The country superstar refuses to pick one direction on his latest, instead delivering a bit of everything he does well.
Help (2) is a gratifying follow up to its storied predecessor.
She’s as gifted as ever at Nashville songcraft — and underneath the pastel-pink hues and prom-queen problems, there’s newfound emotional complexity.
It’s a frequently moving, occasionally spellbinding, and sporadically frustrating statement that represents Carlile’s finest work since By the Way.
A Nashville wildcard delivers down-home chest-thumping with a wink.
Seattle indie-rock band’s new Patience, Moonbeam is sonically surprising and melodically charming.
A stray misstep or two notwithstanding, South of Here is the most fully formed and emotionally dynamic statement from Rateliff and the Night Sweats, a collection of warm reflections and meditations that aren’t bashful about wearing their influences on their sleeve.
Workin’ on a World is a profound protestation against the idea of giving up and giving in to the decimation and darkness that fully enshrouded DeMent after the 2016 election.
The country star’s third album is fascinating, and proudly unresolved.
Laurel Hell can feel, at first, like an impenetrable record, full of guarded gloss and pop production that feels more like cold caution than anthemic summoning.
With its amped-up pop choruses, refined sense of melody, and hints of everything from Blood Orange-inspired R&B to vintage mid-century torch balladry, Valentine, indeed, opens up entire new worlds of possibilities for her.
The best moments here put her own personalized spin on the well-worn cliches of the standard big-budget post-break-up purge-fest.
At its heart, Sling is a record about simultaneously embracing and remaining horrified by the responsibilities and realities of growing up.