Get Hurt is a shockingly misguided assemblage of over-processed hair-metal guitars and '80s adult-contemporary keyboard swill.
I'm Not Bossy, I'm the Boss is the singer-songwriter's most accessible album since 2000's Faith and Courage.
While still fundamentally a hip-hop album, Lese Majesty sounds like few others.
Evoking an old-school '70s LP, Hypnotic Eye's 11 tracks clock in at a snappy 45 minutes.
The Voyager offers a balanced mixture of exhaustion and wisdom, but the album feels in need of more cohesion.
Trouble in Paradise is an album with some very forgettable space in between its handful of bright spots.
The Black Angels' Clear Lake Forest is more redolent of the Whiskey A Go-Go than Max's Kansas City.
Even in its haziest moments, Hard Believer still preserves a pensiveness that keeps its sound from receding completely into the background.
And on his fifth album, Yes!, Mraz has turned his unending optimism toward even the most dour of subjects.
Sia mines the territory between fragility and strength throughout 1000 Forms of Fear.
Trigga is designed like a Hollywood blockbuster: squandered talent, obvious themes, and fleeting moments of creative excellence that stick among the clichés.
Lee Bains III & the Glory Fires' Dereconstructed sounds like a continually exploding bombshell.
Paula returns Thicke to smooth, baby-making slow jams and trades the disco thump for a big-band swing.
A Sunny Day in Glasgow's fourth album is a compelling, if slightly discombobulated, rock pastiche.
while (1<2) is so huge, portentous, and varnished within an inch of its life that it can't possibly fail, until it does.
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