The star-studded “cinematic experience” made its debut at Tribeca Film Festival last week.
Basement Jaxx have unveiled a new single, presumably from their first album in four years.
The video is directed by Jeff Nicholas, Jonathan Craven, and Simon McLoughlin.
The two-disc Rhythm & Blues would work if both halves of the album weren’t each encrusted with the same indistinguishable cheese.
Jinx starts out promising, with a few well-crafted and consistently surprising gems, but the lackluster backend seems far too content to tread water.
British singer-songwriter Sam Smith’s rich, soulful vocals are pitched up and down, looped, and otherwise beautifully disfigured.
This is the pair’s fifth collaboration.
Siamese Dream remains as expertly layered, arranged, and recorded as any rock album from the past two decades.
Thicke takes such obvious pleasure in simple retro flourishes that the music ends up radiating a warmth and authenticity.
Its adventurous scope serves to further expand the mythos behind the band’s ego-fueled, drug-addled, socio-religious musical experiment.
Stars Dance is a lazy, bloated, and occasionally offensive album that lacks any remnant of personality or creativity.
Rather than shift back and forth in mood and tone like on their previous effort, Lenses is surprisingly coherent.
Yuck has unveiled the lead single from the follow-up to their acclaimed self-titled debut.
The singer-songwriter talks about his new album, Brandi Carlile, Post-it notes, and pissing on compost piles.
Moby makes his directorial debut with the music video for “A Case of Shame.”
We took a look back at Babyface’s impressive list of hits and picked our 15 favorites.
Goldfrapp kicks off a tour in support of the album at the Manchester International Festival today and tomorrow.
With Electric, the Pet Shop Boys have once again given themselves a lease on another era.
Open, unironic disco revivalism very often threatens to tumble into a 4/4 uncanny valley.
The Big Dream is briefly amusing, consistently strange, but rarely resonant.
Rather than shift back and forth in mood and tone like previous efforts, Fantasy is surprisingly coherent.