Róisín Murphy Makes a Valiant Attempt at Being a Soul Diva
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.
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.
On Drama Queen, Idina Menzel moves away from adult contemporary vocal pop and into a sound familiar to the dancefloor at a gay club: disco-infused dance pop.
Euphoric is a breezy, chaste recording that places producer/singer Georgia squarely into mainstream dance-pop. It’s love letter to 1990s pop.
Carly Rae Jepsen’s The Loveliest Time expands her B-Sides offerings by creating a compilation that distinguishes itself from its predecessor.
Although there are some fantastic high points and some tacky low points, Barbie: The Album pulls through with a cheeky victory.
New Jersey’s Brett Altman evolves past his singer-songwriter roots into dance-pop territory with “My Way Out”.
Maisie Peters knows the power of being the one who has it, of being the one who controls the narrative, as she shows on her new album, The Good Witch.
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.
The Dare’s mission is urgent, as simple as breathing. Have a good time – a stupid good time – like your life depends on it. Because it literally does.
We’re looking at Janet Jackson’s fabulous discography to celebrate her birthday. Most of these songs are pop classics and define ’80s/’90s pop and dance radio.
Jessie Ware has continued her disco success with That! Feels Good!, which is somehow even more potent than its predecessor.
Following the intense ambition of Ellie Goulding’s previous album, 2020’s Brightest Blue, Higher Than Heaven is a refreshing jolt of candy-coated vigor.