With Don't Tease Me with a Good Time, her sixth album, Jessie J delivers a rawer record than in the past, a project shaped by loss, resilience, and the desire to forge ahead despite adversity. Between still-raw grief, a complicated romantic past, and a breast cancer diagnosis revealed in 2025, the album becomes a space where she transforms vulnerability into creative fuel. It is certainly her most authentic and introspective work to date. Musically, she navigates between R&B, contemporary soul, and alternative pop, with rich, warm, and organic production led by Jesse Boykins III and Los Hendrix. Her voice is prominently featured and more impressive than ever. Unfortunately, the wide variety of styles between songs results in a certain lack of consistency throughout the album. Also, some tracks seem unfinished at times. Jessie J therefore offers a solid album, without being exceptional. (January 2026 Featured Review)

Music Video: « I’ll Never Know Why »

On their 10th album, Portugal.The Man returns to its Alaskan roots with a sound steeped in psychedelic grunge. The band, formed by singer-songwriter John Gourley, has had an eclectic career so far, moving from its indie rock beginnings to a series of albums with dance and pop elements (notably on the 2017 hit "Feel It Still"). With Shish, they return to their original rock sound, but even stranger, with grunge metal in the opening track ("Denali"), the heavier side of Faith No More ("Pittman Ralliers") and experiments reminiscent of the Flaming Lips at various points. Each song is different, and there are still a few more accessible tracks, comparable to their later years. The main difference from previous albums recorded with numerous collaborators is that Gourley mainly recorded Shish alone with producer and multi-instrumentalist Kane Ritchotte (the band's former touring drummer), as well as a small group of singers and musicians. The result is a personal album, a tribute to Alaska and childhood memories. With Shish, Gourley has created an album that evokes the wild and icy nature of the tundra, but also the solitary punk of small towns that gave birth to Portugal.The Man. (December 2025 Featured Review)

With a title like It's Not That Deep, it was clear that Demi Lovato's ninth album would get straight to the point with danceable pop hits that are instantly appealing and get your body moving, without requiring any deep reflection on the meaning of life. After straying from rock with Holy Fvck and Revamped, Demi returns to pop, a genre that has always served her well in the past. Effective from the very first tracks with the hits "Fast" and "Here All Night", the album hardly ever falters over its 32 minutes, offering a succession of guaranteed hits that get the adrenaline pumping. "Here All Night" is perfect for a workout montage in a 1980s movie, while the hard-hitting "Frequency" could set an EDM festival crowd on fire. The sparkling tracks "Let You Go" and "Sorry to Myself" are reminiscent of Robyn and Carly Rae Jepsen, while "In My Head" drifts into Charli XCX territory. "Kiss" is a euphoric house escapade that truly confirms this album as one of the artist's best. Flying by in the blink of an eye, it's the perfect length to listen to on repeat, keeping the party going all night long. (November 2025 Featured Review)

Music Videos: « Fast » - « Here All Night » - « Kiss »

After the tumultuous promotion of their 2024 album Ohio Players, the Black Keys have wasted no time in returning with their 13th album, No Rain, No Flowers, including the hit title track. As the title suggests, the duo have taken an optimistic view of events, and the music reflects this attitude, giving rise to some of the catchiest and most positive tracks in their discography. They enlisted the help of hitmakers Daniel Tashian (Kacey Musgraves), Rick Nowels (Madonna, Lana Del Rey) and Scott Storch (Beyoncé, Dr. Dre), but unlike the strong stylistic influence exerted by Danger Mouse on El Camino and Turn Blue, Dan Auerbach and Patrick Carney haven't suddenly recorded a pop/hip-hop album. On the contrary, they remain faithful to their usual blues rock sound, with the producers content to add a few brilliant touches here and there. The uptempo title track stands out for its cheerfulness, memorable statements and catchy chorus, while the boisterous "The Night Before" and the crunchy "Man on a Mission" keep the energy high. As for the magnificent closing track "Neon Moon", it transforms "Take Me Home, Country Roads" into an exhilarating epic that ends this energetic album on an emotional note. Throughout the album, their well-established nostalgic aesthetic permeates every track, offering familiar moments that link No Rain, No Flowers to similar tracks in their discography. There aren't many surprises here, and not many musical innovations either, but it's still an enjoyable, straightforward collection. (October 2025 Featured Review)

On Love is Like, Maroon 5 delve a little deeper into their soul and R&B roots. Adam Levine and bassist Sam Farrar take the reins of production, supported by JKash, Federico Vindver, Elof Loelv, Bobby Love and Rio Root. This choice of collaborators, combined with the fact that the band members co-wrote several tracks together (which is rare for them), gives the album a welcome sonic coherence, as well as a unified, more organic atmosphere than on their previous albums. The production is certainly modern and solid, but with only 10 songs totalling 27 minutes and 40 seconds, this is an album that leaves us somewhat wanting more, that feels incomplete. What's more, there's no longer any element of the rock that made them so popular, which will put off many of their fans. However, fans of their R&B side will probably be delighted. (September 2025 Featured Review)

