The album sees the singer-songwriter moving in a different direction.
Progress is the name of the game for Audioslave.
The album is revenge against an unfair world delivered with a hug rather than a clenched fist.
Dylan’s 44th studio effort Modern Times might be the most upbeat feel-bad album of 2006.
TV On the Radio finds and walks a delicate balance with their sophomore full-length release.
“Hey Ya!” was probably the worst thing that could’ve happened to OutKast.
Avenged Sevenfold for Best New Artist? As Eric told me halfway through the show: I think we’re getting too old for this.
Hanging over the album is the impression that nothing fun or beautiful goes untainted by the world.
Super Extra Gravity sounds like the product of a young, fresh quintet that’s got a whole lot of rock left in ‘em.
When creative decisions are made for the purpose of pleasing the consumer, everyone loses.
The most bothersome fact about Harpo’s Ghost is that it’s an album whose success is dependent solely on marketing.
What does it say that Simpson’s best work to date is so shallow?
Classics lays down a consistently low-key groove that never draws attention to itself but which sustains a real sense of momentum.
In perpetuating every unfortunate, ugly stereotype of the country genre, Dangerous Man is still an embarrassment.
This is power-pop with brains that doesn’t try too hard.
There’s not much to any given song on the album to distinguish it from its obvious sub-genre counterparts.
Let Me Go, Let Me Go, Let Me Go too often confuses tedium with poignancy.
The album is an intriguing mishmash of sounds, beats, and vocal affectations.
Happy birthday, MTV. You’re 25. A little old to be playing with 12 year olds, doncha think?
Lemonade is practically a case study in G. Love’s particular flavor of effortless cool.
Sæglópur is a fleeting experience, but one which resonates.