The singer has teased a new release date for the set and announced a companion album to boot.
It’s ultimately on Lavigne’s slight shoulders that Goodbye Lullaby is such a strident, ineffectual attempt at a serious pop record.
Raekwon spends the entirety of Shaolin vs. Wu-Tang trying to wrest control of Wu-Tang’s classic signifiers into his own hands.
Kurt Vile’s name is a masterpiece of reductive classification, evoking all kinds of gritty rock ‘n’ roll signifiers.
Beth Ditto’s first venture away from modern dance-punk pioneers Gossip should go some way to fortifying her status as an indie star.
The title of Mogwai’s new album acts like a primer for the band: heavy, defiant, with just a hint of black humor.
No amount of charisma from Linnea Jönsson can mask that the album is nondescript, generic indie-pop.
A Lady Gaga video serves as far more than a simple visual interpretation of a song.
The younger Gallagher’s troupe is in surprisingly strong form here, producing a more cohesive and engaging set of tracks than Oasis has in years.
Even the songs that skew more heavily toward the band’s shoegaze roots still defer to the album’s overall aesthetic of forward-thinking dance.
The album is not so much a stylistic departure as it is a stark transformation of mood.
Shorn of the exigencies of cramming together varied sounds, the band has slipped further into the great middle.
Blessed finds Lucinda Williams remembering that she’s supposed to be one of America’s greatest songwriters.
Marsha Ambrosius’s ambitions don’t stretch beyond boilerplate.
The Fall is a love letter to—and a journey into—the heart of America.
“Love What Happened Here” proves that the 22-year-old likes making twitching club tracks just as much as headphone masterpieces.
The Gathering is a revitalizing roll in the dirt.
As the new video for “All of the Lights” begins, you might doubt for a moment that you’re watching a Hype Williams clip.
Americana and modern folk are often dismissed for their dour self-seriousness, and Smart Flesh, unfortunately, falls into the worst of those trappings.
For as strong as McKenna’s songwriting may be, the album quickly settles into a moderate tempo from which it never strays.
Ambitious, yes, and occasionally invigorating, but we have to call bullshit on II.