Madonna’s most focused effort in decades, the album earns its nostalgia by prioritizing it.
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.
Prince’s Sign o’ the Times is an almost too-convenient double-disc blowout of sweat, funk, and raw, concentrated talent.
Her performance is both a testament to how well written a song “Umbrella” is and a reminder of how underrated a singer Moore is.
Swizzy’s best work has always been laying down beats for other artists.
Places Like This gushes with the manic energy of its predecessor.
Brad Paisley’s 5th Gear is a flawless, Opry-styled variety show.
Junior Senior’s Hey Hey My My Yo Yo sounds every bit as fresh and exuberant now as it first did in the summer of 2005.
While Stage Names’s songs and production should appeal to a far wider audience than the band’s previous efforts, Will Sheff’s voice is as grating as ever.