For 2,075 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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41% lower than the average critic
On average, this publication grades 2.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 71
Highest review score: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
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Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,597 out of 2075
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Mixed: 443 out of 2075
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Negative: 35 out of 2075
2075
music
reviews
- By Date
- By Critic Score
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- Critic Score
His excellent full-length debut album, Big Baby D.R.A.M., is joyous, clever and moves in surprising directions.- The New York Times
- Posted Nov 2, 2016
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- The New York Times
- Posted Oct 26, 2016
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- Critic Score
While Joanne is elemental, nothing about it is bare. Instead, it’s confused, full of songs that feel like concepts in search of a home, small theater pieces extruded from other imaginary productions and collected in one miscellany bin.- The New York Times
- Posted Oct 19, 2016
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[Producer Rob Schnapf has] recentered the band’s urgency from its head-rush musical intensity to Mr. Johnson’s voice, which is clearer and more melodically driven than before. The songs have more structure, too.- The New York Times
- Posted Oct 12, 2016
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13 has enough ominous tension to justify numerical superstitions. In fact, you could do worse than to make this album a cornerstone of your Halloween soundtrack this year.- The New York Times
- Posted Oct 5, 2016
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Tumult and desperation ignite the music on Revolution Radio. It’s the group’s first batch of new songs since “Uno! Dos! Tré!,” the three-disc surfeit of more straightforward tunes released in 2012. Those songs were built around snappy catchphrases and brisk, punky riffs. Green Day’s new ones aren’t so easily summed up, but they can roar through their contradictions.- The New York Times
- Posted Oct 5, 2016
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The results are, in many places, as ethereally and lustrously beautiful as the best Bon Iver material but more removed. ... Because this album travels in so many directions, there are places where Mr. Vernon sounds unanchored, and where his reluctance gives way to lack of commitment. His naïveté has always been carefully studied, but sometimes here, especially in the middle of the album, it feels just vague.- The New York Times
- Posted Sep 28, 2016
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Persuasively moody. ... More than anything, it seems the simple byproduct of strong personalities enjoying the process of finding common ground.- The New York Times
- Posted Sep 21, 2016
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While Hard II Love doesn’t include a song as cathartic as Usher’s “Climax,” from 2012, it’s full of smaller satisfactions.- The New York Times
- Posted Sep 16, 2016
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Much of the album comes across as lightweight. Too many of the songs sound like sketches, running out of ideas midway through.- The New York Times
- Posted Sep 7, 2016
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The music toys with nostalgia, with the reassuring dependability of structure and instrumental arrangements.- The New York Times
- Posted Sep 1, 2016
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Even with her voice upfront, Ms. Spears isn’t singing anything particularly personal.- The New York Times
- Posted Aug 24, 2016
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Blonde is dewy, radiant and easeful, with an approach to incantatory soul that evolves moment to moment. It’s feverish but unhurried, a slowly smoldering set that’s emphatic about loneliness.- The New York Times
- Posted Aug 22, 2016
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On some level his songs are all age-old tales, but put together in his own exacting way, which makes them new.- The New York Times
- Posted Aug 17, 2016
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Rae Sremmurd is particularly well-suited to the carnival sounds of its debut, but in many places here feels as if it’s getting squelched.- The New York Times
- Posted Aug 11, 2016
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The Bird & the Rifle is her 10th studio album in 17 years, and her most finely focused.- The New York Times
- Posted Aug 10, 2016
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More often than not, Mr. Marley lives up to the ambition that his last name demands of him. With any luck, his next album will have fewer guests and more of the introspection and steadfastness he reveals in “It’s Alright,” a hymnlike ballad that he sings on his own.- The New York Times
- Posted Jul 27, 2016
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- The New York Times
- Posted Jul 14, 2016
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There’s something knowing and clever, but never gratingly so, in the way she’s balancing ideas of newness and collective memory.- The New York Times
- Posted Jul 6, 2016
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On this pleasantly familiar if not especially imaginative new album, the band’s subject matter verges on the bittersweet, or just outright bitter, but still they grin. ... The album is overlong, and full of songs that have achieved their purpose by the halfway mark.- The New York Times
