We weren’t sure if Madonna could surprise us anymore. Until she did.
The album isn’t groundbreaking, but it surpasses all expectations for a group who’ve spent almost a decade apart.
Allison Moorer’s Crows Acoustic EP provides a different take on six of the songs from one of 2010’s best records, Crows.
No one could ever say that Bettye LaVette doesn’t know precisely what her strengths are.
About as cleanly resplendent as music comes, Jasmine is whisper-quiet but not necessarily simple.
The differences in Crystal Castles II are subtle, but the key advance made is one of generosity.
It feels almost vain to describe individual tracks, because every last note on Distant Relatives blends to form a seamless, cohesive whole.
Flesh Tone should sound desperate, but it often sounds inspired instead.
Cyber diva Janelle Monáe proves that she’s only human on The ArchAndroid (Suites II and III of IV).
8Ball and MJG deploy their no-nonsense lucidness to persistently winning results on their latest offering.
What’s most impressive about Sad Sour Future is how much of a piece it sounds despite its cobbled-together origins.
The Logic of Chance is best left to gather dust.
The album is as ferocious and soulful an exploration of contemporary blues as anything in recent memory.
It’s hard to deny that they haven’t brought their best hand to the table.
The album certainly does wear its influences on its sleeve.
Tracey Thorn could re-record Earth, Wind & Fire’s disco apex I Am and still make it sound cripplingly sad.
Don’t let the facts fool you.
So much for the afterglow.
Marching Band plies inoffensively rudimentary tunes that remain persistently anonymous.
Streetlights will fit comfortably alongside the Spice 1 and D.O.C. records in your collection.
Sea of Cowards is something of a jumble, but it’s an entirely ecstatic one.