Though she certainly doesn't need the press, Beyonce's self-titled new album is a daring, and notable, pop album. Through 14 tracks and 17 accompanying music videos, the Houston-raised singer proves that she still rules not just pop but R&B — and that she might be absorbing husband Jay Z's way around a rhymed stanza. At times it's progressive: "Haunted" during a break feels like
Will all the hooha surrounding the
Milosh, "Jet Lag" (eOne/Deadly)
Fans of last year's seductive album by Rhye, "Woman," which channeled quiet-storm disco and
Burial, "Rival Dealer" (Hyperdub)
Mysterious British electronic producer William Bevan, who records as Burial, knows how to mesmerize. These three new rhythmic tracks feel like experimental films, typically eerie and bass heavy, vast like a cathedral at some points and at others like a doorless dungeon. At 13 minutes, "Come Down to Us" is a breathtaking composition, slow-tempoed and haunting with pitch-shifted vocals and mid-track reversals and diversions that climax with a grand chorus worthy of an
Everly Brothers, "Walk Right Back: The Everly Brothers on
Those stumped and staring at the open maw of your streaming service's search window would be advised to find "Walk Right Back." The two-volume collection of Everlys songs begins where their classic late-1950s hits end. Sure, this features early '60s pearls like "Cathy's Clown," but it mostly focuses on the period after the British Invasion stormed America, when the brothers faded from the charts. As "Walk Right Back" reminds, though, the pair didn't stop making great music. In fact, songs like "How Can I Meet Her?" and "Radio and TV" are as infectious and memorable as anything their disciples were making at the time. "Gone Gone Gone" is killer, as Robert Plant and Alison Krauss confirmed when they memorably covered it. "I'm Moving On" channels Bo Diddley and country rock. Originally released in the 1990s, this is an essential piece of the Everly puzzle.