A visceral examination of art and nature when both are pushed to the brink.
The album abounds in the rapper’s trademark vocalic inflections and outlandish songwriting quirks.
The Japanese House In the End It Always Does Review: Caught Between Heartbreak and Healing
Vocal hooks take a backseat to an impressionistic rendering of desire on Amber Bain’s latest.
Lucinda Williams Songs from a Rock n Roll Heart Review: Resilience, Revival, and Renewal
The Americana legend’s 15th album feels like a triumph against the odds.
The New York-based actor, writer, and musician calls the new single a “queer summer anthem.”
Despite being packed with hooks, the album too often falls back on conventional contemporary pop.
We’ll be unpacking these dense and rewarding albums for the rest of the year and beyond.
The rapper’s fourth album is filled with rhetorical mini-masterclasses in verbal self-defense.
A loosely structured song cycle, the album is the singer’s most personal effort since My December.
The album is rooted in anger, but the more melodic passages express it without becoming trapped by it.
With her new single, the singer/rapper nods to the Verve, Madonna, and ’90s hip-hop.
The album is defined by the quality, craftsmanship, and epic-ness we’ve come to expect.
The album emphasizes the rapper’s Atlanta heritage by harkening back to both his past and Southern rap.
The abum’s best moments prove that the band can still reliably deliver left-of-center alt-rock thrills.
The track is a transgressive, capital-S statement that isn’t spit-shined for mass consumption.
Throughout, Lewis grapples with the quirks and perils of relationships with humor and honesty.
A refreshing assuredness permeates the entirety of the singer’s fourth album.
Christine and the Queens Paranoïa, Angels, True Love Review: A Multifaceted Manifesto for Love
The album is the culmination of the French singer’s ambitious approach to pop conventions.
The irony of the album’s gussied-up nature is that its best songs are often the most direct.
The album is an economical calling card and the sound of a band coming into their own.
In 2003, both artists faced charges of “selling out” with pop albums which require no apologies.