The album sees the singer-songwriter moving in a different direction.
Showtunes will definitely leave you with a tummy ache.
Keys to the World demonstrates that Ashcroft is finally hitting his stride as a solo artist.
Prince revisits the past on 3121, reinventing his previous glories rather than creating something completely new.
Any group that’s hung around for three decades with the same exact line-up deserves respect.
For that crowd, this is a good record. For everybody else, it’s essentially irrelevant.
Case’s latest album continues down a path she first acknowledged on Blacklisted.
Artistically, Jace Everett’s self-titled debut is a certain kind of dead end.
Both brilliant and frustrating, Hello Young Lovers is the kind of album that, for better or worse, demands a strong reaction.
Band of Horses is a fitting addition to the Sup Pop roster.
A rousing, effervescent disc that should stay in heavy rotation come summertime, Get It is good ‘til the last drop’s gone.
Goodbye packs all the punch of a tear-stained “Dear John” letter.
Kristofferson’s comeback album takes its cue from the stripped-down aesthetic that’s served so many veteran artists
Judging from their 12th full-length album, Oklahoma oddballs the Flaming Lips are through being quiet.
Their deafening exterior is only there to mask the only quality worse than derivativeness: tedium.
Bloom, Red & the Ordinary Girl plays like a Norah Jones album without the adventurous diversity of sound.
There will no doubt be finer country albums released this year, but there may not be one as irresistible as this one.
The album is simultaneously a structural free-for-all and a glossy collection of diverse material.
Under A Billon Suns actively undermines expectations, in the way great modern rock albums are supposed to.
The album plays like the foundation for a great mixtape.
In My Own Words might pale next to Legend’s stellar debut, but, even at its Robert Kelly worst, it’s not hateable.