We weren’t sure if Madonna could surprise us anymore. Until she did.
A Lady Gaga video serves as far more than a simple visual interpretation of a song.
The younger Gallagher’s troupe is in surprisingly strong form here, producing a more cohesive and engaging set of tracks than Oasis has in years.
Even the songs that skew more heavily toward the band’s shoegaze roots still defer to the album’s overall aesthetic of forward-thinking dance.
The album is not so much a stylistic departure as it is a stark transformation of mood.
Shorn of the exigencies of cramming together varied sounds, the band has slipped further into the great middle.
Blessed finds Lucinda Williams remembering that she’s supposed to be one of America’s greatest songwriters.
Marsha Ambrosius’s ambitions don’t stretch beyond boilerplate.
The Fall is a love letter to—and a journey into—the heart of America.
“Love What Happened Here” proves that the 22-year-old likes making twitching club tracks just as much as headphone masterpieces.
The Gathering is a revitalizing roll in the dirt.
As the new video for “All of the Lights” begins, you might doubt for a moment that you’re watching a Hype Williams clip.
Americana and modern folk are often dismissed for their dour self-seriousness, and Smart Flesh, unfortunately, falls into the worst of those trappings.
For as strong as McKenna’s songwriting may be, the album quickly settles into a moderate tempo from which it never strays.
Ambitious, yes, and occasionally invigorating, but we have to call bullshit on II.
Guider may be a little jagged around the edges, but it’s that one-take immediacy that gives the record its legs.
It’s only in the last few weeks that Adele has made a credible bid for her own place in the upper tier of female pop singers.
The album is the musical equivalent of curling up into a reflexive fetal position and entering a calmer, more pensive world.
The album is aided immeasurably by Barwick’s ability to sustain its rich aura while avoiding self-indulgence.
Formless melodies bleed into one another, and tracks come and go without much effort or care in announcing their arrival or departure.
Comparisons to Eminem are inevitable, but Marshall always kept artifice close at hand, whether it was animated beats or equally cartoonish alter egos.