The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
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.
Blood Under the Bridge feels like a freight train bound straight from the fuzzy heart of the ’90s.
The Runaway may just be a stumble on the band’s road to maturity.
The House is a sporadically grand album that finds another talented artist rescued from mediocre pop oblivion.
The pop landscape doesn’t need another Justin Timberlake knockoff or another internet flash in the pan.
Since Come and Get It is Reed’s first major release, his style is still refreshing.
Robyn has reached the point in her career where she’s no longer obligated to dust off her ’90s hits.