Core members Dieter Moebius and Hans Joachim pioneered the industrial, electronic side of krautrock, the two genies utilising a drum machine for this recording, adding more textures whilst maintaining kraut’s hypnotic nuances. Produced by Michael Rother, the LP features the incredible ‘Hollywood’, which I imagine was a strong influence on early Detroit techno producers.
(Yabby You) was responsible for some of the most compelling and individual pieces of roots reggae ever recorded, having worked closely with King Tubby, Lee ‘Scratch’ Perry, the Gladiators, Tommy McCook and members of the Wailers band, fronting the harmony group he called the Prophets during the 70s and 80s. He also helped initiate the careers of several early dancehall innovators, including Trinity, Wayne Wade, Tony Tuff and Michael Prophet, the latter named through his association with Yabby.
Click through and listen to some Yabby You. Here’s a favorite of mine from the ‘guide’ to get you started:
Writing for FACT, Laurent Fintoni and John Twells have compiled a list of the fifty best trip-hop albums. (Before you freak out, realize that particularly big artists all only get one entry, and the list is confined to the 1990s.) The list is reproduced inside, with links to entry pages, artist info, and (when available) YouTube streams.
Trip-hop is a maligned term but I never had a problem with it. It sort of sums up the sound perfectly … psychedelic hip hop, right? It’s there on the tin. This isn’t a bad list at all, serving to send me down the memory lane of my early DJ days when this was all I would play (I even had a 100 BPM speed limit for a while). The top two are appropriate: no other albums, to me, epitomize ‘trip-hop’ more than Tricky’s Maxinquaye and Portishead’s Dummy. But is Blue Lines really a trip-hop album? Of course I understand the influence of some of its songs on the genre, but, as an album, I don’t feel Massive Attack delved head-on into the sound until afterwards. Also, this list reminds me how much trip-hop was (is?) stronger as a singles / 12″ genre. UNKLE’s Psyence Fiction is an okay album, but it comes nowhere close to touching the trip-hop perfection that is their 1994 single “The Time Has Come” (in collaboration with Major Force). Cue a music break:
Wire up your nostalgia. Here’s an appealing hour-long playlist that, in the words of Little Records, “explores the role of synthesizers in early post-punk.” There are a few curve-balls thrown in amongst some obvious (but indispensable) choices, and it’s all quite fun to hear on this hazy Friday.