The singer has yet to discover a sound or sensibility that truly distinguishes her.
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.
Someone Still Loves You Boris Yeltsin is an interesting band for at least two reasons.
Martha Wainwright’s I Know You’re Married but I’ve Got Feelings Too is a considerable disappointment compared to the singer’s past work.
It’s not too long, though, before new-age Alanis kicks in again, with about four too many ballads.
Carter III is the Sizzler of rap albums.
The album combines many of the best aspects of both Emmylou Harris’s classic and recent output.
The album hop-scotches between various genres but without any of the freshness or spontaneity of In Search Of…
Sadly, the singer doesn’t have much of a live presence, at least in the sense that you frequently forget she’s even on stage.
The album is probably the best thing that Jason Pierce has done since Ladies and Gentleman We Are Floating in Space.
On their often charmless third full-length, the Futureheads jilt subtlety in favor of balls-to-the-wall rawk.
If nothing else, her delivery signals something worth keeping both an eye and ear on.
As remarkable as her pedigree is, Joan Wasser’s music is impressive in its own right.
Perfectly Clear works pretty well both as a Jewel album and an example of contemporary country.
The Virgins strikes a careful balance between fashionable and accessible.
Declaration aims to prove that Ashanti is indeed growing up.
Aimee Mann’s sixth studio album proper, @#%&*! Smilers, sounds much like the rest of her solo catalog.
Hello. My name is Vadim, and I’ve been a derelict blogger.