The album doesn’t see the rapper experimenting with his skull-rattling sound very much.
Tony Bennett’s bilingual album finds notes of joy, sadness, and intimacy, only occasionally hampered by the presence of two languages.
If Red is ultimately too uneven to be a truly great pop album, its highlights are career-best work for Swift.
Titus Andronicus’s chaotic, chockablock presentation gets scaled back on Local Business.
This year’s most interesting Christmas album will likely be the Polyphonic Spree’s Holidaydream.
Despite its flaws, The Haunted Man is still a worthy, often gorgeous entry in the Bat for Lashes canon.
French comprises Arcane Revolver’s five most popular tracks, but suffers from a lack of variety.
Traveler marks no departure for Anastasio, but its music moves in a distinctly chamber-pop direction.
Ben Gibbard’s solo debut, Former Lives, is an album tailored to be listened to alone.
Sunken Condos is an album built on monotony that still has a sense of narrative.
Living for a Song allows Johnson to challenge himself artistically even as he pays tribute to a dear friend.
Though insistently pretty, Jason Lytle’s new album is also frustratingly weightless and narrowly avoids floating away completely.
Sundark and Riverlight takes one of the most progressive catalogues in pop and makes it sound like a Picnic with the Pops concert.
Two Eleven, Brandy’s first album in four years, is at its core a singer’s album.
‘Allelujah! Don’t Bend! Ascend! translates decade-old live material into a sprawling, four-movement storm.
Napalm’s dexterous versification is reserved for something very much like politics.
Sugaring Season features some of the strongest songs of Orton’s career.
The album honors what’s made Simone such an enduring icon.
Unfinished Business finds the 75-year-old dynamo as rowdy and fearless as she’s ever been.
Twins showcases an artist who’s still obsessed with the intricacies of his electric guitar.
Mumps, Etc. is a celebratory return to form for Why?