The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
We thought this was the best way to pay tribute to the video.
You Are All I See succeeds as an evolutionary step beyond Active Child’s synth-drenched origins.
The album is a clear move away from the darkwave dance pack and into musical nonconformity.
Jay-Z and Kanye West have actually managed to record a song that sounds like a coke-bender.
Bridges fully inhabits his vocal turns, giving each song a clear point of view and real sense of character.
The War on Drugs’s ‘Slave Ambient’ comes on like a rainy summer day in the rust belt.
The album’s powerhouse production turns out to be, as with some of West’s own work, the ultimate ace in the hole.
With Family of Love, Dom has deviated slightly from the Next Big Thing playbook.
If only Lizzy Grant were actually born Lana Del Rey.
Glacial Glow’s emotional core is grounded in “Alone Star” and “Tuesday Before Poland,” which evoke the alienation of urban life.
There’s nothing on the album to make it stand out from the rest of the Music Row assembly line.
Skying’s sound is derived more from the jangle and hum of ’80s Cure and ’90s My Bloody Valentine than ’60s anything.
Blockbuster rap albums belong to the summer just as surely as FX-stuffed action flicks.
Girls’s single could pass for a classic chamber-pop ballad circa 1989.
Ultimately, it’s a matter of aesthetic choices that just don’t play to Fountains of Wayne’s considerable strengths.
What Let It Beard lacks in blockbuster hooks it makes up for in its rambling excess of melody.
Ross Birchard makes club music seemingly better suited for sci-fi films than for any dance floor we Earthlings are likely to get down on.
Ghostface brings his rapid-fire delivery to four of the 10 tracks here, conjuring a cyclone of short but sweet lyricism on each one.
The first glimpse into what Anthony Gonzalez describes as his most “epic” album to date paints a clear portrait of an artist re-engergized and at the height of his creative capabilities.
Rowland’s third album seems doomed to elicit further comparisons between the singer and her former bandmate.