Ethel Cain’s “Perverts” and the Sanctity of the Profane
Ethel Cain does not return so much as she resurrects. In her sophomore album Perverts, Cain presents a reckoning—a blood-warm,…
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Hozier’s ‘Unreal/Unearth’ is a Magnum Opus of Intellectual Pop
Hozier’s third studio album, Unreal/Unearth, is a magnificent manifestation of Hozier’s growth and the signature brand that the Irish singer-songwriter…
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Olivia Rodrigo Has the GUTS to Tread the Line Between Girlhood and Womanhood
Adulting is tricky; we must define ourselves within the bounds of society’s expectations, navigate newfound independence, and experience various pivotal…
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Midnights Speaks for the Millennial White Woman
The first time I heard Taylor Swift’s Midnights, I thought the universe was playing some kind of cosmic joke on…
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Storytelling in Preacher’s Daughter
“These crosses all over my body remind me of who I used to be,” sings Ethel Cain in the introduction…
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Taylor Swift’s ‘Miss Americana’: A Layered Look Into Her Career and Life
For as long as I can remember, I have been a fan of Taylor Swift. She was the first musician…
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Petals for Armour: The Importance of Letting Hayley Williams Go Solo
Paramore fans have anxiously awaited the release of lead vocalist Hayley Williams’ solo album, Petals for Armour, since she announced…
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Review: Daniel Caesar’s Case Study 01
The R&B soul act’s second album, a contemplative piece on love and forging an identity after love, betrays Caesar’s aimlessness. …
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When an Album Sits near Death
It’s weird to talk about closure when grief is still palpable. It’s weird to talk about finality when something is…
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DAMN. THIS IS SATIRE BY KENDRICK LAMAR
While you may not have watched the Grammy Awards this past weekend (24% fewer of you did than last year…
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