The singer has teased a new release date for the set and announced a companion album to boot.
Fittingly, nearly any given tune here would work better on a dance-mix CD.
Abbatoir Blues Tour sure doesn’t stand well on its own merits.
Ultimately, Ruff Draft is a curiosity—an offshoot rather than example of Dilla’s genius.
On the album, Gray struggles to reach and sustain notes that should be comfortably within her range.
The album is a nostalgia kick, but for what?
Even without the self-canonization, Last of the Breed stands as a fine example of why traditional country is a sound worth preserving.
Three records into their career, the Ponys still sound like a really young band.
It’s the rare album that values vocal talent and production prowess with equal measure.
Mika’s Life In Cartoon Motion is the album Robbie Williams has been trying to make for years…almost.
Slow, yes, but “core?” No way.
Black Sheep Boy is nearing classic status, at least as far as emo concept albums based on old folk songs are concerned.
Great dance music is almost always blithely ignorant of irony.
To say that Melankton is a hodgepodge of sounds and influences would be an understatement.
Sunday evening proved that the fest has some cajones underneath all that tie-dye.
Norah Jones has given more than just an offhand indication that she’s ready to break out of her Starbucks niche.
The worst of Pocket Symphony is dull and overly familiar, and the best is familiar and gently gorgeous.
Myth Takes is a record that’s tough not to enjoy, even while you’re wondering if you shouldn’t.
Its sharp thematic focus draws from the difficult emotions surrounding specific events.
The Weirdness never sounds like anything more than a competent but ultimately unremarkable band that sounds a little like the Stooges.
The album’s songs might be apocryphal, but they’re certainly relevant to what’s happening in the world outside.