We weren’t sure if Madonna could surprise us anymore. Until she did.
Blackstar is defiantly a thing of its own, allowing Bowie to revisit his career-spanning, paradoxical fears with fascinating new sounds.
The Catastrophist finds Thrill Jockey’s flagship band where we left them on 2009’s Beacons of Ancestorship, playing fusion for a post-IDM world.
It does little to counteract the bad taste left by its opener, offering up songs that tend to be blandly forgettable.
More so than any year in recent memory, 2015 saw the music video being wielded as a political weapon.
From new age to rap to pop, we’ve assembled a list of 10 albums we hope you won’t find under the tree next week.
Perhaps Alone in the Universe isn’t intended as reinvention, but as a reintroduction to Lynne.
The year’s best singles found new, inventive means of correspondence between the past and the present.
If ingenuity and craft are legitimate measures of success, then the rumors of the LP’s demise are indeed greatly exaggerated.
Our picks for the best singles of the year found new, inventive means of correspondence between the past and the present.
O’Malley and Anderson’s blunt singlemindedness on stage is often counterbalanced by formalist nuance on record.
Nearly six months after the track made its premiere online, Robyn’s “Love Is Free” finally gets an official music video.
25 is essentially a series of apologias that finds Adele taking responsibility for at least some aspects of her tattered love life.
Shortly after the surprise brass-and-vocalese bridge of the Ed Sheeran co-write “Love Yourself,” Purpose starts rehashing its distinct set of formulas.
Missy doesn’t miss a beat, spitting rhymes like it’s 2005.
Sometimes the maximalist ambitions of Claire Boucher’s Art Angels overshoot the needs of pop.
The new Green that emerges through these songs is a sort of AME church-derived Liberace.
The album’s original material holds its own alongside the yuletide classics, the standout being the Chris Martin-penned ’Every Day’s Like Christmas.’
The album narrows the scope to Cincinnati and the local music scene that captivated Berninger as an adolescent.
That Garbage’s tour is called 20 Years Queer suggests they’re aware of the progress that’s been made since their figurative coming-out party in the mid ’90s.
Newsom’s vocals—seemingly limitless, but always under control—glide through swirls of piano, harp, and strings that burst forth and fade at random.