Ken Tucker

Musical duo The Blow, in which the singing of Khaela Maricich meets the mixing of Melissa Dyne, has just released a new eponymous collection. Critic Ken Tucker says the electro-pop on the album is self-aware, sexy and smart — and, while informed by the art world, never dips into "art-rock" territory.

On Three Chords and the Truth, bluegrass musician James King picks from the canon of country music to rearrange its songs as bluegrass. On The Bluegrass Album, country star Alan Jackson has recorded his first collection of bluegrass music — some classics, some originals.

Can the highly publicized band turn its hype into hits? Ken Tucker wants to join the fan club.

Prism features one of the loudest bands of the bassist's career. The pleasures of the groove here are complex and deep — it's not just about moving feet.
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Schneider's Burden of Proof is frequently beautiful, often morose, downcast album. You get the sense that, when he sings about not connecting with someone he loves, he's also singing about not connecting with a bigger audience.

Frequently on her new album Timekeeper, Schwartz sounds like a throwback to another era. Her singing sometimes possesses the spirit of a more lighthearted Laura Nyro, and she has a heathy fondness for The Beatles.

The singer's new album is a work of great, accomplished craft about the pointlessness of crafting anything you care about, because the world is just going to ruin it on you.

A key to the ongoing allure of Dylan's music lies in its ability to stand apart from its time. A new collection of alternate takes and demos re-evaluates the critical flop that was 1970's Self Portrait.

The long-running rock band's latest album is driven by themes of loss and grief, set against ferocious guitars and soaring vocals. Fresh Air critic Ken Tucker says the provocatively titled I Hate Music is full of typically superlative moments.

Listen and look past his roué image, and the chart-topper is revealed as an earnest nostalgist.