James Blake Revisits His Roots on ‘Playing Robots Into Heaven’
Playing Robots Into Heaven is ultimately a flawed album, but at times it’s a worthwhile foray for James Blake into more beat-led, dancefloor-friendly music.
Playing Robots Into Heaven is ultimately a flawed album, but at times it’s a worthwhile foray for James Blake into more beat-led, dancefloor-friendly 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.
STS9, Maddy O’Neal and the Crystal Method team up for a two-night desert dance party at Sin City’s most mystical new venue, Area 51.
Jayda G’s Guy is an admirable and occasionally affecting project that balances both personal vulnerabilities with uplifting and life-affirming music.
This year’s best electronic albums span the widest range of styles of any genre, ranging from poppy and melodic electro to the experimental outer reaches.
ODESZA’s The Last Goodbye is impressively diverse and wide-ranging; there are moments of elysian pop, broody angst, thrilling dance, and smart wit.
Ibibio Sound Machine hit new heights as they draw on the power of musical currents flowing between Lagos and London on the Hot Chip-produced Electricity.
Continuing in Hanif Abdurraqib’s excellent spring series, Dawn Richard brought her stunning “Electro Revival” show to the Brooklyn Academy of Music.
Endlessly creative electro-popster Tennyson builds on previous accomplishments with his textured, sophisticated full-length debut, Rot.
Pop renaissance man Shamir channels trauma, rage, and feelings of angst, and in response to our troubled times, he’s released an album of uncommon beauty.
In these challenging times, soul and R&B walked tall and carried a big stick, while also being a much-needed balm and source of warmth in 2021.
Anz’s All Hours is one of the most exciting debuts of the year from one of the most thrilling new voices in club music. It’s music for the all-nighters.