Future seems content to be set dressing for Metro Boomin’s elaborate production.
Judging from their 12th full-length album, Oklahoma oddballs the Flaming Lips are through being quiet.
Their deafening exterior is only there to mask the only quality worse than derivativeness: tedium.
Bloom, Red & the Ordinary Girl plays like a Norah Jones album without the adventurous diversity of sound.
There will no doubt be finer country albums released this year, but there may not be one as irresistible as this one.
The album is simultaneously a structural free-for-all and a glossy collection of diverse material.
Under A Billon Suns actively undermines expectations, in the way great modern rock albums are supposed to.
The album plays like the foundation for a great mixtape.
In My Own Words might pale next to Legend’s stellar debut, but, even at its Robert Kelly worst, it’s not hateable.
The Proposition is a kind of western, but don’t expect to hear the Bad Seeds aping Ennio Morricone.
The Devics’s music is chamber pop at its most lush and dreamy
While Sound & Vision doesn’t sport any new studio material, the album does boast three previously unreleased tracks.
Another year, another British band christened the Next Big Thing by every conceivable publication in the UK.
Hello Waveforms is an apt title for William Orbit’s seventh full-length release.
The album suggests dance-floor abandon, instead of actually providing it.
Supernature is the comeback album Blondie has yet to make.
The toughest part about being as weird as Will Oldham is keeping your wackiness from becoming predictable.
Take one look at the Subways and you see The O.C.’s version of the Strokes.
This is utterly disposable, shamefully enjoyable, and transparently unoriginal music.
It’s to the music’s credit that 9th Ward sounds as far from an elegiac tribute as it does.
Into Paradise will appeal to those looking for an aural escape and aficionados of polished, proficient vocal performance.