The album gives voice to female rage in a way that finds truth in the ugliness.
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.
On her seventh studio album, Tori Amos traces her steps across a post-9/11 America.
The album stands as proof positive of the band’s influence on the then-burgeoning rave and house cultures.
The album blends Acid House, Techno and Dub into a refined, epic headrush.
May’s creations paved the way for later Detroit artists like Plastikman as well as rave culture as we know it.
Who’s Afraid Of? is a brash blend of experimental rock and New Wave that was way ahead of its time.
The group’s first domestic release, the album was a drastically-revised version of their 1989 classic.
The album is a savory mix of borderline-cheesy filtered loops and super-simple drum machine beats and basslines.
Richard D. James created a collection of minimalist house more refined than anything that has come before or after.
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.
The album sounds just as groundbreaking today as it did eight years ago.
Maxinquaye takes the glistening electronic soul of Blue Lines and smothers it in far-grittier textures.
More than just spatial white noise, Music for Airports is the sonic equivalent of visual art.
Happy cycling—depending on your drug of choice.
It seems former Mousekateer Christina Aguilera has finally popped right out of her bottle.
DJ Shadow’s Endtroducing… so constantly changes pace that definitions are rendered insufficient.
Bytes was a watershed in what has become known in the U.K. as IDM or “intelligent techno.”
Kraftwerk’s meditative album is a sonic poem to Europe.