The singer has yet to discover a sound or sensibility that truly distinguishes her.
If not boasting the most sophisticated of concepts, the record does have an overarching narrative about seemingly endless nights spent out on the club circuit.
Noble Beast offers its fair share of dazzle.
Get Guilty could easily be a singles collection.
Glasvegas is frustrating but intermittently brilliant.
The album finds one of the most talented, most creative pop bands finally and gloriously figuring it all out.
Most of the chances that Watkins and Foreman have taken for this record pay off.
Antony’s one-of-a-kind tenor is stretched to the point of a whisper on Crying Light.
I think it was Lester Bangs who said listening to Pink Floyd is like wrestling with shit.
There’s a frenetic, cyclical rhythmic pattern to so many of the songs on Emil Svanänen’s fifth album as Loney Dear.
The album is a well-crafted, Southern-tinged stab at folk-pop.
The execution of these remixes simply isn’t going to impress fans of Cash’s brand of country or of cutting-edge dance music.
The impeccably tailored songs onThe Chase sound timeless but never too familiar.
Dance Mother is one of the more exciting debut albums to emerge in long while.
In a December unusually barren of high-profile rap releases, 60 minutes of Ghostface Killah is hardly something to complain about.
The elegantly designed and sensitively laid out box set notably features tracks even diehard fans may not own on CD.
Like the music it emulates, Neon Neon is both disposable and surprisingly durable.
In its bareness, the album achieves a rare kind of elegance that exceeds the sum of its scant parts.
From the very first trill of the Psycho-esque orchestral flourish that opens Jazmine Sullivan’s debut, Fearless, it’s clear that this girl is different.
Folie à Deux seems to prove that Fall Out Boy is good at masking its best qualities and pushing forward its most annoying ones.
Different Me quickly lapses into a whole lot of midtempo and slow-jam filler.