The singer has yet to discover a sound or sensibility that truly distinguishes her.
Kylie Minogue has churned out three singles from her album X since its international release last year.
The consistent surprises that Dan Bejar’s vocals generate are one of the main things keeping these songs evasive and interesting.
I wonder if Kelley Polar likes figure skating.
“Mr. Jones” worked because you didn’t have to listen to Adam Duritz pretend to “rock out” for 56 minutes.
Funplex neither redefines nor sullies the band’s sterling legacy, which is probably close to a best case scenario.
At a time when the indie world is furiously reviving ’60s pop, here’s a mainstream act trying to stay ahead of the game.
It’s a certain failure to do little beyond noodle energetically and evoke the work of others that dooms Parc Avenue to mediocrity.
Good Life proves that ustin Townes Earle has far more than just a first-rate pedigree working in his favor.
It has all the hits you’d want, but none of the pruning, leaving this a fawning collection with greater emphasis on quantity than quality.
On Mail on Sunday, Flo Rida joylessly repeats all the tired tropes of Southern party rap.
The album is a solid collection of appropriately vacant party jams, slinky come-ons, and modern, urban balladry.
Once again, Rick Ross has made it easy for us to imagine what a rap album by Suge Knight would sound like.
Maybe Cee-Lo should give Dan the Automator a call.
Logan Kroeber’s drums don’t just provide the backbone to the album, they’re the central nervous system.
One of the things that South by Southwest teaches best is that choice, and the illusion thereof, is potentially paralyzing.
Volume One is primarily a She affair.
Sounds So Good is an unapologetically country country album.
Wavvves’s self-titled second album exists in a mordantly post-ironic state.
Honestly, I’m not really sure how it’s possible that South by Southwest exists.
As soon as I can, I’m going to stop using “indie” as a modifier ever again.