The album sees the singer-songwriter moving in a different direction.
That Kerli Kõiv claims no musical influences aside from Björk is a tad suspicious.
Seems to me that Hunky Dory is the last time Bowie was hanging back and outside of his “generation.”
Omaha quintet Tilly and the Wall return for another round of their patent-pending Gene Kelly rock.
Pairing Nordic, perky-voiced songbirds with ice-capped Euro-house is a no-brainer and Keerlup’s got the formula in spades.
Feed the Animals is a sweaty, neon-lit, seizure-inducing, off-the-wall delight.
Hymn and Her is proof that a talented group such as Earlimart should quickly learn how to better navigate this forest.
Originally conceived as an album of string-quartet pieces, Shark’s Teeth evolved into something more musically full-bodied.
There’s a strong autobiographical bent to Real Animal, as Escovedo makes overt references to the different phases of his storied career.
It’s the album that has the phrase “blowjob queen” on it and the singer’s nipple on the cover, but it’s so much more.
This is not the dance music of the future. It’s the artfully resuscitated, painstakingly stitched-together, spangled-and-sparkling dance music of the past.
Recorded largely outside of Iceland, Með Suð is less polished than the band’s previous outings.
Stay Positive takes its rightful place as an album that, if nothing else, is a pure and imperfect love letter to music.
How best to describe disappointment? And how best to justify it?
Perhaps it’s foolish to expect progressiveness from a girl whose debut was a Christian gospel album.
With At Mount Zoomer, Wolf Parade has quite easily surpassed the greatness that was their debut.
Fooling the world and fooling yourself are, apparently, the exact same thing.
The album’s supposed revolutionary approach to Coldplay’s trademark sadrock has been greatly exaggerated.
These stories are playful and imaginative, but David Berman’s genius also extends to pathos.
Though he says otherwise, it’s hard to think of an American songwriter as admired by fans and critics as Berman.
Remove the subtle pedal-steel flourishes of second single “I Do” and the song wouldn’t sound out of place on any other Jewel album.