The singer-rapper’s third album wastes no time going for the pop jugular.
As its titles suggests, the R&B singer’s first album in 12 years radiates positivity.
The British soul singer’s debut seems to have emerged from a time capsule circa 1969.
Neither the album’s eclecticism nor its polish can make up for its lack of memorable songs.
On Fool, Joe Jackson sounds younger and angrier than he has in years.
Skins fails to bring anything genuinely new to the table.
As revived as the classic Pumpkins sound is on Shiny and Oh So Bright, the album can’t quite shake the sense of superfluity.
Elastic Days feels so natural to the artist that it may be easy to take for granted.
Ono’s gift for making change seem possible remains undimmed on Warzone.
Digital Garbage is as cathartic and life-affirmingly juvenile as a well-placed middle finger.
Intimacy may be the most striking thing about this slim but reverently presented recording.
Raise Vibration is packed with sounds that are appealing, if a little overly familiar.
The undiminished spirit of Music from Big Pink deserves to be experienced for a lot longer than 50 years.
Negro Swan is Blood Orange’s most assured, accomplished, and significant album to date.
Nicki Minaj’s Queen tries so hard to impress everyone that it risks failing to satisfy anyone.
There’s a weariness beneath the surface of YG’s Stay Dangerous, which takes a step back from the topical.
The Internet’s Hive Mind is the band’s most musically diverse and synergetic album to date.
Leather doesn’t seem motivated by an affection for the past so much as an impulse to burn down rock n’ roll.
Part of what set Guns N’ Roses apart from their peers in the Aqua Net set was their grounding in rock history.
It works best when Chromeo finds the elusive sweet spot between pop hooks and music-geek verisimilitude.