The singer has yet to discover a sound or sensibility that truly distinguishes her.
TP.3 Reloaded represents everything that’s wrong with mainstream hip-hop and R&B today.
Leave it to Miss E to be able to make ecstasy sound like penitence, and vice versa.
If Multiply is all an elaborate, ironic put-on, it’s executed so flawlessly that Lidell’s intentions barely even matter.
The album is pop-art of the highest caliber, cementing Stevens as one of the most vital voices in music today.
Stina Nordenstam’s simultaneously tremulous and tremendously moody The World Is Saved is something of a homecoming.
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.
Blame the Vain nonetheless represents a new peak in a career full of them.
The venue was filled with a mix of hardcore fans, label scouts, and curious out-of-towners.
X&Y promises to make it even easier to resent Coldplay’s success.
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.