We weren’t sure if Madonna could surprise us anymore. Until she did.
In the end, Hands All Over won’t fulfill Adam Levine’s ambition to redefine Maroon 5’s identity.
Taken suggests that Vincent’s independent phase could be the richest of an already acclaimed career.
Perhaps what’s most encouraging about You Get What You Give is that Zac Brown Band hasn’t played it safe.
The album signals the sharp return of a group that would like you to pretend they never left.
Legend has proven himself a shiny vessel for this kind of chic, socially conscious neo-soul, but also a transparent one.
At its crux, the album seems like a pointless, ill-timed, and ultimately disappointing exercise.
Flamingo makes a pretty strong case that Flowers doesn’t have the best grasp of what it is he does well.
Harvest the Beast is free from filler and sentimentalism, each song overflowing its edges and sloshing into the next.
The 88 is a likable record, and the 88 brings considerable energy and passion to their performances.
Who We Touch works best when the Charlatans revel in their sense of adventure.
Cloud Cult’s arrangements and performances generally match the scope of Craig Minowa’s vision for the project.
It seems like the prevailing ethos of Business Casual can be gleaned from the ridiculous guitar solo at the heart of “Night by Night.”
Hurley favors scripted wackiness and blog fodder over the depth and sincerity that have made Weezer’s best work so endearing.
The band has established itself as consistently adept at melding inanity with seriousness via batshit songs that are gaudy while socially conscious.
Album #2 has enough bright spots that Joey + Rory should be able to build on their fanbase.
The album makes it clear that Megafaun hasn’t quite figured themselves out yet.
Earle sounds more comfortable on Harlem River Blues than he ever has on record.
Perhaps the band’s most amazing quality has been their ability to establish their albums and live shows as twin founts for this freewheeling power.
Penny Sparkle is clinical and almost always predictable, despite the exotic murmurs of lead singer Kazu Makino.
The Drums’s arsenal of three or five-chord pop songs are the sonic equivalent of cake, with reverb as the generous icing.