The song marks the singer’s return to the country music genre.
Government Plates is another fascinating, frustrating, full-throttle effort from Death Grips.
Employing a more dance-driven, Auto-Tuned approach, Allen takes aim at the industry’s systematic sexism, brought to colorful life in the song’s music video.
Frog Eyes’ Carey’s Cold Spring is less a collection of nine songs than it is a primeval bloodletting.
Chance of Rain is a murmuring storm of alluvial drones and steady percussive patter.
Mariah Carey’s fourteenth studio album, The Art of Letting Go, has had an epic roll-out—and not in a good way.
Growing up in the ’80s, I had to come by Lou Reed through some fashion other than radio.
Moonface’s Julia with Blue Jeans On is a tight song cycle about finding love in a cold climate.
The latest track from Gang Gang Dance’s Brian DeGraw (a.k.a. bEEdEEgEE) features CSS’s Lovefoxxx on vocals.
Avril Lavigne is ultimately a handful of watered-down genre tropes trotted out seemingly because they’re on trend.
Free Your Mind reveals some wear and tear on Cut Copy’s synth-pop formula.
Artpop’s most naked, straightforward pop moments that are the album’s most redemptive.
Matangi again establishes M.I.A. as one of the most fascinating figures in modern music, but the personal voice underlying her material remains aggravatingly half-baked.
The chief intention of Celine Dion’s Loved Me Back to Life is to pass for contemporary.
Britney Spears’s “Perfume” is a midtempo ballad that likens perfume to urine.
Eminem’s shock value has softened by dint of familiarity, but The Marshall Mathers LP 2 still features tantalizing moments of vintage performance.
Lady Gaga has composed a convincing anthem of remorse.
The album might just be the sort of darkly painted neurosis needed to combat popular music’s deluge of silly and crude self-affirmations.
“Faster Than the Devil,” featuring Marissa Nadler, mines the same influences as Bat for Lashes’ Natasha Khan.
It wouldn’t be giving too much away to say that things don’t end well for the former boy bander.
“The Monster” finds Eminem confronting fame, the media, and the titular demon inside.