Singer-songwriter Casey Dienel is the type of girl that laments the deaths of clawfoot bathtubs.
Rykestrasse is so finely emotionally tuned and expertly pieced together that you can’t help but indulge Hukkelberg’s few eccentricities.
What doesn’t kill us clearly makes for a strong sense of melodic arrangement.
That Landes’s quiet folk-rock gives way to more raucous passages and experimental arrangements makes Fireproof less sonically monotonous.
If one were to try to identify some kind of evolution in Janet’s latest bout of dirty talk, it might be sex with robots.
The singer’s fifth album famously announced her sexual maturity.
Those wondering how Mariah could possibly top the inane title of The Emancipation of Mimi need wonder no more.
Perhaps the C.I.A. should consider replacing waterboarding with protracted listening sessions of the former pro-surfboarder’s latest.
It’s not surprising that nearly every article written about Kate Nash’s debut, Made of Bricks, comparesher to Lily Allen.
It looks like Robyn is finally ready to make a stateside comeback.
Sheryl Crow’s Detours reunites the singer with producer Bill Bottrell for the first time since her debut. Read our review.
The album is more sensual and surreal than anything produced by the band’s immediate progenitors.
There’s little here that’s likely to reprise the slow-burning success of the inspirational smash “Unwritten.”
Satisfied relies too heavily on middle-of-the-road mid-tempo numbers.
Sia’s Some People Have Real Problems is the first great pop album of the new year.
Maybe I wasn’t alone in thinking the show is the most irresponsible, exploitive, and reprehensible program on television, or perhaps people just don’t read our TV section.
Sweet Dreams is more faithful to snyth-pop’s avant-garde roots than Touch.
Miss Sparks is the youngest Idol winner to date, and for the most part, she doesn’t try to play older.
Sawdust is a cute name for an album of b-sides and rarities.
Apparently getting kissed by a rose transports you to Dullsville.