Greatest hits compilations are odd birds.
Fronted by diminutive twin sisters Emily and Susan Hsu, Exit Clov formed, as so many groups do, from the wreckage of previous bands.
Blue Collar is paced so that the irreverent stuff offers some welcome comic relief without breaking the momentum of the more serious songs.
A thoroughly competent and enjoyable score, it never swats you with the “oomph” of the best hero-movie music.
This is a record for the jazz aficionado who listens more for performance than songwriting.
Sparks is little known outside its circle of devotees, who are die-harder than Bruce Willis.
Any group that’s hung around for three decades with the same exact line-up deserves respect.
It’s not surprising that much of Firewater has a blast-from-the-past feel.
While a lot of Reconsider Me is damn good, it’s not sufficiently representative of the quality (or quantity) of Zevon’s love songs.
This is the kind of score that works better cut into snippets in the film than it does emanating in toto from your home stereo.
Where is the authentic Japanese music on this soundtrack?
Damn if instrumental post-rock groups don’t have the goofiest album titles in the business.
For all that Columbia’s PR people are making of Bacharach’s original lyrics, this album is best when it’s cruising wordlessly along.
While Extras doesn’t follow the documentary format of The Office, Merchant and Gervais do rip themselves off a bit.
Animal Collective's Feels fails to come together as a coherent whole.
What if Mozart and Haydn had joined forces to compose a symphony?
Supernatural’s shortcomings could have been mitigated were its plotlines authentically scary.
Mercifully, with so much going on in the script, the series takes a decidedly simpler tack with its visuals.
As you might expect from the weak source material, none of the players are ever really stretched or challenged by the “Lamentate.”
Newcomers looking for a solid indie-pop record would be better served picking up Death Cab’s last album.
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