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.
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.
Madonna’s done it all. And we’ve pretty much covered it all.
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.