The singer has yet to discover a sound or sensibility that truly distinguishes her.
Walker’s solo work moved away from the pop leanings of the Walker Brothers and increasingly toward the avant-garde.
Modern trappings do little to obscure the fact that frontman Kurt Wagner feels more out of time than ever.
The album marks the band’s first reunion that feels truly consequential.
The album is the duo’s most personal work to date, but they seem reluctant to let loose and lean into the music.
The album collects ambient music crafted expressly to fit and reflect spaces both natural and manmade.
As its titles suggests, the R&B singer’s first album in 12 years radiates positivity.
The British soul singer’s debut seems to have emerged from a time capsule circa 1969.
The band’s raw, crowd-pleasing blues-rock remains as rousing as ever on Signs.
The pop princess comes off as a decidedly unsympathetic character throughout her fifth album.
Noah Lennox’s latest is at once disarmingly offbeat and decidedly of the moment.
The band’s sixth album thrives in the spaces between the power chords and choruses.
The album capitalizes on the musicians’ best tendencies while largely avoiding their worst.
The album proves that the tortured-artist path isn’t the only way to great rock ‘n’ roll.
Neither the album’s eclecticism nor its polish can make up for its lack of memorable songs.
The L.A. trio’s third album is a cathartic expression of estrangement in a cruel world.
Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.
Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.
On Fool, Joe Jackson sounds younger and angrier than he has in years.
Why Hasn’t Everything Already Disappeared? keeps the usual chaos of a Deerhunter album hidden beneath charming exteriors.
The year’s best music videos reflect the technology we use, the power we wield, and the places we carve out for ourselves.