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Mezzanine
(1998)
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Massive Attack
Increasingly ignored amidst the exploding trip-hop scene, Massive Attack finally returned in 1998 with Mezzanine, a record immediately announcing not only that the group was back, but that they'd recorded a set of songs just as singular and revelatory as on their debut, almost a decade back. It all begins with a stunning one-two-three-four punch: ...
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The Sweet Escape
(2006)
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Gwen Stefani
Awkward and alluring in equal measures, Gwen Stefani's 2004 solo debut, Love.Angel.Music.Baby., did its job: it made Gwen a bigger star on her own than she was as the lead singer of No Doubt. With that established and her long-desired wish for a baby finally fulfilled, there was no rush for Gwen to get back to her regular gig, so she made another ...
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Kala
(2007)
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M.I.A.
Kala and Arular are similar in that they are both wildly vigorous and wholly enjoyable albums, generous with blunt-force beats, flurries of percussion, riotous vocals (with largely inconsequential lyrics), and fearless stylistic syntheses that seem to view music from half of the planet's countries as potential source material. But Kala nearly ...
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Post
(1995)
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Björk
After Debut's success, the pressure was on Björk to surpass that album's creative, tantalizing electronic pop. She more than delivered with 1995's Post; from the menacing, industrial-tinged opener, "Army of Me," it's clear that this album is not simply Debut redux. The songs' production and arrangements -- especially those of the epic, modern ...
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Garbage
(1995)
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Garbage
Garbage's self-titled debut has all the trappings of alternative rock -- off-kilter arrangements, occasional bursts of noise, a female singer with a thin, airy voice -- but it comes off as pop, thanks to the glossy production courtesy of drummer Butch Vig. Not only is the sound of the record slick and professional, but all the songs are well ...
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Scissor Sisters
(2004)
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Scissor Sisters
Midway through the 2000s, theft with an artful nod and wink has become quite fashionable, and frilly is the new black. Combos like Chromeo and the Electric Six are finding mileage in long-shuttered, retrospectively laughable genres like synth pop and new romantic, and revisiting disco's most damning elements with a vigor for recombination. The ...
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Love.Angel.Music.Baby.
(2004)
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Gwen Stefani
In the wake of Gwen Stefani's elevation to diva status in the early 2000s, it's easy to forget that for a brief moment at the start of the millennium it seemed that she and her band, No Doubt, were dangerously close to being pegged as yet another of the one-album alt-rock wonders of the '90s. Return of Saturn, their long-awaited 2000 follow-up to ...
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The Stone Roses
(1989)
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The Stone Roses
Since the Stone Roses were the nominal leaders of Britain's "Madchester" scene -- an indie rock phenomenon that fused guitar pop with drug-fueled rave and dance culture -- it's rather ironic that their eponymous debut only hints at dance music. What made the Stone Roses important was how they welcomed dance and pop together, treating them as if ...
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Guero
(2005)
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Beck
Ever since his thrilling 1994 debut with Mellow Gold, each new Beck album was a genuine pop cultural event, since it was never clear which direction he would follow. Kicking off his career as equal parts noise-prankster, indie folkster, alt-rocker, and ironic rapper, he's gone to extremes, veering between garishly ironic party music to brooding ...
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Some Great Reward
(1984)
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Depeche Mode
The peak of the band's industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band's ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore. "People Are People" appears here, but finds itself outclassed by some ...
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Version 2.0
(1998)
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Garbage
Neither a flat-out retread nor a full-fledged progression, Version 2.0 is almost too accurate a title for Garbage's second album. Everything that made Garbage a success is here -- Shirley Manson's seductive strength, strong pop sensibility, a production that falls halfway between alternative rock and techno -- presented in a slightly newer form. ...
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The Best of New Order
(1995)
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New Order
New Order's first compilation album, Substance (1987), finally broke the group through to commercial success in the U.S. Its second one, The Best of New Order, isn't exactly Substance II . The previous set was a singles collection, and Best Of does pick up that story, including a series of songs -- "True Faith" (in a new remix), "Touched by the ...
