The album gives voice to female rage in a way that finds truth in the ugliness.
The album suggests dance-floor abandon, instead of actually providing it.
Supernature is the comeback album Blondie has yet to make.
Idols of Exile never once sounds as though it’s out of Collett’s capable hands.
The swank studio arrangements belie a deep-seeded conviction that love exists.
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.
Below the Branches, true to Stoltz’s DIY aesthetic, never overreaches or tries too hard to present itself as charming.
In terms of sheer creativity, RJD2 matches Aceyalone at every turn.
Gossip’s beats propulsive enough to get the sk8er kids to drop the self-conscious posturing and dance a little.
The album is pretty good and perhaps even a little bit progressive for Train but still woefully underwhelming by any other measure of quality.
Is anyone surprised when self-loathing seekers of post-ironic self-delusion turn on their own?
Legacy Records delivers on the promise of its namesake by giving us a Nina Simone album for the ages.
Mariah did eventually take to the stage for her performance of the Grammy-winning “We Belong Together” and the rousing “Fly Like a Bird.”
The Gun Album is propulsive rock that’s stripped of pretensions.
The Agoraphobic Cowboy is more fun than chasing tumbleweeds.
Catharsis seems all too common a motive behind cutting a record.
Everyone into Position would sound right at home in the middle of the grunge-metal of the early ’90s.