We weren’t sure if Madonna could surprise us anymore. Until she did.
The singer releases two more songs from her upcoming album Lust for Life.
The Haim sisters convey heartsick sentiments in only the broadest and vaguest of terms.
Bright Light Bright Light is a charismatic, magnetic performer, often funny but refreshingly sincere.
The new single “Praying” is the first taste of Kesha’s long-awaited third album.
Waxahatchee’s Katie Crutchfield runs out of new things to say well before Out in the Storm ends.
Atkins’s lyrics eschew metaphor for a more confessional mode, and her arrangements are punchy and direct.
By failing to transcend binary pop tropes, Harris undermines what could’ve been a creative reinvention.
TLC sticks to the group’s late-1990s aesthetic and acts as though nothing has shifted in the world of contemporary pop.
The album offers both dark clouds and silver linings through the band’s juxtaposition of anxiety and hope.
Sheer Mag has created an album on which even their breeziest hooks drip with tension and rage.
At its best, Together at Last almost makes one wish for a redo of previous albums.
The music itself provides the surface glitz, unspooling in sumptuous tapestries.
Portugal. The Man aims squarely at the 21st-century mainstream with their eighth album, Woodstock.
It’s cathartic, dramatic, and everything else you could want an album titled Melodrama to be.
Crack-Up takes contrasting musical ideas and textures and makes them functional, if not transcendent.
So You Wanna Be an Outlaw engages Steve Earle’s past without ever sounding stuck in a rut.
The album’s roster of collaborators proves that Perry isn’t content to simply spin her wheels.
We finally have our answer to a not-so-eternal question: What would a PSA by Sia, née Sia Kate Isobelle Furler, would look like.
The album is convincing evidence that the Nashville sound can and should encompass more than just country.
Allie X’s preoccupation with the bleaker side of romantic relationships is apparent throughout her debut.