The songs rarely cohere into anything greater than the sum of their individual parts.
The album represents one of the most startling—yet oddly fitting—transformations in pop history.
Ireland-born singer-songwriter Damien Rice’s debut, O, plays out like a Shakespearean love tragedy.
Sophie B. Hawkins might just be the hardest working musician in the business.
The album does little to live up to 3EB’s Eastern philosophical moniker, but it still delivers on the poppy promises of their hit-laden debut.
The album sits comfortably somewhere in between the computer-generated Kid A and the prog-rock splendor of OK Computer.
The singer’s sophomore effort mixes more of the same with a reggae buzz that evokes Paul Simon’s solo work.
With Graham Coxon out of the picture, world beats and bass guitar take on new lead roles.
Whether it be soothing techno-ballads or custom-made clubs tracks, Goldfrapp knows how to draw you in.
The biggest liability of becoming the “American Idol” is evident on winner Kelly Clarkson’s debut album, Thankful.
Fleetwood Mac’s new album, Say You Will, may well have been titled The Buckingham & Nicks Show.
Presley’s twangy brand of rock and sultry vocals sound more like Sheryl Crow or Cher than the King.
The Androids’s lead singer Tim Henwood is not your typical rock god.
If nothing else, it is a consistent and hook-laden attempt to get noticed.
To celebrate American Life’s release, Slant Magazine has delved into Madonna’s catalog and reevaluated her key releases.
The album is a middle-of-the-road mix of restrained pop ballads and club-friendly house anthems.
Eat your heart out, Fred Durst.
Watley’s sultry, smoky voice is a perfect match for the housey beats of a few tracks here.
Tracks like “Mercury” and “Pretty or Not” explode into their respective choruses while others are simply noisy and boorish.
702 are all grown-up and have regrouped for their third album.
Copenhagen’s the Raveonettes have delivered a deeply fertile debut.