The duo takes one step closer to the present by interspersing their 20th-century callbacks with nods to turn-of-the-millennium pop-rock.
The singer calls the self-directed video a "sultry sleepless fever dream."
The album feels like an assemblage of enjoyable ingredients that doesn’t coalesce.
Trippie Redd’s fifth studio album is repetitive, shoddily produced, and lacks any real structure.
The Canadian hardcore band manages to fit a surprising amount of stylistic variety into their shortest album to date.
The album blends English folk, American roots music, and shades of trip-hop in ways that are both heady and nebulous.
The garage-punk band skillfully strikes a balance between exuberance and introspection.
The album is an intriguing experiment in contrast and contradiction, marked by both absence and presence, noise and silence.
The band again serves up a variety of memorable hooks and abstract, knife-to-the-heart lyrics.
The album is a paradoxically delicate yet fearless plunge into the unknown.
The album continues in a classic rock-inspired direction, breaking from the neo-traditional country music that put the singer on the map.
The album proves that the punk icon not only has more to say, but continues to find exciting ways to say them.
Is the music video dead (again)? These 10 videos prove that the answer is a resounding "no."
While some boogie-inspiring electronic music impressed us this year, we were more transfixed by synthetic sounds.
While the album’s title suggests a collection of songs rife with internal conflict, it rarely delivers on that promise.
The best hip-hop albums of the year covered a wide variety of styles, modes, and moods.
The Atlanta-based trio’s spin on familiar sounds feels both colossal and tossed-off.