The track is a bustling pop-rock song bolstered by a clangy guitar riff and searing synth line.
On her seventh studio album, Tori Amos traces her steps across a post-9/11 America.
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.
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.
Señor Moby’s albums have always been a bit schizophrenic and his 1995 masterpiece, Everything Is Wrong, is no exception.
Massive Attack are the undisputed godfathers of trip-hop and Blue Lines remains the genre’s most influential masterpiece.
The White Room is an album that helped bring rave culture to the fore.
It’s no surprise that Orbital became one of the first electronic acts to bridge the gap between techno and rock audiences.
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.