The effects-laden video takes a page from Poor Things and Severance.
With the possible exception of “That Time,” with its repetitive, Alanis-style lyrics, there’s an underlying hope to Regina Spektor’s music.
It’s not surprising that Owen Pallett would set out to “modernize” D&D’s eight schools of magic.
Getting Somewhere suffers from the disconnect between Moorer’s delivery and the quote-unquote content of her songs.
All American Bluegrass Girl’s artistic vision matches Rhonda Vincent’s technical gifts.
The Gold Record is more dependable than it is spectacular.
A failure as spectacular as Peeping Tom only drums up higher hopes for a redemptive follow-up.
The album is like a warm cup of milk before bed.
Soldiers of Love pales in comparison to the band’s live reputation.
With enough of a promotional push—and CMT seems game—Povertyneck Hillbillies are primed for far more than just localized success.
Evangelicals’s debut full-length So Gone is a dense, emotionally complicated record.
Free to Stay is playful, quirky pop that sounds like it’s old enough to drive but still bums rides from the ‘rents.
The album finds Camera Obscura stepping out from the considerable shadow cast by Belle and Sebastian.
You can tell that the brief but potent career of Jeff Buckley has impacted yet another European singer-songwriter.
The River in Reverse is a dark, passionate work that channels its rage toward redemptive joy.
The album is as “country” as Bon Jovi’s “Who Says You Can’t Go Home” or anything SheDaisy have ever released.
This is a solid and even occasionally great example of contemporary bluegrass music.
Mr. Lemons is at least agreeable for Phillips’s lack of pretension and his strong ear for a melodic hook.
Despite the roughened exterior, the songs emphasize MOB’s great secret weapon: an arsenal of irresistible pop hooks.
Dr. John has certainly earned the right to kick back a little.
The album is as likely to please fans of melodic indie-pop and roots-rock as it is fans of the current crop of folk troubadours.