The album sees the singer-songwriter moving in a different direction.
Gossip in the Grain clearly shows Ray LaMontagne can do more than the typical singer-songwriter navel gazing.
Much of Does You Inspire You veers a little too far into silly terrain to elevate it above a well-made and well-performed oddity.
Frankly, Róisín Murphy ought to be bigger in the United States than she is.
Think of Japanese Motors’s self-titled debut as a West Coast response to Vampire Weekend’s.
The Dears’s fourth album, Missiles, is a confession of turmoil and collapse.
Murs’s major label debut, Murs for President, is also the rapper’s first attempt at mainstream appeal.
Aside from an increased guitar presence, Offend Maggie is standard Deerhoof fare.
It reaffirms that it’s far more than just his name that makes Williams one of the genre’s most vital artists.
Acclaimed vocalist Lee Ann Womack’s seventh studio album, Call Me Crazy, is aptly named.
On Skeletal Lamping, Kevin Barnes offers something of a treatise on modern sexual politics.
On Car Alarm, the Sea and Cake continue to prove that being a breezy post-rock band is not an oxymoronic impossibility.
The band’s sunny and melodic exuberance ensures that Such Fun is, above all else, a lot of fun.
Tell Tale Signs is not the second coming of Self-Portrait, but it’s a hell of a head-scratcher.
There isn’t much emotional weight to Brun’s detailed but oddly unspecific lyrics.
The album just doesn’t work—even for a sentimental bastard like me.
It’s Costa’s performances that compensate for the album’s occasionally uninspired songwriting.
Perfect Symmetry is an album characterized by its heavy-handedness.
If We Ever Make It Home is certainly a strong enough record to put Bowen in the company of the genre’s most vital artists.
Williams hasn’t made such a priority of rocking out since 2003’s World Without Tears.
What Loyalty proves is that Cold War Kids were never likely to hold onto a wide audience.