The Leeds junglist tells a story in the wrong order, in the right way.
Thankfully, the conscientious songwriting throughout Weathervanes overcomes the schmaltz with ease.
Pieces is a tightly packed collection of clichés.
The album is consistently uninspired, with each song showcasing an incredibly gifted performer grown wearyingly complacent.
The album packs an entire SXSW’s worth of musical styles and instruments into a scant 19 minutes.
Erykah Badu’s psychological rebound so far outpaces the litany of social ills she explored last time around that it’s frankly off-putting.
Alberta Cross has left the humble crudity of their self-produced EP for a conventional electric polish.
It inhabits the colorless world that has doomed the majority of mainstream R&B over the last decade.
Anyone who can make it through the first two tracks will probably find one of their favorite albums of the year.
If there’s something a bit too calculated about all of it, the deliberate weirdness of Brown’s style ultimately works in her favor.
Dear Companion finds Ben Sollee and Daniel Martin Moore making the most of their collaborators’ unique gifts.
Fight Softly may find itself judged harshly just for failing to meet the standards of its peers.
She & Him’s music makes good on the cutely reductive premise of the group’s name.
Time will tell if this is a one-off for the Bird and the Bees.
The Pet Shop Boys live experience has always approached Broadway musical status in terms of complexity, and this one is no different.
Without the oversight or contributions from RZA, Manifesto feels like the album that has strayed furthest from the fundamental Wu-Tang sound.
The ensuing half-century has loaded the movie with enough cultural weight to nearly overwhelm the legendary performances therein.
Jack and Meg have an intimate comfort with one another, and they argue and gently console each other as family does.
“Telephone” has chosen the work of Quentin Tarantino as its visual and narrative inspiration.
Northern Lights captures the live show as circus.
The Big To-Do’s workmanlike consistency belies its lack of truly astonishing highs.