The album solidifies the band as the boldest purveyors of something resembling what we used to call rock.
If the world is burning, the album asserts, you might as well enjoy the bonfire.
Even when they’re having fun, the Pet Shop Boys never fail to call it like it is.
Belle and Sebastian wants to dance, but Girls in Peacetime Want to Dance is less of a 180 turn than one might expect.
24 Karat Gold: Songs from the Vault is a glorified act of copyright protection.
For a musician who can be as withholding as Williams, the generosity of Down Where the Spirit Meets the Bone is a welcome change.
Grappling with that fraught history and how we move on is the explicit aim of Hercules and Love Affair’s third album, The Feast of the Broken Heart.
If Unrepentant Geraldines is indeed visual art, it’s more of a polite Norman Rockwell than a vomit-stained Sherman.
For all its heady ideas and pretty moments, The Future’s Void is a mishmash of half-completed thoughts that fails to fully connect.
With Electric, the Pet Shop Boys have once again given themselves a lease on another era.
Lenda Dunham takes pains to debase her charactyers, and makes them both funnier and more recognizably human in the process.
Del Rey’s been called anti-feminist, though for what reason I still can’t discern.
These characters love each other and we love them, no matter how much they fuck up.
Luke Jenner and company turned in a remarkably assured performance, without any of the out-of-practice awkwardness one might’ve expected.
Good Neighbors basically runs on the assumption that Montreal is the last place you would ever want to live.
The point is not to fix what’s happened but to learn to live with it.