The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
Hello Waveforms is an apt title for William Orbit’s seventh full-length release.
The album suggests dance-floor abandon, instead of actually providing it.
Supernature is the comeback album Blondie has yet to make.
Below the Branches, true to Stoltz’s DIY aesthetic, never overreaches or tries too hard to present itself as charming.
Idols of Exile never once sounds as though it’s out of Collett’s capable hands.
The swank studio arrangements belie a deep-seeded conviction that love exists.
The toughest part about being as weird as Will Oldham is keeping your wackiness from becoming predictable.
Take one look at the Subways and you see The O.C.’s version of the Strokes.
This is utterly disposable, shamefully enjoyable, and transparently unoriginal music.
It’s to the music’s credit that 9th Ward sounds as far from an elegiac tribute as it does.
Into Paradise will appeal to those looking for an aural escape and aficionados of polished, proficient vocal performance.
In terms of sheer creativity, RJD2 matches Aceyalone at every turn.
Gossip’s beats propulsive enough to get the sk8er kids to drop the self-conscious posturing and dance a little.
The album is pretty good and perhaps even a little bit progressive for Train but still woefully underwhelming by any other measure of quality.
Is anyone surprised when self-loathing seekers of post-ironic self-delusion turn on their own?
Legacy Records delivers on the promise of its namesake by giving us a Nina Simone album for the ages.
Mariah did eventually take to the stage for her performance of the Grammy-winning “We Belong Together” and the rousing “Fly Like a Bird.”
Comfort of Strangers finds the incisive Orton paired with producer Jim O’Rourke to great effect.
The Gun Album is propulsive rock that’s stripped of pretensions.
The Agoraphobic Cowboy is more fun than chasing tumbleweeds.