Future seems content to be set dressing for Metro Boomin’s elaborate production.
Meds is, if nothing else, less appalling than talentless electroclash pottymouth Peaches’s damn near unlistenable Fatherfucker.
No one here should consider quitting their day job, but there’s ample reason to look forward to Loose Fur’s next go-round.
Ambition alone doesn’t make the kind of statement that the album’s scope and structure demands.
One can’t help but feel like the album is a calculated attempt at regaining the audience Pink lost with Try This.
Friends of Built to Spill, both old and new, take comfort in the familiar.
Yeah Yeah Yeahs have emerged with a second full-length album that, like its predecessor, captures a band unbeholden to anyone’s expectations.
Opening explosively after its intro track, the album is divided into two distinct yet similar sections.
Brun’s songs are a throwback to traditional folk while at the same time keeping one foot firmly planted in the no-longer-neo neo-folk movement.
Showtunes will definitely leave you with a tummy ache.
Keys to the World demonstrates that Ashcroft is finally hitting his stride as a solo artist.
Prince revisits the past on 3121, reinventing his previous glories rather than creating something completely new.
Any group that’s hung around for three decades with the same exact line-up deserves respect.
Case’s latest album continues down a path she first acknowledged on Blacklisted.
For that crowd, this is a good record. For everybody else, it’s essentially irrelevant.
Artistically, Jace Everett’s self-titled debut is a certain kind of dead end.
Both brilliant and frustrating, Hello Young Lovers is the kind of album that, for better or worse, demands a strong reaction.
Band of Horses is a fitting addition to the Sup Pop roster.
A rousing, effervescent disc that should stay in heavy rotation come summertime, Get It is good ‘til the last drop’s gone.
Goodbye packs all the punch of a tear-stained “Dear John” letter.
Kristofferson’s comeback album takes its cue from the stripped-down aesthetic that’s served so many veteran artists