The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
Daughtry’s third album reaffirms that the band is defined by competence rather than ambition or creativity.
My Life II…The Journey Continues (Act 1) feels like a corrective, one which intends to restore soul back to prominence.
50 Words for Snow is a success not only because it’s so challengingly bold and peculiar.
With Talk That Talk, Rihanna functions mostly as a brand name to unify the disparate work of a few A-list songwriting teams.
CoCo Beware’s charm lies in its understated and decidedly unintellectual allure.
On Biasonic Hotsauce, Dave Jones’s musical magpie approach has its limitations.
Prince is once again an obvious touchstone on Lindstrøm’s latest.
Whereas many side projects ultimately amount to little more than artistically inert, self-indulgent one-offs, Miranda Lambert’s Pistol Annies is true to her reputation of defying expectations.
The overall result is a messy jumble that, in its inability to find a consistent tone, ends up in a place that hasn’t really been explored before.
Some of R.E.M.’s strongest songs have been omitted in favor of the “part garbage” of the set’s title.
Has there ever been a rapper as charismatic as Drake?
We’ll get a proper debut when Archy Marshall’s ready.
The album works best when the elder Gallagher isn’t ferrying the well-worn Oasis formula.
Tumble Bee is mostly sweet without being cloying, its songs antiquated without feeling outdated.
“Doughnut for a Snowman” recalls gentler, laidback numbers like “Peep-Hole” and “King and Caroline.”
If Daniel Lopatin has made any concessions to accessibility this time out, they figure mostly into Replica’s abstractly rhythmic qualities.
em>Weather is such a heady album because of how unflinchingly Ndegeocello has turned her keen observational eyes toward herself.
It’s All Fine Enough, I Guess would’ve been a far more honest and accurate title.
Crazy Clown Time exists in a world that’s just as hermetically sealed as Tom Waits’s Bad As Me.
Don’t be fooled by the simplicity of Susan Boyle’s music or image.