album

Ariana Grande’s new album Sweetener exemplifies the new era of complete, unfettered self-confidence in female pop artists.

it doesn’t matter so much whether the rapper puts on a good show or is even visible, as long as they are present to wave the crowd through their greatest hits.

Niall Horan brought his humble Irish charm to Mountain View last Saturday on the Bay Area leg of his “Flicker World Tour.”

The Sleeping With Sirens’ show was definitely not chill, as the band attempted — and failed — to broach a range of serious topics through its music.

The members of the Decemberists do their old sound of country pirate folk music significantly better than whatever this new ‘80s synth phase is.

Over the course of the DeCal, the facilitators make their way through Drake’s discography, taking about a session and a half to discuss the lyricism, cultural relevance and unique qualities of each of the albums.

Head In The Clouds nails the carefree summer feel, and nostalgic sounds feature heavily. It’s a low-stakes, passably entertaining pop-rap album.

Because of the small number of component parts, the songs on The Switch end up feeling tangled and minimal at the same time.

While the upbeat electronic melodies of the Montreal-based artist’s first full-length album, A Taller Us, aligns the LP with synth-pop, Meditations I adopts a decidedly more subdued tone.

The rising musk of too many warmed-up bodies bopping to ultra-dance-y bass beats was the textbook sort of feel-good, midweek redemption that British synth-pop band Years & Years delivered.