
Prince Hands the Stage to His Band on Love Symbol — and the Story Drags Him Down
Prince's 1992 album [Love Symbol] showcases his band's brilliance but is weighed down by a convoluted concept and filler tracks. A flawed masterpiece.


Prince's 1992 album [Love Symbol] showcases his band's brilliance but is weighed down by a convoluted concept and filler tracks. A flawed masterpiece.

Prince's 1999 comeback album Rave Un2 the Joy Fantastic is a stiff, overproduced affair that fails to recapture his magic. Our review explains why.

Stevie Wonder's 1985 pop album In Square Circle is a polished, minor work from a major artist — with the standout ballad 'Overjoyed' and a few solid grooves.

The Beatles drop a 6-minute, 3-track provocation that mixes pop hooks, noise and glitch — a deliberate prank that rocks and dares you to argue about it.

A record of twelve songs and thirty-eight minutes wherein a lady of song grows bolder, and each jest becomes a melody unto itself.

Katy Perry's sixth record, one hundred and forty three, appears a most dull effort, void of that spirit which erst distinguished her art.

A tale of a heart's secret told in thirteen parts, wherein Abrams' voice grows bolder, wounded, and unguarded.

A hush-to-shout journey through Eilish's third record, where quiet moments carry as much weight as the swells that follow them.

A brief record of desire wrought in five songs, wherein Polachek's art doth swell beyond its modest length into rare and singular grandeur.

A record of joy and sorrow given in the same breath, ten songs that waste no second in their whole brief span.

A record wherein a singer, with arena-vast ambition, doth reach into memory and pull forth a younger self through pop and choir.

A brief chronicle of Lizzo's fourth record, twelve tracks of confidence and romance, weighed against its aim to please.
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