The singer has yet to discover a sound or sensibility that truly distinguishes her.
Like Shelby Lynne’s Just a Little Lovin’, it owes its successes as much to a clear sense of purpose as to its singer’s exceptional voice.
Flock invites generally favorable comparisons to a host of other exports from the U.K.
For all the strength of the variously loud and soft moments, the record is at its best when the band attempts to holistically integrate the two.
Up-and-coming district dive the Rock n’ Roll Hotel hosted the show, surely the biggest of the venue’s 18-month existence.
Vampire Weekend has Death Cab for Cutie’s cross-over potential while actually deserving it.
Perhaps the C.I.A. should consider replacing waterboarding with protracted listening sessions of the former pro-surfboarder’s latest.
The band attempts to square its outsize floor-filling ambition with its previously established skill for intimate moments.
Moment of Forever is intended to reassert Willie Nelson’s mainstream relevance.
Here is a definitively modern record, and perhaps the first of Collett’s solo albums to sound like a real classic.
What works so well about Lucky is the interplay between the band’s buoyant arrangements and lyrics that reflect a pronounced anxiety.
It’s not surprising that nearly every article written about Kate Nash’s debut, Made of Bricks, comparesher to Lily Allen.
It looks like Robyn is finally ready to make a stateside comeback.
Raydoncong was hardly as boiled-down as Mahjongg’s disappointing new album, Kontpab.
Sadly, most of these songs are not really songs, because that’s not what the Mars Volta do.
Sheryl Crow’s Detours reunites the singer with producer Bill Bottrell for the first time since her debut. Read our review.
The songs here are sure to fulfill their potential in a live show, but Hernando flattens too much of their reverb and distortion.
This is a sporadically brilliant effort by an exceptional band whose reach still sometimes exceeds their grasp.
If the result isn’t a classic like Dusty in Memphis, it’s at least a reminder of why Lynne merits those comparisons at all.
Rain is rooted more in the sophisti-pop of Night and Day than the pseudo-punk of Look Sharp! or I’m the Man.
The Recording Academy no doubt has oodles of tedium in the works for us at this year’s Grammy Awards ceremony.