The singer has yet to discover a sound or sensibility that truly distinguishes her.
This record doesn’t so much represent a new direction as it does a return to past themes.
if it isn’t Tift Merritt’s commercial breakthrough, Another Country is a welcome return.
Erkyah Badu’s New AmErykah: Part One is some cracked, urgent, just plain weird boho avant shit.
The album includes all of the ingredients as its predecessor, but a ratcheting-up of intensity makes this album shine brighter.
The album is very much on intimate terms with folk music without being of it.
200 Million Thousand is a patchwork that eventually turns into a sound of its own.
Baltimore-based Beach House is a band with a problem.
If one were to try to identify some kind of evolution in Janet’s latest bout of dirty talk, it might be sex with robots.
Vagabonds provides more of Gary Louris’s fiddling with tried-and-true rock methods.
The album presents a washed-out monologue of childhood romance and tragedy.
One of the most contemporary (and least pleasant) aspects of X is its scattershot production.
“Autoclave” is at least pretty, and its interpolation of the Cheers theme song is the album’s funniest moment.
The good songs on Golden Delicious are very good, and Doughty remains a clever wordsmith.
The singer’s fifth album famously announced her sexual maturity.
These songs don’t sound like love songs because they aren’t love songs.
Strange Folk should play well to the diehards who remain from Kula Shaker’s once-sizable fanbase.
Those wondering how Mariah could possibly top the inane title of The Emancipation of Mimi need wonder no more.
This is not your run-of-the-mill “roots of rap” or “best breakbeats” compilation.
They tried to make her go to the Grammys and she said, well, something kinda unintelligible.
Though more adventurous than 2005’s The Best Little Secrets Are Kept, the band’s sophomore LP still rings soulless at its core.