The album is filled mostly with more of the pleasant yet unremarkable Triple-A sludge that has defined latter-day R.E.M.
Treble & Tremble is more like an unraveling tapestry than a blur.
Ironically, it seems the slackers of yesterday are now the ones rallying for political change.
Preceding the return of Duran Duran by several months, the Killers are the latest group to jump on the rock revivalist bandwagon.
Even Johansen manages to knit a surprisingly cohesive sonic tapestry out of strings, brass, acoustic guitar, tinkling toy piano sounds, and more.
Okay, so I’m biased.
Vol. 2 sometimes sags under the weight of its subtlety.
The Stranger is, in many ways, a rejection of the American dream.
It’s no secret why the ladies love cool James.
Homage aside, City is actually a very well crafted album.
For the first time in Björk’s career, the remixes might actually improve on the originals.
The album is filled with intricate folk-pop tunes that are both instantly charming and ever so melancholic.
The career of a hip-hop artist is not unlike Cher’s farewell tour: it’ll continue on and on so long as the money keeps coming in.
Unfortunately, Spiderbait aren’t able to fully transcend their influences—even if they do do it well.
The melodies and harmonic dissonances hidden beneath the dense layers of white noise are interesting, even beautiful, but you get the sense that they’re accidental.
Songs to No One is by no means Jeff Buckley at his best.
These discs are a testament to Buckley’s awe-inspiring versatility and breadth of talent.
The album plays like a classical-pop mélange of various female singer-songwriter influences from the last 15 years.
To celebrate the re-release of Grace, we’ve decided to root through the self-proclaimed chanteuse’s catalogue and spotlight some of his key releases.
Despite assistance from a sex-kitten-voiced electronic navigator, Ashlee arrives several hours late to the meeting.