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Rock The Beat (Blend) - DJ Blastar - Boom Bap: Originuh Rap Volume 1 (File)

16.05.2020 Arashile 7 Comments

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Calm, Cool and Collected Wavy Volume 18 is Full of Nostalgic Ride is back with more soulful and nostalgic vibes. More lush pianos, Rhodes, live The Rucker Collective is a library collection by producer, Motif Alumni and family. The twenty-first Crabtree Music New Zealand's Alastair Galbraith recorded albums, particularly between Talisman and Cry , that were not so much collection of songs as experiments on sound.

The most imitated band was High Rise, but the man who, over a year career, propelled Japanese acid-rock to the top of the world was Keiji Haino, whose numerous projects were rediscovered during the s. Yamazaki Maso's Masonna represented the link with the previous generation of noise-makers on albums devoted to lengthy free-form jams such as Shinsen Na Clitoris and Noisextra Similar to Fushitsusha were guitarist Kaneko Jutok's Kousokuya, whose Kousokuya indulged even more in free-jazz improvisation.

High Rise bassist Asahito Nanjo was responsible for two of the most brutal projects of the era. Mainliner, formed with Acid Mothers Temple guitarist Makoto Kawabata, unleashed Mellow Out and Sonic , nuclear tornados of cacophonous Feedtime-like chaos and Chrome-like martian cadences. The former's wall of noise signaled the advent of a new kind of "rock" music, one that relied on unrelenting impetus just like hardcore while retaining the mind-expanding qualities of acid-rock.

The mini-album 41st Century Splendid Man , featuring Tatsuya Yoshida of the Ruins, adopted instead a celestial trance bordering on ambient and cosmic music, and Univers Zen Ou De Zero A Zero found perhaps the middle path between the two extremes. Ghost, led by guitarist and vocalist Masaki Batoh, fused Japanese folk music and ambient music on Ghost The surreal orchestration and "ghostly" effects of Lama Rabi Rabi , increased the gothic quotient, while the four-part title-track of Hypnotic Underworld was the crowning formal achievement of a group of visionary jazz-rock musicians, equally adept at pop songwriting and bizarre avantgarde.

In Stormy Nights featured the minute collage of Hemicyclic Anthelion, constructed in studio by Batoh assembling snippets of live performances. Surf and garage music Scandinavia's garages During the s, the single most impressive concentration of garage-rock bands was perhaps in Scandinavia.

Hanoi Rocks had led the way, and, one decade later, a number of Scandinavian bands followed their lead, storming through programs of acrobatic rock'n' roll numbers with the sensitivity of a conquering viking.

Norway's Motorpsycho offered perhaps the most eclectic take on the cliches of psychedelic hard-rock on monumental albums such as Demon Box and Timothy's Monster They displayed musical ambitions that went beyond the power guitar riff, and often ended in quasi-symphonic magniloquence. The four colossal suites of Little Lucid Moments stood as virtually a recapitulation of jam-oriented rock music from the s to the s.

Instrumental revival, Instrumental music staged a massive revival during the s. The Mermen, from San Francisco, altered surf music via Neil Young's blues-psychedelic neurosis and Jimi Hendrix's devastating spasms on Food For Other Fish , and found a miraculous balance between revival and experimentation with the three creative jams of A Glorious Lethal Euphoria While not as original, an impressive number of groups offered witty and creative takes on the genre.

Crampsiana, The spring of garage-rock was not extinguished. Seattle's Gas Huffer played epileptic rock'n'roll with the psychotic impetus of the Heartbreakers and the Cramps but also with the childish silliness of the Ramones. In North Carolina, Southern Culture On The Skids delivered a stew of old-fashioned styles surf, rockabilly, country, garage-rock, rhythm'n'blues with a punk attitude, reaching back to Rolling Stones, Creedence Clearwater Revival and Cramps.

They were at their best when they let the bad vibrations flow, such as on For Lovers Only , a madhouse of a roots-rock album, and the even more eclectic and exuberant Ditch Diggin' Shifting from drums to guitar and wearing a drag-queen costume , Gories veteran Dan Kroha, formed the Demolition Doll Rods, who focused on Cramps' glam-core.

In Minnesota, the veterans of the Lee Harvey Oswald Band concocted the infernal party of A Taste Of Prison , which also indulged in the most perverted side of life. That tradition continued unabated throughout the decade with decadent acts such as Georgia's Nashville Pussy , whose Let Them Eat Pussy harked back to Cramps' porno-billy.

