Rebel Heart was introduced to the world with an indiscipline uncharacteristic of Madonna. Blame it on hackers who rushed out a clutch of unfinished tracks at the end of 2014, a few months before the record's scheduled spring release. Madonna countered by putting six full tracks up on a digital service, a move that likely inflated the final Deluxe Edition of Rebel Heart up to a whopping 19 tracks weighing in at 75 minutes, but even that unveiling wasn't performed without a hitch: during an ornate performance of "Living for Love," she stumbled on-stage at the BRIT Awards. Such cracks in Madge's armor happily play into the humanity coursing through Rebel Heart (maybe the hiccups were intentional after all?), a record that ultimately benefits from its daunting mess. All the extra space allows ample room for detours, letting Madonna indulge in both Erotica-era taboo-busting sleaze ("Holy Water") and feather-light pop ("Body Shop"). Although she takes a lingering look back at the past on "Veni Vidi Vici" -- her cataloging of past hits walks right on the edge of camp, kept away from the danger zone by a cameo from Nas -- Rebel Heart, like any Madonna album, looks forward. Opener "Living for Love" announces as much, as its classic disco is soon exploded into a decibel-shattering EDM pulse coming courtesy of co-producer Diplo. Madonna brings him back a few more times -- the pairing of the reggae-bouncing "Unapologetic Bitch" and Nicki Minaj showcase "Bitch I'm Madonna," their titles suggesting vulgarity, their execution flinty and knowing -- but she cleverly balances these clubby bangers with "Devil Pray," an expert evocation of her folktronica Y2K co-produced by Avicii, and "Illuminati," a sleek, spooky collaboration with Kanye West. These are the anchors of the album, grounding the record when Madonna wanders into slow-churning meditation, unabashed revivals of her '90s adult contemporary mode, casual confession ("I spent sometime as a narcissist"), and defiant celebrations of questionable taste. Undoubtedly, some of this flair would've been excised if the record was a manageable length, but the blessing of the unwieldiness is that it does indeed represent a loosening of Madonna's legendary need for control. Certainly, the ambition remains, along with the hunger to remain on the bleeding edge, but she's allowing her past to mingle with her present, allowing her to seem human yet somewhat grander at the same time.© Stephen Thomas Erlewine /TiVo

Korn remembered who they were just in time to forget it all again on The Path of Totality, an unexpected left turn into dubstep and all manner of dark electronica from the kings of nu metal. Unexpected this move may be, but not unnatural. Korn always emphasized texture over riffs, so shifting from a gray guitar grind toward claustrophobic electronic collage doesn’t induce shock, apart from the shock that the album actually works. Korn’s cast of collaborators -- notably the Grammy-nominated Skrillex, but also Noisia, Excision, Feed Me, and 12th Planet -- does not redefine the band’s character but rather reinterpret it, retaining the same tempos, the same creeping minor-key melodies and riffs, the same sense of enveloping angst that have been present since their 1994 debut. The difference of arrangement -- heavy on skittish drums and electro walls of assault -- has the curious effect of making Korn seem not adventurous but rather mature: the content of Jonathan Davis’ rants matter less than his tone, and the producers have folded his vocals, along with Munky’s buzzing guitar, into a web that feels like Korn even if it doesn’t strictly sound like any other Korn album, not even the industrial-funk of See You on the Other Side. Despite all the electronics, there’s no mistaking The Path of Totality as a Korn album...and one of their better ones to boot.© Stephen Thomas Erlewine /TiVo

Fronted by producer and mix engineer Sarah Tudzin—who has worked with bands like Slowdive, !!!, Porches and the Kills—Illuminati Hotties bounces between cartoony pop-punk and bedroom balladry on her band's third album. It's a rollercoaster that weirdly mirrors the up-and-down thrills and spills of modern life. "Pool Hopping" is irresistible power pop, outfitted with angular, jutting guitars and caffeinated rhythms, Tudzin's highly spirited attitude channeling both the Muffs and the Go-Go's. She adds a bratty taunt to her baby-doll voice for "MMMOOOAAAAAYAYA," a totally weird and wonderful track written after being rejected by a label for being too "glittery and cute." It's a mashup of New Wave and horror punk that slides easily into bubblegum pop. "Love me, fight me, choke me, bite me/ The DNC is playing dirty/ Text me, touch me, call me daddy/ I'm so sad I can't do laundry" she sneers. "An ex-terrestrial, I used to be grounded, baby/ Pitiful puppy, pick me up at the pound now." The feeling is like pinballing through a crazy loud party, only getting snippets of ADHD and alcohol-fueled conversations. "Knead" is cool surf pop that goes all in with big, glorious, feel-good guitars. There's also a hint of Sad13's twisted, sunshiny pop—which makes sense since Tudzin had a hand in mixing Sadie Dupuis' last record—as well as Diet Cig. Tudzin gets dreamy, almost to the point of shoegazing, on "Kickflip"; swoons like a '60s girl-group leader for "u v v p" (featuring a loping-cowboy monologue by Big Thief's Buck Meek); and channels Blue Album-era Weezer for "Threatening Each Other Re: Capitalism." You can hear her 2000s emo youth influences in the slick and bouncy "Cheap Shoes," while "Joni: LA's No 1 Health Goth"—with its screaming guitar and chanting/ranting of lines like "Joni is a black jean jacket ... Joni knows the problem is systematic"—is as goofy and fun as an old Dead Milkmen song. By the end, the slow and low "Growth," Tudzin sounds ready for a nap. You might be too after this head-spinning ride. © Shelly Ridenour/Qobuz

