Broken Hymns distracts from the staleness of its themes by burning them from the ground up.
Murs’s major label debut, Murs for President, is also the rapper’s first attempt at mainstream appeal.
Aside from an increased guitar presence, Offend Maggie is standard Deerhoof fare.
The album is rife with howling missteps that break the careful flow engendered by the music.
Emily Jane White’s Dark Undercoat is a solemn trek down familiar roads.
Great Northern is a band capable of reaching great heights—if only their producer were willing to take them there.
While irrepressibly buoyant, the album may feel to the casual listener like the soundtrack to a movie they haven’t seen.
The album is lost somewhere between the paved highways of modern rock radio and the scruff byways of indie folk.
It has all the hits you’d want, but none of the pruning, leaving this a fawning collection with greater emphasis on quantity than quality.
Wavvves’s self-titled second album exists in a mordantly post-ironic state.
Razorlight is the latest in a long line of unconvincing Trojan horse projects.
Smart and warmly crafted, Grrr… is sensible pop riddled with mistakes.
Take My Breath Away keeps its beats consistent but often hunkers down into contemplative quietude.
Trail of Dead’s Century of Self is at times a stirring, effective rock album, but the band’s creativity is less vital than they think.
200 Million Thousand is a patchwork that eventually turns into a sound of its own.