The album sounds beamed in from an earlier decade, but it runs deeper than nostalgia.
While With Teeth satisfies in all the expected ways, not much has changed in Trent Reznor’s world.
Martha introduced herself and discussed, among other things, acting, feminism, and Oprah’s influence on her new song “TV Show.”
Does anyone have Mike Chapman’s phone number?
What Pretty in Black lacks in vigor is made up for in variety.
Hey, Rich Harrison, it’s okay to sample something other than horns. Or how about just dropping the sampling altogether.
The Best of Brandy is a must-have for the hardest-core Moesha fans.
With her self-titled debut, Martha Wainwright has proven to be not just a worthy pupil of her domestic tutelage, but a musician of equal caliber.
Lisa Marie Presley’s second effort doesn’t stray far from the formula that brought her moderate success her first time out.
The First Lady is a mark of growth for Faith Evans.
em>Odyssey presents even more reasons to hate Fischerspooner—and in glaring Technicolor.
Whatever these songs lack, they make up for in restraint.
Lead singer and chief songwriter Sam Endicott’s voice aims for droll but comes off lifeless and disaffected, descending into an annoying whine by the album’s halfway mark.
Arular is a head-turning, head-bopping debut.
Colour by Numbers helped establish the blueprint for the boy bands that would follow in Culture Club’s wake.
I’ve gathered three of Slant’s music boys to dish the dirt on the multi-octave songbird’s first nine releases.
He took a break from his European tour to introduce himself to us and discuss composing, skinny-dipping, 19th century heroines, and Britney Spears.
Human After All is a nagging brat of an album.
The album smells of the fear of death.
Sadly, with The Secret Migration, the revelators seem to have left the technicolor visions back at home somewhere in the Catskills.
It’s the way the album’s 14 songs are assembled that seems like uncharted land.