One-album wonders weren’t in short supply in the ’90s, but many were far from disposable.
The album of the year lineup lacks a Social Network to really make the Oscar comparison complete.
The choice of violent imagery belies the apparent sweetness of the group’s nine members and the single’s simply massive hooks.
Little Dragon seesaws from bright to heavy textures, yet Nagano never gets sucked into the drama.
Is it fair to say that many of us attach no actual “nostalgia,” in the strictest sense of the word, to the singles of the 1990s?
Basement Jaxx’s lopsided, Schaffel return to form, may very well have been commissioned by Audi to sell their A7 Sportback.
Call it the Year of the Woman, as 2010 featured more standout lead female performances than any 12-month stretch in recent memory.
Sometimes, when everyone agrees that something is pretty great, it’s because it’s actually pretty great.
I don’t want to overstate the case for our new decade’s first breakout star, but I can’t help hearing 2010’s pop music in terms of the Gaga Effect.
The standout track from Nicki Minaj’s debut, Pink Friday, is a duel for the ages.
Not a damaged wail and not a burst of joy either. It’s the wizened sound of acceptance.
The Fresh & Onlys’s new album, Play It Strange, provides a trip back to the early 1980s.
“Doncamatic” is a far cry from Plastic Beach’s grandiose kitchen-sink arrangements.
Beefing about snubs has become an annual sport, but committee deserves credit for filling the slate with a range of intriguing, less buzzed about films.
I think the only thing it validates is itself, and the decision to give the Brat Pack the celluloid equivalent of a Reykjavik summit.
This year’s series offers up a comparably varied and geographically far flung group of pictures.
Auteurist artistry and genre craftsmanship remain vital filmmaking avenues throughout the decade.
That something vital to pop discourse might be lost if full-length albums disappear should give pause as we dive headfirst into the 21st century’s gangly, awkward teenage years.
The decade that began with the commercial single seemingly gasping its last dying breath ended with it being the dominating format.
And now, a retelling of a recent conversation between two teenage girls and an older, wiser relative who gets owned.