Music Videos: « Priceless » - « All Night » - « Love is Like »

For the first time in her career, Kesha (real name Rose Sebert) is completely independent, presenting her first self-produced album. After accusations of sexual assault and other abuse against her producer at the time, Dr. Luke, the long legal process was particularly difficult for the singer, but it is now a source of inspiration for her songs. With the title of her new album ".", she puts an end to all these stories that have kept her from her career as a pop singer. She is now looking to the future, a happier future that she fully intends to control. The main drawback of this self-production is that it offers a somewhat old-fashioned, out-of-date sound. Nostalgia may attract some fans who want to recapture the years 2000-2010, but the album certainly won't provoke excitement in the younger generation. "Delusional" and "Yippee-Ki-Yay" (with T-Pain) are certainly not uninteresting, but are not worthy of a 2025 album, even if Kesha seems to be at the top of her voice. However, the first single "Joyride" (with its carnival atmosphere) and "Boy Crazy" (very symbolic for the singer) offer a more modern feel. But unfortunately, many of the choruses fall flat, despite her powerful voice and total freedom. (August 2025 Featured Review)

Music Videos: « Joyride » - « Boy Crazy »

With Something Beautiful, Miley Cyrus is boldly exploring new territory, rather than sitting on the monstrous success of "Flowers". She touches on 1970s disco and 1980s light pop, as well as presenting touching ballads. "Easy Lover", "Walk of Fame" and "Reborn" confirm her audacity while demonstrating her emotional depth. As for the title track, it skilfully navigates between sensual jazz and furious rock. The album's cinematic atmosphere, enhanced by solid production, makes her pop style even more sophisticated than before. The rhythms vary greatly on the album, but the links are woven to perfection between each track to create an extremely coherent whole in the end. In fact, Something Beautiful is possibly her most coherent album to date, even if it doesn't contain any instant hits of the "Flowers" calibre. (July 2025 Featured Review)

Music Videos: « Something Beautiful » - « End of the World » - « More to Lose » - « Easy Lover » - « Every Girl You’ve Ever Loved »

Arcade Fire's reference to the pink elephant is based on the "theory of the ironic process", the paradox that occurs when we try so hard to suppress a thought that it becomes the only thing we can think about. Pink Elephant could also refer to the elephant in the room, in reference to the 2022 scandal in which Win Butler was accused of several (all denied) malpractices. The years that followed that affair directly influenced this tumultuous, personal album. Discreet, synthesizer-rich and very melancholy (with three instrumental pieces), this album is the reflection of a couple's therapy (and PR repair) unfolding before the listener's ears, for better or worse. The band's typical sonic facture is present, but it seems more a necessary process for Win and his wife Regine Chassagne than for the fans, who may not yet have digested the accusations and their implications and would have preferred an apology rather than an explanation. The epic orchestrations of "Open Your Heart or Die Trying" introduce the self-titled track, which sets the scene for "Year of the Snake". Named after the animal of the lunar cycle at the time of its release, it has a double meaning, symbolizing renewal after molting. It's a track that slowly builds to a climax, eventually capturing the band's classic melodramatic attack, with an explosive release. "Circle of Trust", which is also the name of the exclusive app linked to the album, injects some energy into the mix, using synthesizers and a throbbing rhythm to kick off the record. This continues with "Alien Nation", which sounds like something out of Reflektor, before falling back with the instrumental interlude "Beyond Salvation" and the sparse, melancholy "Ride or Die". You can clearly hear Butler striving to regain Chassagne's favor, and this sentiment permeates the whole second part, with the tender "I Love Her Shadow" driving the point home with its "I'm sorry, forgive me!" message. Pink Elephant feels like an album Arcade Fire had to make, an album that addresses a very public period in the band's history without dwelling too much on the subject, as if they just wanted everyone to forget. (June 2025 Featured Review)

Music Video: « Year of the Snake »

Dreams on Toast is the eighth album from English rockers The Darkness, and a new collection of nods to rock classics, with humor and unforgettable melodies. Relatively restrained by the band's standards, only a few tracks soar to new heights with energetic riffs. This is the case with the opening track, "Rock and Roll Party Cowboy", and the frenzied "I Hate Myself". "Mortal Dread" and "Walking Through Fire" recall AC/DC, while "The Longest Kiss" evokes Queen. The album is tempered by introspective tracks with moderate tempo ("Don't Need Sunshine"), cinematic moments ("Weekend in Rome" with actor Stephen Dorff) and even country-tinged pieces ("Hot on My Tail", "Cold Hearted Woman"). Despite a little humor, there's now a sense of maturity and creative evolution beginning to take hold of Justin Hawkins and his band, adding depth to their repertoire. Dreams of Toast is uneven and too short (33 minutes) but features several highly interesting moments that deserve our attention. (May 2025 Featured Review)

