Brood X finds Boss Hog not singing its way out of the blues, but delving more deeply into them.
The majesty of Bing & Ruth’s No Home of the Mind may lie in how often you feel like the only one listening.
The Temple of I and I is Thievery Corporation’s most focused effort to date—which also makes it their least adventurous.
The two-track A Shadow in Time shows that William Basinski’s technique can yield a wide range of results.
Oczy Mlody is a masterstroke of rhythm and tone that neither trips head-on into bliss nor spins into dismay.
This is music that’s never the same but sounds like it is, obsessed with the fact that it isn’t.
The album, Donald Glover’s third release as Childish Gambino, finds the musician confusing his idols for muses.
Bruno Mars’s album is a tidy, if derivative, antidote to today’s overthought, overwrought pop.
Twenty five years later, Achtung Baby is still intact as U2’s best and most fully realized album.
Eternally Even plants Jim James dead-center in the rubble of modern sociopolitical rot.
The album wields the Orb’s trademark synths, samples, and stray noises toward a more personal end.
Shape Shift with Me reexamines the dynamics of power, place, and belonging.
Primal Scream’s Screamadelica is a reckoning of past and future injected with real-life rock debauchery.
The album is a captivating listen, albeit far from the confidence and coherence of De La Soul’s crucial first act.
The album shows lateral growth in its procession of art-rock odysseys and more standard fare.
After waiting so many years, it’s worth the extra patience to let the Avalanches’s Wildflower sink in.
The album has the potential of a personal masterwork, but its master is more conductor than confessor.
The album is the fascinating work of two artists committed to sounding non-committal.
The album covers torch music, jangle pop, front-porch folk, and alternative country, all with a quiet showmanship.
Most of the songs on the album are quick and fun, with bright hooks and buoyant keyboards.