The album is a bright, beautifully wrapped package filled with nothing but styrofoam packing peanuts.
The Vines ultimately come off as nothing more than a proficient Nirvana cover band.
Whether or not Corbett will be taken seriously remains to be seen, but this debut album makes a solid enough case that he should be.
Electric Rodeo is a hot mess.
Meds is, if nothing else, less appalling than talentless electroclash pottymouth Peaches’s damn near unlistenable Fatherfucker.
No one here should consider quitting their day job, but there’s ample reason to look forward to Loose Fur’s next go-round.
Ambition alone doesn’t make the kind of statement that the album’s scope and structure demands.
Yeah Yeah Yeahs have emerged with a second full-length album that, like its predecessor, captures a band unbeholden to anyone’s expectations.
Case’s latest album continues down a path she first acknowledged on Blacklisted.
Artistically, Jace Everett’s self-titled debut is a certain kind of dead end.
Both brilliant and frustrating, Hello Young Lovers is the kind of album that, for better or worse, demands a strong reaction.
Band of Horses is a fitting addition to the Sup Pop roster.
Kristofferson’s comeback album takes its cue from the stripped-down aesthetic that’s served so many veteran artists
Bloom, Red & the Ordinary Girl plays like a Norah Jones album without the adventurous diversity of sound.
Under A Billon Suns actively undermines expectations, in the way great modern rock albums are supposed to.
The album plays like the foundation for a great mixtape.
Below the Branches, true to Stoltz’s DIY aesthetic, never overreaches or tries too hard to present itself as charming.
Idols of Exile never once sounds as though it’s out of Collett’s capable hands.
In terms of sheer creativity, RJD2 matches Aceyalone at every turn.
Gossip’s beats propulsive enough to get the sk8er kids to drop the self-conscious posturing and dance a little.