The singer has teased a new release date for the set and announced a companion album to boot.
The Devil’s Rain is the work of a band that aspires to give the genre little more than its answer to “The Monster Mash.”
Björk seems to have given the 10 songs that constitute Biophilia a supporting role in the New-Age-goes-New-Media Biophilia experience.
In the end, TKOL RMX 1234567 does a better job at delivering Radiohead’s snowy ennui than its forebearer.
“Not Growing Up” manages to be both friendly and explosive.
The show’s trippy backdrop projections were at turns mesmerizing and convenient.
The limitations that define Trans-Love Energies are just as readily apparent here as they are on any other Death in Vegas effort.
However gorgeous and warm the singer’s voice may be, the album is just too dull for her to overcome.
The album arrives amid considerable controversy and a host of serious questions about artistic license and record-label machinations.
Morricone’s listlessness and Westenra’s archly dull style make for a pretty drab combination.
Enemy/Lover is fairly one note, a nearly invariable collection of anthems gravitating toward the sludgier end of midtempo.
Exile might be the best producer to drop a mixtape this month, but he’s far from the most famous.
On The Whole Love, Wilco isn’t dealing in portions or halves.
Don’t Explain finally allows Hart to front a band worthy of her phenomenal voice.
Sincerity marks a refreshing change of pace for MacFarlane.
“Thankless Thing” could easily have fit alongside the magnificently theatrical Smother’s tender asphyxiations.
If there’s a knock on Sweetheart of the Sun, it’s in the individual lead vocals.
Blink-182 isn’t a band well-suited for maturity.
Lady & Gentlemen finds the singer taking real risks and making better music than many of her contemporaries.
With Velociraptor!, Pizzorno proves himself as a genuinely compelling songwriter.
The only thing Cole World really wants for is the kind of out-of-the-park highlight that would pull the whole album together.