Sometimes I Sit and Think, and Sometimes I Just Sit isn't a leap forward so much as a sharpening of Courtney Barnett's observational wit.
Tidy this album isn't, but the uncompromising messiness is the point.
With Strangers to Ourselves, Modest Mouse surrenders too often to a prefab pop-rock idiom that isn't entirely their own.
Stevens has never made an album this nakedly autobiographical, so stripped of complex conceptual trappings.
Down to Believing favors cathartic bursts of energy rather than the weeping-over-my-guitar fare.
Twin Shadow's major-label debut, Eclipse, inflates his familiar traits to cartoonish proportions.
With Policy, Arcade Fire's Will Butler proves he's worth more than playing second or third fiddle.
On another eternity, Purity Ring displays a willingness to more intrepidly embrace the pop underpinnings of their debut.
Tucked inside this lumbering mass of songs is an album that would, under any other circumstances, make for Madonna's best in at least a decade.
The songs on Piece by Piece should ostensibly inspire nostalgia, but instead feel like they just rolled off a conveyor belt.
Gliss Riffer dissolves a multitude of nearly familiar fragments into a roiling broth.
True Romance is a personal body of work, an uncompromised expression of what defines Estelle as an artist.
James McMurtry's storytelling finesse has never been more evident than it is on Complicated Game.
With Blackbirds, Gretchen Peters betrays the notion that albums devoted to the subject of mortality are exclusively the province of men.
I Love You, Honeybear finds Father John Misty becoming a person as real as Josh Tillman himself.
Dylan's Shadows in the Night is a collective portrait of influence filtered down through the ages.
For a band so obsessed with death, and its erotic possibilities, A Place to Bury Strangers sounds utterly alive on Transfixiation.
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