The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
Case’s latest album continues down a path she first acknowledged on Blacklisted.
For that crowd, this is a good record. For everybody else, it’s essentially irrelevant.
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 plays like the foundation for a great mixtape.
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.
In My Own Words might pale next to Legend’s stellar debut, but, even at its Robert Kelly worst, it’s not hateable.
The Proposition is a kind of western, but don’t expect to hear the Bad Seeds aping Ennio Morricone.
The Devics’s music is chamber pop at its most lush and dreamy
While Sound & Vision doesn’t sport any new studio material, the album does boast three previously unreleased tracks.
Another year, another British band christened the Next Big Thing by every conceivable publication in the UK.