The singer has yet to discover a sound or sensibility that truly distinguishes her.
Foundling impresses for its monotony.
The Bluetones throw around beguiling riffs and warm refrains for what is their most earnest pop record to date.
Usher spends much of Versus claiming his turf as the godfather of sex.
Hardships! is a defiant statement and one of the best albums to be released this year, despite the fact that it technically comes from 2009.
Back to Me is yet more evidence that Fantasia’s instincts as a singer don’t fit well with a contemporary R&B production style.
The album is easily among Stuart’s most focused, most powerful collections of bedrock country.
The Capitol Years is as promising a look forward for the Dandy Warhols as it is a testament to the pretty fantastic work they’ve already done.
Teenage Dream is a raunchy pop nightmare.
Sugar still sounds like a cover band that lucked out into a label deal.
Tin Can Trust comes off as five musicians unceremoniously looking back at their impressive back catalogue.
Tears Run Rings’s Distance literally picks up where the band’s previous album left off.
The album is a tug of war that often seems poised to turn into self-parody.
!!! struggles to achieve any kind of consistency on Strange Weather, Isn’t It? other than a continuous, generic club atmosphere.
Carey’s music is quite beautiful even when it’s derivative.
The deeply textured arrangements on the album work perfectly with LaMontagne’sdistinctive vocal presence.
No Better Than This works as well as it does because it plays to Mellencamp’s strengths.
The entirety of Brian Wilson Reimagines Gershwin reeks of a newfound arrogance that lifts this Beach Boys aficionado’s spirits.
You couldn’t help but sympathize with the event DJs at the Manchester Academy last Tuesday night.
This review isn’t about the business side of things. It’s about the music.
The Reason Why stands as the quartet’s most consistent set to date.