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.
To commemorate Kylie Minogue’s 50th birthday, we’ve ranked all 13 of the Aussie pop singer’s albums.
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.
The video pays homage to Jean Genet’s Un Chant D’Amour, the Wachowskis’ Bound, and classic greaser cinema.
With its sweeping scope and rippling tension, Virtue captures the anxieties of our current post-truth age.
With Things Have Changed, Bettye LaVette reaches deep into one of pop music’s richest songbooks.
Bible of Love is a stultifying two discs of competent but generic Christian platitudes.
Messy, uneven, and at times unlistenable, the album’s sheer audacity makes it utterly intriguing.
Taylor Swift’s latest music video shows a softer side of the singer.
The bulk of August Greene primarily operates in a pensive, minor-key mode.
Listen closely enough to Both Sides of the Sky, the third Jimi Hendrix collection released this decade, and you may hear the bottom of a barrel being scraped.
Love and paranoia go hand in hand for singer-songwriter Kevin Barnes on White Is Relic/Irrealis Mood.