A refreshing antidote to the army of pop princesses and rap-metal bands that had taken over.
Like her previous work, it’s an interesting mix of sex and death.
Charmbracelet reprises the singer’s now-signature mix of hip-hop and pop.
Robbie Williams’s new album finds the singer as charmingly crass as ever.
Common’s fourth album, Like Water for Chocolate, is a seamless backdrop of funk, soul, and hip-hop for his rhyming prowess.
He’s like R. Kelly with a touch of British charm.
Under Construction is a living, breathing homage to old-school rap’s simpler days.
While TLC were once innovators, they’re mere followers on their fourth (and final) album.
Toni Braxton smartly balances hip-hop-skewed R&B with the kind of sultry balladry that made her famous almost a decade ago.
Greatest hits records almost never please everyone. But with an artist like Björk, it’s almost completely impossible.
On her seventh studio album, Tori Amos traces her steps across a post-9/11 America.
It’s not clear what decade Carter thinks he’s currently living in.
NSync’s golden boy has finally struck out on his own and the results are, ahem, golden.
The album sounds just as groundbreaking today as it did eight years ago.
The group’s first domestic release, the album was a drastically-revised version of their 1989 classic.
More than just spatial white noise, Music for Airports is the sonic equivalent of visual art.
The album is a savory mix of borderline-cheesy filtered loops and super-simple drum machine beats and basslines.
DJ Shadow’s Endtroducing… so constantly changes pace that definitions are rendered insufficient.
Leftism eschews mainstream categorization and manages to reside in the leftfield of almost all the electronic genres it propagates.
Depeche Mode’s Music for the Masses is steeped in high drama, each track spilling into the next like a pop-rock opera.