The mechanical churn of commerce rings loudly on each and every track of Avicii’s True.
The album runs the gamut between workmanlike and sounding a little bored.
With Tales of Us, the dance floor isn’t just empty; it’s burnt to a husk and shrouded in darkness.
Even the name of Holy Ghost!’s sophomore effort, Dynamics, seems to be actively inviting criticism.
On Graffiti on the Train, Stereophonics seem content to be half-awake.
With Versions, Jesus achieves something her previous albums hadn’t: She’s created art so unobjectionable that it attains a kind of beige obscenity.
I Hate Music stands proudly among the best of the band’s redoubtable catalogue.
The Icarus Line isn’t on a rescue mission, and Slave Vows sure as hell isn’t a lifeline.
Though Where You Stand, Travis’s first album in five years, doesn’t scale quite the same heights as their best work, there’s real beauty in it.
The album’s charms are rooted in the familiar, and while that makes it go down smoothly, it doesn’t give one any reason to listen again.