- Posted Jun 30, 2016
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It’s a vivid album about how the appeal of street life is just as powerful, if not more so, than the appeal of a shot at real fame.- The New York Times
- Posted Jun 29, 2016
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There are a few too many moments--starting with “Mercy,” the opening track--when Mr. Cobb seems fixated on the idea of Ms. Bishop as a new Dusty Springfield. The ghost of “Dusty in Memphis” hovers over much of the album, and while there are worse problems to have, it runs the risk of putting Ms. Bishop in the same corner where a Leon Bridges passes as an acceptable stand-in for Sam Cooke.- The New York Times
- Posted Jun 23, 2016
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Still Brazy is an artisanal, proletarian Los Angeles gangster rap record, less tribute to the sound’s golden age than a full-throated and wholly absorbed recitation.- The New York Times
- Posted Jun 16, 2016
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Many of her songs seem ready-made for some kind of theatrical adaptation. They’re authentically dramatic, built on the swells of brass and strings and percussion, which might suddenly disappear behind some new peak of melody or meaning sung by Ms. Mvula.- The New York Times
- Posted Jun 15, 2016
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It doesn’t sound exactly like classic-vintage Chili Peppers, but it might just sound like how you remember them.- The New York Times
- Posted Jun 15, 2016
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The record feels short, which might be a good thing: She leaves you guessing what she’s up to.- The New York Times
- Posted Jun 9, 2016
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Several tracks feature Mr. Toussaint alone at the piano, and they’re reminders of the regional traditions he elegantly upheld.- The New York Times
- Posted Jun 8, 2016
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Even though structurally Strange Little Birds evokes the band’s early work, it’s clear there’s mellowness afoot.- The New York Times
- Posted Jun 8, 2016
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It’s an experimental record that often sounds like a meditative one, or vice versa, and it often seems better on paper than through the speakers.- The New York Times
- Posted May 25, 2016
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- Critic Score
Mr. Dolenz sings as if there’s no reason to take anything too seriously. Fifty years later, the Monkees are still endearing.- The New York Times
- Posted May 25, 2016
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- The New York Times
- Posted May 25, 2016
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On the jubilant, nourishing Coloring Book, his third solo release, has blossomed into a crusader and a pop savant, coming as close as anyone has to eradicating the walls between the sacred and the secular.- The New York Times
- Posted May 18, 2016
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She has a round and slightly stodgy voice that’s most effective when it aims lowest, as on the winning novelty song “Dance Like Yo Daddy,” full of quizzical dance instructions (“Can you overbite? Can you old man overbite?”) and doo-wop harmonies over a skronking sax and sock-hop swing. Elsewhere on this spotty album, Ms. Trainor grinds her way through tough-stand songs like “Watch Me Do,” a homage to Destiny’s Child’s “Independent Women (Part 1),” and “Me Too,” where she awkwardly proclaims self-love.- The New York Times
- Posted May 12, 2016
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"The Colour in Anything" grows self-pitying, almost maudlin, in ways Mr. Blake has managed to avoid in the past simply by using more elusive lyrical metaphors. It is also unreasonably long: a little over an hour and a quarter.- The New York Times
- Posted May 8, 2016
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Grim tidings arrive amid gorgeous backdrops ... The results often hark back to the late 1960s; in a way, "A Moon Shaped Pool" is Radiohead’s psych-folk album.- The New York Times
- Posted May 8, 2016
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[Will] may be Ms. Barwick’s most conventionally light, soothing record, and is sometimes a little inert as a result.- The New York Times
- Posted May 4, 2016
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- Critic Score
Overall, Views contains Drake’s most straightforward lyrics, and his emotional excavations aren’t as striking as they were a few years ago, when they had the sting of the new to them.- The New York Times
- Posted Apr 29, 2016
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Between the giant, smiley singalongs, there’s a little more darkness than the band’s sound suggests. The verses grapple with impulses toward destruction and self-destruction. “If I weren’t so selfish/I could hear your calls for help,” Mr. Ward sings in “I Still Make Her Cry.” But it’s rarely long before another huge chorus arrives to banish all misgivings.- The New York Times
- Posted Apr 27, 2016
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["Sorry,"] is a combative, unglossy track on an album full of them. ... As she did with her 2013 album, “Beyoncé,” she has also paired the music with full-length video that expands and deepens its impact.- The New York Times
- Posted Apr 25, 2016
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Always Strive and Prosper is a chaotic, buoyant album, moving at varying speeds and with different textures. But uniting it all is an almost pervasive feeling of warmth, a sense that its creator comes from a world where he’s surrounded by care, even if he doesn’t always return it.- The New York Times
