The singer has yet to discover a sound or sensibility that truly distinguishes her.
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.
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.
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…
Carter III is the Sizzler of rap albums.
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.
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.
Perfectly Clear works pretty well both as a Jewel album and an example of contemporary country.
Hello. My name is Vadim, and I’ve been a derelict blogger.