Latest album reviews from Pitchfork

Kanye West’s executive-produced gospel album is the most realized music to come from this era of his career. The production and the choir’s dynamic power creates an almost hallucinatory effect.

Produced by Beau Sorenson and recorded at John Vanderslice’s Tiny Telephone, Melissa Ann Sweat’s fourth album under the alias is a searching work of elemental folk minimalism.

The Finnish producer continues his streak of luminous electronic releases with an ecstatic, body-moving, and curiously serene collection of techno bangers.

The Swedish violinist’s first album-length recording as a solo artist confirms both her uncompromisingly experimental instincts and substantial musical gifts.

The Latinx artist reimagines traditional Mexican ranchera folk songs with a goth edge and a lavish, telenovela-style production.

Conceived as a companion piece to 2017’s Twin Solitude, the Canadian songwriter’s fourth album is a dialogue with the person he’s been.

The neoclassical ambient duo’s first proper album in nine years pays tribute to the mystical painter Hilma af Klint in stirring strings, melancholy fanfare, and a winking hint of self-awareness.

Ariana Grande’s live album is both a capsule and a capstone, encompassing a nine-month, 102-show tour at what might be the peak of her career.

Operating under the alias Rrose, the Californian Seth Horvitz deploys the time-honored materials of techno to produce something destabilizing and new.

The newly minted rap superstar’s obligatory label compilation is more merch bundle than album.

The debut album from this Swedish multi-hyphenate, an associate of Yung Lean and Yves Tumor, trades hip-hop for an expressive—and surprisingly pretty—take on contemporary pop.

The Long Island emo outfit pushes the classic poison-pen sound into brightly colored power-pop territory.

Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit Peter Gabriel’s 1986 art-pop masterpiece, a turning point in the commercial globalization of pop music.

Inspired by Australia’s lush temperate rainforest, the Melbourne producer’s second album emphasizes melody and background texture more than big drops or bass lines.

The New York singer-songwriter deftly captures indie-pop longing, though her musical gestures can feel a bit lifeless.

The debut album from this New England-based producer blends ambient, techno, and house into a single sumptuous mood, suffused in tape hiss.

The Melbourne songwriter’s classic influences guide her toward an album that feels proudly out of time. Its nine songs feel like variations on one stark, psychedelic vision.

The Queens rapper-singer continues to refine her joyfully lascivious, sex-positive sound, but her best moments are the quiet ones.

With pedal steel, synthesizer, and a whisper of voice, Marielle Jakobsons and Chuck Johnson create rippling soundscapes as soothing and engulfing as a warm bath.

The Pittsburgh band’s throwback emo revivalism casts a hometown identity crisis in the harsh light of climate change. Their debut has the conceptual heft of an album twice its length.

The Australian garage rock band’s first album in eight years is a modest and welcome comeback even if they don’t crash out of the speakers like they once did.

The urbano star’s third album pushes him beyond his comfort zone as a romantic reggaetonero—and abandons some of the qualities that once made him unique.

Sampling a worn vinyl copy of Debussy’s La Mer, the Chicago musician creates short, impressionistic pieces that fuse ambient, drone, and noise; they’re easy to get lost in.

Cleaned up and newly remastered, these demos are bright and captivating, a rare look at the iconic emo band's sketchbook.

Two reissues of the late composer’s work highlight the attention he paid to the malleability of language and the way its sound often conveys more than its substance.