Charli XCX has a voice that’s inescapable. The English born pop star rose to fame in 2013 after lending her vigorous vocals (and serious songwriting skills) to Swedish DJ duo, Icona Pop, on their hit single “I love It,” and again the following year on rapper Iggy Azalea’s “Fancy.” That same year, Charli XCX’s first international solo hit, “Boom Clap,” was released as the lead single off “The Fault in Our Stars” album. Charli XCX’s signature style is a unique mixture of pop, punk, and electro, and that’s mainly what helps her stand out from the other, overwhelmingly formulaic, pop acts of today. With her latest mixtape, “Pop 2,” Charli XCX presents a vision of the future of pop music: a deluge of exceptional collaborations, unconventional melodies, and cool, relatable lyrics. Standouts include opener “Backseat” (ft. Carly Rae Jepsen), “Out of My Head” (ft. Tove Lo and ALMA), and “Track 10.” Overall, “Pop 2” offers a strong start for pop music as we head into 2018 – and hopefully, other pop artists can keep up the pace.

Miley Cyrus is no stranger to playing a persona. She achieved stardom as a pre-teen playing a secret pop star on the widely successful Disney Channel show “Hannah Montana” and went from “Party in the U.S.A.” to appropriating hip-hop culture for profit in the blink of an eye. Now, Miley seriously wants you to forget the past few years of her career and the whole 2013 VMAs debacle because she is “so not that.” On her latest album, “Younger Now,” Miley Cyrus denounces her “Bangerz” era and finds peace with herself in the aftermath of a turbulent half decade. But what happens when the artist lifts the persona but is left with something so bland and uninspiring, you almost miss the cringe-worthy twerking? Do we then acknowledge that the drama of a public meltdown (and, again, appropriating another culture for years before chucking it like leftover sushi when it no longer generates media buzz or revenue) is the art that sells tickets to a world tour – not the music itself? Although Miley Cyrus claims to have found herself personally, musically, she’s got a long road ahead of her. Miley Cyrus has a powerful voice, both literally and figuratively (her philanthropic efforts are incredible for someone her age, and she’s even founded her own organization to fight injustice facing homeless youth and LGBTQ youth called The Happy Hippie Foundation), but that voice seems lost in her transition from persona. The opening title track begins with “Feels like I just woke up.” After listening to the album in it’s entirety, full of lazy lyrics and flat musical production, we are left wondering if she’s even bothered to get out of bed yet.

Critically acclaimed, French-Canadian indie-rock band, Arcade Fire, has released their fifth studio album, “Everything Now.” Since their debut back in 2004 with “Funeral,” Arcade Fire has taken the industry by storm, winning basically every music award imaginable and catapulting indie sounds into the mainstream conscious. With each new album’s release, Arcade Fire’s popularity, influence, and talent grows. But with this latest venture, the band nose dives from the pedestal they were put on. “Everything Now” lacks the lyrical, emotional, and auditory depth Arcade Fire is known for – what made them lovable underdogs, misfits, and self-proclaimed “weirdos” in the first place. The band’s ability to create a remarkably stunning and cohesive album is practically thrown out here (or perhaps gets weighed down entirely by the pressure to produce another Arcade Fire masterpiece.) Either way, the album’s overall sound delivers as “The World’s Lamest Disco,” from the title track’s ABBA-inspired cords (sadly the best track on the album), to the disjointed, painfully clichéd “Peter Pan,” to the album’s lead single, “Creature Comfort” (which is essentially an anti-suicide message that somehow comes off as self-centered thanks to a line about their music preventing a fan’s suicide), Arcade Fire is in a state of artistic crisis. For a band that has always stood for something, “Everything Now,” tries to stand for too much – and winds up standing for nothing.