Released just a week after his self-titled fifth effort, Future's HNDRXX provided an introspective and confessional complement to the more extroverted Future. Languid and self-aware, HNDRXX presents Future as a man lamenting past sins and missteps. Without ever mentioning her by name, ex-girlfriend Ciara looms over many of the songs, the former couple's legal troubles bleeding into Future's wounded lyrics. For fans in search of more substance than what would typically be found in his usual trap bangers, HNDRXX offers one of the deepest views into the rapper born Nayvadius Wilburn's soul. So while the production here isn't as exciting as on Future, the vulnerability displayed makes HNDRXX a highlight in Future's catalog. "Use Me" serves double-duty, not only as a plea to a woman, but also as a tempting call from his drugs. On "Turn on Me," a late-album track packed with some of his more exposed open-journal rhymes, Future wonders "why [he] ain't happy." After all the boasting and bravado, it's almost refreshing to hear him be a normal, damaged man. R&B stars the Weeknd and Rihanna offer two high-profile features on HNDRXX, bringing their own pain and catharsis to Future's therapy session. "Selfish," the Rihanna number, is a bittersweet, yearning highlight. When digested with Future, HNDRXX shows listeners what lies beneath the veneer and posturing, a brief look at the struggles one man must face when the party ends.© Neil Z. Yeung /TiVo

Freddie Gibbs' long-promised Warner Records debut, $oul $old $eparately, followed two of the biggest albums of his career, Bandana (with Madlib) and the Grammy-nominated Alfredo (with the Alchemist). Both of those releases, as well as his first with Madlib, 2014's Piñata, all reached the Top 40 of the Billboard 200, and were almost immediately hailed as classics, adding to a discography already stacked with efforts that are highly regarded by hardcore rap fans. $oul $old $eparately reflects on the path to success, framing the album with interludes about a glamorous casino and tales of luxurious excess, yet most of the lyrics focus on the bleakest aspects of the struggle, from drug abuse to the loss of friends, family, and partners. The frequent presence of a pink, Energizer Bunny-like rabbit mascot in the album's artwork and lyrics somewhat candy-coats the seriousness of the subject matter, as Gibbs uses humor and extravagance to draw the listener into his often cold and unforgiving perspective. He is joined by a long list of guest rappers, singers, and producers, with the Alchemist and Madlib returning for one song each (the Madlib-helmed "CIA," which suggests that the agency is responsible for crack, Instagram, and AIDS, is a clear highlight). Kaytranada's trippily intricate beat matches Gibbs' jagged flow on "Zipper Bagz," and the emcee drives through the stunning "Space Rabbit" without getting swept away by the track's lush, ethereal pianos. James Blake's detached croon hovers over "Dark Hearted" like a distant fog, emphasizing the spine-chilling qualities of Gibbs' lyrics. The Musiq Soulchild-assisted "Grandma's Stove" is just as haunting, particularly during the outro, when Gibbs' mother leaves him a message, yet she's constantly interrupted due to a horrendously faulty connection. Grander in scope than Gibbs' rightly praised single-producer efforts, $oul $old $eparately is nearly as consistent, as the project is driven by his unyielding focus.© Paul Simpson /TiVo

