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The hits, the fan favorites, plus out of print and previously unreleased tracks.  You've no doubt heard Mat Kearney's songs in Grey's Anatomy, Friday Night Lights, and The Closer.  He's a singer \/ songwriter who's not afraid to stretch boundaries, mixing folk, spoken word and pop into songs that are as fresh as they are inspirational.  His heartfelt songs have an emotional pull that's made him one of the most distinctive and unique performers of today.  What makes a perfect playlist? The life-changing songs.  The out-of-print tracks.  The hits.  The fan favorites everyone loves.  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On the one hand, the two create light dance-pop synthesizer arrangements, and on the other, they marry them to the strings of violinists Zach Casebolt and Eleonore Denig and cellist Claire Indie.  Musically, anyway, the effect is like Lady Gaga lite meets Laurie Anderson.  Certainly, Herzig doesn't sing like Gaga or Anderson, nor does she sing about the subjects that interest them.  She has become a favorite of musical supervisors for such TV shows as Grey's Anatomy, One Tree Hill, and Pretty Little Liars, and it's easy to tell why.  She sings in a dreamy, conversational soprano, her lyrics full of charming indecision and encouragement.  The title of the lead-off song, \"Free My Mind\" gets its message across, although in Herzig's terms, freeing one's mind can mean opening it up to a lot of alternatives, to the point that \"I never had my mind made up before the bomb dropped.\"  Still, she has positive words for her listeners, telling them \"Find your voice\" in \"Make a Noise\" and \"This might be the best day of your life\" in \"Best Day of Your Life.\"  If any song is a good candidate to accompany the ruminations of a conflicted female character on a primetime soap opera, however, it must be \"Closest I Get,\" a slow waltz set to a piano\/strings accompaniment and full of sensitive self-pity.  Yes, Herzig can succumb to the sin of preciousness on occasion.  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More Charlotte Bronté than Jane Austen, the Jurkiewiczes may tackle some of the same girlish themes as their contemporaries, but Taylor Swift they are not, opting for a more timeless, classical, and occasionally existential esthetic that lends each song a subtle yet consistent degree of emotional heft, especially on sterling cuts like the sublime, gospel-tinged opener \"Sounds Like Somewhere,\" the evocative \"Devil We Know,\" and the lucid and engaging first single \"Come to Me.\"  The arrangements, more often than not, are as tasteful as the songs are pristine, allowing the sisters' genetic disposition toward harmonic consensus the room to bloom, while introducing the occasional string section, weepy pedal steel, and galloping snare drum, all of which are peppered sparingly throughout, imbuing the album with a warm, '70s soft rock\/country-pop patina that evokes images of hall trees strewn with scarves and carelessly hung jean jackets, and dining room tables piled with mail, large vessels of coffee, and half-emptied plates.  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The duo's sophomore record, Fumes, is far more expansive than that bare-bones first effort, and in turn the production is far more polished, giving the entire sound a sweetened wash and clarity. However, while the beauty of their debut was in its simplicity and the relatable nature of their youthful stories and innocent lyrics, here - set against a backdrop of strings, a myriad of instrumentation, and the crisp production - their words lose some of their personality and purpose. Yet there are many moments when they do find their feet, and it's among the slower, more pensive tracks that their two-part harmonies really hit the mark. The emotive nature of \"Can't Admit It\" burns slowly and dutifully refrains from introducing too many distracting elements, leaving the fragile melodies and lyrics to make their mark in devastating fashion. Likewise, the mystic nature of \"The Wolf Is Free\" flows gently, with swirling instrumentation intersecting the whimsical wordplay and imagery that are lacking on some of the other tracks. It shouldn't be forgotten that the sisters are at such a young and precarious age, and the introspective \"Hold Onto Now\" poignantly reflects on their fleeting youth, as they lament \"hold onto now, as everything's changing soon,\" trying desperately to hold onto that youthful moment. Comparisons to Swedish folk sisters First Aid Kit still linger in the warmth of tracks \"Ride Away\" and \"Lips and Hips,\" while \"Peppermint Candy\" is a straight-up pop song with cute rhymes that match the playful nature of an upbeat track. Overall though, there is far more moodiness and atmosphere on this record, and the album-closer \"Blue Blades\" draws comparison to the likes of London Grammar with its dramatic, pensive sound. 