Victoria Monét captures true nostalgia by simply tapping into the softness of her lovely vocal and honest-to-goodness quality composition.

Yves Tumor taps into the power of 1980s alt-pop with Praise a Lord Who Chews... A stunning piece rampant with fantastical imagery.

Another year. Another 100 Favorite Albums. 2021 was rough. But music is everlasting.

With Ledisi Sings Nina, the artist offers an inspired homage to one of the most important musical figures in history.

With his debut album, MONTERO, Lil Nas X proves that away from the spectacle he is an emotive, introspective artist.

Despite Kanye West's need to self-congratulate, Donda is at times hauntingly beautiful, showcasing his surprising (if sparing) humility.

Despite being a decent album, Taylor Swift's evermore just doesn't leave a lasting impression on me.

After listening to about half of Doja Cat's Planet Her, I'm left wondering what's the hype behind this again?

Hoo-boy! It's been a long time since I've physically turned off an album before it reached the end.

Tony Bennett gets Lady Gaga to temper her ostentatious stage personality to bring some warm jazz with Love For Sale.

The best way to describe H.E.R.'s Back Of My Mind is "human." Unapologetically and openly human.

Olivia Rodrigo's Sour, while earnest in its teen angst, doesn't resonate with me as it will with a much younger, less experienced audience.

Jon Batiste's Grammy-nominated We Are is a pretty soul album with all the polish but very little of the grit.

When I eventually sat down to really evaluate Silk Sonic's debut album, I wasn't surprised, but I definitely wasn't as cynical.

Billie Eilish's latest album, "Happier Than Ever" is decent but ultimately uninteresting.

Hiatus Kaiyote takes me on a trip to the stars with their latest Mood Valiant. I never want to come back.