Following years of buildup and a whopping eight singles, Ava Max finally delivered her first official studio full-length, Heaven & Hell. Well worth the extended promotion, the album is a masterful pop debut, one of those might-as-well-be-a greatest-hits collections like Lady Gaga's The Fame, Dua Lipa's self-titled LP, or Katy Perry's One of the Boys. Indeed, Max is a kindred spirit with those hitmakers, both in vocal delivery and her knack for picking out an effective earworm, of which there is an embarrassing abundance on Heaven & Hell. Thematically divided into those two titular sides, the album takes that well-worn dichotomy and splits the track list between energetic bops and moodier -- but no less catchy -- doses of dark pop, all bound together by primary producer Cirkut (Marina, Katy Perry, Kim Petras). Opening with the swirling electronic "H.E.A.V.E.N.," the first half features Max's high-energy empowerment anthem "Kings & Queens"; the sleek, bass-driven "Naked"; the bouncy disco-funk "OMG What's Happening"; and "Tattoo," which sounds like a 2010 time-warp collaboration between Perry and Carly Rae Jepsen. Although every song is a potential hit, "Born to the Night" is a standout, a blissful dose of shimmering synths and '80s-inspired groove that evokes similar moments on Gaga's Born This Way. On the shadowy side of things, Max sheds her wide-eyed and lovelorn optimism, erecting protective barriers and revealing a sharp set of claws. Demanding better treatment from a lackluster lover, she reminds, "I'm not a bite/I'm a five course meal" on the cautionary "Take You to Hell." Later, on the sly kiss-off "Who's Laughing Now," she rides a Clean Bandit/Ace of Base island groove into the sunset, laughing mischievously as the person who wronged her is left in the dust. Pulsing mainstream hits "So Am I," "Salt," and global smash "Sweet but Psycho" also occupy this side, but it's the slow-burning "Belladonna" that really digs in its teeth, a menacing synth-washed warning that equates Max with the deadly nightshade. There's not a moment wasted over the course of these 15 tracks, and she is clever enough to balance the immediate jams with satisfying deep cuts like "Born to the Night" and "Belladonna," providing a break from the action and intensity with earworms that are no less effective. Heaven & Hell is an expertly crafted gem, showcasing the young hitmaker's burgeoning star power, relatable personality, and sonic range.© Neil Z. Yeung /TiVo

Everyone knew that Sudan Archives (real name Brittney Parks) would one day release a belter of an album. Well, here it is. Natural Brown Prom Queen is a dive into a lost world somewhere between modern RnB, electronic glitch and the upbeat violin melodies that the album’s creator loves so much. There’s an unwavering determination in tracks like ‘Selfish Soul’ and ’Home Maker’. Sudan Archives’ musical prowess allows her to employ dozens of different elements without ever seeming to lose herself in her intentions. For example, ’Freakalizer’ mixes 808 rhythms with a repetitive piano and measured autotune without omitting the choral aspect that affords Natural Brown Prom Queen its cohesive sound. The American likes to switch up the tempos, as heard on ‘NBPQ (Topless)’, where she explores a radical sound before letting her melodic flights of fancy take off in the outro. She also blends 80s pop inspirations on ’Milk Me’ without ever falling into the trap of creating a mere cover or clichéd sound, always remaining faithful to her aesthetic and to the audacity of her label, Stones Throw Records. This second album seems to announce her arrival at the artistic destination that had been mapped out five years ago. A real milestone within her career. © Brice Miclet/Qobuz

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Gravity is the debut studio album from Gryffin, an American EDM producer, songwriter, and DJ who broke through with remixes of hits by Tove Lo and Maroon 5 before moving on to composing his own material. His songs typically add pianos and guitars to melodic house and future bass rhythms, and all of them feature guest vocalists. He's released over a dozen charting singles since 2016, and most of them appear on Gravity, including collaborations with Carly Rae Jepsen ("OMG"), Aloe Blacc ("Hurt People"), and Gorgon City and AlunaGeorge ("Baggage"). Supported by an extensive North American tour, Gravity was released by Darkroom/Geffen in October 2019. The album reached the top spot on Billboard's Dance/Electronic Albums, and charted at number 92 on the Billboard 200.© TiVo

Lonestar Luchador, the debut album from That Mexican OT (aka Virgil Rene Gazka), offers a startling collection of sounds and rhythms. In a sound he calls "grito ranchero," this proud Texan weaves the influences of his Texas forebears, among them DJ Screw, with sampled mariachi, ranchera, and Tejano, then grafts them onto Dirty South production and New York City boom-bap, with undercurrents of homegrown blues and skit-like interludes from comedian Ralph Barbosa, Jr. Fellow Texan Paul Wall assists on the smash "Johnny Dang," BigXthaPlug on "Hit List," and Maxo Kream appears in duet on "Opp or 2."© TiVo

