We weren’t sure if Madonna could surprise us anymore. Until she did.
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.
No album in recent memory arrives carrying such a mountain-sized load of expectation as Guns N’ Roses’s latest.
The album is comfortable, solidly enjoyable, and often downright cozy.
Relentlessly tidal, Fennesz’s Black Sea shifts subtly between bluster and stillness.
While there’s something to be said for the risks that Scott Weiland takes here, too few of those risks actually work.
Country singer Trace Adkins continues to climb toward the genre’s A-list with X.
On The Renaissance, Q-Tip’s beats glimmer with a sort of Foreign Exchange by way of Large Professor brightness.
“Single Ladies” is all-hook, moving from one high-energy Beyoncé shout to another, never really letting up.