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...
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.
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