We weren’t sure if Madonna could surprise us anymore. Until she did.
For an artist who’s made a career out of subverting Christian imagery, Tori Amos comes off surprisingly reverent on Midwinter Graces.
Weezer’s unpardonable decline into soulless streamlined pop-rock continues with Raditude.
The material is better served in context, complete with music videos and framed with dialogue.
What Will We Be is nominally effective but often mired in flat and indecisive songwriting.
Tegan and Sara dole out each song hurriedly before the prior one’s refrains can fade from your memory.
This isn’t simply a for-fans-only vanity project or an excuse to revisit an album that’s just over a year old.
Phrazes for the Young represents a creative departure for Casablancas and another milestone for his band.
The whimsical career path that the increasingly enigmatic singer-songwriter Sufjan Stevens has embarked upon takes another unconventional twist.
Adria Petty’s video for “Sweet Dreams” one-ups the minimalism of the instantly iconic internet meme.
Electric Six don’t stray far from their trademark brand of groove-heavy, ironic cock rock on Kill.
Logos is the first time that an Atlas Sound project has cohered as something fully outside of Deerhunter.
Tarot Sport is a mix of harsh and smooth sounds that mirrors the prickly juxtaposition of classic jazz.
Like Anthony Gonzalez before him, James Chapman is a purveyor of sugary, buzzing, shoegaze rock.
There simply isn’t a weak song on the record, and Nichols hits every mark in his vocal performances.
Stone discusses why it was so necessary to go “off the grid” to make Severed Ways.
Painted a particularly severe shade of black, Six, despite the season and its sinister atmosphere, is not a Halloween album.
Christmas in the Heart comes off as something of an oddity, a feeling not lessened by the fact that this is a Bob Dylan Christmas album.
Lightning never strikes the same place twice, but Lightning Bolt does.
It’s the enthusiasm of the performances that makes Mind Chaos work, but the fact that it’s always dialed up so high also works against the album.
Exene Cervenka has dabbled in acoustic music since the late ’80s, but Somewhere Gone, her debut for the Bloodshot label, is something of a departure.