MC5iana, Naturally, Michigan was the epicenter of the ferocious sound of MC5, although Go and Speedball did not live up to the same ferocious standards of previous generations. Ohio boasted two of the best groups. Heirs to MC5's bacchanals, but also a bridge to contemporary genres such as grunge, thrash-metal and hardcore, God And Texas drenched the songs of History Volume One and Criminal Element into feverish distortions and catastrophic drumming.

The New Bomb Turks were even more barbaric and breathtaking, particularly on Destroy Oh Boy , but anchored the songs of mature albums such as At Rope's End to linear progressions and anthemic melodies. Pacific Northwest, San Francisco's Mummies were perhaps the ideological leaders of the garage revival, even if they lasted only one album, the orgiastic and lo-fi Never Been Caught Oregon's garage school, which had been revitalized in the s by the Miracle Workers, continued with Marble Orchard and Gorilla.

Seattle's Makers unwound a feast of fuzz, treble and feedback at full throttle on their third album, Makers Needless to say, the Jon Spencer Blues Explosion became an increasing influence on everybody during the decade. Some in New York had actually predated Spencer: Marcellus Hall's Railroad Jerk were playing a similar brand of subnormal psycho-blues since their debut, Railroad Jerk Ohio's Gits, featuring the witchy vocals of Mia Zapata, crossed punk-rock and blues-rock, halfway between X and Sex Pistols, with the addition of an angry feminine touch, on Frenching The Bully Their conceptual revisitation of black music eventually led to imitate the Rolling Stones circa Exile On Main Street on the more professional Mule offered harsh, truculent and discordant music that borrowed from Z.

Chicago's Red Red Meat started from similar premises but evolved towards a more intellectual exploration of music. Red Red Meat and Jimmy Wine Majestic unleashed the dirty, feverish and unstable vibrations of all the blues irregulars of the past the Rolling Stones, Captain Beefheart, Pussy Galore, etc , but the atmospheric Bunny Gets Paid veered towards desolate free-form "pieces" that felt like scarred remnants of pop songs.

This, in turn, led to the abstract framework of There's A Star Above The Manger Tonight , replete with synthesizer and other sophisticated arrangements, which was, de facto, a postmodernist exercise in stylistic deconstruction, bordering on trip-hop and ambient music while retaining the cacophony of Captain Beefheart and Pussy Galore. Red Red Meat guitarist and original founder Tim Rutili, drummer Ben Massarella and bassist Tim Hurley set out to further investigate this unfocused sea of sounds as Califone.

The brooding acid-blues sound of their early EPs, Califone and Califone , and of their full-length albums Roomsound and Quicksand Cradlesnakes absorbed jazz, post-rock, samples and loops into the canon of blues depression and gospel ecstasy.

Heron King Blues further disintegrated the format of the roots-rock song, with the mostly instrumental jam Heron King Blues performing a bold balancing act between organic free-form abstraction and geometric pulsing pattern, a worthy addition to the program of Captain Beefheart's Mirror Man.

The dusty interplay of voice, guitars, banjos, hurdy gurdies, drums and electronics concocted an understated post-everything mayhem. Lo-fi Pop Oceania, Lo-fi pop, the great invention of New Zealand's independent musicians, became one of the main phenomena, world-wide, of the s. The scene in New Zealand was largely dominated by members of the old bands, and little was added to the canon by the new generations. Graeme Jefferies' Cakekitchen 1 concocted the adult blend of austere melodies, bitter philosophy and elegant arrangements of World Of Sand , eventually achieving the intrepid and rarefied atmosphere of The Devil And The Deep Blue Sea Bailter Space, led by guitarist Alister Parker, gave their best with the hypnotic and atmospheric noise-rock of Vortura , that capitalized on the innovations of My Bloody Valentine and Galaxie The Underground Lovers updated the psychedelic canon with Leaves Me Blind , drenched in exotic and mystical sounds.

More conventional hard-rock was played by the 3Ds. In Australia, former Cannanes guitarist Randall Lee's Nice Australia and Ashtray Boy were typical of how the dynasties of the s survived the s. USA, The legacy of lo-fi pop was felt much stronger in and around the American colleges.

