We weren’t sure if Madonna could surprise us anymore. Until she did.
The Dears’s fourth album, Missiles, is a confession of turmoil and collapse.
Think of Japanese Motors’s self-titled debut as a West Coast response to Vampire Weekend’s.
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.
Mike Skinner’s unique patois and winning sincerity still sell what has become a sonically disjointed affair.
There is a breed of musician that is never content to sit still.
What Jay Reatard is attempting on Singles ‘08 is hardly original but completely welcome at the same time.