Consequence UNCUT

High as Hope is a marvel when Florence Welch pushes past the boundaries both within herself and in the familiar structure of songs, but falters when stagnating inside those constraints. On songs like “No Choir”, “Big God”, and “June”, she subverts expectations and displays range so that it’s more meaningful when she hits the high note. High as Hope is a bold move for an artist at Welch’s stage, one where the risks pay off, proving that she shouldn’t be afraid of taking more.

An album review by David Sackllah, read by Clint Worthington.

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Teyana Taylor has been a lioness all along, but her next step is to become the queen of the jungle on her own terms. As Kanye West and the rest of his G.O.O.D. crew’s social media antics consumed more time than they potentially spent to produce Taylor’s entire album, the singer makes a quiet assertion that from now on, her success is in her hands on “Never Would Have Made It”: “Made a lot of decisions based on everyone but me/ But now, I'm strong enough to let it go/ I'm wise enough to take control.”

An album review by Natalia Barr, read by Cap Blackard.

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In contrast to his previous release, Uniform Distortion isn’t wrapped in a web of psychedelia, but rather in a blanket of solace. With lines like, “I guess I’ll leave it in a song,” this album, at its core, functions as a coping mechanism for James and a delightful extension of his songwriting skills for his fans. Through the strain of incessant information, James cuts through the bullshit to remind us to all take a pause … and that alone these days is remarkable.

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Opting to drop the baton instead of dropping the mic, Nas’ delivery mirrors the lackluster stage presence that has historically plagued his live shows. His lyricism, though timely at points, is largely impersonal if not flat out pedestrian and makes NASIR the first album in Nas’ catalog that Nas has failed to show up for.

An album review by Karas Lamb, read by Cap Blackard.

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Liberation really is a welcome return to form for one of this era’s greatest vocalists. Christina Aguilera’s voice is arguably at its very apex — stronger, deeper, and fuller than we remember -- and Liberation is a showcase of exactly what she can do with those pipes. All of it makes for her most interesting, diverse, unusual, and conceptually cohesive set since 2006’s Back to Basics or even 2002’s Stripped. She has our attention once again. Now, what will she really do with it?

An album review by Taylor Dougherty, read by Clint Worthington.

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Listening to Heaven & Earth will give you a better sense of Kamasi Washington, the man and the artist, as well as the moods and textures of the America in which he resides. It'll also give you the chance to say you heard him when he was still, it seems, on the ascent towards the heights of his considerable powers. What a lucky time to own a record player.

An album review by Tyler Clark.

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On Everything Is Love, Beyoncé and JAY-Z throw what you think will be the world-shaking Juneteenth party of the year – but it turns out to be their recommitment ceremony. The third installment of the musicians’ marriage trilogy, following Lemonade and 4:44, continues to offer glimpses over the castle wall into their personal turmoil, this time as a united front battling public forces and reveling in their literal and figurative wealth.

An album review by Katie Moulton.

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Though likely unintended, Kid Cudi is the savior of Kids See Ghosts. Not just for his impact on the aesthetic of the final product, but his ability to entice Kanye to show up. The beats and rhymes on Kids See Ghosts are signs of life from a man whose increasingly polarizing statements had all but left him for dead in the eyes of those once taken by his ability to flip a soul sample or execute a cheeky rap track. The controlled chaos of the record is proof that somewhere beneath all of the public outbursts and musical misfires, Kanye West – not the old Kanye – but the actual man and his heart are still somewhere in the mix planning to raise the bar and occasionally executing to near flawless result.

An album review by Karas Lamb, read by Clint Worthington.

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There's no danger of Chromeo remaking their chosen genre in their own funky image, but there's also no danger of them releasing a bad record, either. The most dependable dance band of the 21st century continues its consistency streak on Head Over Heels, which contains enough radio-ready rump-shakers to earn a spot in your warm-weather playlist for this summer and a few more to come. If Chromeo can settle into their new California home and keep flipping through their ever-deepening Rolodex of potential collaborators, we'll be saying this again in a couple of years.

An album review by Tyler Clark.

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Testing is loud, frenetic, spastic, and about as vibrant as rap can be. The songs are busy, crowded with radiant instrumentation and stacked vocals, and rarely take time to breathe. It’s a welcome addition to a genre that has become so occupied with spacey, bare-bones operations and overly simplistic results.

An album review by Banksy Gonzalez, read by Michael Roffman.

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