In honor of the electronic duo’s nearly three-decade run, we’ve ranked all five of their albums.
It has a better shot at reigniting Stefani’s solo career than its rather bland predecessor did.
Unfortunately, Rosewater rarely builds off the scenes between Gael García Bernal and Kim Bodnia.
Not since Robert Altman’s Nashville has an American film felt as real as life itself.
Last year I made the mistake of second-guessing the Academy’s recent trend of awarding the biggest selling album in this category.
NARAS’s manifesto says the Academy will choose Record of the Year based on artistry alone, “without regard to sales or chart position.”
Starting tomorrow, we’ll predict the winners in all four General Field categories of the 56th Annual Grammy Awards.
Listen to a playlist of the best singles of the year on YouTube and Spotify.
Random Access Memories is simultaneously the most narcissistic and selfless gesture in Daft Punk’s career so far.
It’s awesome in distressingly fragmented ways.
Are those sleek Light Cycles equipped to run on fumes?
Mellow’s name was a lie: Perfect Colors, their second (and seemingly final) album proper, is breathlessly sarcastic.
It sure looks like an awesome party I would’ve loved to been able to afford.
And it all begins to make some sense.
Human After All is a nagging brat of an album.
This is a pretty comprehensive overview Gondry’s music video work, from 1987 to 2003.
Not only for Spike Jonze fans, but for anyone that wants to see Fatboy Slim taking a bath.
The album is a savory mix of borderline-cheesy filtered loops and super-simple drum machine beats and basslines.