The master of melancholy, Lana Del Rey, is back with “Lust for Life,” her fifth studio album. Since Del Rey exploded onto the music scene in 2011 with her viral music video for “Video Games,” she has captivated our imaginations – an enigma wrapped in the American flag, old Hollywood glamour, and clinical depression. With “Lust for Life,” Del Rey continues her legacy, filled with the cinematic stylization and vintage pop culture allusions her fans have grown to love (and expect) from her music. The album is beautifully composed, lending her luscious, romantic vocals to hip hop beats, protest songs, and youthful anthems alike. Opener and lead single, “Love,” is as dreamy as it is empowering; while “In My Feelings,” is as cool as Del Rey herself. Joining her on the album’s title track is The Weeknd, while on “Beautiful People Beautiful Problems” Del Rey looks at the world from above with Stevie Nicks. Overall, “Lust for Life” is as heartbreaking of an album as it is hopeful – a statement piece for an artist so intricately associated with images of Americana during our current national crisis of identity.

Love ‘em or hate ‘em, Coldplay has released a companion EP to their 2015 album, “A Head Full of Dreams.” On the five-track EP dubbed, “Kaleidoscope,” Chris Martin and crew deliver new songs, as well as a live version of their popular Chainsmokers EDM collaboration, “Something Just Like This,” recorded during the Tokyo leg of their massive world tour. Opener “All I Can Think About Is You” is an excellent track for any true Coldplay fan to enjoy, starting off somber and mellow, then, after a piano riff-turn, bursts open with guitar and orchestral accompaniment, as many classic Coldplay hits do. “Miracles (Someone Special) ft. Big Sean” is also another great jam for Coldplay fans with a sweet message. In “ALIENS,” Martin tackles the European migrant crisis; while closer “Hypnotised – EP Mix” reminds us, once again, why a recent study found that Coldplay is the “most sleep-inducing band.”

Fifteen years after Lisa “Left Eye” Lopes was involved in a fatal car crash while filming a documentary in Honduras, the remaining members of the iconic 90’s R&B trio – TLC – “Chilli” Thomas and “T-Boz” Watkins, have released their fifth and final TLC album with the help of a Kickstarter campaign. In early 2015, they asked fans to help finance the project by donating at least $5 to reach their goal of $150,000. In less than 48 hours, they surpassed their goal and become the “fastest most funded pop project in Kickstarter history,” raising a total of $400,000. Clearly, the group that fostered feminist anthems like “No Scrubs” and “Unpretty,” are still relevant today. TLC delivers as a perfect farewell album: from opener “No Introduction” (“We don’t need no scrubs chasing waterfalls”), to empowering tracks like “Haters” and “Perfect Girls,” the album is a celebration of their history (“Way Back ft. Snoop Dogg”), their legacy (“It’s Sunny,”) their work as champions of social justice (“American Gold”), and, most heartfeltly, their fans (“Joy Ride.”) Chilli and T-Boz may be saying goodbye to new TLC music, but they’re not splitting up – they’ve promised their devoted fans that they will continue to perform together for as long as they can.

It’s hard to believe that Calvin Harris titled his debut album “I Created Disco,” considering the Scottish DJ was born a full decade after the genre’s demise. But that’s exactly what he did and it turned out well for him: he’s now the highest-paid DJ in the world. Since his debut in 2007, Harris has turned out hit after hit, collaborating with big name artists like Rihanna, Ne-Yo, Florence Welch, Rita Ora, and Ellie Goulding, just to name a few. For a DJ who headlined Coachella last year; who has the most successful Las Vegas residency today, and more number one hit singles than you can name, his latest album, “Funk Wav Bounces Vol. 1” really blows. Besides the album’s lead single “Slide” featuring Frank Ocean and Migos, which was released back in February and became (arguably) the anthem of Spring Break 2017, there’s not a single track on the album of note. Even a deluge of artists like Ariana Grande, Pharrell Williams, Future, Khalid, Travis Scott, Snoop Dogg, John Legend, Nicki Minaj and Katy Perry can’t mask the phony “funk” mixes and lame, tropical-themed lyrics that would’ve gone over quite well with the Fyre Festival crowd. But the absolute worst thing about the album lies in it’s title: with “Funk Wav Bounces Vol. 1,” Harris is undeniably promising another installment of overproduced, over-saturated, star-studded garbage. http://calvinharris.com/

