The album contains some of Hood’s most impressive and freshest work in years.
The singer’s first full-on rock album is as bracing as a bucket of cold water.
The album lacks the clarity of the musician’s best work but still feels like a return to form.
The singer-guitarist’s third solo album is something of a solitary affair.
The album presents an artist whose inner world is growing less phantasmic by the day.
The singer-songwriter explores a broader range of genres and moods than ever before.
Memories of the Black Keys as a scuzzy, basement-dwelling DIY blues-rock duo have long since faded.
The band can show off their softer underbelly just as skillfully as they do their fangs.
The album could have benefited from more free-flowing song structures and unconventional arrangements.
The album captures a genuinely contemporary flair that the band hasn’t successfully embodied since the late 1970s.
The band’s sixth album is eminently professional but contains few surprises.
As it turns out, Colter Wall doesn’t just sing cowboy songs, he lives them.
Throughout, Lewis grapples with the quirks and perils of relationships with humor and honesty.
The irony of the album’s gussied-up nature is that its best songs are often the most direct.
Produced by Jeff Tweedy, the singer-songwriter’s latest album is limber, breezy, and full of joy.
The album cycles through an eclectic range of influences, from grunge to shoegaze to country-style balladry.
The album abounds in adventurous new tangents seamlessly integrated with rocking, crowd-pleasing thrills.
If this is the start of the band’s long fade out, here’s hoping those faders don’t come down too quickly.
The album is quaveringly beautiful and intimate, reflecting the deeply personal nature of its songs.
The band’s first album in nine years sounds unmistakably contemporary without veering into flavor-of-the-month pandering.