We weren’t sure if Madonna could surprise us anymore. Until she did.
Beyoncé and Jay-Z collaborative album Everything Is Love stands as a monumental testament to keeping it real.
Sixth House is a layered, engaging addition to one of indie-rock’s most slept-on songbooks.
It works best when Chromeo finds the elusive sweet spot between pop hooks and music-geek verisimilitude.
Liberation is largely freed from the bombast that has marred Christina Aguilera’s past releases.
With her debut album, Lost & Found, Jorja Smith taps into a well of innovative, open-wounded songwriting.
Lykke Li indulges in extremes of either agony or ecstasy throughout her fourth album, So Sad So Sexy.
Based on the trailer alone, it seems A Star Is Born is likely to be neither a disaster nor a masterpiece.
Bring the Circus Home will feature newly recorded versions of iconic Madonna hits.
As a chronicle of living with mental illness, Ye is Kanye West’s most unsparing work to date.
With Hell-On, Case continues to cultivate fresh expressions of personal growth from familiar terrain.
Snail Mail’s full-length debut album offers hope for new beginnings, arriving at a liberating quietus.
Josh Tillman too often feels hopelessly lost inside his own head on God’s Favorite Customer.
Banks’s new music video pays homage to Janet Jackson’s iconic video for her 1987 single “The Pleasure Principle.”
The music video for Jennifer Lopez’s “Dinero” is as over-the-top as the song itself.
The album eschews the incisive introspection and figurative lyricism that defined Chvrches’s early work.
What Heaven Is Like perfectly balances effortless melodicism and noisy, mysterious murk.
7 is a post-party album, a gentle, introspective comedown after a night of extroverted madness.
Dystopia meets creature comforts on the sci-fi-themed Tranquility Base Hotel & Casino.
For Stephen Malkmus, being a mature artist and an irreverent goofball aren’t mutually exclusive.
Barnett’s impossibly effortless tunesmithing remains a preternatural force on Tell Me How You Really Feel.