If it wasn’t for Herbert’s PCCOM rule number nine, one might never know what they were listening to on Functions.
The often anonymous composers of television ads and movie trailers (read: electronica artists) may have found their futures in the soundtrack business.
Sony Music’s newest shining hope is being positioned as the next big pop starlet.
In many ways, Travis satisfies a popular need in the absence of the Radiohead of yesteryear.
Who does Radiohead think they are?
At a time when pop music doesn’t leave much for adults and electronica all but neglects the older demo, along comes Mandalay.
Like Up, Reveal is drizzled with electronica-lite, only this time the effects are less abstract.
Much of the band’s distinct sound has been watered down by Glen Ballard’s lush over-production.
Put simply, Miss E is the best electronic album of the year.
Half of the soundtrack’s material comes directly from the film and features its stars Nicole Kidman and Ewan McGregor.
To hell with making the career move from actress to pop singer or vice versa.
Weezer’s fillerless third album doesn’t leave much to complain about.
While the album isn’t groundbreaking, it at least shows the new trio breaking out on their own.
Despite seven different producers, the album sounds surprisingly cohesive and consistent.
To the Teeth, like most of her studio albums, is best taken as part of a whole.
What you see is exactly what you get with R. Kelly’s fourth effort, TP-2.com.
Martin’s second English-language album can be divided into two relatively equal parts: the English part and the good part.
The biggest of hardcore fans will of course need to own this album, because they believed in his potential.
Sade can wait as long as she likes between albums and there will always be an audience waiting.
The album brims with a revolutionary undercurrent.