Kylie Minogue understands that the best kind of dance-pop is pure, undiluted joy. With Tension, she’s shown that nobody does it better than her.
On Hit Parade, Róisín Murphy takes her sound – a swirling cacophony of electropop, synthpop, and nu-disco – and looks to soul to elevate her music.
Jaboukie Young-White’s clever wordplay, creative use of metaphor, and engaging storytelling prove he’s adept at applying his perceptive talents to music.
Shamir’s gorgeous voice is a genderless, androgynous instrument, soulful, tight, airy, and jazzy, capable of lilting beautifully over shiny pop beats.
Sylvester’s voice – an otherworldly sonic boom of a voice that climbed to dizzying heights – was a significant force in queer pop culture in the 1970s.
Paula Abdul confounded her critics with Spellbound, looking to expand pop hooks and catchy melodies with more esoteric sounds to festoon her state-of-the-art dance-pop.
Janet Jackson’s Janet, released 30 years ago today, embraces the maturity of her sexuality and political identity, and in the process, she creates beautiful music.
National Sawdust Ensemble’s work on Slow Beethoven recasts Beethoven’s Opus 131 as something wholly new, recasting it as a contemporary classical dirge.
Carly Simon adapted to the glossier, smoother sounds of 1980s soft-rock, spinning yarns of upper-class anxiety in Coming Around Again.
Braiding stirring songwriting prowess and beautiful vocals, Durand Jones has created one of the most assured and brightest debut albums in quite some time.