Hard Candy is the album Confessions on a Dance Floor was supposed to be, both in terms of musical style and overall progression.
watch it because of the plaid. It’s all about the plaid.
Elbow’s Guy Garvey fancies himself a man of importance on The Seldom Seen Kid.
The Bristol trip-hop pioneers’ Third is starker, leaner, and more dissonant than its immediate sibling.
Bittersweet World is another step in the right direction for Ashlee Simpson.
Robyn is definitely a slow-burner, but it’s also everything pop music should be: provocative, poignant, inventive, and fun.
Despite the band’s name and psychedelic iconography, Love was no flower-power act.
Twenty Five is essentially an update of 1998’s Ladies & Gentlemen: The Best of George Michael.
This year, the original King Kong celebrates its 75th anniversary, and thanks to Turner Classic Movies, I finally saw it last night.
This is the quintessential statement on the crushing pressures of being a Kabbalist pop star at 49.
The album alternates between heavy-beat ballads and more traditional adult contemporary mush.
These songs aren’t as transcendent as a Chemical Brothers comedown, but they’ll suffice until the Chems reunite with Beth Orton.
Kylie Minogue has churned out three singles from her album X since its international release last year.
The album is a solid collection of appropriately vacant party jams, slinky come-ons, and modern, urban balladry.
Maybe Cee-Lo should give Dan the Automator a call.
Logan Kroeber’s drums don’t just provide the backbone to the album, they’re the central nervous system.
On the album, Snoop tries to reconcile his past with his newfound family-man status.
Björk’s official website is now blocked in China and she probably won’t be welcome back in the country anytime soon.
Threats of pilfering frothy iced beverages in bloody bowling alleys aside, there’s plenty to justify the existence of The Hits.
Autumn Fallin’ is a quintessential New York album.