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In light of the much publicized dissolution of her partnership with bandmate John Paul White, her return to solo work comes loaded with the weight of fan expectations and the tumultuous life changes that occurred prior to the album's release.  On a tip from friend Justin Timberlake, she connected with producer and multi-instrumentalist Matt Morris to craft the 11 songs that would become Venus, an expansive, decidedly modern record that marries Spartan electronic landscapes with warm acoustic elements.  Aside from Williams' delicate voice, the sonic palette of Venus has little to do with the slick country-toned balladry of the Civil Wars.  Nor does it have much to do with her early solo albums as a contemporary Christian pop singer, which at this point seem like a lifetime ago.  A self-described \"coming of age album,\" Venus channels the joys and hardships of becoming a mother, losing her father, losing her band, and nearly losing her marriage into a record that is at times vulnerable, defiant, feminine, bold, and above all, deeply personal.  From the windswept drama of percussive, synth-led opener \"Before I Sleep\" to the sparse, confessional \"One Day I Will,\" it's clear that Williams is fully engaged with her demons as she sails toward calmer waters.  The celebratory tribal-sounding chant \"Woman (Oh Mama)\" and the tender piano ballad \"What a Good Woman Does\" allude to the powerful themes suggested by the album's namesake goddess, whose primary concerns involved love, beauty, sex, and fertility.  Stand-out track \"Sweet Love of Mine\" was written for her son and cleverly mixes dark, synthetic gospel tones with trip-hop beats and a nice vocal breakdown that plays upon the gentle twang of her Civil Wars days.  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Matt teamed up with A-list pop writers from the West Coast for this album, including LA's Ian Keaggy (Hot Chelle Rae, Cody Simpson), Ben Romans (Carly Rae Jepson) and Seth Jones (Greg Holden, Tyler Bryant). \u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eCD Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRelease Date: May 20, 2016\u003c\/li\u003e\n\u003cli\u003eRecord Label: Handwritten Records\u003c\/li\u003e\n\u003cli\u003eUPC: 852675138232\u003c\/li\u003e\n\u003cli\u003eNumber of Discs: 1\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Matt Wertz","offers":[{"title":"Default Title","offer_id":23772912385,"sku":"Matt Wertz (13)","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1398\/5745\/files\/Matt_Wertz_Gun_Shy_CD.jpg?v=1752271801"},{"product_id":"lights-skin-earth-cd","title":"Skin \u0026 Earth CD (Canada - Import)","description":"Canadian Import version of Skin \u0026amp; Earth, the 2017 release from the Canadian singer\/songwriter Lights.  Throughout a year long process, she began secretly working on an unprecedented idea writing and drawing her own comic book based around an alter ego of sorts.  And on top of that, just to make things more difficult - an album to coincide with the whole thing.  Thus came Skin \u0026amp; Earth, the Canadian singer's fourth record and her most open and vulnerable to date.  \"In the past, Lights wouldn't write about being angry or Lights wouldn't write a song about fighting or Lights wouldn't write about sex,\" she says. \"So in is me in another dimension, and I was able to write about all the things that I never wrote about before.\"  The album form of Skin \u0026amp; Earth also brings help from some of music's brightest including Corin Roddick of Purity Ring, Big Data and Josh Dun of Twenty One Pilots.  \"Everything that happened on this record was really fun and natural and felt like we were all working towards the same goal,\" she says. \"It was this organic mutual fan-ship kind of thing that brought it all together.\"  She continues, \"This is the most fun I've had doing a record. I've never felt that I understood a record more and I've never felt like I understood a reason for a record more.\"\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eCD Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRelease Date: September 29, 2017\u003c\/li\u003e\n\u003cli\u003eRecord Label: Lights Music Inc. \/ Universal\u003c\/li\u003e\n\u003cli\u003eUPC: \u003cspan data-mce-fragment=\"1\"\u003e602557894127\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eNumber of Discs: 1\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lights","offers":[{"title":"Default Title","offer_id":42473379725,"sku":"Lights (8)","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1398\/5745\/files\/Lights_Skin_Earth_CD.jpg?v=1762491754"}],"url":"https:\/\/colliderecords.live\/collections\/pop.oembed?page=12","provider":"Collide Records","version":"1.0","type":"link"}