The singer has teased a new release date for the set and announced a companion album to boot.
Junto finds Basement Jaxx looking over their shoulder, perhaps tacitly relieved that the future isn’t their problem anymore.
LP1 is 40 minutes of sex and touching, and it intertwines repulsion with attraction to the point that the two are indistinct.
Robyn and Röyksopp have premiered the video for an abbreviated version of “Monument,” the epic, opening track of their recent EP.
Live from Atlanta comes as close as possible to capturing the live Lucero experience.
On Nobody’s Smiling, a rejuvenated Common returns to the war-torn streets of Southside Chicago as a wise and focused veteran.
With They Want My Soul, Spoon expertly aligns their trademark raucousness with bouts of sobriety, thoughtfulness, and anguish.
Bear in Heaven returns with a refreshing dose of new-wave prog with Time Is Over One Day Old.
V conjures up rich, kaleidoscopic vistas as jj transforms from stoned-out beach bums to wide-eyed globetrotters.
Get Hurt is a shockingly misguided assemblage of over-processed hair-metal guitars and ’80s adult-contemporary keyboard swill.
“This Is How We Do” is the weakest single from Katy Perry’s latest album, but the video offers up eye candy aplenty.
I’m Not Bossy, I’m the Boss is the singer-songwriter’s most accessible album since 2000’s Faith and Courage.
Lana Del Rey has unveiled the music video for the standout title track from her latest album.
While still fundamentally a hip-hop album, Lese Majesty sounds like few others.
Evoking an old-school ’70s LP, Hypnotic Eye’s 11 tracks clock in at a snappy 45 minutes.
The Voyager offers a balanced mixture of exhaustion and wisdom, but the album feels in need of more cohesion.
Trouble in Paradise is an album with some very forgettable space in between its handful of bright spots.
The Black Angels’s Clear Lake Forest is more redolent of the Whiskey A Go-Go than Max’s Kansas City.
Even in its haziest moments, Hard Believer still preserves a pensiveness that keeps its sound from receding completely into the background.
And on his fifth album, Yes!, Mraz has turned his unending optimism toward even the most dour of subjects.
Sia mines the territory between fragility and strength throughout 1000 Forms of Fear.