We weren’t sure if Madonna could surprise us anymore. Until she did.
The British singer’s new music video opens with a sepia-toned shot of a dusty windowsill covered in mounds of dead flies.
The album is dominated by a mix of hip-hop-infused midtempo jams and equally misguided rock-tinged power ballads.
The concept, naturally, is blackjazz, still as ill-defined as ever, and it’s hard to shake the feeling throughout that Munkeby is up to some next-level mischief.
Anderson discusses her interest in fear, why Amazon.com doesn’t really understand you, and how Heart of a Dog is definitely not just about her dog.
Whatever the end results, Adams at least deserves credit for putting so much effort into 1989’s arrangements.
Song for song, Revival rivals Carly Rae Jepsen’s Emotion for breakout pop album of the year.
It’s as professional and polished an album as this band has produced, running the risk of being labeled safe or predictable.
OMI still feels a certain responsibility to, or at least vested interest in, the music scene that fostered his talents.
In one of the album’s brightest highlights, Janet pays tribute to Michael by channeling the buoyant energy of his Off the Wall-era disco.
On their new album, Blitzen Trapper isn’t afraid to cater to those who yearn for a return to rock’s golden age.
The music video finds the 18-year-old Lorde carvorting with a married man.
As confident as they seem to burrow deeper into their own brand, there remains the edge of paranoia that drove some of their last album’s post-millennial tenser moments.
Powers is blessed with one of the more appealingly idiosyncratic voices in indie rock, a kind of eunuchoid Appalachian warble.
It’s easy to read Every Open Eye as a defiant statement of self-reliance, rising above the bullshit of criticism to live an unfettered life.
For a while, Honeymoon’s lack of pretense translates as a banner strength.
Over 30 years into her career, Madonna is still acting like a virgin.
Crosseyed Heart finds Richards leaning on genre exercises, some of which are more successful than others.
B’lieve I’m Goin Down steadily develops into an album that’s as multifaceted and profound as its mysterious creator.
Ian Williams and Dave Konopka continue to transform cartoonishly weird guitar and synthesizer sounds into legitimate vehicles for melody.
Most songs blend seamlessly together, more like interconnected waves than individual statements.