Patrik Krook

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Senaste album recensioner Pitchfork

  • Bankroll Fresh: In Bank We Trust
    A posthumous album showcases the late Atlanta rapper’s head-spinning dexterity without attempting anything more than that, both grounded and limited by its avoidance of the usual pomp.

  • Hot Mulligan: You’ll Be Fine
    The second album from the Michigan emo band feels like a product of another era: itching to cross over, but without anywhere to cross over to.

  • Paris Hilton: Paris Hilton
    The celebrity socialite’s alluringly empty 2006 debut gets a vinyl reissue. It’s a concept album whose concept is: What if Paris Hilton made an album?

  • The Necks: Three
    More than 30 years into their career, the Australian experimental trio can still make the mundane feel miraculous.

  • Yves Tumor: Heaven to a Tortured Mind
    The iconoclastic artist moves to a plush and magisterial kind of rock music for a gratifying and intense record, one whose pleasures are viscerally immediate.

  • Melkbelly: PITH
    The Chicago band’s second album strikes a balance between the spartan chaos of noise rock and the soft melodicism of bedroom pop.

  • Little Dragon: New Me, Same Us
    The Swedish electro-pop group’s first album for Ninja Tune is a welcome departure, finally infusing their own studio work with the creative energy of their collaborative sessions.

    The Toronto singer’s writing lacks the specificity that animates his best music this time around.

  • Jessie Reyez: Before Love Came to Kill Us
    The powerhouse singer’s voice is chameleonic and present in every guise. Her debut is most satisfying not because she whizzes across multiple genres, but because of the skill she displays at each.

  • Hailu Mergia: Yene Mircha
    The Ethiopian cult musician returns with a collaborative full-band exploration that is no less hypnotic than his celebrated earlier work.

  • Clem Snide: Forever Just Beyond
    This comeback album, assisted by Scott Avett, feels both charmingly at ease and refreshingly ambitious, grappling with life’s big questions over understated, easygoing production.

  • Half Waif: The Caretaker
    Synth-pop auteur Nandi Rose renders a nuanced, deeply compelling portrait of a woman turning away from the world just when she needs help the most.

  • Nap Eyes: Snapshot of a Beginner
    Gathering newfound lyrical confidence, the Halifax slack-rockers trade the sparseness of their early material for gentle guitar chords and gleaming Mellotron harmonies.

  • Vanessa Carlton: Love Is An Art
    On her sixth studio album, the former TRL star writes and sings with worldly wisdom and plaintive abandon.

  • Nine Inch Nails: Ghosts V: Together / Ghosts VI: Locusts
    Trent Reznor and Atticus Ross strike a tone similar to their soundtrack work, alternating between hope and dread in sprawling ambient meditations released in response to the coronavirus pandemic.

  • Nicolás Jaar: Cenizas
    The Chilean American producer’s latest album is his most probing and existential, taking influences from all over his career and placing them into grim atmospheres that slip in and out of reality.

  • Lilly Hiatt: Walking Proof
    On her fourth album, the Nashville singer-songwriter moves beyond the unadorned Americana of previous albums to arrive at new sounds, moods, and emotions.

  • The Orb: Abolition of the Royal Familia
    Alex Paterson and his band of merry pranksters pay tribute to the golden age of ambient house with subtlety, occasional silliness, and a slyly subversive edge.

  • Margaret Glaspy: Devotion
    Without the self-assurance of her debut, the New York songwriter’s second full-length is an album in search of an identity.

  • Orion Sun: Hold Space For Me
    The Philadelphia R&B singer’s stark, lightly poetic songs splay out the intimacies and contradictions of her raw emotions.

  • Windy & Carl: Allegiance and Conviction
    Turning their atmospheric soft focus on everyday life, this is as close as the Detroit dream-pop duo has come to making a pop record; it’s an ideal entry point into their sprawling catalog.

  • Sufjan Stevens & Lowell Brams: Aporia
    Eleven years after Music for Insomnia, Stevens and his stepfather reunite on a collection of warm, improvisatory synth-wave epics; intimate and unvarnished, they double as a testament to the power of found family.

  • Cable Ties: Far Enough
    The Australian punk trio, birthed out of Melbourne’s feminist punk scene, are at their best channeling their political rage into small moments

  • Ol’ Dirty Bastard: Return to the 36 Chambers: The Dirty Version
    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 ODB’s debut classic, a masterclass in winging it.

  • Shabaka and the Ancestors: We Are Sent Here by History
    The British-Barbadian jazz saxophonist and his South African players narrate the apocalypse from a distant future, suggesting that in order to build anew, some things will first need to burn.

  • Pearl Jam: Gigaton
    Eleven albums in, a band that has become an industry unto itself attempts an artistic rejuvenation that still seems out of reach.

  • Rio Da Yung OG: City on My Back
    After a year flooding the internet, this Michigan rapper collects 15 of his colorful and brutal raps, which split the difference between deadpan and dead serious.

  • Waxahatchee: Saint Cloud
    With a shift in tone and tempo, Katie Crutchfield creates a vivid modern classic of folk and Americana. It’s the sound of a cherished songwriter thawing out under the sun.

  • Dua Lipa: Future Nostalgia
    The ascendant singer’s star-making second album is a collection of sophisticated, hard-bodied pop-funk that gives way to slick, Kylie Minogue-inspired disco.

  • J Balvin: Colores
    Already a global star, reggaetón’s reigning hitmaker tries his hand at becoming an auteur with an audiovisual album.