The singer has yet to discover a sound or sensibility that truly distinguishes her.
Supply and Demand is every bit as polished and confident as Amos Lee’s debut.
As 2006 winds down, Lloyd Cole must be feeling like he’s having a pretty great year.
Public Warning is less of an instant classic and more of a promise of things to come.
Once Again never really reaches the heights of Get Lifted.
Executive producer is one title Sean Combs can wear proudly.
It was fitting that the final stop on Goldfrapp’s U.S. tour, at New York’s Roseland Ballroom, began with Cerrone’s “Supernature.”
In a recent column, Andrea Peyser likened Madonna’s recent adoption of an African AIDS orphan to taking home a souvenir.
Long Island Shores is simply pretty for the sake of being pretty.
Long Trip Alone keeps the country genre in another pair of capable hands.
The only thing keeping Bleeding Heart Graffiti from being relevant is Warner Bros.’s nearly nonexistent promotion.
The Be Good Tanyas’s choices of cover tunes are fairly obvious and the album’s arrangements lack the band’s usual verve.
The emotions here are real and often outsized, but the memories themselves, like the album, are better when they get a bit fuzzy.
Beck’s latest album plays like a subdued collection of greatest hits.
Gang of Losers is a sturdy collection of barely contained alienation.
Under The Skin washes over you like a summer breeze.
Lupe Fiasco’s relentless positivism never overwhelms his casual rhymes.
It’s too inconsistent to be declared the masterpiece of which Colin Meloy and company are capable.
The masses are urged to wait for when Treasury’s best tracks are compiled on the boxed set.
Like Red on a Rose is a wholly unexpected move from an artist who seemed perfectly content with his status and already-secured legacy.
Jamie Stewart, the experimental-pop brainchild of Xiu Xiu, structures his songs like miniature horror films.