The track expands the singer’s sonic palette with oscillating synths and sweeping strings.
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.
A grassroots punk rock tribute to the late punk icon, Joe Strummer, at New York City’s premier underground venue, CBGB’s. What could be more fitting?
“Vogue,” given its homage to old Hollywood, is ultimately a more than fitting finale to a daringly nostalgic album.
The singer never sounded as vulnerable or cerebrally plugged in as she does here.
The album is the sound of a queen, sitting on her throne, taking inventory of her icy, empty fortress.
DiFranco’s eponymous debut begins with the now-classic “Both Hands,” the unmistakable first chords of which sparked a folk revolution.
Less than a year after her debut, DiFranco emerged quirkier and more caffeinated than ever on Not So Soft.
With her third studio release, DiFranco had begun to perfect her craft.
DiFranco adds layers of warm harmonies and personal experience to some of her favorite early tracks.
Out Of Range was a gigantic creative leap forward for DiFranco.
Not only is it DiFranco’s most cohesive studio release to date, it might also be one of the most emotionally powerful albums of all time.
The album finds the folksinger pushing the limits of a genre she can’t even define.
A vain attempt at recapturing the chart magic of 1996’s Another Level.
Little Plastic Castle was a fishbowl concept album, with DiFranco performing her own self-examination under public scrutiny.
The album is a relatively understated answer to the public response of Little Plastic Castle.
The lil’-folksinger-who-could took on a twangier twist on Puddle Dive, her fourth album in as many years.