By ACRN’s Editorial Team
This mess of an album can be encapsulated in the opening track, “The Fate of Ophelia,” a song where Swift greatly misunderstands the Hamlet character of the same name. This is a character and story often studied in scrutinous detail in a high school English class. As this track opens the album, it’s evident that her songwriting ability that once prompted her to be one of the most sought-after singer-songwriters has faded. The album abandons any showtime theme that it’s attempting. There’s no cohesion between tracks and they’d make more sense as singles released independently from one another. As has been a recent trend with her music, she’s released multiple versions of the same record to an almost hysterical extent. There isn’t much if anything that this album offers wholly independently from her other works. Perhaps the biggest crime an album can commit is being nothing at all, Swift methodically crafting her most inoffensive and unbold work yet.
- Cody Englander, Managing Editor
2. SWAG — Justin Bieber
Maybe it was my own fault to go into a Justin Bieber record with high expectations, but with rumors trickling around regarding both Mk.gee and Dijon’s involvement with the project, it was hard not to imagine a world where this collaboration might actually work. Sadly, there wasn’t enough hope to uphold SWAG from dwindling into a lukewarm, watered-down imitation of what makes Mk.gee and Dijon’s hazy R&B so captivating. Its length, at 21-tracks, surely doesn’t help either, as after the multiple awkward Druski skits you start to realize Bieber ran out of ideas a quarter of the way through the record.
- Rocco Prioletti, Editorial Director
When it comes to Lady Gaga, everyone is pretty much on the same page; she creates innovative dance music paired with iconic looks. Gaga has been killing it for years with close to no skips on all of her albums. Her latest release just didn’t quite hit the mark as it should have. As a Gaga fan, there was so much build-up for this album, and while some tracks like “Disease” and “Zombieboy” are incredible, there are more flops on MAYHEM than on any other Gaga album. When it comes to the release of the album, her marketing team put more effort into the release of the singles for the album than into the actual album itself. And unfortunately, it feels like those tracks may be the ones that were given the most attention in the studio.
- Eileen Fortner, News Editor
4. Deadbeat — Tame Impala
The anticipated return of Tame Impala has been on the minds of indie kids for a while now and his newest release, Deadbeat, is a sign to accept Kevin Parker will not release something as spectacular as Currents ever again. When listening to Deadbeat it sounds like Parker was being experimental this time around, trying some news things I can’t quite figure out. As well as trying to replicate some of the iconic, delicious basslines from Currents or timely, crisp drums from Lonerism, but not hitting nearly as the same as the originals.
Although this project is clearly a step down from his works in the past, you can acknowledge the vision he was trying to pursue. Maybe a stripped down or minimalist approach, much different from his usual style; it’s clear it just doesn’t work for him. It is also time for him to realize, he did create some of the best indie, alternative records in the 2010’s and it’s okay to move on and be proud of that really good music. But nearly 20 years into Kevin Parker’s career and now he falls short. That’s not too bad.
- Kate Tocke, PR Director
5. Headlights — Alex G
Alex G released his 10th studio album this summer, Headlights, and I am sorry to say it did not leave an impression. While Alex G has never been known for the complexity of his instrumentation or vocals, Headlights is still shockingly bland. Most songs bleed into one another in a way that is not seamless, but rather an indication that few tracks are unique. Many fans fell in love with Alex G’s music from his 2012 album Trick; however, Headlights is not reminiscent of his older work. Alex G’s deeper voice is now the forefront of his songs, deviating from his older style where his quiet voice mixes with the instrumentation of his guitar. “Oranges” stands out with a pretty acoustic guitar hook and its story of young love. Despite this uplifting track, “Oranges” is not enough to carry the whole album. Sadly, Headlights is simply too bland.
- Sage Spirk, Contributor
ACRN.COM 
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