Future seems content to be set dressing for Metro Boomin’s elaborate production.
It’s Weezer’s Pinkerton all over again.
Volcano dabbles in pseudo-edgy rock but it’s primarily a disc of gentle melodies and flowing, meandering imagery.
There’s a handful of notable remixes and b-sides missing from the album.
The band's debut album is filled with succinct, pretty songs about timeless lovelorn truths.
I Say I Say I Say is Erasure’s gayest, most unabashedly precious album.
In response to the over-bloated rock of the late-‘70s, The B-52’s introduced a lighter, party-rock vibe to American New Wave.
Madonna's Like a Prayer found the singer coming of age with a collection of deeply felt pop confections.
As modern as Comfort Woman is, it’s essentially an old-fashioned soul record.
Danish R&B chanteuse Maria Jensen draws on the unlikeliest influences for her debut album.
Blondie turned more than a few punk purist heads with Parallel Lines.
South’s brand of fuzzy space-rock, though certainly not singular, creates an empyreal atmosphere that pulls you in like the sea.
This is clearly the voice of someone who will never stop searching.
Let’s get down to the nitty grit-tay.
Depeche Mode’s Violator seamlessly marries dance, goth-rock, and synth-pop with good ol’ fashioned funk and rock n’ roll.
Each of the tracks on 10,000 Maniacs’s swan song, Our Time in Eden, is like a miniature parable on the state of America, past and present.
Sheryl Crow's self-titled sophomore effort remains her most consistent and distinctly modern album to date.
Each song was a unique arrangement that reflected a then-new pop-cult personality and voice.
Dido’s is a relentless love and it informs almost all of Life for Rent.
Voyageur’s palette is virtually nondescript.
Amorino matches Campbell’s delicate, paper-thin voice effortlessly with a myriad of styles.