- Posted Apr 22, 2016
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There are musical and lyrical nods here to R. Kelly, Jay Z, Big Punisher and more. For better and worse, The Diary is strikingly of its time.- The New York Times
- Posted Apr 14, 2016
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The album has a few missteps, like the goopy arrangement on the ballad “Sueños” and some hokey lyrics. But what comes through nearly every song is a sense of camaraderie and joyful relief: no more kowtowing to radio and countless ways to jam.- The New York Times
- Posted Apr 13, 2016
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- The New York Times
- Posted Apr 13, 2016
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It’s a move away from crowd-pleasing ditties, a valiant turn inward and, at times--in “Gale Song,” “In the Light” and “Angela”--the songs reach a distillation of yearning and solitude. But over the course of an entire album, a glint of the Lumineers’ old whimsy would have helped.- The New York Times
- Posted Apr 6, 2016
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There is some skill here: strong melodies, extra chords, synthesized string arrangements, a tremendously accomplished chromatic-harmonica solo. They are intense.- The New York Times
- Posted Apr 6, 2016
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The atmosphere of this music is lighter and less haunted than some of Mr. Hecker’s past work; some parts of the new album, like “Music of the Air,” can be thrilling in its evocation of a seamless connection between the physical and the synthetic. It also, sometimes, seems more impersonal, as if the ideas have the edge over their physical manifestation.- The New York Times
- Posted Apr 6, 2016
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Her outrageous self-possession plays out more vibrantly on some of these tracks, like “Big Talk,” which puts her up against the rapper Rick Ross, and “Riot,” which has a klaxon-like hook handled by Nina Sky. There’s no end to Ms. Banks’s swagger, though her toughest moments veer toward the style of a hometown rival, Nicki Minaj.- The New York Times
- Posted Apr 6, 2016
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Throughout this album, Mr. Malik opts for a low-octane approach, with varying success.- The New York Times
- Posted Apr 6, 2016
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Ms. Kline’s songs don’t last long, and neither does her imagery, but she can be exceptional at capturing how quickly frail things can break, taking devastating turns in just a couple of lines.- The New York Times
- Posted Apr 1, 2016
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It’s sweet earnestness in a shrewd, ambitious package. The music, like much Scandinavian pop, ignores genre to draw on whatever works, current and vintage.- The New York Times
- Posted Mar 31, 2016
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Much of the music feels transitory, like smoke escaping. But “Notes on Water,” the last part of the suite, wants to stick around.- The New York Times
- Posted Mar 23, 2016
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If you hear the record in the manner suggested to you, Merzbow’s music, unsentimental to the core, sluices through the elegant silences in and among the Boris tracks. There is an aggressive tension here, which often feels awkward or wrong. But then it can remind you of the aggressive tension you may have heard and liked in Boris or Merzbow in the first place.- The New York Times
- Posted Mar 18, 2016
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Fears and sorrows hold a radiant gleam on All My Demons Greeting Me as a Friend, the rapturous debut album by the 19-year-old Norwegian singer and songwriter Aurora.- The New York Times
- Posted Mar 10, 2016
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It evokes aspects of Miles Davis’s electric period and various kinds of rock-beyond-rock--Slint, Sonic Youth and so on. You sense Mr. Forsyth’s control easing a bit here, and the music grows deeper and better.- The New York Times
- Posted Mar 9, 2016
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She still favors too many Wayne Shorterish chord progressions to truly suit the easily impressed. It’s precisely when she stretches--as on “Rest in Pleasure,” which has a melody you wouldn’t wish on a less acrobatic singer--that Ms. Spalding seems most ingenuous and unbound.- The New York Times
- Posted Mar 2, 2016
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- The New York Times
- Posted Mar 2, 2016
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Throughout the album, the lyrics don’t find comfort or resolution. That’s left to the music: in the way the guitars tangle and persevere, in the grace of the melodies, and in the simple fact that Ms. Leschper dared to write these songs.- The New York Times
- Posted Mar 2, 2016
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His agreeably slight new release, Summertime, is a songbook album, a stroll through some of George and Ira Gershwin’s best-loved songs.- The New York Times
- Posted Feb 24, 2016
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Minimalist repetition turns into pop certitude, and the arrangements--sorting out the many tracks Mr. Curtis recorded--set aside the buzzy, abrasive keyboard tones of the group’s 2012 album, “Ghostory,” for a sonic vocabulary of reverberation and depth, of optimistic promise.- The New York Times
- Posted Feb 24, 2016
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The roster is impressive--it includes Mary Chapin Carpenter, Joan Osborne, Joss Stone, Lee Ann Womack, Sarah Jarosz and Sara Watkins--and the songs are even better.- The New York Times
- Posted Feb 22, 2016
