Reviews

After her 2018 turns on Kanye West's Ye, 070 Shake made her debut with Dave Hamelin and Mike Dean, and chose to leave it rough. Mostly, that pays off.

Robyn's first album since Body Talk came out of grief, therapy and nights in clubs. Its parts are standard club-pop; her voice, writing and editing make them hers.

Natalie Mering's Sub Pop debut swapped garage takes for strings and tape loops, and used the Titanic and its film to write about climate, cinema and love.

Beck and Greg Kurstin set out to make a classic pop record. Colors has the craft and a few fine songs, but it gives up his character for the gloss of 2017 pop.

Jorja Smith built her debut from songs she wrote between 16 and 20, with “Blue Lights” at its centre. It is poised and well sung, but rarely stands apart from 2018 R&B.

Troye Sivan wrote his second album about a happy relationship and queer desire. It doesn't quite top Blue Neighbourhood, but few pop second albums are this good.

Dawes made their sixth album in a rushed two weeks with Jonathan Wilson and put the darkest songs first. The opening holds up; the long, mellow run after it doesn't.

Stung by the reviews of Revival, Eminem answered with a surprise album aimed at critics and rivals. The technique holds up, but the grudge is all it has to say.

J. Cole wrote much of KOD on holiday, with no guest but a pitched-down alter ego. Its most praised songs share its flaws, and most of the rest runs flat.

Portugal. The Man scrapped three years of sessions, started over as the 2016 campaign turned ugly, and found “Feel It Still” in a 45-minute break.

Beyoncé and Jay-Z close the trilogy begun by Lemonade and 4:44 with a joint album that gives the marriage two songs and the money and status almost all the rest.

The Weeknd scrapped a finished album and made these six songs in about three weeks. The guest producers bring the ideas; the songs mostly replay his past.