Pink’s ‘Trustfall’ Is Her Most Resistless Work Yet
Trustfall is the most vulnerable pop star Pink has been in years in a way that doesn’t sound formulated but rather honest and reflective.
Trustfall is the most vulnerable pop star Pink has been in years in a way that doesn’t sound formulated but rather honest and reflective.
Ambitious yet gimmicky, Tyler Childers’ Can I Take My Hounds to Heaven? is all dressed up in its Sunday best, but it’s mostly an empty suit.
Medicine at Midnight finds Foo Fighters flirting with danceable rhythms and pop melodies. It's a fun album but might be polarizing just the same.
The idea that a female rap project is a failure for being one-note -- especially when that note is confident and sexy -- ruins what a project like Flo Milli's Ho, Why Is You Here? has to offer: fun in its purest form.
The Strokes' The New Abnormal is an unabashedly uninspired promotional item for their upcoming world tour.
As society contends with sickness, anger, and fear, Donald Glover remedies the malignancy while fueling the anguish. 3.15.20 signals an important shift for Childish Gambino and secures the album's spot as one of the best of the year.
Kesha's fourth album, High Road, struggles to find something interesting about her new flask-toting flower child persona.
Social Cues is easily one of Cage the Elephant's best efforts. Aside from a few uninspiring entries, every inclusion offers something valuable, be it fetchingly catchy radiance or notably moving self-reflection.
How do you solve a problem like Maria? With Liberation, Christina Aguilera sings against the pop machine and reworks her legacy.
For 26 minutes, Swedish singer Tove Stykre delivers the sound of perfect pop for today's youth. She also makes it sound like a threat.