Ypres is notable for, more than any other Tindersticks effort, indulging an avant-classical ambition.
The covers on With a Little Help from My Fwends tend more toward pointless sabotage than creative rearrangement.
Kiesza's debut, Sound of a Woman, quickly reveals itself to be a crafty bait and switch.
Soused adds new dimensions to Scott Walker's oppressively gloomy rococo mood music.
The title of Mary Lambert's debut, Heart on My Sleeve, reads like a concise manifesto.
24 Karat Gold: Songs from the Vault is a glorified act of copyright protection.
The album's bugged-out trip-hop productions are occasionally interrupted by misguided attempts at R&B slow-burners.
The Best Day finds Moore playing energized, accessible guitar rock that retains many elements of Sonic Youth's inimitable sprawl.
From the first syncopated finger snap, it's clear Aquarius is a direct descendent of '90s-era Janet Jackson.
A conceptual stew of spellbinding electro-noir, You're Dead is Flying Lotus's most transcendent work to date.
Tough Love reduces Ware down to her essence, while offering ample opportunity for her to develop her technique.
Weezer's Everything Will Be Alright in the End is an exultant "fuck you" to dashed expectations and the snarky wallow in past glories.
Caribou's Our Love is an uncharacteristically uneven effort from a generally consistent artist.
Unfortunately, after an impressive opening salvo, Jessie J's Sweet Talker largely relapses on tired MOR.
...And Star Power emulates not only the musical styles, but also the loopy concepts of so many classic bands.
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