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Katy Perry is an anomaly in pop, but her defining playfulness gets flattened on this album.
Because these days they don't have to please anyone but themselves.
It's meaningful and entertaining. Damn!
Annie Zaleski listens to the new albums from Chvrches, Lorde and Icona Pop.
Stick with original and save some money.
Don't call it a comeback—it's more like hitting the pause button.
He's (mostly) capable of keeping pace with the hype.
It plays like anything but a straightforward hip-hop record, mashing together strolling funk, fiery soul-rock, gravelly R&B and more.
The band's third album does a fine job of further unraveling its creators’ reluctant status as hipster pinups.
Weekly Nightlife Editor Mike Prevatt weighs in on this week's albums from Avicii, Holy Ghost! and Factory Floor.
Pearl Jam, Lady Gaga and the hip-hop/rock collaboration you never saw coming.
The first NIN album since 2008's "The Slip" is another step forward for Trent Reznor.
It finds the Scots reclaiming dance-rock while attempting to avoid post-punk ubiquity—with varying success.
Once again, the ever-consistent Superchunk reminds listeners that growing up doesn’t have to mean slowing down—or lowering the volume.
It's an album that wasn't meant to be released, but we're glad it did.