Pleasure embraces the melancholic sentiments of blues and improvisational immediacy of jazz.
What Now treats music as a force that’s cathartic and ephemeral but just as often deceiving.
The band switches things up on the album, but it feels more like tweaking a formula than breaking new ground.
A sense of surging depravation pervades the entirety of Sincerely, Future Pollution.
Jamiroquai updates their sound on Automaton, but their views on relationships are trapped in a bygone era.
Salutations is a sprawling album that unfortunately exchanges raw urgency for fussy polish.
Throughout Heartworms, James Mercer ruminates on aging by contrasting his present with his past.
With Detroit House Guests, Adult remains fixated on finding inventive ways to fascinate and unnerve their listeners.
The Tourist is a welcome shift from the amorphous electronica of the band’s last effort.
The Orwells harness their considerable energy and wield it with more precision on Terrible Human Beings.
Jens Lekman’s Life Will See You Now encapsulates the transfixing nature of fleeting moments.
Cloud Nothings take a far more measured approach on their fourth album, Life Without Sound.
I See You finds the xx illustrating the challenges of love and heartache through a vibrant new sonic palette.
The album finds the Parisian duo capturing the rapture and agony that can accompany unrequited love.
Welcome to Sideways is a contoured album that hits a sweet spot between kinetic and laidback.
Sleigh Bells charts a clear creative path forward on this album, one saturated in pop affect.
The Deaner Album possesses the swagger of an artist in full command of his craft.
Ruminations is prolific singer-songwriter Conor Oberst’s rawest and most earnest album in years.
These Systems Are Failing too often obscures Moby’s message with abstractions and platitudes.
Friends so incessantly refers to its seasons-change premise that its emotional impact is blunted by album’s end.