Ra Ra Riot has fashioned a gritty yet polished post-punk sound fit for a Sofia Coppola film.
It seems it’s to Nany Pelosi’s advantage to keep the swamp at least knee-deep.
Unlike Björk, Elsiane plays it too safe and the material doesn’t live up to the uniqueness of her voice.
The biggest problem with McCain’s latest attacks against Obama is their inherent hypocrisy.
None of the album’s ornamentation takes away from Mike Rosenberg’s lyrics and plaintive vocals, which remain front and center.
Perhaps the weather of concern is a different hurricane: Katrina.
Though Meiko’s lyrics aren’t novel, there are flashes of keen self-analysis scattered throughout her self-titled debut.
When you play with words, the words usually win.
For teen-pop, your kid could do worse.
Certain Feeling might be a little strange, and sometimes even seemingly meaningless, but it’s also singular, rich, and vast.
The new cover is a knottier enterprise, much like the We Are All Hussein movement: it’s a satire of a misconception.
The album invites us to fall into the lull of Calico Horse’s softly rocking rhythms.
As with most Madonna albums, it’s impossible to talk about the music without addressing the cultural context that produced it.
That Kerli Kõiv claims no musical influences aside from Björk is a tad suspicious.
Back in the ’80s, saving the world seemed so easy.
Omaha quintet Tilly and the Wall return for another round of their patent-pending Gene Kelly rock.
Pairing Nordic, perky-voiced songbirds with ice-capped Euro-house is a no-brainer and Keerlup’s got the formula in spades.
Originally conceived as an album of string-quartet pieces, Shark’s Teeth evolved into something more musically full-bodied.
Recorded largely outside of Iceland, Með Suð is less polished than the band’s previous outings.
Perhaps it’s foolish to expect progressiveness from a girl whose debut was a Christian gospel album.