24-10-2014 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1995-1999 >>King Crimson, Monster Magnet, Beck, dEUS, Nick Cave and the Bad Seeds, Mick Harvey, Portishead, Lauryn Hill, Tindersticks, Sleater-Kinney<<
M U S I C (2h 26m)
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Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities...
New Jersey retro-rockers who delivered sludgy, drug-fueled, and feedback-heavy hard rock from their debut in the late '80s. Retro-rock visionaries Monster Magnet spent much of the 1990s struggling against the prejudices imposed upon image and sound by the alternative rock elite...
One of the most inventive, eclectic figures of the alternative era, the epitome of post-modern chic in an era obsessed with junk culture. Initially pegged as the voice of a generation when "Loser" turned into a smash crossover success, Beck wound up crystallizing much of the postmodern ruckus inherent in the '90s alternative explosion, but in unexpected ways. Based in the underground anti-folk and noise rock worlds, Beck encompassed all manner of modern music, drawing on hip-hop, blues, trash rock, pop, soul, lounge music -- pretty much any found sound or vinyl dug up from a dusty crate -- blurring boundaries and encapsulating how '90s hipsters looked toward the future by foraging through the past...
The first Belgian-based indie act ever to sign to a major international label... Formed in Antwerp in 1991, dEUS began their career as strictly a cover band, but soon began performing new material, honing an irreverent, free-form live show drawing on influences ranging from folk and punk to jazz and prog rock...
Formed after the breakup of the Birthday Party in 1983, Nick Cave & the Bad Seeds became one of the most original and celebrated bands of the post-punk and alternative rock eras in the '80s and onward. Playing music that meshed with the dark, multi-layered narratives of Cave's lyrics, the Bad Seeds created sounds that were physically and emotionally powerful, but with a sense of dynamics and drama that set them apart from their peers...Nick Cave and the Bad Seeds
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1995-1999
Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities...
Dinosaur (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 6:37
Coda: Marine 475 (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 2:41
Walking on Air (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 4:38
from THRAK 1995
...King Crimson returned from a ten-year exile in 1995 with THRAK, their first album since 1984's Three of a Perfect Pair. As with the '80s band, guitarist/ringleader Robert Fripp recruited singer/guitarist Adrian Belew, bassist Tony Levin, and drummer Bill Bruford for this incarnation of his classic band. However, he added to this familiar quartet two new members: Chapman Stick player Trey Gunn and ex-Mr. Mister drummer Pat Mastelotto. Effectively, Fripp created a "double trio," and the six musicians combine their instruments in extremely unique ways. The mix is very dense, overpoweringly so at times, but careful listens will reveal that each musician has his own place in each song; the denseness of the sound is by design, not the accidental result of too many cooks in the kitchen... King Crimson came back in a major way with THRAK, and proved that, even in its fourth major incarnation, Fripp and company still had something to say. High-quality prog.
New Jersey retro-rockers who delivered sludgy, drug-fueled, and feedback-heavy hard rock from their debut in the late '80s. Retro-rock visionaries Monster Magnet spent much of the 1990s struggling against the prejudices imposed upon image and sound by the alternative rock elite...
Dopes to Infinity (Dave Wyndorf) 5:44
Look to Your Orb for the Warning (Dave Wyndorf) 6:32
Ego, the Living Planet (Dave Wyndorf) 5:07
from Dopes to Infinity 1995
Expecting Monster Magnet to change from art-sludge-psych monsters into sweet cuddlebunnies from album to album clearly demonstrates a loss of reason. Wyndorf himself doesn't need to worry about losing his reason in particular, given how psychotically entertaining his band already is, and Dopes to Infinity is about as far apart from Superjudge as the original Siamese twins were to each other. Maybe "Dopeheads to Infinity" would have been the better title, but as the title track fires up into another rampage of excessively flanged guitar, storming lead riff, and steady drum stomp, all criticisms get left behind along with any sort of sanity. Wyndorf's singing is a touch crisper in the mix this time out, while the guitar playing is even more powerfully direct and epic amidst all the space-out swirl and rockets to the moon. ..
One of the most inventive, eclectic figures of the alternative era, the epitome of post-modern chic in an era obsessed with junk culture. Initially pegged as the voice of a generation when "Loser" turned into a smash crossover success, Beck wound up crystallizing much of the postmodern ruckus inherent in the '90s alternative explosion, but in unexpected ways. Based in the underground anti-folk and noise rock worlds, Beck encompassed all manner of modern music, drawing on hip-hop, blues, trash rock, pop, soul, lounge music -- pretty much any found sound or vinyl dug up from a dusty crate -- blurring boundaries and encapsulating how '90s hipsters looked toward the future by foraging through the past...
