This twofer is a bracing, willfully odd delight that rewards the patient and frustrates the short-fused.
Selecting a singular moment is difficult, since I’m Your Man is packed with one show-stopping performance after another.
The album’s tunes explode in an artful cacophony of buzz saw guitars, shout-along choruses, and startlingly precise lyrics.
Ultimately, Blue on Blue is very much like an exquisitely cut cubic zirconium.
The ache of years wraps itself around this introspective collection of songs.
Stylish and confident to a fault, Pharrell’s success as a solo artist is, unfortunately, pretty much where the album title says it is.
Should the masses unearth this quirky gem, rest assured that many more ears will be attuned to what comes next
I’d be hard pressed to point any particular track here as rising above the others.
In the Maybe World is an accessible, if lyrically opaque, work that should please fans of avant-pop.
The film’s soundtrack is as ephemeral as the exhaust from Lightning McQueen’s tailpipe.
There’s a certain intangible glow radiating from The Loon.
For the uninitiated, listening to a Peaches album is like being socked in the face with a rubber vagina.
Corinne Bailey Rae is a triumph of mood over tangible substance.
Slowly, almost imperceptibly, Live has drained any sense of drama from its music.
The looming specter of death darkens every corner of American V: A Hundred Highways.
The album The Eraser is, quite simply, Thom Yorke clearing his throat.
Evangelicals’s debut full-length So Gone is a dense, emotionally complicated record.
Free to Stay is playful, quirky pop that sounds like it’s old enough to drive but still bums rides from the ‘rents.
The River in Reverse is a dark, passionate work that channels its rage toward redemptive joy.
Phoenix is one of those bands that are easily devoured, quietly admired, and chronically overlooked.