We weren’t sure if Madonna could surprise us anymore. Until she did.
After greeting the crowd with an amiable hello, the band played through nearly all of their most memorable songs.
Dos’s five tracks call to mind spacey originators like Suicide, Neu!, and Can.
After more than a decade spent not doing what’s expected of him, Elvis Costello can now be expected to do the unexpected.
Bitte Orca is every bit Merriweather Post Pavilion’s equal in terms of navigating uncharted sonic territory.
The Bachelor’s overall tone reflects a nihilistic view of both romance and humanity.
Williams doesn’t do anything to overcome the album’s unfashionable, irrelevant material.
Throughout, Pop’s lyrics settle nicely into an eerie landscape of dread and malaise.
Moore’s good taste has finally translated into a mature and, yes, credible album that stands on its own merits.
The album is a step back toward the more polished sound DMB explored on 2001’s divisive Everyday.
In time, Quest for Fire could give those other blacklight-poster-gazing longhairs a run for their money.
Au Revoir Simone is a bit of a one-note band, and their latest album, Still Night, Still Light, is a bit of a one-note album.
Jason Lytle may have retired his former band, Grandaddy, but it’s hard to tell from his solo debut.
The great peril of being ahead of the curve is that the curve will eventually catch up and then change direction entirely.
Crocodiles’s debut album is a hazy collection of familiar rhythms and half-remembered sounds.
The album emerges as a thoughtful, dense exploration of matters of faith, sanctimony, and vice.
Last night’s American Idol finale was an exercise in excess.
Manners, is, from start to finish, the product of a full-band collaboration.
B.S. offers nothing that wasn’t already tried on 2001’s Anarchy.
Striking images crop up over the course of Romanian Names, but they do so in isolation.
The album is thick with a humid sense of decaying sexuality, a desperate voraciousness made even grimier by the gritty production.