The album doesn’t see the rapper experimenting with his skull-rattling sound very much.
Aaliyah learned how to align herself with A-list producers without losing her individuality.
The album is a promising start for a talented young newcomer, mixing obvious influences with classical training and simple yet distinct approach.
It takes us on a vivid journey from abandonment and desperation, through rebirth and renewed hope.
CKY’s sound is not revolutionary, but the band certainly works hard for their individuality.
The strongest force holding back Prime STH from being a rock band is its slick production.
The album mixes the soul of Sly Stone and the funk of James Brown with the pop sensibilities of Prince and the grace of Lena Horne.
The folk singer’s musical development goes hand-in-hand with personal discovery.
First impressions can be deceiving.
The way the album touches the skin is more paperback than hardcover and singer Jim Adkins’s voice is more seductive and confident than before.
Attempting to recreate the brilliance of their past collaborative effort, Daou comes across as foolish and perhaps a bit overzealous.
The old Tool is back with a vengeance. Almost.
Some of downbeat’s elite are on board for the compilation, including Terranova, Thievery Corporation, and Sofa Surfers.
Just keep reminding yourself: She’s only 17.
If it wasn’t for Herbert’s PCCOM rule number nine, one might never know what they were listening to on Functions.
The often anonymous composers of television ads and movie trailers (read: electronica artists) may have found their futures in the soundtrack business.
Sony Music’s newest shining hope is being positioned as the next big pop starlet.
The album is a generally banal and unchallenging set of songs.
In many ways, Travis satisfies a popular need in the absence of the Radiohead of yesteryear.
Who does Radiohead think they are?
At a time when pop music doesn’t leave much for adults and electronica all but neglects the older demo, along comes Mandalay.