The album sees the singer-songwriter moving in a different direction.
A mad collage of curly-cueing rhymes, direct addresses, sly reproachments, playful chest thumping, and self-beatdowns.
None of the album’s ornamentation takes away from Mike Rosenberg’s lyrics and plaintive vocals, which remain front and center.
Delta Goodrem is already a massive star in her native Australia, and Delta marks the singer’s first bid for success in the U.S.
With Silverlined, Donna the Buffalo don’t stray too far from their trademark sound.
Though Meiko’s lyrics aren’t novel, there are flashes of keen self-analysis scattered throughout her self-titled debut.
Jay Brannan’s Goddamned is a bit of a conundrum.
For teen-pop, your kid could do worse.
Hell, if Black Kids can take on the end of the world, they ought to be able to withstand a little fanboy backlash.
The album finds ways to keep a decidedly vintage style relevant while carefully, deliberately constructing a distinctive sound of its own.
CSS’s sophomore effort, Donkey, is one of the year’s biggest disappointments.
Today I will begin by tearing apart the adjective “non-confrontational.”
Certain Feeling might be a little strange, and sometimes even seemingly meaningless, but it’s also singular, rich, and vast.
What works so brilliantly about Around the Bend makes its shortcomings all the more disappointing.
The lyrics are all terrific; the beats, not so much.
The album invites us to fall into the lull of Calico Horse’s softly rocking rhythms.
John Mellencamp continues his ongoing evolution into something of a modern populist folk hero on Life Death Love and Freedom.
As with most Madonna albums, it’s impossible to talk about the music without addressing the cultural context that produced it.
Daydream Nation this is not, but it doesn’t need to be.
This album’s brief 10 tracks prove that Beck’s almost always more interesting when he’s not having fun.
Despite its musical accomplishments, Rook is not a particularly easy album to listen to.