The singer has yet to discover a sound or sensibility that truly distinguishes her.
The music video for Miley Cyrus’s “Wrecking Ball” is all monotones except for the singer’s bleached locks, red lips, and piercing blue eyes.
Even the name of Holy Ghost!’s sophomore effort, Dynamics, seems to be actively inviting criticism.
The Weeknd’s Kiss Land makes for a generally brutal, misogynistic listen.
The album pits Knopfler’s guitar against a seafaring rabble of strings, flutes, and the occasional pennywhistle, and the result is far more fun than this arrangement might suggest.
On Oni Pond plays it too safe, the Man Man formula scrubbed clean of its dirty charm.
The hype machine surrounding Catching Fire kicks into high gear with Coldplay’s “Atlas.”
Perry’s third album, Prism, has been marketed as a change in direction for the singer.
Brannan discusses his new EP and the odds of getting a job after broadcasting video of himself singing on the toilet.
Later proves that Glasvegas has effectively shaken off their second-album hangover.
Review: Neko Case, The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You
While not strictly a confessional album, The Worse Things Get builds its momentum out of isolated, deeply personal moments.
“Bitter Rivals” is appropriately playful and in-your-face—basically everything we’ve come to expect from the band.
Tales of Us takes a step away from the electronic sound of Goldfrapp’s most popular releases.
The track takes a decidedly softer tack than “Bring the Noize,” with a summery dub vibe and sing-song melody. At least for the first 90 seconds.
Though Love in the Future purportedly has its ear on the future, Legend frequently draws on his past.
In almost every way, this is the least outré effort Nine Inch Nails has proffered since Pretty Hate Machine.
The album is an autumnal tour of vanished youth that blends period touches and details with Okkervil River’s familiar musical tics.
“XXX 88” is a collaboration between Danish singer Karen Marie Ørsted and producer Diplo.
On Graffiti on the Train, Stereophonics seem content to be half-awake.
An abstract and occasionally disjointed album that ultimately finds a rewarding balance, both sonically and lyrically, between the obscure and the deeply personal.
Tyler, the Creator describes his new song, “Garbage,” as such: “DRUG DEALING OLD FAMLAY CLIPSE TRASHCAN SOUNDING SHIT.”