The album sees the singer-songwriter moving in a different direction.
Damian was in good spirits, highly energized and considerately thoughtful during our abbreviated discussion.
Under Construction is a living, breathing homage to old-school rap’s simpler days.
While TLC were once innovators, they’re mere followers on their fourth (and final) album.
Toni Braxton smartly balances hip-hop-skewed R&B with the kind of sultry balladry that made her famous almost a decade ago.
Greatest hits records almost never please everyone. But with an artist like Björk, it’s almost completely impossible.
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.
It’s not clear what decade Carter thinks he’s currently living in.
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.
A collection of minimalist house more refined than anything that has come before or since.
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.