We weren’t sure if Madonna could surprise us anymore. Until she did.
To say that Rogue Wave’s Permalight is a two-faced record is critical understatement at its finest.
Most of the tracks on this compilation make a solid case for the band’s feel-good music harboring some serious feel-bad impulses.
Stephen Bryce Avary performs all of his material with so much gee-whiz earnestness that you won’t be able to resent the guy.
Ain’t No Grave amounts to a touching and often very sad sendoff.
Fly Yellow Moon is a charming bout of champagne pop.
The Swedish quintet are rarely masters of producer Phil Ek’s approach.
Despite its obvious ingredients and well-worn criterion, Brutalist Bricks comes off peculiarly fresh.
Beach House’s album boldly complies the subtle and the overt.
The program turned out to be more or less a Loudon Wainwright show with the distinction of exemplary recent material.
The gimmick behind Fixin’ the Charts Volume One is a strange one.
Ryan has proven that he can still make a melancholy perspective into a compelling listen, but Dear Lover is simply monotonous and disappointing.
Peace & Love finds Juliana Hatfield at her most vulnerable and intimate.
Because we all must learn the Barbra Streisand upside-down-headphone-choke.
The whip-smart hooks and spot-on production on Heart mask Walker’s vocal deficiencies, which might otherwise be a more serious liability.
For much of its runtime, the album showcases Fear Factory’s leanest, most aggressive performances to date.
We managed to track down the notorious RPG-rap pioneer for a few questions, as he walks us through his most coveted release to date.
hantogram isn’t solely stuck in a late-20th-century reverie.
Like The Flaming Lips, Andrew Bird’s a musical existentialist: Lyrics of doubt and worry against a reassuring musical backdrop.
I’m New Here is marked by non-adherence to traditional song structures and a short, 28-minute running time.
There’s something to be said for defying convention, but Curfman’s mastery of tried-and-true blues forms is impressive in its own right.