Devils Haircut (Beck / James Brown / Phil Coulter / John King / Bernard Purdie / Thomas Scott / Mike Simpson) 3:14
Hotwax (Beck / Alexandra Brown / George Douglas / Monk Higgins / John King / Horace Ott / Bernard Purdie / Mike Simpson) 3:49
Lord Only Knows (Beck / Mike Millius / Don Thomas) 4:15
from Odelay 1996
Unlike Stereopathetic Soul Manure and One Foot in the Grave, the indie albums that followed his debut Mellow Gold by a mere matter of months, Odelay was a full-fledged, full-bodied album, released on a major label in the summer of 1996 and bearing an intricate, meticulous production by the Dust Brothers in their first gig since the Beastie Boys' Paul's Boutique... Like Mellow Gold, Odelay winds up touching on a number of disparate strands -- folk and country, grungy garage rock, stiff-boned electro, louche exotica, old-school rap, touches of noise rock -- but there's no break-neck snap between sensibilities, everything flows smoothly, the dense sounds suggesting that the songs are a bit more complicated than they actually are... Like a mosaic, all the details add up to a picture greater than its parts, so while some of Beck's best songs are here, Odelay is best appreciated as a recorded whole, with each layered sample enhancing the allusion that came before.
The first Belgian-based indie act ever to sign to a major international label... Formed in Antwerp in 1991, dEUS began their career as strictly a cover band, but soon began performing new material, honing an irreverent, free-form live show drawing on influences ranging from folk and punk to jazz and prog rock...
Fell off the Floor, Man(Stef Kamil Carlens / Julle DeBorgher) 5:13
Little Arithmetics 4:30
Guilty Pleasures (Stef Kamil Carlens / dEUS) 4:22
from In a Bar, Under the Sea 1996
...New guitarist Craig Ward fits into the lineup well, business carrying along as usual in its striking way. Feldman proves to be an excellent guy to have behind the boards; whether it's he or the band who figures out some of the fantastic stop on a dime shifts and arrangements throughout, all work together with great results... "Fell Off the Floor, Man" is another high-point, so accomplished and sly in its genre shifting and moods that Beck could be envious. Scott McCloud of Girls Against Boys, a perfectly appropriate guest, takes a bow with some spoken word philosophy, but it's the band's blend of low, spoken vocals, weird harmonies, and sudden shifts between tight rhythms and slabs of feedback that make it all work... In a Bar is worth the finding.
Formed after the breakup of the Birthday Party in 1983, Nick Cave & the Bad Seeds became one of the most original and celebrated bands of the post-punk and alternative rock eras in the '80s and onward. Playing music that meshed with the dark, multi-layered narratives of Cave's lyrics, the Bad Seeds created sounds that were physically and emotionally powerful, but with a sense of dynamics and drama that set them apart from their peers...
Into My Arms (Nick Cave) 4:16
Lime Tree Arbour (Nick Cave) 2:56
People Ain't No Good (Nick Cave) 5:42
from The Boatman's Call 1997
Multi-instrumentalist Mick Harvey is best known for his deep roots in the tangled family tree of singer Nick Cave. Playing a pivotal role in the Cave-fronted Boys Next Door (1977-1980), Birthday Party (1980-1983), and Bad Seeds (1984-on), Harvey added intricate details and anonymous atmospherics that gave life to the singer's ominous narratives. But that is only part of the story. Harvey's own releases are illuminating projects often conceptual in nature...
Portishead may not have invented trip-hop, but they were among the first to popularize it, particularly in America. Taking their cue from the slow, elastic beats that dominated Massive Attack's Blue Lines and adding elements of cool jazz, acid house, and soundtrack music, Portishead created an atmospheric, alluringly dark sound. The group wasn't as avant-garde as Tricky, nor as tied to dance traditions as Massive Attack; instead, it wrote evocative pseudo-cabaret pop songs that subverted their conventional structures with experimental productions and rhythms of trip-hop...
Lauryn Hill broke through with multi-platinum-selling, Grammy-winning group the Fugees, but with her 1998 solo debut The Miseducation of Lauryn Hill, the singer, songwriter, rapper, and producer established herself as a creative force on her own. She successfully integrated rap, soul, and reggae into a singular sound...
Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations...
Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the '90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band -- prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll...
Murder Ballads brought Nick Cave's morbidity to near-parodic levels, which makes the disarmingly frank and introspective songs of The Boatman's Call all the more startling. A song cycle equally inspired by Cave's failed romantic affairs and religious doubts, The Boatman's Call captures him at his most honest and despairing -- while he retains a fascination for gothic, Biblical imagery, it has little of the grand theatricality and self-conscious poetics that made his albums emotionally distant in the past. This time, there's no posturing, either from Cave or the Bad Seeds. The music is direct, yet it has many textures, from blues to jazz, which offer a revealing and sympathetic bed for Cave's best, most affecting songs. The Boatman's Call is one of his finest albums and arguably the masterpiece he has been promising throughout his career.
Multi-instrumentalist Mick Harvey is best known for his deep roots in the tangled family tree of singer Nick Cave. Playing a pivotal role in the Cave-fronted Boys Next Door (1977-1980), Birthday Party (1980-1983), and Bad Seeds (1984-on), Harvey added intricate details and anonymous atmospherics that gave life to the singer's ominous narratives. But that is only part of the story. Harvey's own releases are illuminating projects often conceptual in nature...
