A visceral examination of art and nature when both are pushed to the brink.
Stina Nordenstam’s simultaneously tremulous and tremendously moody The World Is Saved is something of a homecoming.
Blame the Vain nonetheless represents a new peak in a career full of them.
Hot Apple Pie too-often adheres to mainstream country’s conservative formula to generate much legitimate heat.
Esthero’s music will undoubtedly be a prize for any pop fan that finds it.
X&Y promises to make it even easier to resent Coldplay’s success.
The venue was filled with a mix of hardcore fans, label scouts, and curious out-of-towners.
Shocked’s recent material reveals a woman spending her free time singing to pretend that she doesn’t see who just walked out her door.
Innaway doesn’t make the kind of music you’d expect to come out of Orange County in 2005.
While Get Behind Me Satan may be standing on the shoulders of Elephant, it doesn’t stand in its shadow.
Face the Truth is exactly the album many hoped Weezer’s Make Believe would be.
Dressy Bessy’s Electrified finds the Denver-based quartet moving beyond ’60s-mod gimmickry.
Begonias succeeds on Cary and Cockrell’s modest terms as a pleasant, casually self-sustaining project.
Honkytonk University sounds like it was recorded by somebody who has no desire to challenge himself.
Audioslave’s sophomore effort, Out of Exile, is the sound of a band coming into its own.
If Elephunk was manically captivating, Monkey Business is virtually unlistenable.
With We Will Become Like Birds, singer-songwriter Erin McKeown strays even farther from her folky beginnings.
Sadly, in some instances, the acoustic versions actually accentuate the original album’s weaknesses.
Stand Up is the band’s most lively album in years, and one of its best.
Be sounds like Common’s teaching from the playbook of a college dropout.
Hey, if I want sincerity in dance music, I’ll listen to Kerri Chandler.