We dance this mess around, get out our lava lamps, and explore why the B-52’s 1979 debut album is one of the best pop records ever made.
After 20 years, it’s clear that OK Go’s most complete album is their self-titled debut which combines a penchant for big hooks and a love for big guitars.
Mo Troper collects what sounds like scraps from his previous album and forges a charming spread of 1960s-inspired lo-fi bedroom pop on MTV.
Taking Back Sunday’s Tell All Your Friends shows emo for what it is: a sonic representation of what it really feels like to be an American teenager.
In 2022, most fans seek from Avril Lavigne what they sought in 2002: a place to air their angst and grievances, no longer teenagers but likely now disillusioned millennials.
Don’t call it a comeback: Placebo’s first new album in a decade, Never Let Me Go, shows their finest years are still behind them.
Capitalizing on early 2000s pop-punk nostalgia, Love Sux is an algorithm-appeasing record that feels like the most impersonal Avril Lavigne has ever been.
Twelve years since her last album, Canadian pop-rock singer Fefe Dobson talks about her new music and speaks frankly about growing up in a music industry that wasn’t always on her side.
Thirty years on Green Day’s Kerplunk! stands shoulder to shoulder with anything else the band created in the future and showed where they were headed.
Losing Streak is the best recording of Less Than Jake’s full-on ska-punk days. It has the feel of a time capsule from that brief mid-’90s period.
The Illuminati Hotties album we’ve been waiting for is anchored in glibly gregarious power-pop, but it’s the more earnest moments that reward repeat listening.
Fountains of Wayne’s debut LP reasserts how sturdy the formula of a catchy chorus and distorted guitars can be when a group has the songwriting to back it up.
