By matching their sound so adriotly to the content of their songs, Scissor Sisters makes Night Work an album of real structural sophistication.
Memphis Blues is a disappointment because it doesn’t play to Lauper’s considerable strengths.
We Are Born finds Sia poised to elbow her way into the spotlight.
The album is never less than beautiful and perfectly performed, but most of it is the recorded equivalent of Lunesta.
With Antifogmatic, the brothers have done a fine job of incorporating their most sophisticated aspirations into a more conventional album format.
Even when Jewel attempts to stick to more familiar country-songwriting standards, the results are uneven.
At best, songs like “Holdin’ On” and “Go On” are serviceable, but they lack any semblance of spark or inspiration.
It’s the band’s confidence and self-awareness that keep that tone from sinking the project.
Up on the Ridge is an example of what modern country music ought to sound like.
The album would be even better than it is if Scott had included a few more uptempo, harder-edged cuts like “Queen.”
Other than the trio’s weakness for trite turns of phrase, the major flaw on Shout It Out is its spit-polished production.
If the album stands to alienate a few more of their diehard fans, it also stands to broaden their audience.
The Futureheads demonstrate meaningful growth on The Chaos.
Williams hasn’t demonstrated such breadth since 2002’s Lovesick, Broke and Driftin’.
Allison Moorer’s Crows Acoustic EP provides a different take on six of the songs from one of 2010’s best records, Crows.
No one could ever say that Bettye LaVette doesn’t know precisely what her strengths are.
The album is as ferocious and soulful an exploration of contemporary blues as anything in recent memory.
The record comes across as less of a change in direction than a full-on identity crisis.
Lauderdale’s inspired choices of collaborators and calculated risks make the record one of his most rewarding.
Forgiveness, Broken Social Scene doesn’t have many reasons to apologize.