Madonna’s most focused effort in decades, the album earns its nostalgia by prioritizing it.
On Because of the Times, Kings of Leon display one hell of a learning curve.
Listening to Dumb Luck is kind of like listening to a robot cry for 40 minutes.
Gainsbourg’s first album since she was 13 is European to the core, and like most things European, it’s extravagant, elegant, and overpriced.
Despite some complaints to the contrary, Beyoncé’s B’Day does not sound like it was recorded in two weeks.
Tracey Thorn sure sounds attuned to teen angst on Out of the Woods.
The use of the word isn’t offensive because of Carnes or Oscar’s sexuality, a point lost on Michael Scott, Elvis, and apparently many others.
It’s easily the best thing she’s released in years and features one of her best vocals to date.
Gus Gus takes yet another step away from the trip-hop and dance-pop of their late-‘90s output with Forever.
The album is certainly a more organic, stripped-down departure for the former Lamb singer.
Is it possible to write a review of the new Modest Mouse record without mentioning “Float On”?
Timbaland is an auteur.
Duff doesn’t dig very far within, but that’s probably because there’s not that far to go.
Como Ama Una Mujer is less than a shrewd move for one of pop culture’s savviest icons.
Thirteen Tales of Love and Revenge is delicate, thoughtful, and utterly captivating.
Fittingly, nearly any given tune here would work better on a dance-mix CD.
Abbatoir Blues Tour sure doesn’t stand well on its own merits.
Ultimately, Ruff Draft is a curiosity—an offshoot rather than example of Dilla’s genius.
On the album, Gray struggles to reach and sustain notes that should be comfortably within her range.
The album is a nostalgia kick, but for what?
Even without the self-canonization, Last of the Breed stands as a fine example of why traditional country is a sound worth preserving.