01-12-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1998-2003 (2h 36m) >>Portishead, Tindersticks, Sleater-Kinney, St. Germain, Eels, Sparklehorse, Air, King Crimson, Peter Gabriel, Radiohead<<
M U S I C (2h 36m)
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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...
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...
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1998-2003
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.
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...