Southern California sisters, Este, Danielle and Alana Haim who make up the soft rock group, Haim, are back with their sophomore album, “Something to Tell You.” Haim, the breakout band of 2013, who charmed listeners with their laidback, quirky, SoCal style, caught the eye – or rather – ears, of The Godmother of Rock and Roll, Stevie Nicks, as well as pop music mogul, Taylor Swift (who they opened for on select stops of her mega-successful 1989 World Tour). The sisters grew up playing a diverse collection of instruments, and their musical proficiency is always on full display (check out a fantastic, live version of “Right Now” below to see how seamlessly they can switch instruments in a single song). Haim sounds unlike any other band out there, and “Something to Tell You” is a solid addition to the band’s growing opus. Highlights include playful opener “Want You Back;” the soulful “Nothing’s Wrong;” the bouncy “Little of Your Love;” and the stark, powerful track “Right Now.” In their short time in the spotlight, Haim has gathered somewhat of a cult following, and fans of their first album, “Days Are Gone,” will not be disappointed in the follow-up (or the return of Este’s beloved “bass face.”) Check out Haim’s website here: http://haimtheband.com/

New Jersey native, Jack Antonoff, has finally released, “Gone Now,” the highly anticipated Bleachers sophomore album. Antonoff began Bleachers as a side project while on tour and enjoying success as the lead guitarist for the indie-pop band, fun., who are best known for three hit singles in 2012: “We Are Young,” “Some Nights,” and “Carry On.” For Bleachers, Antonoff released a debut single, “I Wanna Get Better,” in early 2014 which became an instant chart topper. Since his Bleachers debut album, “Strange Desire,” Antonoff has been busy co-writing and producing for major artists like Taylor Swift and Lorde, as well as moved out of his parent’s house (at the age of 27) to live in Brooklyn with girlfriend Lena Dunham. With the release of “Gone Now,” Antonoff takes center stage once more. The album – which is about transitioning from adolescence into adulthood (and ultimately saying goodbye to childhood) – is filled with 80’s inspired melodies and synths, reprises, and spoken word interludes. There are a few highlights in “Don’t Take The Money” and “Everybody Lost Somebody,” but overall, the album feels one-noted. But don’t feel too bad: Antonoff has had some major successes in 2017, most notably, his producing and co-authorship of Lorde’s latest album, “Melodrama.” Sometimes your art soars; other times, it may fall flat. http://www.bleachersmusic.com/

It’s no secret that Lorde is wise beyond her years. When she penned her debut single, “Royals,” she was fifteen years old; sixteen when she achieved international recognition as the leading musical talent of her generation (shortly before his passing, David Bowie took her hands in his and told her that she “sounds like tomorrow.”) With her 2013 debut album, “Pure Heroine,” the world was introduced to not only a gifted songstress, but a peculiar person who somehow understood the complexities, ironies, triumphs, and tragedies of one’s teenage years – all while still living it. To say that there was pressure for the young artist to achieve that same level of success for her next project is an understatement. For four years, the then teenager obsessed over her highly-anticipated follow-up. During this time, she moved back home to New Zealand, experienced her first heartbreak, tried to be a normal teenager, met Jack Antonoff of Bleachers and fun., moved to New York to record her album in his and Lena Dunham’s Brooklyn Brownstone, and ceberated her 20th birthday. The culmination of all this is “Melodrama,” a powerful look into young adulthood. The album centers around a raucous house party and it’s partygoers – a microcosm of all the elation and devastation experienced during one’s later teenage years. “Melodrama” is Lorde transitioning into adulthood. In the album’s first single, she gives herself the “Green Light” to let loose for one night before picking up the pieces of a failed relationship and moving on the next morning; on “Liability,” she wonders if she’s too much for other people, even unworthy of friendships and love. The album is beautifully produced by Antonoff – staying true to Lorde’s aesthetic and breaking all the conventional rules of pop music by mixing house piano with banger beats. “Melodrama” is an album about discovering one’s place amongst all the noise and chaos of the world – especially young women fighting for autonomy in a society where their voice isn’t always taken seriously.