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The best parts of In My Mind, BJ’s strong major-label debut album, come when this young singer tasks himself with ethical responsibility.- The New York Times
- Posted Feb 22, 2016
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Phase is a virtuosic, thrill-packed album, ricocheting among extremes before concluding with “My House Is Your Home,” which uses just Mr. Garratt’s voice, his piano and apparently a creaky piano stool. Yet underlying each strenuous track is a clear-cut, old-fashioned pop structure: verses and choruses, tension and release, matters of the heart. But now they are buffeted, brilliantly, from all directions.- The New York Times
- Posted Feb 17, 2016
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[He] has perfected the art of aesthetic and intellectual bricolage, shape-shifting in real time and counting on listeners to keep up. More than on any of his previous albums, "Pablo" reflects that rambling, fearsome energy. This is Tumblr-as-album, the piecing together of divergent fragments to make a cohesive whole.- The New York Times
- Posted Feb 14, 2016
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Its debut album, Human Ceremony (Fat Possum), moves along briskly and even impatiently with circular picking patterns, transparent strummed chords and or fuzz-toned riffs behind Julia Cumming’s airy voice.- The New York Times
- Posted Feb 8, 2016
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It’s a musicians’ album, going deeper into the strategies of a strain of R&B that might begin with Stevie Wonder’s “Music of My Mind” (1972) and continue through Patrice Rushen’s “Straight From the Heart” (1982), as well as any number of Prince ballads and Luther Vandross party songs.- The New York Times
- Posted Feb 8, 2016
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Her dramatic, meticulous and gothic songs describe enticements that twist into admonishments, and everything seems to be slipping out of her hands.- The New York Times
- Posted Feb 2, 2016
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Anti is a chaotic and scattershot album, not the product of a committed artistic vision, or even an appealingly freeform aesthetic, but rather an amalgam of approaches, tones, styles and moods.- The New York Times
- Posted Jan 28, 2016
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Even as she and her producers flaunt their layered vocals and whiz-bang sound effects, there are already so many of Sia’s midtempo victim-to-victory anthems around that they offer diminishing returns, particularly when listened to as an album.- The New York Times
- Posted Jan 27, 2016
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Covering an eight-year span, they share a hushed and crackly intensity, often with little more than voice and acoustic guitar.- The New York Times
- Posted Jan 25, 2016
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Sweetness and sadness find a tenuous balance in the voice of Aoife O’Donovan--and in the songs on her second album, In the Magic Hour.- The New York Times
- Posted Jan 22, 2016
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Tortoise is a band about the blurry middles, which is why “The Catastrophist,” at its best and most beautiful (in songs like “Hot Coffee,” “Tesseract” and its title track, switching among strains of cyborg pop and warm, heroic melodies) sounds like incidental music for films, or a record to play on a club sound system in between bands.- The New York Times
- Posted Jan 20, 2016
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Malibu--his second album under this moniker, following a stretch under the name Breezy Lovejoy--is multilayered. It’s also incisive, languorous and deeply felt, a warm bath of studiously relaxed hip-hop and soul.- The New York Times
- Posted Jan 20, 2016
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Panic! at the Disco has always favored a style both steroidal and slick, and Mr. Urie isn’t out to reinvent it here.- The New York Times
- Posted Jan 13, 2016
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She has a clear, edgeless voice, and she’s versatile, though often here it can sound like she’s blindly experimenting with styles.- The New York Times
- Posted Jan 11, 2016
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This is a record that never stops threatening to be dull--in the way that Miley Cyrus’s record of mind-blurt autonomy from this year was dull--but rarely is, except when others try to streamline a lumpy aesthetic.- The New York Times
- Posted Jan 8, 2016
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It’s at once emotive and cryptic, structured and spontaneous and, above all, willful, refusing to cater to the expectations of radio stations or fans.- The New York Times
- Posted Jan 6, 2016
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It’s a more countrified album, with the two singers, partners by marriage, often harmonizing in a rough blend. Things work best when Ms. Williams takes the lead.- The New York Times
- Posted Dec 24, 2015
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Most of this album is an extension of DJ Khaled’s tenets of more and louder and still more. That extends to his guest list, as packed as ever.- The New York Times
- Posted Dec 24, 2015
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The bigger change is in the songs, which no longer promise that rock brashness can overpower adversity.... It’s a daring, deliberate shift for Cage the Elephant. But in its single-mindedness, the album sacrifices the wildly seesawing balance between life force and mortality that gave the band its verve.- The New York Times
- Posted Dec 16, 2015
