We weren’t sure if Madonna could surprise us anymore. Until she did.
Hellenic allusions are especially well-represented in the album’s loose restaging of the Ascension as a surrender to darkness.
Every time we think we’re finally settling into a pattern for Record of the Year, Grammy reverses course.
Imperium Simulacra is attentive to builds and variations, offering up the band’s most mature songwriting to date.
The singer’s “Freak” video is a hazy, drug-dosed trip back to 1960s California.
The sentiment of “How many Grammys can we give Taylor Swift?” hangs thick in the air.
The success or failure of each of the album’s songs largely hinges not on whether Kozelek’s babbling is charming or not.
In recent months, Meghan Trainor’s star has waned, leaving room for a surprise victor in Best New Artist at the Grammys.
We’re kicking off our Grammy predictions with our picks in some of the smaller genre categories.
99¢ is springy, bright, and almost flippant with regard to issues of identity and authenticity.
Beyoncé’s “Formation” is a startling, and subversive, statement.
For both its earnest, uninhibited sense of play and impeccable pop, Painting With is a uniquely affecting album.
When Yuck isn’t repackaging indie strategies of portraying authenticity through intentionally gritty production, they’re doing so lyrically.
Anti’s second half finds Rihanna dabbling in previously unexplored genres, and to various degrees of success.
After a string of underwhelming singles and several momentum-killing delays, Rihanna’s Anti, her first album in over three years, finally looks imminent.
Williams’s location-specific concept album serves as a reminder that her best songs need not inhabit one specific place, geographically or emotionally.
That the songs on This Is Acting were intended for other artists results in material that you wouldn’t expect to find on a Sia album.
Dystopia’s sustained virtuosity, with riffs sprouting like fractals, feels like a form of reparation.
David Bowie’s best songs proved his quest to turn and face the strange never ceased.
The album has its share of big moments, but it’s mostly made up of small, claustrophobic gestures of prickly emotional uncertainty.
Segall remains less interested in fine-tuning a specific sound than endlessly experiment with new tools and attitudes.