Check out Lorde’s website here: https://lorde.co.nz/

The last time Fleet Foxes released new music, it was 2011 and “planking” was a thing. Since then, a lot has changed: the US has gone through not one, but two divisive Presidential elections; the band’s drummer, Josh Tillman, left to start a snarky, yet successful solo career as “Father John Misty;” and it’s lead singer, Robin Pecknold, moved to New York City to complete an undergraduate degree at Columbia University. Fans have been anticipating new music since 2013, when the group uploaded a teaser pic on their Facebook page, which has since been deleted. It’s almost hard to believe that we’ve been waiting six years for a third Fleet Foxes album – almost. As quickly as their music blew up across college campuses (and even more vigorously in Europe) they were gone – like footprints covered by snow. Winter has thawed to reveal “Crack-Up,” an astonishing work of art: complex, subtle, devastating, introspective, and celebratory all at once. The sound is fresh, yet distinctly Fleet Foxes – mixing folk with New Age and Eastern influences. “Crack-Up” requires just as much patience to listen to as it – undoubtedly – needed to create. But once you wade in, the music breaks over you like a wave, and you’re swept into a new, but familiar space. The album plays host to many memorable moments, including the 9-minute “Third of May / Odaigahara,” which takes a sudden, sorrowful turn roughly 3 minutes in; “Kept Woman,” and “Fool’s Errand,” just to name a few. “Crack-Up” is a classic in the making, and a welcome addition to Fleet Foxes’ small, yet stunning oeuvre. Fleet Foxes is now on tour! Check out their tour schedule here: http://fleetfoxes.co/tour

The Leading Lady of Pop, Katy Perry, is out with her fourth album, “Witness,” a jumble of lackluster, out-of-touch singles trying to pass off as a cohesive pop album. Perry rose to prominence in the early 00’s when teens would download the latest chart-topping single off iTunes for .99 cents and play it back on their iPod Shuffles. Back then, it was all about the single, and Perry was the artist on top. Now, in the era of music streaming, the album is making a comeback, and it seems that Perry’s attempt at a throughline (empowerment and “wokefullness,” a timely motif) is overshadowed by cringe-worthy lyrics and tired, jumbled metaphors. That’s not to say Perry isn’t a talented performer, but when it comes to creating an album (as opposed to a catchy single) a certain subtlety is required to keep the album buoyant- and subtle, Perry is not. “Witness” is weighed down by clichéd lyrics and overproduced styles that are too much – even for pop music. The album’s first single, “Chained to the Rhythm,” (which was first released through a PR stunt of singing disco balls literally chained to park benches in Brooklyn) and accompanying music video, sets the stage for the album’s heavy-handedness. Ironically, on the one track that fans and critics would’ve allowed, even welcomed, an overzealous approach, Perry misses the mark completely. “Swish Swish,” Perry’s highly anticipated Taylor Swift diss track featuring Nicki Minaj, is a dull shot in the dark. Perry has been building up this rebuttal-track for years, and what should have been an album highlight (and tabloid fodder) winds up being just as lame and insignificant as the feud that inspired it. Perry’s lack of success off her fourth album and her awkward promotion of it (see: video of Katy Perry surprising fans but no one recognizes her/knows who she is/really cares) shows just how out-of-touch she is with the genre. In the wake of artists like Lorde and Beyoncé who have transcended pop music from catchy gimmicks made for radio to an all out, soul-bearing artform, Perry has stalled – chained to the rhythm of the prior decade.

