The songs rarely cohere into anything greater than the sum of their individual parts.
The career of a hip-hop artist is not unlike Cher’s farewell tour: it’ll continue on and on so long as the money keeps coming in.
Unfortunately, Spiderbait aren’t able to fully transcend their influences—even if they do do it well.
Scissor Sisters’s self-titled debut album is a fantastic, charming, breezy listen.
Throughout the album you’ll just want to pat them on the head for recognizing a great sample.
The melodies and harmonic dissonances hidden beneath the dense layers of white noise are interesting, even beautiful, but you get the sense that they’re accidental.
Songs to No One is by no means Jeff Buckley at his best.
These discs are a testament to Buckley’s awe-inspiring versatility and breadth of talent.
The album plays like a classical-pop mélange of various female singer-songwriter influences from the last 15 years.
The double album reveals the popping seams of a band that had the pressure of an entire fissuring generational/political gap on its back.
To celebrate the re-release of Grace, we’ve decided to root through the self-proclaimed chanteuse’s catalogue and spotlight some of his key releases.
Oh, MTV, what has happened to you? This year’s list of Video Music Award nominees reads more like a TRL line-up.
Without the odd bursts of light that Robert Smith is more than capable of, The Cure remains cloaked in shadow.
Despite assistance from a sex-kitten-voiced electronic navigator, Ashlee arrives several hours late to the meeting.
The album is an utterly guileless celebration of the pop diva as shape-shifting drama queen.
The crowd was young and boisterous, and one particularly drunk teen was making yours truly look like a no-fun-having old coot.
It’s not exactly a secret that greatest hits packages can be hit or miss, especially for an act that has had no recognizable singles.
Gone are the so-called “ugly verses,” the ones that made Donelly’s big, bleeding choruses even more potent.
The Tipping Point might just be the Roots’s most jovial effort yet.
Nina Sky is a surprisingly solid debut, but the one thing the album lacks is its own distinct personality.
The Fever just wants to party like it’s 1999…or 1969.