album reviews

Empress Of's beguiling debut album is full of musical delights, but its wonderful imperfections are the true pearls to seek out and keep close.

The only complaint this electronic star has about the Surrey dance music production team's new album is that there isn't much to complain about.

Keith Richards' new album has good genes, and that's why people on Mars will enjoy it some day.

Forster sounds agog with the possibilities that life has to offer on his first release in seven years — and his hair is still excellent.

Zachary Cale's album might sound timeless, yet it's rooted in a very specific time: sunset. But the sunset of what? A day, an empire, an era?

Travis Scott says he’s “everything except a rapper” on his debut studio album. Is he right?

More than ten years have elapsed since their previous record, but faith in love, music and the Libertines remains.

Noise? Queercore? Shoegaze? Flesh World’s new album defies such easy classification — which makes it way more fun to talk about at parties.

Embracing Ennio Morricone, H.P. Lovecraft and the Muppets, Shannon and the Clams' retro-garage is a late-night ramble with the loved and the lost.

On the band's new album, Sublime with Rome contends with the for-midable legacy of its predecessor, Sublime. Guess who wins.

The new PiL album is OK, but our society is chaotic, and its future uncertain only in the rate of the acceleration of the creeping bleakness.

You can hear the ailments and old age in Lemmy's voice, but the new album is fast, loud and tough, and every song has the basic message “fuck off.”