The album often emphasizes the heavy influence of traditional country and roots forms in Jones’s music.
Furtado’s first greatest hits compilation suggests that there has been a fairly consistent through line and style to her catalogue.
This is how an ostensible country act makes a full-on pop album that sounds contemporary and relevant.
The Incredible Machine stands to be a transitional album for Sugarland.
The collection stands as a testament to how one can find a balance between commerce and art.
On Many Great Companions, Williams showcases both her uncommon consistency as a singer-songwriter and an impressive list of collaborators.
Guster doesn’t offer any surprises or major aesthetic departures on Easy Wonderful, their sixth studio album.
It’s hard to imagine that Charleston, SC 1966 won’t continue Rucker’s hot streak within the country genre.
It’s hard to think of Pete Yorn as the start of a new direction for Yorn.
When given the opportunity, Tunstall manages to showcase that she’s actually a damn fine singer.
The album simply lacks the edge and bite of Tucker’s work with Sleater-Kinney.
On Invented, Jimmy Eat World, now 16 years into their career, sounds like they’ve started to outgrow emo.
Taken suggests that Vincent’s independent phase could be the richest of an already acclaimed career.
Perhaps what’s most encouraging about You Get What You Give is that Zac Brown Band hasn’t played it safe.
Flamingo makes a pretty strong case that Flowers doesn’t have the best grasp of what it is he does well.
The 88 is a likable record, and the 88 brings considerable energy and passion to their performances.
Cloud Cult’s arrangements and performances generally match the scope of Craig Minowa’s vision for the project.
Album #2 has enough bright spots that Joey + Rory should be able to build on their fanbase.
The album makes it clear that Megafaun hasn’t quite figured themselves out yet.
Earle sounds more comfortable on Harlem River Blues than he ever has on record.