The singer has teased a new release date for the set and announced a companion album to boot.
We’re in this melted polar cap together, and like Deepwater Horizon, it gets more ruined by oil all the time.
If Archive 2003 – 2006 is at times a runaway mess, it’s consistently a beautiful one.
Long Shadow of the Paper Tiger is likely the most unabashedly fun album since Caribou’s Swim.
Today’s computer piloting polymath is yesterday’s acoustic guitarist.
Whatever his genre, Sebastian Blanck proves to be an adept compiler, creating arresting collages from carefully selected parts.
Butterfly House is without doubt the band’s most mature work to date, and perhaps they’re most polished too.
For M.I.A., Maya feels like a crossed border.
Sun Kil Moon’s Admiral Fell Promises evinces a uniform disinterest in sudden mood shifts or redemptive finales.
The trio behind School of Seven Bells’s lush indie-pop takes their creative process incredibly seriously.
An album like Wildwood leaves Chatham County Line in something of a no-man’s land.
Fables of the Reconstruction is, on a song-for-song basis, one of R.E.M.’s strongest collections.
Masts of Manhatta boasts real structural depth, as Bonham finds an effective balance of contemporary folk and modern rock.
The album is bad in a predictable, sluggish way, with no hint of better work on the horizon.
Heart of a Champion wrings numbing banality out of the most familiar of subjects.
The album is a self-referential “fuck-you” to an industry that propped Phair up.
Less is certainly more for Kula Shaker.
Sir Lucious Left Foot succeeds as both a character summation and a declaration of independence.
Kylie Minogue’s Aphrodite is the sound of an artist playing it safe.
If they want to reclaim their popularity, the Nappy Roots need to sound fun.
The-Dream is pleasingly attuned to the needs of women, and Love King is the nutgraph of his mission(ary) statement.