On her all-too-brief EP Survive the Summer, Iggy Azalea attempts to reassert herself at the top of the female rap pack by reminding listeners of her lyrical dexterity and delivery via six tracks that barely clock in at 15 minutes. Fortunately, with a heavy dose of confidence and aggression, she proves her basic abilities with hardcore posturing, raunchy quips, and a heavy amount of boasting, making this a listenable (if not forgettable) diversion from a rapper trying to recapture the limelight. With Azalea plagued by years of album delays and label issues, what was purported to be a full-length is just an EP, and a serviceable stopgap to buy her some time. The trap-heavy production keeps the Australian transplant firmly rooted in the South, especially on the Wiz Khalifa-assisted "OMG," which could have been a Gucci Mane joint. Unlike past hits where the dance-friendly beats and mainstream crossover potential helped propel her to Top Ten heights, they mostly take a back seat here, allowing Azalea the space to reestablish herself with pure skill. She explains the tumultuous period between releases on the title track before diving headlong into a string of ominous and threatening hardcore rap recalling earlier mixtapes. "Tokyo Snow Trip" is her darkest and most menacing offering to date, taking vocal cues from Ying Yang Twins, while the hypnotic Tyga collaboration "Kream" channels Wu-Tang with a direct sample and plenty of grit. "Hey Iggy" -- which turns Toni Basil's "Mickey" into a love letter to herself (and her derriere) -- is the lightest entry on the EP, and it still sounds more intimidating than fun. Survive the Summer presents Azalea as a hardcore rapper with little desire to court the mainstream, which was once her bread and butter. Her flow is effective and the production pops, but it's just not as enjoyable with the fun sucked out of it.© Neil Z. Yeung /TiVo

Fashions pass, God stays. Whatever we think of the man, he's still there, even where we don't expect it. Just like on Kevin Morby's fifth solo recording. The concept-album of this great American indie rock guru is neither a soundtrack for devout church-goers, nor an exalted symphony blind to the glory of the great bearded man sitting up there on his cloud... Former bass player of the band Woods and singer of The Babies, Morby takes the word of God by the collar and takes it a little bit everywhere. It is both the God of gospel as well as the God of oh my god. The album has a lot of gospel to offer. It quickly becomes chamber rock that slips into poisonous Lou Reed style rock (Velvet era), preacher-ish like Bob Dylan or disillusioned like Leonard Cohen, three of the iconic craftsmen. The instrumentation follows the forms of the minute and the songwriter unveils the flute, the saxophone and Wurlitzer if necessary. The fourteen songs of Oh My God are especially tight because of their lavish form and the sequences always being well thought-out. As always with Kevin Morby, the classicism of his music does not match the speed of time. For this, you just have to take it in, to follow him in his inner wanderings. Believer, agnostic or atheist, just close your eyes and let yourself be rocked by the unique style of this unique modern rock band. © Marc Zisman/Qobuz

Following years of buildup and a whopping eight singles, Ava Max finally delivered her first official studio full-length, Heaven & Hell. Well worth the extended promotion, the album is a masterful pop debut, one of those might-as-well-be-a greatest-hits collections like Lady Gaga's The Fame, Dua Lipa's self-titled LP, or Katy Perry's One of the Boys. Indeed, Max is a kindred spirit with those hitmakers, both in vocal delivery and her knack for picking out an effective earworm, of which there is an embarrassing abundance on Heaven & Hell. Thematically divided into those two titular sides, the album takes that well-worn dichotomy and splits the track list between energetic bops and moodier -- but no less catchy -- doses of dark pop, all bound together by primary producer Cirkut (Marina, Katy Perry, Kim Petras). Opening with the swirling electronic "H.E.A.V.E.N.," the first half features Max's high-energy empowerment anthem "Kings & Queens"; the sleek, bass-driven "Naked"; the bouncy disco-funk "OMG What's Happening"; and "Tattoo," which sounds like a 2010 time-warp collaboration between Perry and Carly Rae Jepsen. Although every song is a potential hit, "Born to the Night" is a standout, a blissful dose of shimmering synths and '80s-inspired groove that evokes similar moments on Gaga's Born This Way. On the shadowy side of things, Max sheds her wide-eyed and lovelorn optimism, erecting protective barriers and revealing a sharp set of claws. Demanding better treatment from a lackluster lover, she reminds, "I'm not a bite/I'm a five course meal" on the cautionary "Take You to Hell." Later, on the sly kiss-off "Who's Laughing Now," she rides a Clean Bandit/Ace of Base island groove into the sunset, laughing mischievously as the person who wronged her is left in the dust. Pulsing mainstream hits "So Am I," "Salt," and global smash "Sweet but Psycho" also occupy this side, but it's the slow-burning "Belladonna" that really digs in its teeth, a menacing synth-washed warning that equates Max with the deadly nightshade. There's not a moment wasted over the course of these 15 tracks, and she is clever enough to balance the immediate jams with satisfying deep cuts like "Born to the Night" and "Belladonna," providing a break from the action and intensity with earworms that are no less effective. Heaven & Hell is an expertly crafted gem, showcasing the young hitmaker's burgeoning star power, relatable personality, and sonic range.© Neil Z. Yeung /TiVo

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