We weren’t sure if Madonna could surprise us anymore. Until she did.
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.
To celebrate their induction into the Rock and Roll Hall of Fame, we take a look back at the group’s best and most innovative music videos.
The 27-track Icarus Falls is a forgettable, albeit expertly produced, travelogue of R&B trends.
Ariana Grande continues her vie for world dominance with her new song “Imagine.”
A Brief Inquiry into Online Relationships is a content-saturated album for a content-saturated world.
So many of 2018’s best albums capture the feeling of trying to keep our heads above water.
Skins fails to bring anything genuinely new to the table.
Our cultural concerns in 2018 over boundaries, borders, and bottom lines have trickled down into the best songs of the year.