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.
It’s no surprise that Orbital became one of the first electronic acts to bridge the gap between techno and rock audiences.
Happy cycling—depending on your drug of choice.
The album stands as proof positive of the band’s influence on the then-burgeoning rave and house cultures.
Bytes was a watershed in what has become known in the U.K. as IDM or “intelligent techno.”
The album blends Acid House, Techno and Dub into a refined, epic headrush.
Señor Moby’s albums have always been a bit schizophrenic and his 1995 masterpiece, Everything Is Wrong, is no exception.
May’s creations paved the way for later Detroit artists like Plastikman as well as rave culture as we know it.
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.
The album is a testament to the singer-songwriter’s enduring strength and mission.
The album belongs up there with Play, as rules get broken and re-written and boundaries are forever discarded.
It was anyone’s guess as to how Gwen Stefani and the gang would fare amid teen-poppers like ‘NSync and Britney Spears.
Jeff Buckley’s first posthumous release is a sad reminder of the singer’s talent and unrealized potential.
Hooverphonic steers away from the ethereal, lush sounds of their previous work, opting instead for a more mainstream pop/rock style.
While it might be free of meaning (and irony), it’s chock-full of pretense.