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Debut
(1993)
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Björk
Freed from the Sugarcubes' confines, Björk takes her voice and creativity to new heights on Debut, her first work after the group's breakup. With producer Nellee Hooper's help, she moves in an elegantly playful, dance-inspired direction, crafting highly individual, emotional electronic pop songs like the shivery, idealistic "One Day" and the ...
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Brotherhood
(1986)
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New Order
One of the least-synthesized albums in New Order's discography, Brotherhood offers the simultaneous peak of the group's hook-filled songwriting (not just on the single "Bizarre Love Triangle") and Peter Hook's trademark bass work, which takes a plaintive, upper-register lead on highlights like "Weirdo" and "Broken Promise." As usual, the lines ...
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Protection
(1994)
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Massive Attack
Massive Attack's sophomore effort could never be as stunning as Blue Lines, and a slight drop in production and songwriting quality made the comparisons easy. Still, from the first two songs Protection sounds worthy of their debut. The opening title track is pure excellence, with melancholy keyboards, throbbing acid lines, and fragmented beats ...
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Vespertine
(2001)
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Bjork
After cathartic statements like Homogenic, the role of Selma in Dancer in the Dark, and the film's somber companion piece, Selmasongs, it's not surprising that Björk's first album in four years is less emotionally wrenching. But Vespertine isn't so much a departure from her previous work as a culmination of the musical distance she's traveled; ...
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The Best of Depeche Mode, Vol. 1
(2006)
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Depeche Mode
Consider this a primer, because there is no way a career spanning 25 years can be summarized justifiably within the cramped space of an 80-minute disc. The Best of Depeche Mode, Vol. 1 takes a very selective skip through the group's past, and it leaves no room for anything off Black Celebration -- an album many fans (albeit the most depressive ...
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Blue Lines
(1991)
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Massive Attack
The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap ...
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Sound of Silver
(2007)
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LCD Soundsystem
Compared to the first LCD Soundsystem album, Sound of Silver is less silly, funnier, less messy, sleeker, less rowdy, more fun, less distanced, more touching. It is just as linked to James Murphy's record collection, with traces of post-punk, disco, Krautrock, and singer/songwriter schlubs, but the references are evidently harder to pin down; the ...
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Black Celebration
(1986)
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Depeche Mode
Whether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode's fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: ...
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The Innocents
(1988)
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Erasure
Having built up a strong fan base and back catalogue in just a couple of years, Erasure turned into a full-blown pop phenomenon thanks to The Innocents, winning the British equivalent of the Grammy for album of the year and spawning a big American hit single, "Chains of Love." Stephen Hague took over as producer from Flood, perhaps smoothing out ...
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Violator
(1990)
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Depeche Mode
In a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore's upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder's ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea ...
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Substance
(1987)
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New Order
Substance is a double-disc set collecting New Order's singles, including several songs that were never available on the group's albums, at least in these versions. While there are a couple of re-recordings of earlier singles, most of Substance consists of 12" single mixes designed for danceclub play. Arguably, these 12" mixes represent New Order's ...
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Low-Life
(1985)
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New Order
New Order's evolution from post-punk survivors to state of the art electronic unit became complete with the superb Low-life, the first of their albums to receive a proper American release. Tracks like "Sub-Culture" and "The Perfect Kiss" represent dance-pop at its very finest -- propulsive, smart, and edgy, they combine lush synth patterns and ...
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Actually
(1987)
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Pet Shop Boys
With their second album, Actually, the Pet Shop Boys perfected their melodic, detached dance-pop. Where most of Please was dominated by the beats, the rhythms on Actually are part of a series of intricate arrangements that create a glamorous but disposable backdrop for Neil Tennant's tales of isolation, boredom, money, and loneliness. Not only are ...
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