Review: The Ready Set goes for gold
Released just in time for the remainder of spring and summer, The Ready Set’s fourth album will impress listeners.
Released just in time for the remainder of spring and summer, The Ready Set’s fourth album will impress listeners.
The Belgian band’s fourth album, “What You Need,” boasts a varied and exciting electronic sound that is only pulled down by ill–thought-out vocals.
As a whole, the album has several ups and downs, but the wild genre shifts actually work in the group’s favor. The full album may not be as popular as “7 Years” has become, but it does have other tracks worthy of attention.
Even if every listener hasn’t experienced the trifecta of feelings The Lumineers portray in this album, the band paints such a vivid picture through the imagery in its lyrics that anyone can relate.
Weezer has definitely made some changes to its sound but surely did not disappoint. Although summer is not yet here, listeners may be fooled as they kick back and give the album a listen.
The Seattle-based feminist pop-rock quartet revels in its ’90s-punk, Riot grrrl stylings, enthusiastically wearing its old-school influences on its sleeves. This is ultimately what makes “Lost Time,” the group’s third album, as enjoyable as it is.
Zayn has done a complete 180 on his first studio album as a solo artist. The album isn’t filled with cheesy love songs, but rather with songs that are more soulful and emotional.
“Beautiful Lies” is a 14-track album that tests Birdy’s vocal ability more than anything else in her music career thus far.
After an almost 10-year break, American singer and songwriter Gwen Stefani released her third solo album, “This Is What the Truth Feels Like,” on March 18.
3 Door’s Down’s signature 2000s rock-band style is unmistakable on its previous albums, and “Us and the Night” is no exception.
Lamar is one of the few artists in the music industry who truly captures the raw emotions and difficulties of living in a system of oppression.
Much of the album sizzles with a popping energy courtesy of Garratt’s piercing falsetto and an inclination toward a style that’s constantly changing.