Korn remembered who they were just in time to forget it all again on The Path of Totality, an unexpected left turn into dubstep and all manner of dark electronica from the kings of nu metal. Unexpected this move may be, but not unnatural. Korn always emphasized texture over riffs, so shifting from a gray guitar grind toward claustrophobic electronic collage doesn’t induce shock, apart from the shock that the album actually works. Korn’s cast of collaborators -- notably the Grammy-nominated Skrillex, but also Noisia, Excision, Feed Me, and 12th Planet -- does not redefine the band’s character but rather reinterpret it, retaining the same tempos, the same creeping minor-key melodies and riffs, the same sense of enveloping angst that have been present since their 1994 debut. The difference of arrangement -- heavy on skittish drums and electro walls of assault -- has the curious effect of making Korn seem not adventurous but rather mature: the content of Jonathan Davis’ rants matter less than his tone, and the producers have folded his vocals, along with Munky’s buzzing guitar, into a web that feels like Korn even if it doesn’t strictly sound like any other Korn album, not even the industrial-funk of See You on the Other Side. Despite all the electronics, there’s no mistaking The Path of Totality as a Korn album...and one of their better ones to boot.© Stephen Thomas Erlewine /TiVo

2020's Rich Slave was not only Young Dolph's most critically acclaimed album but his most commercially successful to date, and on 2021's PAPER ROUTE iLLUMINATi, the rapper shares the success with his Paper Route Empire protégés. Continuing the early-2020s string of label showcase tapes like Slime Language 2, So Icy Gang, Vol. 1, and Lil Durk Presents Loyal Bros -- this Dolph-hosted compilation gives his associates a high-profile platform from which to develop strong fan bases, with mixed results. As can be expected with the Memphis honcho, the tracks on PRI hover around the region's circling trap sound, with core collaborator BandPlay ensuring that Dolph's signature sound retains its weighty presence. While the PRE mogul is featured on 11 of the album's 24 cuts, the spotlight is focused firmly on his roster, with the striding Big Moochie Grape, the staccato-flow of Joddy Badass, the frosty Bigg Unccc and airier Snupe Bandz, and the thick-accented PaperRoute Woo. Unccc ends up with the best showing of all: "Back to Back" and "Beat It" are a strong testament to the MC's gift for flow, while he demonstrates strong chemistry with Dolph and Woo on "Dead Body." Unfortunately, PRE's remaining roster has a more varied showing. Snupe is a distant superstar on "Remember" but wobbly-voiced on "Show Out," Big Moochie Grape raps triumphant on "Standing Ovation" but squanders the menacing production of "Non Stop," and Joddy Badass veers from the self-assured "Dance" to the stagnant flow of "333." What's lacking here is the collective identity that made compilations like So Icy Gang so compelling: there's very little back-and-forth between PRE's signees with each new talent left to wade in their own waters. And with Dolph and Glock's appearances feeling thoroughly half-hearted, PRE's first showcase leaves a lot to be desired. © David Crone /TiVo

Rebel Heart was introduced to the world with an indiscipline uncharacteristic of Madonna. Blame it on hackers who rushed out a clutch of unfinished tracks at the end of 2014, a few months before the record's scheduled spring release. Madonna countered by putting six full tracks up on a digital service, a move that likely inflated the final Deluxe Edition of Rebel Heart up to a whopping 19 tracks weighing in at 75 minutes, but even that unveiling wasn't performed without a hitch: during an ornate performance of "Living for Love," she stumbled on-stage at the BRIT Awards. Such cracks in Madge's armor happily play into the humanity coursing through Rebel Heart (maybe the hiccups were intentional after all?), a record that ultimately benefits from its daunting mess. All the extra space allows ample room for detours, letting Madonna indulge in both Erotica-era taboo-busting sleaze ("Holy Water") and feather-light pop ("Body Shop"). Although she takes a lingering look back at the past on "Veni Vidi Vici" -- her cataloging of past hits walks right on the edge of camp, kept away from the danger zone by a cameo from Nas -- Rebel Heart, like any Madonna album, looks forward. Opener "Living for Love" announces as much, as its classic disco is soon exploded into a decibel-shattering EDM pulse coming courtesy of co-producer Diplo. Madonna brings him back a few more times -- the pairing of the reggae-bouncing "Unapologetic Bitch" and Nicki Minaj showcase "Bitch I'm Madonna," their titles suggesting vulgarity, their execution flinty and knowing -- but she cleverly balances these clubby bangers with "Devil Pray," an expert evocation of her folktronica Y2K co-produced by Avicii, and "Illuminati," a sleek, spooky collaboration with Kanye West. These are the anchors of the album, grounding the record when Madonna wanders into slow-churning meditation, unabashed revivals of her '90s adult contemporary mode, casual confession ("I spent sometime as a narcissist"), and defiant celebrations of questionable taste. Undoubtedly, some of this flair would've been excised if the record was a manageable length, but the blessing of the unwieldiness is that it does indeed represent a loosening of Madonna's legendary need for control. Certainly, the ambition remains, along with the hunger to remain on the bleeding edge, but she's allowing her past to mingle with her present, allowing her to seem human yet somewhat grander at the same time.© Stephen Thomas Erlewine /TiVo