The singer has yet to discover a sound or sensibility that truly distinguishes her.
The album is an entire box of Fruity Pebbles: vibrant, colorful, and awfully tempting to OD on.
Lost in America is forgettable in a way that all but ensures that its title will turn out to be prophetic.
Bob Delevante is armed with a strong pop sensibility and a gift for composing memorable melodies and even more memorable photographs.
LL Cool J’s latest eponymous release, Todd Smith, finds the rap vet surrounded by an all-star line-up.
The album seems destined to be regarded as a “transitional” record a few years out.
Don’t believe what cultural history books tell you.
Whether or not Corbett will be taken seriously remains to be seen, but this debut album makes a solid enough case that he should be.
Van Hunt’s sophomore outing is neither as edgy nor funky as his press kit and surprising A-list fans would have you believe.
Josh Ritter is not redefining the way folk music is written or performed, he just writes and performs good folk songs.
The album is a bright, beautifully wrapped package filled with nothing but styrofoam packing peanuts.
The Vines ultimately come off as nothing more than a proficient Nirvana cover band.
Yes, Virginia is not quite as strong an effort as the Dresden Dolls’s self-titled debut, but it boasts some terrific songs.
Catastrophe Keeps Us Together is a terrific collection of thoughtful, energetic rock songs.
Drum’s Not Dead is an album of sounds, not songs.
If The Red Krayola frontman Mayo Thompson should be lauded for anything, it’s persistence.
Electric Rodeo is a hot mess.
Meds is, if nothing else, less appalling than talentless electroclash pottymouth Peaches’s damn near unlistenable Fatherfucker.
No one here should consider quitting their day job, but there’s ample reason to look forward to Loose Fur’s next go-round.
Ambition alone doesn’t make the kind of statement that the album’s scope and structure demands.
Friends of Built to Spill, both old and new, take comfort in the familiar.