Post is the second solo studio album by Icelandic musician Björk. The album was released in June 1995 through One Little Indian in the United Kingdom and Elektra Records in the United States. Unlike her previous release Debut—which was almost entirely produced by Nellee Hooper—Post is characterised by more collaborative efforts, including production by Hooper, 808 State's Graham Massey, and former Massive Attack member Tricky. Moreover, Björk co-produced every song on the album. Post received widespread critical acclaim from reviewers and was a commercial success, charting at number 2 in the United Kingdom and 32 in the United States. It was certified gold in New Zealand and Sweden, and platinum in Australia, Canada, the United States, and the United Kingdom. Telegram, a remix album of songs from Post, was released in 1996.

Three years on from their Hidden Stories album, Belgian trip-hop legends Hooverphonic return with new studio album, Fake is the New Dope, released through Sony Music Belgium. The twelve track set contains previously released tracks including Don’t Think, Por Favor and Then I Found You, as well as a number that have not been heard until release day.

Enigmatic duo Pepe Deluxé, comprised of New York-based Paul Malmström and Helsinki-dwelling James Spectrum, return with another kaleidoscopic sonic marvel, the shape-shifting musical odyssey that is Comix Sonix out June 21 on Catskills Records. With such exciting news comes not one single but two, for Pepe Deluxé have gone old-school with a double A-side single, “Everyone Is” and “Sweet Baby Sun.”

Realizing that trip-hop was a dead end, at least as far as hipness goes, Morcheeba expanded their sonic palette on their second album, Big Calm. Trip-hop and dance rhythms remain, but the trio has spent more time writing songs, crafting an album where pop, lounge, film soundtracks, reggae, jazz, and electronica all peacefully coexist. Consequently, Big Calm is a stylistic tour de force, evidence that Morcheeba have turned into a mature, sophisticated group with impeccable taste. Occasionally, the album can sound a little distant, as if the fusions and productions were more important than the actual songs, but the trio is so musically adept, and Skye Edwards' voice is so enchanting, that Big Calm become irresistible in its own way.

"The innovation, spirit and power of Jamaican music is a constant source of creative manna for us," explains Eric Hilton of DC-based electronic band THIEVERY CORPORATION about their new album THE TEMPLE OF I & I. "On the musical map, Jamaica is an entire continent. Frankly, we could have spent a year there, soaking up the vibes in the air and the strength and resilience resonating from the people. And for us, the only way to connect with this rich source of inspiration was to work in that environment - to feel the pulse of the place."

On his 2013 release The North Borders, British producer Simon Green (aka Bonobo) continues along the organic-meets-electronic path that his 2010 release Black Sands followed, but this walk takes place as it's turning to dusk, and there are varying degrees of mist and chilliness along the way. Opener "First Fires" with Grey Reverend (singer/songwriter L.D. Brown) sounds like it could be quite warm, but it's entirely autumn-minded sweater music that wistfully wonders what to do with "faded dreams" as Green allows bits of glitchy sunlight to shine through his cloudy synth construction. "Emkay" is the clangs and echoes of a seaside port at night that wonderfully shuffles its way up to a lighthouse tune, then there's majestic songstress Erykah Badu wonderfully vibing ("We don't need no truth/Got plenty/Now it grows on trees") on "Heaven for the Sinner" over Bonobo's deep version of the broken beat. "Towers" suggests sleepy urban buildings in twilight with a vibraphone representing the little bits of life and light that will sparkle through the night, while "Don't Wait" is just before the dawn, as innocent chimes chase away the eerie things that lurk in the darkness.

Sweet Revenge is an amazingly sophisticated album in which Sakamoto sets the distinctive and heart-rending chordal and harmonic ideas of his soundtrack work to trip-hop and neo-bossa-nova beats. The songs are fronted by a succession of guest vocalists who each contribute lyrics which add up to an amazingly coherent whole–a mature meditation on love, longing, conflict, revenge and regret. As usual, Sakamoto was ahead of his time. By spotlighting the deep poetry of J-ME and Latasha Natasha Diggs, this 1994 album anticipated by years the introspective hip-hop diva trend popularized by Lauryn Hill.