The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
The album reflects nostalgia for a time in Holbrook’s life that never actually existed.
Here’s how questionable this whole affair is: The highlight of the record is a vocal appearance by the girl from “The Wonder Years.”
It’s the jarring excursions into hip-hop that ultimately inject some much-needed life into the project.
It’s telling that two of Vanessa Williams’s last three studio albums were Christmas-themed.
Romance, as always, takes center stage on Erasure’s 11th studio album, Nightbird.
Trail of Dead’s Worlds Apart succeeds, in part, by accurately capturing at least a segment of our country’s social unrest.
Legend needs to drive toward an original angle on neo-soul before he truly earns his moniker.
Push the Button is tinged with fatigue, but a decade of LSD has been known to have such side effects.
Blink-182 might just be the band’s best album to date.
Another year, another award for multimedia synchronicity over artistic merit.
Brian Wilson should be proud.
Free Me follows patently European pop trends, blending bossa-lite rhythms with subtle acoustic flourishes and disco strings.
Ali would be better off using her feline powers for evil.
Before The Poison is a markedly personal record, earmarking another chapter in Faithfull’s 40-year career.
As make-out music goes, Love Songs might only be fit for frantic masturbation, but as a tribute to a unique stylist, it’s essential.
Let’s hope Ashanti is a woman of her word.
Evolution is essential to the survival of an artist, and it’s what’s kept Ani DiFranco captivating for so long.
Kelly Clarkson heads in an edgier, rockier direction with Breakaway.
Madvillainy is a chameleonic masterpiece that alone validates the artistry of sampler culture.
It’s a rare, special thing when a band creates an album that speaks for an entire generation.