The three songs on this EP are little more than reiterations of the band’s basic template.
Pro*Whoa! is fierce and purposeful.
The Pistol Annies’s first single, “Hell on Heels,” impresses for setting a clear mood from its first notes.
Though it’s pleasant enough, The Errant Charm is rarely more than just another indie-pop record.
The themes of the songs may be familiar, but Bloom makes a genuine effort to explore them in ways that are distinctive.
Marc Broussard continues to leave the singer’s vast potential untapped.
Covers 80s leans so heavily on its wispy, ghostly arrangements that it does a disservice to Sheik’s voice and to the great set of songs he’s chosen to cover.
Lerche and co-producers Kato Ådland and Nicolas Verhnes wisely keep the focus on the quality of the songwriting.
Those who share in the Grascals’s devotion to The Andy Griffith Show might eat this up.
On It’s a Corporate World, Dale Earnhardt Jr. Jr.’s music too often feels like an afterthought.
This Is Country Music plays out as a survey course, both in form and content.
Bury Me in My Rings plays too fast and loose with its genre pastiches and is a scattershot affair as a result.
The material on Kelly ultimately lets Price down.
Matthew Morrison isn’t substantively different from any of the Glee cast albums.
Follow Me Down should only build on Jarosz’s already considerable reputation.
The Dreaming Fields is as excellent as Berg’s albums have always been, and it makes for a most welcome return.
It’s the meticulous nature of Sollee’s cockeyed pop compositions that draw the most immediate comparisons to Sufjan Stevens’s best work.
A new solo album from rock legend and beloved quasi-mystical figure Stevie Nicks should be cause for celebration.
Mount Moriah tends toward midtempo songs of prosaic, devastatingly serious narratives that quickly overstay their welcome.
Emmylou Harris remains one of popular music’s most compelling, evocative vocal stylists, and that makes Hard Bargain an easy sell.