It seems former Mousekateer Christina Aguilera has finally popped right out of her bottle.
The White Room is an album that helped bring rave culture to the fore.
A collection of minimalist house more refined than anything that has come before or since.
Kraftwerk’s meditative album is a sonic poem to Europe.
Who’s Afraid Of? is a brash blend of experimental rock and New Wave that was way ahead of its time.
Massive Attack are the undisputed godfathers of trip-hop and Blue Lines remains the genre’s most influential masterpiece.
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.
Maxinquaye takes the glistening electronic soul of Blue Lines and smothers it in far-grittier textures.
The album is a testament to the singer-songwriter’s enduring strength and mission.
The Foo Fighters have effectively transcended the myth of Nirvana.
Fiona’s pissed and it’s captivating, but it also demonstrates the limits of the singer’s self-loathing.
The first member of Destiny’s Child to release her own mainstream pop album, Rowland enters solo with a hit already in hand.
Essence is a concept album that traces the biological and spiritual steps of a life span.
With his fifth album, the Manchester-born singer-songwriter delivers more of his new millennium folk.