The singer has teased a new release date for the set and announced a companion album to boot.
A weekly playlist of the newest tracks we think you need to hear.
Defender identifies a gifted songwriter whose words beg for stronger backing.
The album is a collection of predictable covers, haphazard originals, and one re-rendering of a 10-year-old Pearl Jam track.
The album finds the band undergoing the best kind of reinvention.
In the interest of accurate advertising, we propose that the band renames the album Decent! Enough!
It’s awesome in distressingly fragmented ways.
The singer’s sophomore effort will likely be playing on a loop in hell and all the “bad kids” will be dancing to it for eternity.
The album revisits tracks from The Sensual World and The Red Shoes not to leech off their success, but ostensibly to fix them.
I literally fell asleep (possibly in self-defense) on my first listen by the time it reached the fifth track.
The material on Kelly ultimately lets Price down.
Matthew Morrison isn’t substantively different from any of the Glee cast albums.
Follow Me Down should only build on Jarosz’s already considerable reputation.
The Dreaming Fields is as excellent as Berg’s albums have always been, and it makes for a most welcome return.
It’s a minutely detailed and evocative recreation of what, to generations of filmgoers, will always be the sound of the Old West.
Alasdair MacLean and Lupe Núñez-Fernández mostly drag each other down into a territory of steady but uninspiring beauty.
The consistent issue with Disc-Overy is the pairing of Tempah with people who fail to elevate him.
Essentially, About Group is at its best when order prevails over chaos.
Going solo has allowed Erika M. Anderson to make something genuinely personal and almost frighteningly honest.
Relative to the other woodwinds, the saxophone is pretty damn cool.
When I was little I used to listen to the Beach Boys and dream about moving to California.