The singer has teased a new release date for the set and announced a companion album to boot.
Harpooner gives a first impression that it might play out as some Matmos-style avant-garde noise-pop.
The album is a precious, in every sense of the word, masterpiece.
The album is an 18-track retrospective of Our Lady Peace’s string of singles that fared far better in the Great White North than in the U.S. of A.
The album only scratches the surface of what Osborne could do were she to stick around long enough to record an album that’s a little bit riskier.
The album is simultaneously a terrific introduction for the unfamiliar and a smartly assembled mixtape for the faithful.
Perhaps this retrospective could reframe the group’s thinking and put them back on the path to credibility.
The seams are starting to show in Jack Black’s shtick.
“The Saints Are Coming” is a dubious collaboration between U2 and Green Day.
The music gods have not been kind to former members of Belle and Sebastian.
With Sordid Sentinels you get the joy of Pavement’s top-shelf rarities without the hassle of tracking them down.
Cazwell’s mini-album is the queer-eyed rap cousin to Justin Timberlake’s blue-eyed soul.
9 is enough of a departure to prove that Rice can rock as well as he can lull—and still tug heartstrings.
The album gives you the sense of hearing something truly ancient being married to something very modern and present.
Wintersong is a seasonal showcase for McLachlan’s cathedral-ready soprano.
Playing with Fire settles into its mediocre groove early.
What the hell is Nikki Sixx doing writing the title track for a Bat Out of Hell album?
The Killers’s Sam’s Town is the kind of autofellatio that could destroy a band’s career.
When is Willie Nelson going to work with Toby Keith again?
The album’s strings are sexy and cinematic, the guitars ominous and foreboding.
Supply and Demand is every bit as polished and confident as Amos Lee’s debut.