The singer has yet to discover a sound or sensibility that truly distinguishes her.
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.
For all the thunder the band seems to have recaptured, some songs fall flat in the search for mainstream appeal.
Margot is most memorable when their lyrics side with the folk tendencies of their signature folk/baroque-pop/indie mixture.
It’s no secret that in music, as in life, success and failure are largely dependent on timing.
This Is It is an intense 12-cut give-and-take between Stern’s six-string, Zach Hill’s frenetic drumming, and John-Reed Thompson’s bass.
Dig Out Your Soul is more rewarding than spending time with cunts like Death and All His Friends.
In Ear Park is a seemingly self-defeating musical paradox: unassuming, anthemic indie rock.
There’s a weightless quality to the album that’s perhaps all too fitting with Pickler’s empty-headed shtick.
It’s been three mighty cold winters.
Musically, Robin Thicke’s dick is in the right place.
Could it be that psychological complexity in rappers has become another tired cliché?
So let’s spit: Ten years on, Aquemini is the single strongest aspect of one of the art form’s deepest benches.
The music aims for brutality and melody but misses the mark entirely on both counts.
Snowflake Midnight manages to offer compelling surprises in its ever-shifting arrangements and its densely layered effects.