The album represents a significant step forward in terms of the band’s emotional range and melodic richness.
Post Pop Depression seeks to deliver a proper send-off for Iggy the songwriter and pop pioneer.
The success or failure of each of the album’s songs largely hinges not on whether Kozelek’s babbling is charming or not.
Whatever the end results, Adams at least deserves credit for putting so much effort into 1989’s arrangements.
On their new album, Blitzen Trapper isn’t afraid to cater to those who yearn for a return to rock’s golden age.
Crosseyed Heart finds Richards leaning on genre exercises, some of which are more successful than others.
On their eighth album, the band encapsulates a broader purview of Memphis’s influence than ever before.
The album is the strongest affirmation yet of Dan Bejar’s inexhaustible restlessness.
Star Wars is by far the noisiest and most adventurous Wilco album in over a decade.
Something More Than Free, retains Southeastern’s intimate acoustic-based feel and heavyhearted lyrical matter.
Though it lacks the career-spanning sprawl, Ten Songs from Live at Carnegie Hall still captures the essence of the full version of the album.
Sun Kil Moon’s Universal Themes is like a diary with pages that are still blank and need to be filled up.
My Morning Jacket’s forays into synth-heavy prog and arena rock on The Waterfall are alternately inventive and bafflingly blockheaded.
For better or worse, Zac Brown Band refuses to continue churning out the same old formula on Jekyll + Hyde.
Sound & Color is proof that Alabama Shakes have got the chops to be a lot more than Muscle Shoals revivalists.
With its chintzy synths, plastic horns, and feather-lite reggae and lifeless white-guy funk, the album might as well be made up of outtakes recorded 30 years ago.
Given the songwriting chops Butler flashes here, there’s no explanation as to why he’s never gotten to sing a single song with Arcade Fire.
McMurtry steps back from the opener’s heady storytelling style for the remainder of the album’s first half, adopting a more personal mode.
The Decemberists’ new album, What a Terrible World, What a Beautiful World, is built on a series of wild stylistic vacillations.
Although the 13 songs on Classics were written between 1930 and 1974, very few of them are old-fashioned time warps.