The album’s pseudo-danceable moments add welcome wrinkles to a formula that’s otherwise begun to feel leaden.
Iron & Wine’s Beast Epic mostly just drifts by like a pleasant but fleeting summer breeze.
Everything Now is by far Arcade Fire’s most upbeat and easily digestible effort to date.
Waxahatchee’s Katie Crutchfield runs out of new things to say well before Out in the Storm ends.
Sheer Mag has created an album on which even their breeziest hooks drip with tension and rage.
The album is convincing evidence that the Nashville sound can and should encompass more than just country.
Black Keys frontman’s DanAuerbach’s Waiting on a Song is, first and foremost, a piece of studio art.
The album goes down nice and easy, but it can’t overcome the cynical nature of its rootsy overtones.
You’re Welcome displays the benefits and pitfalls of emerging from beneath a lo-fi blanket of noise.
Throughout, Damon Albarn effectively weaves together his guests’ ostensibly disparate styles.
Dylan’s standards are real artistic statements, premeditated and effective as any of his other recent work.
Whiteout Conditions is the first New Pornos album where arrangement is as much of a focal point as melody.
Pure Comedy’s understated arrangements ensure the focus remains squarely on Tillman’s lyrics and captivating voice.
Hot Thoughts is at its most appealing when Spoon sticks to what they know how to do best.
The album evocatively captures the essence of the streets of New York’s increasingly gentrified outer boroughs.
Prisoner is an enveloping, painfully raw breakup album and an intense portrait of one guy’s troubled headspace.
Notes of Blue is Son Volt’s most direct, concise, and uptempo music in years.
Foxygen’s latest album, Hang, is composed of clean, airy, carefully arranged symphonic pop.
This may represent Jagger’s most technically proficient and grittily emotive set of vocals this side of Exile on Main St.
As the album turns 25, we take a look back at My Bloody Valentine’s Loveless.