Pink Elephants (Bertrand Burgalat / Serge Gainsbourg / Mick Harvey9 2:35
Comic Strip (Serge Gainsbourg / Bill Solly) 2:42
I Love You....Nor Do I (Serge Gainsbourg / Mick Harvey) 4:37
To All the Lucky Kids (Serge Gainsbourg / Mick Harvey) 3:53
from Pink Elephants 1997
Pink Elephants continues what Mick Harvey began with Intoxicated Man -- it's the second collection of Serge Gainsbourg covers that the Bad Seeds guitarist has recorded... the results aren't as immediately beguiling as those on Intoxicated Man, it's still rich, evocative, seedy, and alluring. Harvey sings most of the material, but one of the highlights is the Anita Lane and Nick Cave duet "I Love You...Nor Do I."
Portishead may not have invented trip-hop, but they were among the first to popularize it, particularly in America. Taking their cue from the slow, elastic beats that dominated Massive Attack's Blue Lines and adding elements of cool jazz, acid house, and soundtrack music, Portishead created an atmospheric, alluringly dark sound. The group wasn't as avant-garde as Tricky, nor as tied to dance traditions as Massive Attack; instead, it wrote evocative pseudo-cabaret pop songs that subverted their conventional structures with experimental productions and rhythms of trip-hop...
Humming (Geoff Barrow / Beth Gibbons / Adrian Utley) 6:34
Cowboys (Geoff Barrow / Beth Gibbons) 5:01
All Mine (Geoff Barrow / Beth Gibbons / Adrian Utley) 4:02
Mysterons (Geoff Barrow / Beth Gibbons / Adrian Utley) 5:42
from Roseland NYC Live 1998
By the end of the '90s, artists realized that CD and CD-R bootlegs of live performances were in high demand, which meant that they could profit by officially releasing certain "special" live performances. Portishead's one-night stand at New York City's Roseland Ballroom, released as PNYC, certainly qualifies as one of those "special" occasions. Performing with a 35-piece orchestra, Portishead runs through selections from its two albums, favoring its second slightly. On the surface, it doesn't seem like the orchestra would add much to the performances, especially since the arrangements remain similar, but its presence makes the music tense, dramatic, and breathtaking...
Which means, of course, that PNYC is much more compelling and essential than the average live album.
Lauryn Hill broke through with multi-platinum-selling, Grammy-winning group the Fugees, but with her 1998 solo debut The Miseducation of Lauryn Hill, the singer, songwriter, rapper, and producer established herself as a creative force on her own. She successfully integrated rap, soul, and reggae into a singular sound...
Ex-Factor (Lauryn Hill) 5:28
Every Ghetto, Every City (Lauryn Hill) 5:14
Everything Is Everything (Lauryn Hill / Johari Newton) 4:53
from The Miseducation of Lauryn Hill 1998
Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut. The social heart of the group and its most talented performer, she tailored The Miseducation of Lauryn Hill not as a crossover record but as a collection of overtly personal and political statements; nevertheless, it rocketed to the top of the album charts and made her a superstar. Also, and most importantly, it introduced to the wider pop world an astonishingly broad talent. Hill's verses were intelligent and hardcore, with the talent to rank up there with Method Man...
And if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B with little trouble. Though it certainly didn't sound like a crossover record, The Miseducation of Lauryn Hill affected so many widely varying audiences that it's no surprise the record became a commercial hit as well as a musical epoch-maker.
Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations...
Can We Start Again? (Dickon Hinchliffe) 3:53
If You're Looking for a Way Out (Dickon Hinchliffe) 5:06
Pretty Words (Dickon Hinchliffe) 3:18
From the Inside (Tindersticks) 2:54
from Simple Pleasure 1999
With a title like Simple Pleasure and songs like the disarmingly up-tempo opener "Can We Start Again?," at first listen Tindersticks' fourth proper album seems buoyed by a guarded optimism totally absent from previous outings; dig deeper, however, and it's all a come-on -- frontman Stuart Staples still inhabits a netherworld where nothing is ever simple, pleasure is an illusion, and starting again merely means making the same mistakes yet one more time. Nothing truly changes, which has been Tindersticks' point all along, of course -- hopes are still meant to be dashed and hearts still meant to be broken, and Simple Pleasure is neither the time nor the place to begin pretending otherwise. Staples' songs remain the very essence of romantic despair, stunning in their funereal beauty and devastating in their tormented desperation...
Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the '90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band -- prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll...
Hot Rock 3:17
God Is a Number 3:43
A Quarter to Three 4:03
from The Hot Rock 1999
Expectations for Sleater-Kinney's fourth album were stratospheric, with the raging, tuneful feminist catharsis of Call the Doctor and Dig Me Out having garnered near-universal critical raves and outlandish media hype. Afraid of falling into a predictable rut, though, the band bravely pushed its range of expression into more personal, subdued, and cerebral territory on The Hot Rock. That means the record isn't quite as immediately satisfying as its two brilliant predecessors, but it does reward those willing to spend time absorbing its nervy introspection and moodiness. Corin Tucker and Carrie Brownstein push relentlessly for more complex interplay, both in their vocal and instrumental work; even the gentlest songs might break into unexpected dissonance or take an angular, off-kilter melodic direction...
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