Album Reviews

Foo Fighters “Sonic Highways” review: A dull path to complacency

On "Sonic Highways," Foo Fighters pull out the usual and reliable style in the way a machine in a factory puts together a clock.

On “Sonic Highways,” Foo Fighters pull out the usual and reliable style in the way a machine in a factory puts together a clock.



Bobby Shmurda, “Shmurda She Wrote” review: It’s no “Shmoney” dance, but it’s a start

Bobby Shmurda can rap and has an incredible ear for beats. “Shmurda She Wrote” seems a bit rushed, but with more time and creative concepts, he’ll truly be an MC with staying power.

Bobby Shmurda can rap and has an incredible ear for beats. “Shmurda She Wrote” seems a bit rushed, but with more time and creative concepts, he’ll truly be an MC with staying power.



Torn Hawk, “Let’s Cry” review: Luke Wyatt makes an unlikely protagonist

It's hard to tell what Luke Wyatt's Torn Hawk is more interested in: disquieting video or atmospheric audio. "Let's Cry..." proves neither stands alone.

It’s hard to tell what Luke Wyatt’s Torn Hawk is more interested in: disquieting video or atmospheric audio. “Let’s Cry…” proves neither stands alone.



Azealia Banks “Broke With Expensive Taste” review: A familiar surprise

Even though a handful of songs on Azealia Banks' “Broke With Expensive Taste” are old news, they fit right in and haven’t gotten stale over the last few years.

Even though a handful of songs on Azealia Banks’ “Broke With Expensive Taste” are old news, they fit right in and haven’t gotten stale over the last few years.



Teyana Taylor, “VII” review: More chops than Instagram photos

Teyana Taylor's “VII" proves the girl has got some chops and is more of a singer/songwriter than her online antics let on.

Teyana Taylor’s “VII” proves the girl has got some chops and is more of a singer/songwriter than her online antics let on.



Deerhoof, “La Isla Bonita” review: Still fresh and still weird

Listening to Deerhoof's “La Isla Bonita” is like riding a wooden rollercoaster. It’s twisting, jolting and jarring, full of bumps and sharp turns, and somehow still fluid as a whole ride.

Listening to Deerhoof’s “La Isla Bonita” is like riding a wooden rollercoaster. It’s twisting, jolting and jarring, full of bumps and sharp turns, and somehow still fluid as a whole ride.



Les Sins’ “Michael” isn’t original, but is it good?

Toro y Moi's Chaz Bundick returns with "Michael," his second release as Les Sins with one goal: If not original, make it good.

Toro y Moi’s Chaz Bundick returns with “Michael,” his second release as Les Sins with one goal: If not original, make it good.



Panda Bear, “Mr Noah” review: Nearly captures the magic of Animal Collective

If you bear with the animal-centric cacophony of the first few spins, Panda Bear's surprise four-track EP, "Mr. Noah," delights with repeat listens.

If you bear with the animal-centric cacophony of the first few spins, Panda Bear’s surprise four-track EP, “Mr. Noah,” delights with repeat listens.



Taylor Swift, “1989” review: The pop evolution is complete, but does it work?

If you're willing to shake it off and party in a kitten-filled, frosting-topped New York, Taylor Swift's "1989" is a lot of fun.

If you’re willing to shake it off and party in a kitten-filled, frosting-topped New York, Taylor Swift’s “1989” is a lot of fun.



Thurston Moore “The Best Day” review: Taking it back to Sonic Youth

On "The Best Day," Thurston Moore moves from the folky elements of his past solo efforts to more of a rambling, instrumental-heavy, Sonic Youth feel.

On “The Best Day,” Thurston Moore moves from the folky elements of his past solo efforts to more of a rambling, instrumental-heavy, Sonic Youth feel.