The band’s first album in a decade is more haunted than its arena-sized choruses suggest.
From the first syncopated finger snap, it’s clear Aquarius is a direct descendent of ’90s-era Janet Jackson.
A conceptual stew of spellbinding electro-noir, You’re Dead is Flying Lotus’s most transcendent work to date.
Tough Love reduces Ware down to her essence, while offering ample opportunity for her to develop her technique.
Weezer’s Everything Will Be Alright in the End is an exultant “fuck you” to dashed expectations and the snarky wallow in past glories.
Caribou’s Our Love is an uncharacteristically uneven effort from a generally consistent artist.
Unfortunately, after an impressive opening salvo, Jessie J’s Sweet Talker largely relapses on tired MOR.
…And Star Power emulates not only the musical styles, but also the loopy concepts of so many classic bands.
Art Official Age’s main takeaway is that His Royal Badness has started to make peace with being past his prime.
Tomorrow’s Modern Boxes is Thom Yorke’s latest attempt to shake the already-crumbling foundation of the fledgling industry.
“L.A. Love (La La)” is the official reintroduction of Fergie, and it’s not unlike her previous solo coronation.
Imagine a mirror which distorts not just the reflection, but reality itself—that’s the stunning legacy to which Syro triumphantly belongs.
JHUD is an ostensible shift in gears, but it mistakes beats for an actual pulse.
With This Is All Yours, Alt-J keeps one foot rooted in melodic prog while constructing songs with a baroque precision.
Cazwell’s Hard 2 B Fresh drops the retro West End Records samples that helped put him on the map in favor of faster, trendier, EDM-ier beats.
Sukierae ruminates heavily on growing up, marriage, fatherhood, and the alternately blissful and uneasy life of the Tweedy family.
On Too Bright, Perfume Genius operates with far more flamboyance and panache, granting the album the feel of a second debut.
Jennifer Lopez’s “Booty” remix and music video features rapper Iggy Azalea.
If not for the session musicians’ virtuosic work, much of Cheek to Cheek would sound like glorified karaoke.
Chris Brown’s X largely eschews mathematical objects in favor of soul-baring and sex talk.
For a musician who can be as withholding as Williams, the generosity of Down Where the Spirit Meets the Bone is a welcome change.