The track expands the singer’s sonic palette with oscillating synths and sweeping strings.
Each of the tracks on 10,000 Maniacs’s swan song, Our Time in Eden, is like a miniature parable on the state of America, past and present.
Dido’s is a relentless love and it informs almost all of Life for Rent.
Voyageur’s palette is virtually nondescript.
Amorino matches Campbell’s delicate, paper-thin voice effortlessly with a myriad of styles.
Some Devil might just be the jam-band frontman’s best work since Before These Crowded Streets.
Unwrapped is weighed down by its slightly overzealous production and seemingly perpetual sameness.
Despite some finely crafted moments, Doll Revolution is far from the revolution its title implies.
Different Light sounds surprisingly fresh in hindsight.
The album is a starkly personal statement.
To Big Boi’s socially-charged yin is Dre’s horny yang.
Rancid’s sixth full-length release is a bold continuation of the neo-punk band’s brazen yet accessible style.
A quiet storm album without the sex, Butterfly is, above everything, idiosyncratic.
Erykah Badu’s Worldwide Underground is less daring than it is just plain indulgent.
Rufus Wainwright is like a giant peacock.
Beyoncé shows that she can command a choir on the quickie “Swing Low Sweet Chariot” as easy as she can a pop group.
Call it what you will, background music is rarely this lovely.
Fresh and inventive, Deliverance sheds light on the fact that certain troubles affect both sides of the track.
The compositional uncertainty and sometimes scruffiness of its relatively brief 11 tracks seem just slightly ungenerous.
John Mayer may have titled his sophomore disc Heavier Things, but don’t expect the album to rock you like a hurricane.
Chain Gang of Love could be the soundtrack to a murderous, perverted remake of Dirty Dancing or Grease.