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.
The Decemberists' What a Terrible World, What a Beautiful World is built on a series of wild stylistic vacillations.
Uptown Special assembles a seemingly disparate group of collaborators to create a cohesive homage to vintage soul and funk.
That Meghan Trainor's debut is called Title is emblematic of the album's religious devotion to formula.
No Cities to Love is all about trying—striving to best a catalogue without peer, and sounding, minute-to-minute, like its makers might've done it.
Panda Bear Meets the Grim Reaper finds Panda Bear staking out a middle ground between quirky abstraction and pop accessibility.
Part of what makes Jazmine Sullivan's Reality Show so remarkable is how often it dares to foreground her pen over her pipes.
Black Messiah is ever-worked, ever-tweaked, and perfected (in its distinctively imperfect way), but soul-bearing and raw like little else.
The Pinkprint is a nakedly introspective work that reduces Minaj's formerly freewheeling aesthetic to its bare components.
Sucker is a party album charged equally with punkish rebellion, hip-hop cool, and pop universality.
The Wu-Tang Clan struggles to present a unified front on what's purportedly the clan's last official album.
Although the 13 songs on Classics were written between 1930 and 1974, very few of them are old-fashioned time warps.
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