The clip is largely taken up by a weird spider ballerina and shaky extreme close-ups of Reznor and creepy, spotlighted mouths.
The Pixies have released their first new single since 2004’s digital-only “Bam Twok.”
The band’s tour includes two dates at Austin’s Housecore Horror Film Festival just in time for Halloween.
M.I.A.’s delivery is quick but surprisingly not very forceful on her new single, “Bring the Noize.”
It’s hard not to interpret the track as a reaction to Trent Reznor’s detour into Tinsel Town.
Kylie Minogue is getting good at dropping things.
A surprisingly varied collection of songs manages to maintain consistency without ever sounding samey or derivative.
Nocturnes’s strength is its consistency, with a more focused attention on electronic dance music.
Tonight, Slant offers live coverage of the 85th Academy Awards.
By the turn of the century, Kylie Minogue had effectively transformed herself from disposable pop tart to respected art-pop chameleon.
Greatest Hits depicts Jewel’s progression from folk singer to pop star to country convert as a natural progression.
Here’s what we know: Awards shows have and always will be popularity contests.
It’s like 2002 all over again.
The star-studded Warrior proves Ke$ha is ultimately just the equivalent of a groupie with a record deal.
The Re-Up is an indication that Minaj is learning from some of her past mistakes.
The Abbey Road Sessions translates the Australian icon’s biggest hits in often unexpectedly effective ways.
There’s an economy of language that feels authentic, particularly with dialogue that ostensibly captures the period decorum of aristocrats.
I Will Always Love You feels like half celebration of an immense talent and half depressing cautionary tale.
By virtue of the fact that Lotus is Aguilera’s shortest album since her debut, it boasts fewer obvious standouts, but also less filler.
The guys and gal of No Doubt have never been bashful about their arduous songwriting process.