The singer has teased a new release date for the set and announced a companion album to boot.
Warp & Weft, Laura Veirs’s most expansive release yet, combines resonant melodies with atmospheric anxiety.
Listen to new music by Nine Inch Nails, Plastic Ono Band, and more.
“Applause” is a surprisingly straightforward dance-pop song, neither forward-thinking nor retro.
With its atypical song structures and abrupt shifts between bass music and gothic folk songs, A Small Murmuration is the aural equivalent of an erdogic novel.
Paracosm explores the furthest reaches of what bedroom music can accomplish without abandoning it for something totally unfamiliar.
Katy Perry’s “Roar” leans more toward rock than the singer’s past hits, but it’s still got an unmistakable bubble-gum pop center.
The Nextwave Sessions feels more like a rehash of the band’s nagging problems than a sample of potential future directions.
Drizzy goes disco, or rather mid-aughts disco, on the latest track from his forthcoming album.
Pura Vida Conspiracy seems geared toward evoking how a rich community can be fostered out of dissimilar groups.
The album’s charms are rooted in the familiar, and while that makes it go down smoothly, it doesn’t give one any reason to listen again.
The album employs dissonance to suggest restlessness and unease, but it can also be often tedious.
M83 has teamed up with actress turned director Bryce Dallas Howard for the music video for “Claudia Lewis.”
Didn’t It Rain is filled with straight-faced American blues with a tilt toward the Crescent City.
Backstreet Boys reprise the predictable song structures and turgid melodies that made them famous in the first place.
As chilled-out, trance-heavy electronica goes, Moderat’s II is pleasant but unremarkable.
Tense and gothic, The Civil Wars plays out the eponymous duo’s dysfunction with gorgeous aplomb.
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.