The singer has teased a new release date for the set and announced a companion album to boot.
The album would be even better than it is if Scott had included a few more uptempo, harder-edged cuts like “Queen.”
Other than the trio’s weakness for trite turns of phrase, the major flaw on Shout It Out is its spit-polished production.
If the album stands to alienate a few more of their diehard fans, it also stands to broaden their audience.
The Futureheads demonstrate meaningful growth on The Chaos.
If it’s Sleigh Bells’s hooks versus your ear drums, I have a feeling the latter’s going to give out first.
Williams hasn’t demonstrated such breadth since 2002’s Lovesick, Broke and Driftin’.
The album isn’t groundbreaking, but it surpasses all expectations for a group who’ve spent almost a decade apart.
Allison Moorer’s Crows Acoustic EP provides a different take on six of the songs from one of 2010’s best records, Crows.
No one could ever say that Bettye LaVette doesn’t know precisely what her strengths are.
About as cleanly resplendent as music comes, Jasmine is whisper-quiet but not necessarily simple.
The differences in Crystal Castles II are subtle, but the key advance made is one of generosity.
It feels almost vain to describe individual tracks, because every last note on Distant Relatives blends to form a seamless, cohesive whole.
Flesh Tone should sound desperate, but it often sounds inspired instead.
Cyber diva Janelle Monáe proves that she’s only human on The ArchAndroid (Suites II and III of IV).
8Ball and MJG deploy their no-nonsense lucidness to persistently winning results on their latest offering.
What’s most impressive about Sad Sour Future is how much of a piece it sounds despite its cobbled-together origins.
The Logic of Chance is best left to gather dust.
The album is as ferocious and soulful an exploration of contemporary blues as anything in recent memory.
It’s hard to deny that they haven’t brought their best hand to the table.
The album certainly does wear its influences on its sleeve.