The singer has yet to discover a sound or sensibility that truly distinguishes her.
Robbie Williams’s new album finds the singer as charmingly crass as ever.
Common’s fourth album, Like Water for Chocolate, is a seamless backdrop of funk, soul, and hip-hop for his rhyming prowess.
He’s like R. Kelly with a touch of British charm.
Damian was in good spirits, highly energized and considerately thoughtful during our abbreviated discussion.
Call it a cheeky send-up of kitsch-pop, a faithful homage to Queen, Joan Jett, Cheap Trick, the Cars, and Adam Ant.
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.
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.
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.