On the majority of Heligoland, Massive Attack’s idea of heterogeneity is limited to rotating guest vocalists.
At this point in his career, Kieran Hebden hardly needs to worry about breaking ground or building cred.
What’s most impressive about Live at the Isle of Wight is the hi-fi quality of the film’s audio track.
For the most part, My Dinosaur Life consists of power-pop in the proud tradition of Cheap Trick and Fountains of Wayne.
With Heartland, Owen Pallett officially lays the Final Fantasy moniker to rest.
As smart and savvy a songwriter as Keys should be able to do better than this.
Love Is Not Pop is instrumentally minimal, often leaving Sarah Assbring and her trembling voice to fend against a whole lot of negative space.
If nothing else, Echo certainly establishes Leona Lewis as a singularly gifted vocalist.
If you thought that success went to Ryan Tedder’s head, Waking Up wastes no time confirming those suspicions.
When taken as a whole, em>The Fountain is significantly worse than any one track would suggest.
The album contains substantial flaws that cannot be chalked up to prog-rock growing pains.
Lightning never strikes the same place twice, but Lightning Bolt does.
Intuit does have acoustic guitars (layers upon layers of them, in fact), but it also has a whole lot more.
At a time when a “Guitar Hero” is something your kid brother picks up at GameStop, Doug Martsch is a pantheon unto himself.
By the time the second track of the xx’s debut reaches its chorus, it’s clear that xx is something special.
Brand New confronts listeners with an impressive variety of sound and fury.
Lyrically, Light is an album concerned with spiritual struggle, but it’s rarely insightful.
While most indie messiahs tend to wear out their halos once the hype dies down, this duo’s debut seems engineered for maximum replays.
From his spiritual commitments to his choice of beats, Matisyahu does nothing without careful consideration.
That the material on Leave This Town is clearly so meaningful to Chris makes the experience worse.