Ian Fredrickson

“Dicks” is offensive, distasteful, alienating and pure fun. While it is certainly not for everyone, those who are down to watch an absurdity-filled work will certainly be pleased with what they find.

Petras’ debut LP Feed The Beast is largely heartless and, even worse, forgettable – a far cry from the artist’s otherwise compelling catalog.

Where 1,000 Gecs shined (or failed, depending on who’s asked) in its disjointed nature, 10,000 Gecs commits to a much more solid punk rock throughline in its tracklist.

Boasting her archetypal bursts of arpeggios during each song, Spektor was an entrancing one-woman show.

Overflowing with genius-level musicality and inquiry into feminine desire, the LP intellectually stimulates yet remains entertaining and danceable — well worth the lengthy wait.

Largely avoiding the silliness of mainstream horror paragons like “Ma,” all while denying audiences the societal ambiguities of films such as “Hereditary” and “Us,” “Knock at the Cabin” once again showcases the director’s downward trajectory.

M.I.A.’s impact on the pop music ecosystem cannot be overstated. The London-born, Sri Lankan Tamil musician’s distinctive sound has seeped its way into the mainstream, and for good reason.

While Asphalt Meadows is by no means perfect, it serves as proof that Death Cab for Cutie is here to stay.

Lacking the auditory depth that made her 2017 single “Alaska” a hit, much of the LP feels one-note, both in the literal and figurative senses.

Filled with folk-rock perfection, the dual album makes it extremely clear that the musician has found her songwriting sweet spot.