We weren’t sure if Madonna could surprise us anymore. Until she did.
Even when the band pulls back for one of their quirky love songs, it’s something of a disaster.
Toby Keith walks a fine line between self-mythologizing and self-parody on his 12th studio album.
Run Rabbit Run illustrates Osso’s mastery of their string instruments but emphasize Stevens’s incredible talent as a songwriter and arranger.
On paper, Backstreet Boys enlisted all of the right people for the third album of their thus-far ineffectual comeback.
Intuit does have acoustic guitars (layers upon layers of them, in fact), but it also has a whole lot more.
Love 2 has the unruffled air of ’50s bachelor-pad cool.
The Mountain Goats’s The Life of the World to Come isn’t the sound of John Darnielle finding religion.
My Way displays all the stubborn ambition that’s kept Brown afloat since John Squire swapped his guitar for watercolors.
With In and Out of Control, the Raveonettes squander an appealing concept.
The soundtrack is a structurally rich effort that matches the tone of Spike Jonze’s images.
If Big Kenny spent a bit less time on drippy, unconvincing romantic ballads, the album would work better as a career re-launch.
Despite the uninspired arrangements of the songs and the banal production choices, Beth Ditto’s gritty, soulful deliveries shine.
Perhaps the only thing working against Brandi Carlile’s commercial prospects is her timing.
At a time when a “Guitar Hero” is something your kid brother picks up at GameStop, Doug Martsch is a pantheon unto himself.
The decade that began with more than a few bangers ends with a whimper for Basement Jaxx.
By the time the second track of the xx’s debut reaches its chorus, it’s clear that xx is something special.
It’s the interplay between cheesy and catchy that makes the album a worthy genre time-capsule piece.
Haih Or Amortecedor is a bizarre cocktail of rock n’ roll, Tropicalia, and lounge music.
The album bleeds away anything you could call indie, rock ‘n’ roll, or disco and makes Kyp Malone sound more vulnerable and exposed.
This may just be hip-hop’s most significant release of the last decade.