We weren’t sure if Madonna could surprise us anymore. Until she did.
With Wide Awake!, Parquet Courts treats both figurative and literal forward motion as a cathartic act.
The music video is a moving meditation on America’s school shooting epidemic.
Co-produced by Kanye West, “Accelerate” is propelled by perpetually shifting beats and a rumbling electro bassline.
With Good Thing, Bridges brings his classicist R&B chops into the current century—with mixed results.
In shedding her science-fiction persona, Janelle Monáe has ended up making a great pop album.
Belly might take a more conventional approach to their music now, but Dove proves it can still take flight.
Throughout much of In the Rainbow Rain, Will Sheff is content to lean on threadbare platitudes.
Though much of Caer is mopey and monochromatic, it suggests new possibilities for Twin Shadow.
Throughout, Alexis Taylor is prone to polar extremes of either mopey self-doubt or contrived affirmation.
With Church of Scars, Briggs delivers a series of gothic-soul dirges and blues-inflected pop.
Listen to the first two singles from Minaj’s long-awaited fourth album.
Cardi B’s skills on the mic are matched by the deftness with which she leverages her own celebrity.
The album feels deeply connected to the past but also fully engaged with the present.
For all of the propulsive thrust on display, the band yearns for those quiet, restorative moments.
Wye Oak’s sixth album, The Louder I Call, plays like a dreamscape—just one set to danceable pop beats.
Golden further bolsters Minogue’s reputation for taking risks—and artfully sets the stage for a disco comeback.
For most of Evil Spirits, the Damned sounds like the same band they were 35 years ago.
The Deconstruction reduces the complex spectrum of human emotions to mere binaries.
Years spotlights Shook’s effortlessly refined gift for songcraft.
The songs on Sofi Tukker’s Treehouse are alternately playful and sincere, intimate and global.