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The point is that all of these songs are capable, and one is not much better than another.- The New York Times
- Posted Dec 10, 2015
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The downside of the now-ness, the resistance against static definition, is lack of resolution. Mutant is hard to listen to, sometimes in a salutary way and sometimes not.- The New York Times
- Posted Dec 9, 2015
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- The New York Times
- Posted Dec 9, 2015
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Kannon is surprising in two ways. One is its brevity: just over half an hour. The other is its austerity, even for a fairly austere band. This music demands a lot. It’s hard to love, and hard to share.- The New York Times
- Posted Dec 3, 2015
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Blissful even at its most bittersweet, it’s an album on which three songs make lyrical references to diamonds--as in, “We are diamonds”--and every surface contentedly gleams.... Mr. Martin, who has rediscovered the radiant properties of his voice, gilds a lot of lyrical treacle and borderline nonsense here.- The New York Times
- Posted Dec 2, 2015
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25 manages to sound all of a piece, even as the songs veer from phenomenal to tepid. In places, everything comes together.- The New York Times
- Posted Nov 18, 2015
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- The New York Times
- Posted Nov 18, 2015
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Free TC--often exceptional, and easily one of the best R&B albums of this year--is elaborate in conception and execution but still feels off the cuff.- The New York Times
- Posted Nov 13, 2015
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The album, a love letter to his influences, is the gentlest of Mr. Church’s releases, the one that least wears his rowdy tendencies on its sleeve.- The New York Times
- Posted Nov 12, 2015
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Even though Mr. Bieber is younger than all of the men of One Direction, he sounds exponentially more experienced, and exponentially more fatigued on Purpose. He is also the best singer of the bunch, and the one with a clear vision for his sound, even if he’s being largely denied it here.- The New York Times
- Posted Nov 12, 2015
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Made in the A.M. is much the same, rootless and vague even when it lands on a clear style, like the Coldplay-esque “Infinity,” or “Never Enough,” a wacky number with intense a cappella gimmickry and exuberant mid-1980s drums and horns that recall, of all things, Huey Lewis and the News.... The music is too banal to support exceptional singing.- The New York Times
- Posted Nov 12, 2015
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The narratives of each song are fractured and inconclusive, but Aquaria elapses as an album with a sustained atmosphere of dread, determination and experiment.- The New York Times
- Posted Nov 11, 2015
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We’re off and away by then, following a mind awhirl in creative reverie. Mr. Mehldau--tracing connections, making digressions, but never quite forsaking the original framework--sounds both grounded and almost boundless.- The New York Times
- Posted Oct 30, 2015
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The Game is literally inseparable from his influences. He doesn’t digest them as other rappers might; instead, he wears them like brands. He too is joined by oodles of guests, a striking show of support for a midcareer rapper who’s pugnacious to boot. Both Kanye West and Drake appear here, and in strong form.- The New York Times
- Posted Oct 28, 2015
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The music isn’t anywhere near pop-radio gloss. As Mr. Toledo sings about alienation, frustration, suicidal despair and, in “Times to Die,” about theological disputes and getting his demos heard, he’s still every bit the lone outsider. He’s lucky that he exorcises his troubles in the studio--or maybe we are.- The New York Times
- Posted Oct 28, 2015
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She largely picks songs that serve as launch platforms for her ballistic-missile voice, but they don’t cohere into a whole identity.... If Ms. Underwood has developed a thematic specialty, it’s the woman-done-wrong anthem. The ones on this album are some of the better songs here.- The New York Times
- Posted Oct 21, 2015
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[A] rather brilliant record.... You almost want to hold the whole thing still, flatten it out and study it.- The New York Times
- Posted Oct 21, 2015
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Cold Beer Conversation is a bit looser than Mr. Strait’s last album, “Love Is Everything,” with convincing flashes of western swing (“It Takes All Kinds”). But the standouts here are the love songs.- The New York Times
- Posted Oct 21, 2015
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- The New York Times
- Posted Oct 15, 2015
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Where Mr. Keith is truly gentle, though, is in detailing the faultlines of the heart. “Beautiful Stranger” is a sweaty song about rekindled passion, delivered with Teddy Pendergrass intensity.- The New York Times
- Posted Oct 9, 2015
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Alex G’s narrators have often been traumatized, druggie, lovesick or inscrutable, and moving up the indie-rock circuit hasn’t made his new songs any more outgoing. Just the opposite: They are more cryptic and withdrawn.- The New York Times
- Posted Oct 7, 2015
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