Rebranding is always a risk, especially if your career is skyrocketing. But that’s exactly what Nick Murphy (formerly performing under the stage name, Chet Faker) did for his latest EP, “Missing Link.” The Australian singer/songwriter has garnered a great amount of success in the span of his short career: from a slow and steamy cover of Blackstreet’s “No Diggity” that went viral, to the critical acclaim of his first few albums, EPs and singles, branding experts across the board would strongly advise the budding artist to not ditch the stage name. And yet, pour one out for Chet Faker. The surprising turn for the artist was announced in a tweet late last year. Now, with “Missing Link,” Murphy’s first EP under his real name, Murphy prefaced its release to fans by calling it “a bridge between what’s out and what’s coming.” Opener “Your Time (feat. KAYRANADA)” will please any Faker fan looking for a fix, albeit it’s a bit heavier and more pulsating than a standard Faker track. The one and a half minute interlude that follows (“Bye”), is wholly unnecessary, while “I’m Ready,” which comes after, feels even more House than the opening track. Closing track, “Weak Education” is the most sonically interesting and experimental of the five track EP. Overall, “Missing Link” is a complete departure from Murphy’s former moniker, but that’s exactly what he wanted. Whether his fans will indulge the change is yet to be seen.

If there’s any early 00’s pop punk band that has survived well into the next decade, it’s Paramore. While similar acts like Evanescence, Avril Lavigne, and Panic! at the Disco have largely faded into memory along with studded belts and skinny ties worn over graphic tees, Paramore has steadily built an empire of solid music and adoring fans. And that’s largely thanks to the lightning bolt of talent that is Paramore lead singer, Hayley Williams. (With her electrifying star quality, she could sing and dance her way through the dictionary and still sell out stadium tours.) Williams was just 14 when the band formed back in ‘04, and, for over a decade, she has grown-up alongside her fans – from a plucky, suburban emo kid to that cool, fun, mysterious girl you meet at a party who deleted her Facebook account, like, six years ago. Paramore was playing on the radio as their fans navigated through high school, went to college and eventually found jobs (or more likely, a slew of unpaid internships). Williams has also made herself more relevant since the pop punk craze died down by lending her vocal talent to numerous modern artists, such as when she teamed up with Chvrches (who [Fun Fact] I once ran into at an Urban Outfitters in Georgetown) on their track “Bury It.” Although Paramore’s style hasn’t changed as drastically over the years as, say, the cut and color of Williams’ hair, much less “early aughts angst” fills their albums these days. On “After Laughter,” the first album after the band’s three-year hiatus, the lyrics are still punk, but the pop is much poppier. On lead single “Hard Times,” try not to crack a smile at the playful 80’s vibe or Williams dancing, even though the lyrics she’s belting are about her own struggle with depression the previous year. The album isn’t perfect: it certainly has it’s highs (check out the video for “Told You So” with it’s serious Wes Anderson vibe) and lows (“26,” “No Friend,”) but that’s to be expected from a band of this generation, struggling to come to terms with adulthood and all it’s bumps along the way. Paramore proves that coming to terms with yourself during life’s first big challenges isn’t easy – especially if you’re the type who sits at work reminiscing about your teenage years when you’d ditch homeroom and chill with your clique at the skatepark – but we all make it through, somehow.

Animal Collective, the experimental pop group who’ve become mainstays in summer music festival lineups over the years, has released a new 4-track EP, “Meeting of the Waters.” Recorded on the banks of the Amazon River as part of “Earth Works,” a Viceland documentary series exploring the impacts of deforestation, the EP is immersed in the natural melody of the Amazon Rainforest. Not to overwhelm the background, Avey Tare and Geologist take a step back – strumming soft and singing as if not to disturb any sleeping creatures concealed, just out-of-sight, by the dense rainforest. The 13-minute opener, “Blue Noses,” is the best example of the artists working with the noises of the Rainforest as found material, while the most upbeat track on the EP, “Man Of Oil,” features in the background excerpts of a woman speaking in a soft, indistinguishable language. The melding of the environment and raw instrumentation gives the EP an overall improvisational feel, as if you and your fellow weary travelers have set up camp for the night, and sing around the fire until daybreak.

The Queen of Hip Hop Soul, Mary J. Blige, is back with her 13th studio album: a tour-de-force, power-ballad brimmed, luscious autobiography that journeys through heartbreak, self-love, and redemption. Blige has never shied away from using her personal life as source material for her music. On “Strength of a Woman,” she pulls inspiration from her recent separation from longtime manager and husband, Kendu Issacs. Each track is better than the last: opener “Love Yourself,” featuring Kanye West, is not only an instant classic, but will be a staple of Spotify Breakup Playlists for years to come. Other standout guest artists include Quavo, DJ Khaled and Missy Elliott on “Glow Up,” a slow jam, hip hop track with biting lyrics. On “Strength of a Woman,” Blige may be down, but she sure as hell ain’t out. Hell hath no fury like a woman scorned.

