The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
The reunion of Common and No I.D. sounds terrific, though the latter impresses more frequently.
This is a middling set that contains few surprises, aside from raising questions about what took Jeezy so long to make it.
Born to Lose” is only differentiated from the duo’s established sound by its far slicker production.
The ladies truly dominate the upper reaches of our 2011 albums list in a way they haven’t ever before.
This was the year everyone seemed to agree that Gaga chose the wrong singles from her album.
If there’s a hard-to-shop-for Sigur Rós fan in your life, say a little blessing to the spirit of corporate synergy.
Birkin literally incorporated Serge Gainsbourg’s ghostly presence Saturday night at the Luckman Fine Arts Complex in Los Angeles.
Though it’s no better or worse than Sex Therapy as a collection of songs, Love After War lacks the sense of intent that made Thicke’s foray into electro-funk such a surprising success.
“Born to Die” is intended to be a maddening, contradictory, and gorgeous riddle.
rEVOLVEr finds T-Pain at an important crossroads.
Fred Falke has become the foremost producer of synth-driven, electro-tinged, proudly processed French dance music.
As director, she’s asking herself to be more than the vengeance monster of “Paparazzi” or the fame monster of “Bad Romance” or the mother monster of “Born This Way.”
Some albums only need three-word reviews, like “fun and dumb.”
Lioness: Hidden Treasures too often sounds like a cobbled-together cash grab.
The Black Keys have replaced their sometimes insular focus on blues formalism with an emphasis on pop hooks.
If it’s not as immediately galvanizing as, say, Rising Down, the album lingers.
It’s some kind of minor miracle that no one has ever asphyxiated on glitter at one of Swift’s shows.
It seems strangely appropriate that Cameron Crowe’s upcoming We Bought a Zoo is scored by Sigur Rós frontman Jónsi
Certain artists cry out for the remix treatment more than others, but Lady Gaga is not necessarily one of them.
Fonda absolutely makes the most of Better Days’s scant running time.