The singer has teased a new release date for the set and announced a companion album to boot.
Digitalism is at their best when immersing themselves in the trappings and embellishments of full-blown electronica.
The Beastie Boys’s “Don’t Play No Game That I Can’t Win” gets the Major Lazer treatment.
The album identifies Faithfull’s persistent ability to merge individual personality and musical connoisseurship.
With The Light of the Sun, Scott reasserts herself as a relevant voice in modern R&B.
RIAA be damned, Lupercalia is a golden record if ever we’ve heard one.
A little bit of charisma probably wouldn’t have saved Planet Pit from disaster, but it might have helped.
No matter how you do the math, Battles is still blowing the curve.
Pro*Whoa! is fierce and purposeful.
The most obvious Reagan-era reference here is Ken Russell’s 1984 sex thriller Crimes of Passion.
It’s a testament to Gomez’s collaborative songwriting that their formula has yet to sound stale.
Newbury literally created his own artistic place that’s simultaneously familiar and unclassifiable.
Bon Iver’s Justin Vernon has come a long way since his curiously beautiful debut, For Emma, Forever Ago.
If only “Capsize” was indicative of U.K. hip-hop at large.
The Pistol Annies’s first single, “Hell on Heels,” impresses for setting a clear mood from its first notes.
Though it’s pleasant enough, The Errant Charm is rarely more than just another indie-pop record.
The themes of the songs may be familiar, but Bloom makes a genuine effort to explore them in ways that are distinctive.
Marc Broussard continues to leave the singer’s vast potential untapped.
Covers 80s leans so heavily on its wispy, ghostly arrangements that it does a disservice to Sheik’s voice and to the great set of songs he’s chosen to cover.
From that first exhilarating moment onward, there’s no tension hiding beneath the surface of this breezy, effortlessly fun record.
Essentially, the album excels when its central player is left to his own devices.