The singer has teased a new release date for the set and announced a companion album to boot.
…And Then You Shoot Your Cousin is an album whose sole focus is reportage, with no individual aspirational narrative to disguise the ugliness.
Blue Smoke contains plenty of evidence that Parton can still write songs full of imagination, humor, and history.
Ghost Stories isn’t the return to basics the band hinted at during interviews, nor does it need to be.
Cool Planet qualifies as ample reason to give thanks for the continued reunion of one of indie rock’s most iconic bands.
Upside Down Mountain attempts to accommodate both antic creepiness and transcendent uplift.
The hard-hitting EDM hook of Cazzette’s remix of Mariah Carey and Miguel’s ‘#Beautiful’ is right on trend.
With White Women, Chromeo is certainly in the right place in their careers at the right time.
The bridge is a reminder of the pop gold Mimi can mine when she’s on top of her game.
The Black Keys’ Turn Blue achieves a fully mature, cosmopolitan polish.
If Tori Amos’s Unrepentant Geraldines is indeed visual art, it’s more of a polite Norman Rockwell than a vomit-stained Sherman.
There comes a time in most people’s lives when they realize their parents did the best they could.
Posthumous albums are usually artifacts mostly for loyal fans, but Michael Jackson wasn’t your usual pop star.
With the release of their fourth album, Nabuma Rubberband, Little Dragon has completed a slow but striking transformation.
Agalloch’s fifth album, The Serpent & the Sphere, is an entrancing, inter-dimensional construction zone.
The video takes a page from Chris Isaak’s iconic, oft-emulated “Wicked Game.”
Lily Allen’s third album, Sheezus, is a hot mess of thorny contradictions.
Brian Eno and Karl Hyde’s Someday World is the EDM equivalent of top-shelf dad rock.
Nikki Nack is the result of warring emotions and priorities, with Tune-Yards railing against the world while simultaneously celebrating its fluorescent beauty.
I Never Learn finds Li completely turning her back on the glossy pop she was edging toward on previous albums.
Shine One feels longer than it is, which is a desirable quality for what is basically glorified background music.