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.
Non-Fiction is a story album unable to sustain interest as fiction, non- or otherwise.
Howlin Rain's Mansion Songs is filled with momentary points of chaos, a sense that the songs could fall apart at any moment.
Vulnicura confirms what's been evident for a long time: Björk firmly belongs to the world of the avant-garde.
The Pale Emperor is Marilyn Manson's most muscular, streamlined work since 2000's Holy Wood.
B4.DA.$$ never tries to be more than an apprentice work, working up an articulate introduction for a serious-minded new talent.
Belle and Sebastian wants to dance, but Girls in Peacetime Want to Dance is less of a 180 turn than one might expect.
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