The singer has yet to discover a sound or sensibility that truly distinguishes her.
Trendspotting is a tricky enterprise.
This year’s great music videos often offered a behind-the-scenes, sometimes meta, look at image-making.
Among the new songs are “Bitch I’m Madonna,” a garish EDM track that’s perhaps the most divisive of the songs that have leaked.
Though 2014 produced some great albums, the last 12 months often seemed, at best, a transitional year for music.
The album is ever-worked, ever-tweaked, and perfected but soul-bearing and raw like little else.
The Pinkprint is a nakedly introspective work that reduces Minaj’s formerly freewheeling aesthetic to its bare components.
Sucker is a party album charged equally with punkish rebellion, hip-hop cool, and pop universality.
Pop culture’s pendulum trajectory swings between outrage and fatigue, but there are still things to celebrate.
Listen to a playlist of the best singles of the year on YouTube and Spotify.
Finding the gems with freshness and vitality is as much a burrower’s game as ever these days.
The Wu-Tang Clan struggles to present a unified front on what’s purportedly the clan’s last official album.
Although the 13 songs on Classics were written between 1930 and 1974, very few of them are old-fashioned time warps.
Madonna is probably really pissed right now.
The London Sessions announces itself in its very title as a jaunt outside of Blige’s comfort zone.
David Guetta’s Listen only serves to kick more dirt on EDM’s grave.
It has a better shot at reigniting Stefani’s solo career than its rather bland predecessor did.
Alpha Mike Foxtrot presents a comprehensive survey of Wilco’s long, strange evolution.
The album is a painful reminder of One Direction’s status as a manufactured, focus-grouped pop entity.
Seeds stands on its own as a collection of lively, well-curated music, one that remains routinely effective despite its basic approach.
Welcome to the American Express Unstaged Taylor Swift Blank Space Experience.