review: A Bold Reinvention That Surpasses Gemini Rights
Steve Lacy pulls off a bold, genre-blending reinvention with Oh yeah?, but two average tracks keep it from being a flawless follow-up to Gemini Rights.
Steve Lacy pulls off a bold, genre-blending reinvention with Oh yeah?, but two average tracks keep it from being a flawless follow-up to Gemini Rights.
Tory Lanez splits his comeback into a sharp cinematic rap triumph on Disc 1 and a sleepy, generic R&B disaster on Disc 2 — buried under 23 tracks of bloat.
Gracie Abrams delivers a handful of strong songs buried under a sleepy, overproduced mess that feels like a watered-down Olivia Rodrigo clone.
Kelela delivers the ultimate antidote to 2026’s bloated R&B with new avatar — a lean, futuristic shoegaze-gothic masterpiece where her heavenly vocals cut through distortion like a blade.
Future delivers a painfully bloated, unfocused solo project that feels more like a rushed cash grab than a real artistic statement.
Ken Carson drops the best-produced rage album of the year, but it’s dragged down by too much filler and unnecessary length.
Madonna delivers a fun, nostalgic dancefloor return on Confessions II, but a bloated 16-track runtime and repetitive hooks keep it from becoming the triumphant comeback it desperately wants to be.
Ryan Beatty delivers a beautifully produced but frustratingly static album on Sweet Fortune, choosing gentle minimalism over the emotional tension and color his songwriting deserves.
Muse deliver a cinematic, emotionally charged cosmic reinvention on The Wow! Signal, trading political bombast for personal vulnerability while fusing space rock, synth-wave, and French house into a thrillingly ambitious statement.
YG attempts a mature reinvention on THE GENTLEMEN’S CLUB but ends up with a disjointed identity crisis, jumping between G-funk, R&B, and cinematic moments without ever finding a clear direction.