The singer has yet to discover a sound or sensibility that truly distinguishes her.
Realist feels like the mold from which better rap albums are made.
The album impresses most for its lack of inhibitions.
The year’s best music reflects the spirits of hope and change that will likely define 2008.
Like any album from a band on the wrong side of 30, So, Who’s Paranoid? comes with a stigma attached.
It took 19 years for Hurricane to blow through, and it feels like Grace Jones spent the entire time leisurely accruing suitable new material at the magisterial pace of a plumy Category 5.
Brandy’s Epic debut finds her in reboot mode.
Finally provides a concrete diagram for what Kozelek has been doing for years: taking big songs and packing them into very small boxes.
Though often associated with death metal bands like Death and Atheist, Cynic was never as genre-specific or overtly metal.
Does anyone want to party with Common?
This isn’t the album version of Crash so much as the album version of It’s a Mad Mad Mad Mad World.
If this is truly the end for Scarface then Emeritus is a backdoor exit.
The album continues Neil Young’s project of scraping up the documented leavings of his youth.
Trevor Tanner’s Eaten by the Sea bounds along on a baseline of mediocrity.
Independent Pleasure Club is a near-perfect embodiment of the musical and political climate of New York City circa 2008.
The album’s strongest moments are carried by Heidi Sidelinker’s sweet and airy voice.
Here’s the thing about the Broken West: They’re one of the most derivative bands working today.
Circus doesn’t quite feel like a comeback, but I’m sure Brit’s not above merely bringing pre-comeback..
There must have been a moment when Kanye West was actually content with being the most potent and essential personality in hip-hop.
Day & Age manages to patch over most of the cracks in the Killers’s façade.
Even if the Rapture really hasn’t made much music that sounds like this, it’s nice to know that they’re in touch with this fact.