With Gutter Tactics, their fifth album, Dalek threatens to grow completely stagnant.
Working on a Dream is a toothless album whose fascination with good vibes leaves it feeling soft and expressionless.
Get Guilty could easily be a singles collection.
Glasvegas is frustrating but intermittently brilliant.
In its bareness, the album achieves a rare kind of elegance that exceeds the sum of its scant parts.
Folie à Deux seems to prove that Fall Out Boy is good at masking its best qualities and pushing forward its most annoying ones.
Realist feels like the mold from which better rap albums are made.
Like any album from a band on the wrong side of 30, So, Who’s Paranoid? comes with a stigma attached.
Finally provides a concrete diagram for what Kozelek has been doing for years: taking big songs and packing them into very small boxes.
If this is truly the end for Scarface then Emeritus is a backdoor exit.
The album continues Neil Young’s project of scraping up the documented leavings of his youth.
Trevor Tanner’s Eaten by the Sea bounds along on a baseline of mediocrity.
The album is comfortable, solidly enjoyable, and often downright cozy.
Relentlessly tidal, Fennesz’s Black Sea shifts subtly between bluster and stillness.
Isobel Campbell & Mark Lanegan’s Sunday at Devil Dirt fiddles predictably with influence and archetype.
Trying Hartz presents a satisfying microcosm of one of the world’s most inventive and ridiculous bands.
Tight but stormy, the album wastes little time getting started, but it ultimately doesn’t go much of anywhere.
For an album with no lyrics, Jóhann Jóhannsson’s Fordlandia certainly has a lot of things to say.
The pleasures of Little Joy, a casually assembled, self-titled side project anchored by Strokes drummer Fabrizio Moretti, are small but concise.
Smooth and mostly sunny, Cardinology hums along on the fumes of better Ryan Adams material.