Music Video: « Rock and Roll Party Cowboy »

Lady Gaga returns to her roots for her seventh album, MAYHEM. She leaves behind her jazzy experiments, her Nashville explorations and her club-dancing impulses to return to a pop sound that characterizes her a little more. But she remains inventive, with a somewhat unstructured, avant-garde approach. Despite this, the album starts logically enough, with pop staples ("Disease", "Abracadabra", "Garden of Eden", "Perfect Celebrity", "Vanish Into You"), followed by love songs brimming with vulnerability at the end of the record, and concluding with the mega-hit "Die with a Smile" in a duet with Bruno Mars. Lady Gaga has already mentioned her industrial music influences (including Nine Inch Nails). This inspiration can be heard in the first half of the album, notably in "Disease", which officially marks a new departure for the singer. "Abracadabra" is one of the best songs in her catalog, an effective and creative dance track. The somber "Perfect Celebrity" is one of the album's many reflections on Lady Gaga's internal struggles. She injects a little funk into the mix, notably in "Vanish Into You", which could very well have featured on The Fame. "Killah", a collaboration with Gesaffelstein, recalls St. Vincent or Trent Reznor, taking on David Bowie and Prince. "Zombieboy" (named after the late dancer in her "Born This Way" video) introduces us to effortless pop anthems ("LoveDrug" and "Shadow of a Man") and midtempo tracks ("The Beast" and "Blade of Grass") on the second half of the album. While not as messy or tumultuous as its title suggests, MAYHEM is by no means subject to the rules of the pop universe. That's what makes this album such a breath of fresh air in Lady Gaga's catalog. (April 2025 Featured Review)

Music Videos: « Disease » - « Abracadabra »

With his sixth record, Hurry Up Tomorrow, The Weeknd potentially presents his final album. While much of the experimental R&B and futuristic pop produced by Abel Tesfaye during his rise to global stardom has been heavy, morose and fatalistic, a cloud of finality hangs heavily over Hurry Up Tomorrow. Nearly every song focuses on the rigors of stardom, being exhausted by the demands of touring, wanting out and ready to call it a day. In the throes of despair, The Weeknd takes every opportunity to let his audience know that this is the end. Fortunately, these depressing themes are wrapped up in the same brilliant production, making for a somewhat contradictory listening experience. The album's 84 minutes seem to deal endlessly with his life of opulence and luxury but Hurry Up Tomorrow is calculatingly paced with beautiful transitions between songs that make the whole coherent. The haunting sounds and darkly enchanting melodies of "Cry for Me" recall the artist's previous hits and quickly give way to the excellent Brazilian song "São Paulo" (with Anitta). The moody ballad "Reflections Laughing" gains in intensity until it becomes a cinematic experience. The album's few lighter moments arrive with the rap of "Timeless" with Playboi Carti, the sunny pop of "Give Me Mercy" and a replica of Michael Jackson's "Thriller" groove in the second half of "Wake Me Up". Still, there's a little too much sadness to deal with as Tesfaye describes The Weeknd's metaphorical death from every angle. A Giorgio Moroder sample attempts to enliven "Big Sleep", but every moment of excitement melts into a much darker whole. Ultimately, Hurry Up Tomorrow achieves its goal of bringing The Weeknd's career to a ceremonious end. The execution is perfect, with impeccable production, but unfortunately stretches its dark side a little too far. (March 2025 Featured Review)

Music Videos: « Sao Paulo » - « Open Hearts » - « Cry for Me »

Franz Ferdinand have never been afraid to stray from the sound that made them famous, but the results have been mixed. The energetic pop and eerie piano ballads of You Could Have It So Much Better stand in stark contrast to their self-titled debut album of incisive post-punk rock. On The Human Fear, the band abandon any pretence of being cool in favour of melody and personality. The band worked with producer Mark Ralph, engineer on Right Thoughts, Right Words, Right Action, and The Human Fear is in keeping with the witty and often poignant songs on that album. After opening with "Audacious" (a tribute to Mott the Hoople's "All the Young Dudes"), "Everydaydreamer" is probably the album's standout track, setting an introspective tone, becoming darker on "Bar Lonely" a little later. When they return with danceable rhythms, they're still just as catchy 20 years on, but with an added touch of maturity. The other highlights of the album are "Hooked" and "Night or Day". "Tell Me I Should Stay" offers new experimentation with mellow reggae, echoing piano collage and Beach Boys-style choruses. "Black Eyelashes" is less successful, as Alex Kapranos reflects a little too much on his Greek heritage, incorporating Rebetiko influences and a resounding bouzouki. The Human Fear is a slightly more committed album than its predecessors, but at just 35 minutes, it feels incomplete, lacking a pair of memorable hits to make it a first-rate album. A respectable effort, but nothing more! (February 2025 Featured Review)

Music Videos: « Audacious » - « Night or Day »