The singer has teased a new release date for the set and announced a companion album to boot.
On Too Bright, Perfume Genius operates with far more flamboyance and panache, granting the album the feel of a second debut.
Jennifer Lopez’s “Booty” remix and music video features rapper Iggy Azalea.
If not for the session musicians’ virtuosic work, much of Cheek to Cheek would sound like glorified karaoke.
Chris Brown’s X largely eschews mathematical objects in favor of soul-baring and sex talk.
For a musician who can be as withholding as Williams, the generosity of Down Where the Spirit Meets the Bone is a welcome change.
A bolder, more experimental album would have better reflected Songs of Innocence’s ballsy, innovative roll-out.
Interpol rearranges and reinvigorates familiar elements on El Pintor.
Crush Songs, a collection of lo-fi, half-baked songs, feels contrived, even disingenuous.
Ryan Adams is a dreary, spineless collection of half-baked songs that float by on the fumes of middle-aged wistfulness.
Justin Townes Earle’s Single Mothers is at its best when it’s at its most deliberately spare.
On Seen It All, Jeezy proves you don’t need to overcome your own one-dimensional lyrical perspective in order to become a trap star.
With over a decade of hyper-sensory dreamgaze to their credit, the diversity of their oeuvre is often overlooked
Goddess is not exactly Top 40 fodder, but that’s exactly where Banks deserves to be.
Moonshine in the Trunk is composed of one part willfully idiotic pandering and two parts loose, fun, and rocking party country.
My Everything tries to expand Grande’s horizons with headache-inducing electro-pop and darker, edgier shades of R&B.
Like the band’s best work, Brill Bruisers keeps you on your toes with its unrelenting minutiae.
This is the work of an artist who’s still intent on tearing things up, and understands how to shape interesting music out of the remnants.
Though there are moments of frayed musical charm throughout Alvvays, it exhibits an unexpected level of versatility for a debut.
Her recent rendition of “Frozen” breathtakingly reinvented the queen of pop’s icy electro-pop hit from 1998 into a stirring, nuanced keyboard dirge.
Blacc Hollywood is remarkable only as a ghostly portrait of a half-formed figure prowling the fringes of success.