Dawes play soft rock — they are the sonic equivalent of a warm shower.
Co-writing and producing every song, Ariana Grande crafts her most cohesive and honest body of work to date.
The band was great, but for as great as they could’ve been, the sold-out Charlottesville crowd was cheated.
“DNA” is a multifaceted evolution of the Backstreet Boys, incorporating their beloved sound from the '90s with audacious strides into various genres.
Unlike previous work, “Disappeared” is an album less concerned with personal events and more with the world and Cox’s contemplations with humanity at large.
“Outer Peace” encompasses a range of genres and sonic pleasures which differ just enough to be intoxicatingly complementary.
The album is the kind that you would listen to while driving quickly down a dark road, or cutting your hair in a fit of self-discovery.
“Assume Form” demonstrates Blake at his most genuine and his most vulnerable.
The 1975's most recent album is likely to be lost in the overwhelming flow of experimental instrumentation but prevails as unique in its influence from a range of opposing genres.
"Some Rap Songs," the latest LP from Earl Sweatshirt, shows the rap prodigy venturing to the furthest corners of the genre, creating an experimental, impactful album.
Ghostface Killah's latest release is "Ghost Files," a remix of his 2018 work "The Lost Tapes."
Michal Menert discovered the power of music at a young age — finding in it something inexplicable that resonates with shared human emotions.
Don’t get me wrong, Man Overboard rules, and pop-punk’s so-called rebirth has had some incredible offerings. But the first full-length LP from the U.K.‘s Neck Deep, “Wishful Thinking,” is nothing special.
“I am the number one most impactful artist of our generation. I am Shakespeare in the flesh. “ – Kanye West Since hip-hop has splintered into so many subgenres, regional offshoots and online curios, it would be impossible to tie it up with one neat, concise narrative for 2013.
Stephen Malkmus, former lead singer and guitarist of Pavement, is at it again with his new album “Wig Out At Jagbags.” Frequently cited as one of the most influential indie bands of the ‘90s, Pavement was formed by three University graduates in the early 1990s and went on to release five incredible albums.
Refusing to take ridicule for making cheesy puns, I will say that Still Remains, the synthcore six-piece band from Michigan, still remains an asset to the metal scene. The band started living up to its name when it resurfaced in 2011 — coming out of a three-year hiatus.
I was one of the millions of “Beyhive” fans who immediately downloaded Beyoncé’s new visual album upon its surprising release last month.
Remember the days when musicians used to keep to themselves and genre-lines were always clear cut? Yeah, me neither, but it seems like these days especially, genres, labels and categories in contemporary music are in their most nebulous state; previously segregated styles are being mixed, and styles and trends are being imported and exported at an alarming rate.
This seems to have been the year of the comeback artist, even among the punk rock scene legends don’t want their veteran status to fade into the background. The latest offender is the highly-regarded Black Flag, who is back with their first studio album since “In My Head” from 1985.
Stand out tracks: “Nothing For Christmas,” New Found Glory “Do You Hear What I Hear?” William Beckett “All I Can Give You,” Jason Lancaster “Fool’s Holiday,” All Time Low “Punk Goes Christmas,” as strange as the title may sound, is one of the best compilation albums to be released all year.
