U2 – Easter Lily: Something in me died, but I was no longer afraid.

Artist: U2
Album: Easter Lily
Year: 2026
Grade: B+

In Brief: The more ethereal, spiritual, hopeful side of U2 comes out on yet another surprise-released EP, providing a bit of tonal balance after the songs of protest and lament heard on Days of Ash. If that EP was a soundtrack for the desperate times we’re living in, then this one feels like it could be a soundtrack for the world we hope can one day exist.

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Lovebites – Outstanding Power: They’ve got the “power” part down, but I wish more of it stood out.

Artist: Lovebites
Album: Outstanding Power
Year: 2026
Grade: B

In Brief: Now ten years into their career, Lovebites has served up another dizzyingly dense, technically impressive, and dependably fun slab of power metal. I don’t tend to have much new to say about these ridiculously talented ladies from one album to the next, but their music is always a blast, and their fifth full-length album – while it’s one of their more daunting ones in terms of runtime and it could stand to lose a few filler tracks – absolutely continues that trend.

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Harry Styles – Kiss All the Time. Disco, Occasionally: If you must join a movement, make sure there’s dancing.

Artist: Harry Styles
Album: Kiss All the Time. Disco, Occasionally.
Year: 2026
Grade: B-

In Brief: Harry’s pivot toward dance-pop and electronica on album #4 seems a bit non-committal. While it’s true that there are addictive grooves and interestingly crafted synthetic sounds on several of these songs, a lot of it seems like a distillation of various genre influences into a fairly safe pop/rock middle ground that doesn’t really do much to challenge the listener musically or lyrically. Which may be fine for an artist who is more of an entertainer than an innovator, but I can’t help but feel like the catchiness factor has dropped off a bit here in comparison to some of the killer hooks and inventive genre-hopping that launched his last two albums to stratospheric levels of success.

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Heartsongs: 1992

What even was 1992? I’m tempted to look back on it as a year without much of an identity, at least in my personal experience. 1990 and 1991 were huge transitional years for me, and then 1992 was just sort of… the status quo. I went from freshman to sophomore in high school, and maybe I finally felt a little bit like I knew what I was doing and I was no longer the puniest kid on campus, but that’s about it. The only newsworthy event from that year that I can remember having any impact on me at all was the L.A. Riots – a pretty serious event in American history, of course, but I somehow coasted blithely through it without understanding the gravity of the situation, even while stores were being looted mere blocks away from where I lived. It’s weird how your sense of risk and danger can get distorted when you’re young and you think your little world is invincible and nothing significant could ever disrupt it. I had the vague sense that what had happened to that man who got beat up by the police was wrong, and that the system had failed when those officers were acquitted, and that it was understandable for people to be angry about it… but I didn’t have to live with the fallout from it firsthand. It certainly would have been a lot more terrifying to live through as an adult who more clearly understood the implications, the systemic grievances that had gotten us to that point, and the potential dangers of even getting up and going to school the next morning. Ignorance is bliss, as they say.

The music from 1992 that I’ve accumulated over the years seems like it’s more scattershot than most other years from that era. In terms of great albums, it might be the weakest year of the 90s for me. In terms of great songs, though, I had no shortage – whittling it down to 100 for this list required some tough eleventh-hour decisions! It all adds up to a playlist that will probably seem quite incongruous to anyone other than me, what with some of the most earnest and sentimental songs I enjoyed in that era wedged right up against some of the most hilariously flippant (and in some cases even petulantly irreverent) ones. Some of this music, I didn’t encounter until well into adulthood, while some of it, while I can’t deny the fact that it still hits the same sweet spot that it did over thirty years ago, I have to admit to myself that I might’ve reacted to it differently if I hadn’t first stumbled upon it as a teenager.

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Gungor – Magnificat: The good news is that nothing lasts.

Artist: Gungor
Album: Magnificat
Year: 2025
Grade: B-

In Brief: Michael Gungor’s ongoing processing of deconstructing and reconstructing his beliefs about God will probably always be fascinating. He might have hit the point where some of his musings are too unorthodox for folks who got into him as a more conventional CCM worship leader back in the day, but I’ve learned to view his songwriting as the process of documenting a journey rather than a definitive statement of immutable truth. I wish I could say the same about his musical experimentation – which at times entertains, puzzles, and challenges me in interesting ways. On his latest album, I’ve unfortunately found that it can frustrate me a whole lot too.

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Silversun Pickups – Tenterhooks: A Glimmer of the Unknown

Artist: Silversun Pickups
Album: Tenterhooks
Year: 2026
Grade: B

In Brief: This deliberately tight 10-song set from a band normally known for putting out more expansive records is a nice overview for someone like me who is brand new to them, even if I feel like I might not be getting the full picture of what I’m capable of. The long-running L.A. band flirts with elements of dream pop and shoegaze here, punctuating the set with the occasional rattling rocker. But what I think impresses me most here is the role that the rhythm section plays, with the bass often playing an equal or even dominant role in establishing the riffs and the rhythmic character of a song. It’s hard to describe what they’re doing with specific genres terms, but the intriguing atmosphere pulled me in pretty much immediately.

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U2 – Days of Ash: Some of these protest songs are giving me Vertigo.

Artist: U2
Album: Days of Ash EP
Year: 2026
Grade: B

In Brief: Getting a surprise release from U2 can be a double-edged sword – particularly when their desire to put out the songs so quickly has to do with the topical present-day events each one of them is taking a stance on. Across these 5 songs (and one poetic interlude), it’s clear that they still very much want to rile up the big crowds, come down clearly in opposition to the hate, prejudice, and violence that seems to have reached a fever pitch all over the globe in recent years, and somehow try to do this all in an artful way. At times these goals seem to be at odds with each other, making this EP a bit of a clunky listening experience – but man, I can’t fault them for trying, and for breaking out of their usual painstakingly long album-making process in a genuine attempt to meet a difficult moment in history.

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Heartsongs: 1991

It’s fair to say that the world underwent some massive changes in 1991 that my teenage brain was blissfully unaware of at the time. More countries gained independence that year than any other during my lifetime so far, and the part of me that was obsessed with maps took that as an opportunity to learn a bunch of “new” countries and capitals, but there was no way I could have grasped what the fallout from the gradual dissolution of Yugoslavia and the more abrupt end of the Soviet Union meant geopolitically. I had been too young in the 80s to understand the tension that the world existed in during the Cold War, and I honestly wasn’t attentive enough in history class as a high school freshman for it to mean much to me when teachers tried to cover it. Closer to home, there was a cultural shift going on in popular music that I wasn’t totally attuned to at the time, with alternative rock and grunge (I didn’t yet understand that these terms weren’t 100% interchangeable) starting to take over the airwaves. It impacted how young folks expressed themselves in terms of fashion – the glitzy excesses of the 80s were out, and flannel was in, making it one of those rare moments when I was accidentally fashionable with my second-hand thrift store clothing bought by necessity, not as a conscious stylistic choice. Hip-hop and R&B were having a moment, too, which was a scene I was even further removed from, but I do remember thinking it was cool how all the sampling and drum loops that came from those neighborhoods of the music world had started to leave fingerprints on everything from mainstream pop to some of that edgy alternative rock the cool kids were into. Whether it was outdated national borders or musical genres that I had been previously led to believe didn’t play nice with each other, it felt like an old system was breaking down and a new world order was starting to take its place.

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