Reviews - Page 23

Review: We’ve Awaited Kate Boy’s Debut ‘One’ Since the Midnight Sun

In another universe, Kate Boy could have occupied the space currently reserved on alt-rock radio and in festival lineups for CHVRCHES. Another blacklit synth-pop now-duo,…
Andrew Unterberger / November 5, 2015

Review: CeeLo Reminds Us He Predicted Meghan Trainor on the Gauche ‘Heart Blanche’

CeeLo Green would like to show you the life of the mind. The burden of the artist was the animating concern of "Crazy," the deathless…
Brad Shoup / November 5, 2015

Review: The Ever-Inventive f(x) Are Gunning for World’s Greatest Pop Group on ‘4 Walls’

K-pop stardom is never a breeze, but the pressures facing f(x) seem like they’d be asphyxial. 4 Walls, the girl group’s fourth full-length since their…
Jakob Dorof / November 4, 2015

Review: Ellie Goulding Accepts Her Pop Mission on ‘Delirium’

"I love that people are curious about what kind of artist I am. Who knows where my next album will go?" Ellie Goulding said to…
Eve Barlow / November 4, 2015

Review: Guitars Are the Only Confessions on Laura Stevenson’s ‘Cocksure’

"I’m being a piece of s**t," Laura Stevenson exclaims almost triumphantly at the end of "Jellyfish," one of the most musically assertive songs of her…
Dan Weiss / November 3, 2015

Review: Carrie Underwood Sells Outlaw Country Its Soul Back on ‘Storyteller’

As the Earth careens toward the Winter of Adele, spare a thought for Carrie Underwood. We’re still waiting for her to release a non-American Idol…
Brad Shoup / November 3, 2015

Review: Floating Points’ Symphony Reaches the Sublime on the Ethereal ‘Elaenia’

Floating Points' Sam Shepherd isn't one for hard left-turns in his loosely beat-tethered meditations on worldly music, but the London musician and producer does have a tendency to upend expectations.
Harley Brown / November 2, 2015

Review: 5 Seconds of Summer Rewrite Pop-Punk Into Boy-Band History on ‘Sounds Good Feels Good’

The argument that 5 Seconds of Summer have against being called a boy band — which, despite being an exceedingly proud legacy, is historically a…
Andrew Unterberger / October 30, 2015

Classic Reviews: Pulp, ‘Different Class’

This review originally ran in the March 1996 issue of SPIN. In honor of the 20th anniversary of Pulp's Different Class — which is one of…
Barry Walters / October 30, 2015

Review: Rabit Finds the Beauty and Horror in Religious Ritual on ‘Communion’

Since joining up with Tri Angle Records last year, Texas-based producer Eric Burton (who records as Rabit) has fixed his eyes on God. He called…
Colin Joyce / October 29, 2015

Review: DJ Khaled Epitomizes the Small-Stakes Rap Event Album With ‘I Changed a Lot’

How does one review a DJ Khaled album? How do you apply numbers — mere digits which adhere to the rules of mathematics — to…
Drew Millard / October 28, 2015

Review: Wolf Eyes Will Still Flambé Your Soul on ‘I Am a Problem: Mind in Pieces’

From sinister synths to demonic horns to dislocated guitars, melody has always been a factor in Wolf Eyes’ paranoid dystopia, but very rarely the Michigan-based…
Raymond Cummings / October 28, 2015

Review: Horrendous Become the Springsteen of Death Metal on ‘Anareta’

Death metal aspires toward and excels at the grotesque: breakneck speeds, unwieldy chord progressions, obsessions with gore and rot, violations you welcome in. But the…
Andy O'Connor / October 27, 2015

Review: Ty Segall Thrives on His Lack of Self-Editing Once Again on Fuzz’s ‘II’

Ty Segall isn’t yet as prolific as Robert Pollard or Ryan Adams, but that doesn’t mean he isn’t trying his damnedest to reach their collective…
Annie Zaleski / October 26, 2015

Review: Beach Slang Put Out an APB for the ‘People Who Feel Like Us’

"I try a lot to write / I try to use my brain / But every time I try, my heart gets in the way."
Andrew Unterberger / October 26, 2015
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