Eminem’s grip on the zeitgeist is less firm on the over-long Revival than it was on the freestyle cut “The Storm.”
In the end, the way the film transforms characters into mouthpieces for misguided hot takes is a bizarre miscalculation.
Ware has long possessed the ability to wrap powerful emotions in pleasant melodies.
It’s hard to know whether to laugh or cry at pop music’s steadfast refusal to let talented vocalists simply sing.
Of Montreal mastermind Kevin Barnes is some kind of unhinged, tragically little-known genius.
Diana Ross might want to more carefully consider her career before signing up for obvious gimmes such as this one.
Oh, My Nola is inspired and life-affirming.
Meet The Smithereens is a diverting, inconsequential bit of nostalgia.
Here & Now isn’t a limp, star-studded cash-in, but neither is it a disposable piece of memory lane fluff for the Time Life set.
If all of Jigga’s future records sound as labored and flat as Kingdom Come, do we really need him back?
Love is a dazzling, expansive experience that ranks among the year’s best.
The Road to Escondido is a journey worth taking.
The album is an 18-track retrospective of Our Lady Peace’s string of singles that fared far better in the Great White North than in the U.S. of A.
Stop The Clocks is simultaneously a terrific introduction for the unfamiliar and a smartly assembled mixtape for the Oasis faithful.
Perhaps this retrospective could reframe the group’s thinking and put them back on the path to credibility.
The seams are starting to show in Jack Black’s shtick.
Richard Linklater does an admirable job of shoehorning in as much of the sprawling nonfiction narrative as he can.
Supply and Demand is every bit as polished and confident as Amos Lee’s debut.
As 2006 winds down, Lloyd Cole must be feeling like he’s having a pretty great year.
Public Warning is less of an instant classic and more of a promise of things to come.