Reviews | Albumism

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Celebrating our love affairs with albums past, present and future

George Michael’s ‘Listen Without Prejudice Vol. 1’ Resurfaces in Glorious Form | Album Review

Michael’s second studio album has held onto its solemnity and musical might, elements continuing to resonate with audiences, even today.

Beck’s Vibrant ‘Colors’ is a Masterwork of Pop Perfection | Album Review

An athletic set of songs that carries its joy in its music and mood effortlessly, Beck’s terrific thirteenth album just sounds so damn good.

Complementary to what came before, but with its spirit stirred by the moment, Amos' fifteenth proves that she's still a thrill.

Moyet’s ninth studio LP welcomes age and experience as artistic cogency that wrecks (and resets) the systemic rule of retreat, return and persist.

As their ninth studio LP proves once again, Saint Etienne have always had a way of turning the ordinary into something spectacular.

The band’s seventh album blends dynamic live instrumentation with a pioneering DIY studio style that touches upon a wide range of musical inputs.

The group’s stellar ninth studio album expands their already-rich discography that any number of today's bands can (and should) take cues from.

Gorillaz’ fifth studio album mixes a variety of dance and urban phonics into a tasty gestalt, its aural flavors shifting from song to song.

From the LP's acerbic, wonderfully weird lyrics to its variegated songs, Debbie Harry grounds it all in her idiosyncratic, compelling vocals.

‘Cinematography II’ represents a modern day musical benchmark all its own, evidence that Bright Light Bright Light is here to stay.

‘Be Myself’ is an affirmation of Crow today as a woman and artist bridging the traditional and modern sides of the rock genre she loves.

The band’s first album since 2010’s ‘Rock Dust Light Star’ is funky, sometimes shrewd, and occasionally surprising. A grand return to form, indeed.