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From the start, "Fetch the Bolt Cutters" is unmistakably Apple's: the layered percussion, the piano riffs and Apple's clear, purposeful voice are what have always made her music distinct.
The time is right to reflect on the largely ignored conflict in Memphis, T.N. between Young Dolph and Yo Gotti, perhaps the most bizarre footnote in the genre of the past decade.
What defines “Memory Game” is the pronounced inhalation and exhalation of all kinds: high and tight, low and relaxed and slow, quick and hurried.
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When I think of “comforting” albums, my mind shoots in several directions. Comfort can mean a lot of things.
Over the last few days, “Future Nostalgia” is one of the few things that has made me smile, one of the few things that has made me dance.
“3.15.2020,” the fourth album by Childish Gambino, addresses the same fears that “Awaken, My Love!” did, but the approach couldn’t be more different.
On Tuesday, a few days ahead of its slated release date, Sufjan Stevens released “Aporia,” his latest collaborative effort with his stepfather Lowell Brams.
Conan Gray is lonely. A global pandemic has him isolated at home, surrounded by the comforts of musical instruments and Taylor Swift and Lorde posters.
As counter-cultural and independent as rap claims to be, it is still a hierarchical institution.
Meg Remy always seems to return at exactly the right time.
After announcing and promptly disregarding multiple release dates, Lil Uzi Vert finally released his sophomore album “Eternal Atake.”
Whether he’s experimenting with psychedelic rock, folktronica or house, Caribou makes music that is, above all else, fun.
Among the canon of soft-rock singer-songwriters of the ‘60s and ‘70s, Carole King seems out of place.
Due to drill’s barely defined scope, calling it a genre or even a subgenre is dangerous.
I really tried to have an open mind when first listening to “Changes,” but Justin Bieber certainly doesn’t make it easy.
On “The Slow Rush,” Kevin Parker’s fourth album as Tame Impala, he faces the idea of eternity head-on.
On Feb. 10, at the Bernie Sanders rally in New Hampshire, The Strokes announced the upcoming (April 10, to be exact) arrival of their newest album, “The New Abnormal.”
On this album, the band reveals how musical innovation means both crossing genre lines and transcending time and regional boundaries.
Now that rap has overtaken rock as the most profitable genre, it is reasonable to view hip-hop as its own economy.
Although it may be disappointing that Eilish gobbled up nearly every award in sight, it’s encouraging to see a new vanguard of artists winning at the Grammys.
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