The Cornell Daily Sun (https://cornellsun.com/category/arts/artsmusic/testspins/)
Overall, Collections From the Whiteout is an album that I respect more than I like — it clearly represents an artist pushing themselves to their boundaries and putting an immense amount of thought into crafting their perfect album, but a casual music listener like me doesn’t necessarily need an album to be high art.
Future did what he had to in order to survive, yet it has now come to grant him immense standing as a figure of authority.
Polo G’s lyrical talent shines in this album, once again distinguishing him from his contemporaries with a passionate delivery that also often recalls an explicit story.
Above all, “Fetch the Bolt Cutters” is a cathartic exploration of self, and the traumas that shape us.
Orion Sun’s songs don’t just hold, but carve a special space out for her tales of love, nostalgia and loss.
The Strokes are successful in preserving their massive legacy of lightning tunes once more and they continue to defibrillate the rock genre before it can ever slip away.
The album lacks any coherent artistic vision upon first listen, and while there are some beautiful moments throughout, it appears that the music has been stifled by ambition.
The album continues the group’s departure from their quasi-punk roots, a trend that began to emerge in their 2018 album Youngblood.
She captures a unique, hometown sound, blends it with ‘80s pop and adds her own flavor to it to create the most pleasant sounding album of this year so far.
The Weeknd’s work is showing definite progression and advancement in how he approaches this industry, providing the unequivocal groundwork for exceptional and high-grade quality content for music listeners everywhere.
With 11 tracks and an album cover that looks a lot like an homage to their greatest hit, the collection is a wonderfully curated blend of the group’s best features.
