The songs rarely cohere into anything greater than the sum of their individual parts.
Hip-hop veteran Q-Tip’s second solo offering is a far cry from the slick beats and sticatto rhymes of 1999’s Amplified.
The Eels’s fourth album, Souljacker, teams frontman E with John Parish, best known for his work with PJ Harvey.
The album is sonically and conceptually more aggressive than the group’s debut.
Yes, artists should be paid for their work, but the industry’s ongoing legal squabbles are anything but selfless.
The songs are scrumptious morsels but the album as a whole is quite redundant.
Wanderland ultimately sounds more like home to the Neptunes than Kelis.
It’s refreshing how some things never change.
The all-grown-up Miss Moesha seems to be making her final transition from sitting up in her room to sitting on top of the world.
The Guest is a colorful mix of intelligence and youthful exuberance.
Here are our predictions for who will win, who should win and who doesn’t stand a chance.
Donelly finds herself smack-dab in the middle of a musical uprising not unlike the kind she helped spearhead over a decade ago.
Capitalizing on Jenny Lo’s re-ignited music career, Epic has issued J to tha L-O, a collection of new and previously unavailable remixes.
Post-Glitter, can Mariah Carey bounce back?
Bad Religion’s return to Epitaph seems to signify a desperate grasp at the levers of a time machine.
Yes, that’s a computer-generated outer space you’re floating through.
Armed with 10 producers, you’d think Minogue would be able to serve up something a little less monotonous.
The album glows when the singer focuses on the unambitious melodies that follow you long after the disc comes sputtering to an end.
As usual, Lady Miss Kier used Dewdrops as a platform for her own social and sexual revolution.
Nova’s sugary melodies and bittersweet lyrics are often wrapped in anguish.
With Living Proof, Cher has single-handedly redefined the meaning of “guilty pleasure.”