Miley Cyrus continues to be provocative on SHE IS COMING. Her grandstanding works because there are couple of very good songs here, but it’s Miley Cyrus herself that is consistently the main reason for its intrigue.
Despite early tracks being disappointing, Madonna’s Madame X is Madonna on top.
Carly Rae Jepson’s Dedicated sounds like an exercise in box ticking.
Within this over-long 16-track dual album, there is a six-track EP of clearly personal and wonderfully performed songs, that gets lost in the chaff.
Lolo Zouaï has created a frequently beautiful and satisfyingly three dimensional pop record and High Highs to Low Lows is an unexpected delight.
By releasing half a record, has MARINA (formerly Marina and the Diamonds) blemished her otherwise strong track record?
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? is one of the most thoughtfully creative and self-possessed albums of the year.
Self Esteem’s Compliments Please is a positive indication that creative, labour-of-love alternatives to production line pop is still very much alive and well in 2019.
Good at Falling cracks open the door and successfully allows The Japanese House to make an impressive and compelling connection.
Ladytron is one of Ladytron’s most essential records and one that builds on their surprisingly long tenure as one of the most influential electronic bands of the last 20 years.