The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
I’ve been fairly immune to Gossip’s infectious dance-punk, but with her new solo EP, singer Beth Ditto has put me completely under her spell.
None of the tracks on Hanna do more than they have to, but at least they do that much.
Early Winters disappoints because it’s riskless music from artists who’ve proven capable of far more.
On Skins, Buffalo Tom digs a little bit deeper than they have on their earlier work.
The record emphasizes rhythm in a way that’s uncommon for the generally stuffy Americana scene.
Rose distinguishes herself as a singer with real warmth and a songwriter of poise and maturity.
The engine that fueled the Dodos’s Time to Die, and to a lesser extent ran Visiter, keeps chugging along on No Color.
On The Big Roar, the Joy Formidable has been backed with the recording budget to fully realize their vision.
What does Britney bring to the table? Maybe it’s just a brand name that sells.
Lupe’s half-assed, club-ready radicalism is ultimately the most frustrating thing about Lasers.
Basically, the members of A Hawk and a Hacksaw come off as high-end purveyors of this type of reconstituted roots music.
It’s all a little Black Swan, if you ask me.
Well, Ferreira is finally making her proper stateside debut this month with a five-track digital EP.
Long Player Late Bloomer is a significant step forward for Sexsmith.
Considering how its style draws from each era of R.E.M.’s evolution, Collapse Into Now plays as something of a greatest-hits package.
It’s ultimately on Lavigne’s slight shoulders that Goodbye Lullaby is such a strident, ineffectual attempt at a serious pop record.
Raekwon spends the entirety of Shaolin vs. Wu-Tang trying to wrest control of Wu-Tang’s classic signifiers into his own hands.
Kurt Vile’s name is a masterpiece of reductive classification, evoking all kinds of gritty rock ‘n’ roll signifiers.
Beth Ditto’s first venture away from modern dance-punk pioneers Gossip should go some way to fortifying her status as an indie star.
The title of Mogwai’s new album acts like a primer for the band: heavy, defiant, with just a hint of black humor.