We ranked the Queen of Pop’s discography, from her self-titled debut to Confessions II.
People, Hell and Angels comprises 12 tracks that pop with an electricity born of Hendrix’s sense of forward motion.
With Anxiety, Autre Ne Veut abandons bedroom isolationism for a drastically cleaner and more straightforward approach.
Cult of Luna’s Vertikal is a linear album, best appreciated from start to finish.
Amok is a collection of agile, minimalist rock songs with a handful of interesting but ultimately superficial electronica flourishes.
Melody is the connective tissue between Tame Impala and their audience.
Old Yellow Moon walks a line between retro-country and retro-rock with a sure and satisfying sense of balance.
By the turn of the century, Kylie Minogue had effectively transformed herself from disposable pop tart to respected art-pop chameleon.
Push the Sky Away is a late-career masterpiece from an antipodean force of nature.
On his tight self-titled opus, Lidell insists on redeeming that which he would say doesn’t need saving in the first place.
Just because Pissed Jeans’ tales aren’t serious, that doesn’t mean they aren’t important.
Sallie Ford & the Sound Outside ratchet up the rock factor on Untamed Beast.
Somewhere Else is stocked with the same type of wispy bedroom electronica that defined the duo’s two previous albums.
m b v is the innovation and sonic warmth of My Bloody Valentine rekindled and made anew.
Instead of a thrilling, us-against-the-world punk mentality, it feels like the band is only making music for their own sake.
Greatest Hits depicts Jewel’s progression from folk singer to pop star to country convert as a natural progression.
No World boasts a moody set of tracks that possess a raw and beautiful power lurking behind the whispers.
My World Is Gone is an enveloping, at times even uplifting album, its charms diminished only by moments of jumble and overreach.
Holy Fire is a stern reminder that Foals were never exactly subtle in the first place.
Here’s what we know: Awards shows have and always will be popularity contests.
The 2012 Record of the Year nominations seem to be transparently based largely on familiarity.