We weren’t sure if Madonna could surprise us anymore. Until she did.
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.
Wavvves’s self-titled second album exists in a mordantly post-ironic state.
Volume One is primarily a She affair.
Sounds So Good is an unapologetically country country album.
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.
Alopecia builds upon the promise of 2005’s Elephant Eyelash and a pair of earlier EPs.
Kathleen Edwards’s pen is at its sharpest on her third album.
On the album, Snoop tries to reconcile his past with his newfound family-man status.
Smart and warmly crafted, Grrr… is sensible pop riddled with mistakes.
Razorlight is the latest in a long line of unconvincing Trojan horse projects.
If the tunes ever catch up with the beats, Cassettes Won’t Listen will be something worth listening to.
Björk’s official website is now blocked in China and she probably won’t be welcome back in the country anytime soon.