It's druggy, dark, and dangerous, but this official debut is still stunning and attractive as A$AP comes off as rap's Jim Morrison.
Adam Ant makes a weird, wild, sometimes wonderful comeback on the messy Adam Ant Is the BlueBlack Hussar in Marrying the Gunner's Daughter.
Heartbroken modern-day take on the duets of Nancy & Lee, with some sunshine pop and folk-rock added to the mix.
This wise and wordy self-penned set from the Glasgow-based scholar of traditional Scottish music is masterfully arranged.
The duo's sophomore album is a more subdued, yet just as beautiful and affecting, slice of indie pop melancholia.
On his debut, the comedian comes off as a wicked mix of Steven Wright, Christopher Walken, Daniel Tosh, and The Munsters' butler Lurch.
Billy Joe Shaver's complete '80s recordings for Columbia are rounded up on this terrific two-disc set from Real Gone.
Mat Sweet incorporates interstellar guitars and robotic electronics into some of Boduf Songs' most elaborate, hypnotic music.
The soundtrack to Peter Strickland's sound-driven horror film features some of Broadcast's most clever, eerie, and beautiful music yet.
The second proper album from the former member of Danity Kane and Diddy-Dirty Money is a theatrical contemporary R&B triumph.
Moving away completely from muddy instrumental sounds to high-gloss pop, every element of the project is stepped up on this third full-length.
Animal Eric Burdon makes a tough, flinty comeback with 'Til Your River Runs Dry.
Sleek and spectral, Esben and the Witch's second album finds the trio at the peak of its powers.
The N.Y.C. band borrows from many cool sources (from the Velvet Underground to Factory Records) to make its dreamily sweet indie pop.
![Album cover for Rumours [35th Anniversary Deluxe Edition]](https://fastly-s3.allmusic.com/release/mr0003842887/front/220/a-THeLs75iuJjVmB0bzUKh_TZlp6n_cq-Emr2zx15tU=.jpg)
Timeless soft rock soap opera and one of the highest selling--and most satisfying--pop albums ever.
A convergence of borrowed ideas, pop star mimicry, and brilliant songcraft result in an incredibly strong album from this nostalgic duo.
Eternity of Dimming is a beautiful, nostalgic hymn to time and place, a long suite of songs that falls together like a quilt of memories.
Jan Willem de Vriend and Combattimento Consort Amsterdam turn in first-rate super audio recordings of Handel's Op. 6.
On his Blue Note debut, José James magnificently blurs genre boundaries between pop, R&B, and jazz, and creates sophisticated music of his own.
Batiashvili, playing a fearsome cadenza by Ferruccio Busoni in the first movement, is technically superb, but she doesn't let technique overwhelm enthusiasm. The other strong point of this performance is the rousing finale.
The first improv meeting between these two saxophone giants in Vancouver is captured as a dynamic, startling, mysterious musical conversation.
One of the most accessible chapters in Mice Parade's travelogue of electronic, indie, and global influences.
With this album, the Brooklyn-based electro-acoustic duo take their glowing sounds to new levels of composition and meditative majesty.
Everyday banality, big-city excitement, intriguing melodies, and the ghosts of '90s slackers result in a modern classic from these punk transplants.
15-track collection of remixed (and sometime re-recorded) highlights from the career of the Estonian shoegaze revivalists.
The orchestral pop-inflected outfit expands their sonic palette on this synthesizer-heavy album inspired by futurists Ray Kurzweil and William Gibson.
This is the first appearance of Sam Dees' 1975 LP The Show Must Go On in digital form, and it's an absolute gem.
Tokumaru's fourth album has some of his most accessible, yet creative, music yet.
Ave regina caelorum (2008), in which the choir is joined by electric guitarist Kaspars Zemitis is a unique combination in the annals of choral music. It is masterfully handled and really has to be heard to be believed; it's worth the purchase price by itself.
Only mixed and mastered posthumously, Lady T's 14th and final studio album is another generous addition to a deep discography.
The duo turn toward the pop mainstream without sacrificing their unique style or any emotional depth in the process.
The Welsh trio's second outing sounds like a storm making its way to land, pausing occasionally to pick up steam amidst the ruin.
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On his first instrumental recording in a decade, Till Brönner pays his jazz-funk tribute to the inspiration of Creed Taylor's CTI label.
The metal supergroup returns to the hard-edged, riff-heavy sound of its 2001 breakout with new bassist Trevor Dunn.
With album number 13, this indie rock institution straddles the line between new, subdued sounds and recalling some of its finest previous hours.