CoCo Beware’s charm lies in its understated and decidedly unintellectual allure.
On Biasonic Hotsauce, Dave Jones’s musical magpie approach has its limitations.
Has there ever been a rapper as charismatic as Drake?
We’ll get a proper debut when Archy Marshall’s ready.
If Daniel Lopatin has made any concessions to accessibility this time out, they figure mostly into Replica’s abstractly rhythmic qualities.
The Vision is a pretty shameless pop cash-in.
The question confronting Ambition isn’t whether Wale’s got the drive.
Florence and the Machine’s Ceremonials is a conversation that consists entirely in affirmations.
The only real argument for listening to Violence Begets Violence is as historical curio.
The majority of The Great Escape Artist is more likely to be uninvolving than outright bad.
Aabenbaringen Over Aaskammen’s most vital resource is Casiokids’s boundless sense of playfulness.
The Devil’s Rain is the work of a band that aspires to give the genre little more than its answer to “The Monster Mash.”
Björk seems to have given the 10 songs that constitute Biophilia a supporting role in the New-Age-goes-New-Media Biophilia experience.
Enemy/Lover is fairly one note, a nearly invariable collection of anthems gravitating toward the sludgier end of midtempo.
Exile might be the best producer to drop a mixtape this month, but he’s far from the most famous.
The only thing Cole World really wants for is the kind of out-of-the-park highlight that would pull the whole album together.
These metal auteurs haven’t stepped back from their love of all things mystical and psychedelic.
The Weeknd’s Thursday spans a range of sounds that are darker and more abrasive than what R&B typically allows.
The repetition and the generally sluggish pace of delivery make it clear that Wayne’s not in exhilarating top form.
The album’s ruling aesthetic principle is the uninterrupted ebb and flow of rhythm.