The singer has teased a new release date for the set and announced a companion album to boot.
The Weeknd’s Echoes of Silence sounds and feels like something left over from a particularly creepy Halloween party.
This is a formidable collection of songs even among superior predecessors.
On New Year’s Day, Destroyer delivered what was either a belated Christmas present or a really early one.
“4 Tears” is a bravely simple track that feels like a little step forward for Ocean.
I can recall a time when music videos were all but doomed to certain extinction.
The reunion of Common and No I.D. sounds terrific, though the latter impresses more frequently.
This is a middling set that contains few surprises, aside from raising questions about what took Jeezy so long to make it.
Born to Lose” is only differentiated from the duo’s established sound by its far slicker production.
The ladies truly dominate the upper reaches of our 2011 albums list in a way they haven’t ever before.
This was the year everyone seemed to agree that Gaga chose the wrong singles from her album.
If there’s a hard-to-shop-for Sigur Rós fan in your life, say a little blessing to the spirit of corporate synergy.
Birkin literally incorporated Serge Gainsbourg’s ghostly presence Saturday night at the Luckman Fine Arts Complex in Los Angeles.
Though it’s no better or worse than Sex Therapy as a collection of songs, Love After War lacks the sense of intent that made Thicke’s foray into electro-funk such a surprising success.
“Born to Die” is intended to be a maddening, contradictory, and gorgeous riddle.
rEVOLVEr finds T-Pain at an important crossroads.
Fred Falke has become the foremost producer of synth-driven, electro-tinged, proudly processed French dance music.
As director, she’s asking herself to be more than the vengeance monster of “Paparazzi” or the fame monster of “Bad Romance” or the mother monster of “Born This Way.”
Some albums only need three-word reviews, like “fun and dumb.”
Lioness: Hidden Treasures too often sounds like a cobbled-together cash grab.
The Black Keys have replaced their sometimes insular focus on blues formalism with an emphasis on pop hooks.