We weren’t sure if Madonna could surprise us anymore. Until she did.
It’s the band’s confidence and self-awareness that keep that tone from sinking the project.
For four guys in their 20s, Tokyo Police Club sure lays the nostalgia on thick.
The lack of a distinct voice, one of many trouble spots on their first effort, cements itself here as the band’s biggest problem.
In accordance with their frolicsome demeanor, they crank up all of their instruments to a near skull-invading level.
The misanthropic “Power” will surely alienate those longing for another sunny hit like “Hey Mama.”
So, curses to you, once again, robots!
This is brainy, energizing stuff, and sometimes it hits like lightning.
On the surface, Bionic is as efficient a pop entertainment as was Circus.
The bulk of the album is comprised of stiff beats and in-your-face bluster that attempt to portray Robyn as more impenetrable machine than flesh-and-blood sweetheart.
There are certain things that, once dead, should probably stay buried.
Deer Tick has never quite crossed over from playacting into making a sound totally their own.
The album is more or less interchangeable with 2008’s Nude with Boots both in terms of its sound and its level of quality.
Up on the Ridge is an example of what modern country music ought to sound like.
A Memory Is Better Than Nothing is at times effective while feeling persistently inconsequential.
The album would be even better than it is if Scott had included a few more uptempo, harder-edged cuts like “Queen.”
Other than the trio’s weakness for trite turns of phrase, the major flaw on Shout It Out is its spit-polished production.
If the album stands to alienate a few more of their diehard fans, it also stands to broaden their audience.
The Futureheads demonstrate meaningful growth on The Chaos.
If it’s Sleigh Bells’s hooks versus your ear drums, I have a feeling the latter’s going to give out first.
Williams hasn’t demonstrated such breadth since 2002’s Lovesick, Broke and Driftin’.