The singer has yet to discover a sound or sensibility that truly distinguishes her.
The Bluegrass Diaries easily ranks among the standout releases in a very strong year for country music.
James Blunt returns with a piano-driven period piece that’s about as edgy as an episode of Desperate Housewives.
The only thing working against Drastic Fantastic, really, is its lame title.
If possible, the terrain is headier, the edges are sharper, and the album is, at times, a more arduous listen than its predecessor.
Britney’s opening number at this year’s VMAs set the tone for the entire night.
Our Ill Wills is a consistently stronger, more cohesive collection than its predecessor.
“Maturity” isn’t necessarily the first word that comes to mind when talking about the music of the Go! Team.
Curtis is equal parts gratuitous violence and romance.
In the latest issue of Q magazine, Avril Lavigne submitted an inane list of her “Ten Commandments.”
I’m sort of looking forward to hearing the next album built around the disillusionment of his first entry-level position.
Kismet is a fitting title for singer-songwriter Jesca Hoop’s debut album.
Talk about strange.
Fiddy and Kanye’s egos have been bolstered by huge album sales and huge critical praise, respectively, but Fif takes the cake.
MTV decimated whatever tiny shred of integrity its annual Video Music Awards show still had when this year’s list of nominations were announced.
He’s a rapper, a label head, a man with a hard-line manifesto.
The album feels fully fleshed out and, ironically, more lively than Nastasia’s 2006 effort On Leaving.
Hopefully in the next four-to-seven, he’ll come back a little reenergized.
Kala seems aware of the potential of pop and hip-hop to empower those who have been denied a voice.
Under the Blacklight is less of a major label debut for indie-poppers Rilo Kiley than it is a coming out party.
Challengers speaks to the real breadth of the New Pornographers’s skill with all manners of pop styles.