Canadian singer-songwriter and indie music darling, Feist, is back with her latest studio album, “Pleasure.” Best known for that upbeat ditty you couldn’t get out of your head back in 2007 (which was featured in an iPod Nano commercial), Feist could’ve been a one-hit wonder. Fortunately for her, “The Reminder,” the album that featured her smash-hit “1234,” was actually really, really good. So when listeners got sick of every variation or parody of “1234,” from late night TV skits to children’s educational programming, there was plenty of good music for fans to fall back on. That was 10 years ago. Now, Feist has released her fifth studio album. And although no mega-tech corporations have featured her music in their ads for over a decade, she’s doing just fine. “Pleasure,” Feist’s latest LP, is a bit more rock and roll than her previous work, but still delivers as a solid addition to the Feist canon. Feist’s tone and lyrics have gotten harder as she’s gotten older, and this new-found edge is an unexpected, welcome change. “I’m Not Running Away,” is the best example of Feist’s classic, easy, textured jazz style, while the album’s title track and a song titled “Century” carry out the most overtly rock and roll tones. You may not hear her music every time you turn on the TV like in ‘07, but this latest Feist album has proven, once again, that she’s not fading into obscurity anytime soon.

North Carolina indie pop duo, Sylvan Esso, recently released their sophomore album, “What Now.” Their 2014 self titled debut LP, which featured the hit, “Hey Mami,” put them at the top of every indie music lover’s playlist. On “What Now,” singer Amelia Meath and producer Nick Sanborn have grown into their art, continuing with the snarks and style of their humor-heavy first album. Meath’s vocals, paired with Sanborn’s beats, are just as hypnotic this time around. The opening track, “Sound,” draws listeners in through it’s delicate layering, while the album’s centerpiece, “Die Young,” is the perfect mix of textured pop and bitterness.

Lifelong friends, singer and guitarist Chris Rehm and drummer Sean Hart, the New Orleans-based duo who make up Caddywhompus, have released their third studio album, “Odd Hours.” Over the course of their nine-year career, the duo keeps getting better. Because of their shared history, they have the same adolescent musical influencers, which you can unmistakably hear in their music to this day. Their lifelong friendship also allows the duo to take risks – risks that certainly pay off – like the quick, exaggerated tempo changes within songs that makes “Odd Hours” unforgettable. Highlights on the album include opener “Decent,” and “Waiting Room,” a dizzying, manic jam that throws the listener for a loop on multiple occasions.

DAMN. Kendrick Lamar dropped one of the most influential rap albums of this decade on Good Friday. The celebrated rapper, whose 2015 “To Pimp a Butterfly” won him a Grammy for “Best Rap Album” takes an introspective turn this time around, focusing on our most basic, primal elements, with song titles like: “BLOOD,” “DNA,” “PRIDE,” “LUST,” “FEAR,” and “GOD.” On DAMN. Lamar proves he is not only the most talented rapper around, but a masterful storyteller to boot. Lamar isn’t propagating old narratives, but rather, he weaves the building blocks of his life through breathless raps and unrelenting rhymes. Directly addressing those who criticized his lyrics on police brutality on To Pimp a Butterfly’s, “Alright,” Lamar digs down deep (“DNA”), exposing the contents of his history, as well as those of his haters. His talent in storytelling culminates in “DUCKWORTH,” the album’s mind-boggling closing track, and a story that’s stranger than fiction. Kendrick captivatingly sews together two strangers’ lives, leading up to a confrontation that could have ended in his father’s death at the hands of the future rapper’s producer. The album ends where it begins with “BLOOD” – the life Lamar would have led if his father was killed and his mentor incarcerated – as another victim of senseless gun violence.