The songs rarely cohere into anything greater than the sum of their individual parts.
Like her previous work, it’s an interesting mix of sex and death.
A refreshing antidote to the army of pop princesses and rap-metal bands that had taken over.
Over the course of the past eight years, the Dallas-born singer-songwriter has steadily evolved into a legitimate focal point on the pop music scene.
Robbie Williams’s new album finds the singer as charmingly crass as ever.
Common’s fourth album, Like Water for Chocolate, is a seamless backdrop of funk, soul, and hip-hop for his rhyming prowess.
He’s like R. Kelly with a touch of British charm.
Damian was in good spirits, highly energized and considerately thoughtful during our abbreviated discussion.
Call it a cheeky send-up of kitsch-pop, a faithful homage to Queen, Joan Jett, Cheap Trick, the Cars, and Adam Ant.
Under Construction is a living, breathing homage to old-school rap’s simpler days.
While TLC were once innovators, they’re mere followers on their fourth (and final) album.
Toni Braxton smartly balances hip-hop-skewed R&B with the kind of sultry balladry that made her famous almost a decade ago.
Greatest hits records almost never please everyone. But with an artist like Björk, it’s almost completely impossible.
On her seventh studio album, Tori Amos traces her steps across a post-9/11 America.
It’s not clear what decade Carter thinks he’s currently living in.
NSync’s golden boy has finally struck out on his own and the results are, ahem, golden.
It seems former Mousekateer Christina Aguilera has finally popped right out of her bottle.
DJ Shadow’s Endtroducing… so constantly changes pace that definitions are rendered insufficient.
Bytes was a watershed in what has become known in the U.K. as IDM or “intelligent techno.”
Kraftwerk’s meditative album is a sonic poem to Europe.
Señor Moby’s albums have always been a bit schizophrenic and his 1995 masterpiece, Everything Is Wrong, is no exception.