The most influential lo-fi band of the s was Pavement. Slanted And Enchanted was more attitude than art and certainly more epigonic than original , but the chaotic, erratic and unassuming delivery was precisely the point, especially when combined with Stephen Malkmus' bizarre philosophy. Crooked Rain Crooked Rain was even catchy and marginally innocuous.

Shannon Wright's Crowsdell contaminated Pavement's style with roots-rock on Dreamette Unfortunately, Pavement's idea was frequently misunderstood as meaning that a mediocre musician could produce an unlimited amount of music while at the same time disregarding any musical obligation. Independent musicians became more and more prolific. His portraits of drifters, losers and disillusioned fools became much sharper and more musically assured on The Lonesome Crowded West , and his most experimental work was Sharpen Your Teeth , released by his side-project Ugly Casanova, featuring Black Heart Procession's Pall Jenkins and Califone's Tim Rutili, Texas' Spoon, the vehicle for Britt Daniel, evolved from the alt-pop influenced Girls Can Tell towards a power-pop style that boasted memorable hooks but also a minimal approach to arranging, the opposite of Phil Spector's "wall of sound", as demonstrated on Gimme Fiction Primitivism, The more creative strand, the one that descended from Half Japanese and the Residents, was kept alive by groups that shunned the mainstream.

San Diego's Trumans Water Of Thick Tum sounded like a group of musicians who had no desire to play anything, and therefore each song was a bit of a torture. Their music was the opposite of "entertainment", as Spasm Smash proved: a carousel of spastic gestures.

It was rock'n'roll filtered by the no wave and Royal Trux's Twin Infinitives. Maryland's Velocity Girl synthesized the new sounds of their time: Sonic Youth's noise-rock, Uncle Tupelo's alt-country, Pavement's lo-fi dynamics.

Florida's Home stood out from the crowd, thanks to a broad stylistic range from cinematic prog-rock instrumentals to spastic pop songs and to a focus on mundane events of the American youth like a more serious Frank Zappa.

Works such as IX , containing the operetta Concepcion X , arranged by the Devil's Isle Orchestra horns, strings and choir , Netherregions , their most deranged excursion, XIV , a set of richly-arranged madrigals of abstract, psychedelic music, and Sexteen , a concept on sex, called the bluff on rock music, both lyrically and musically. An acoustic quartet named Thingy penned the avant-melancholia of To The Innocent Then he found a compromise of sort in Pinback's somnolent lullabies at the border between post-rock, new wave, psychedelic-rock and folk-rock, first on This Is Pinback and especially the EP Offcell Pinback kept twisting the formula of power-pop until they achieved a slightly angular format of lo-fi song on Summer In Abaddon and Autumn of the Seraphs Lo-fi Singer-songwriters Bleak folk, In a sense, the s "were" the decade of the singer songwriter, as more and more artists decided to go "solo" rather than look for a band.

Both the technology that allowed individuals to arrange their own compositions and the loose networking of the post-punk generation that favored more fluid partnerships helped increase the number of musicians who recorded simply under their own name. In general, singer-songwriters of the s tended to be more subdued and humbler than in the s and in the s. One of the most influential styles of the s was the moody and depressed one pioneered by Chris Isaak, Smog and American Music Club in San Francisco.

It spread like a disease and almost became a stand-alone genre. Bleak dirges were strummed everywhere. Georgia's Vic Chesnutt, confined to a wheelchair, shared with Smog the honor of having pioneered the style. West Of Rome and Drunk took southern gothic to a very personal and highly emotional level. Later his art became not only more pensive but also more austere via longer compositions and a penchant for sound that sometimes obscured the singing: Silver Lake , with a full-fledged roots-rock band; Ghetto Bells , with VanDyke Parks on accordion and Bill Frisell on guitar; North Star Deserter , with a small orchestra of post-rock soundsculptors.

The Screaming Trees' Mark Lanegan sculpted the agony of Winding Sheet , a journey through the eternal damnation of a soul that was both lyrical, existential and lugubrious. Even more rarified and metaphysical, Whiskey For The Holy Ghost ventured deeper inside in a tender and doleful register, halfway between Leonard Cohen and Nick Cave, while the atmosphere was reminiscent of David Crosby's first solo album, and occasionally claustrophobic like in Tim Buckley's psychedelic nightmares.

Lanegan's dilated mind seemed to be imploding on the fragile Scraps At Midnight In Los Angeles, Mountain Goats, John Darnielle's project, was a bizarre experiment for voice, acoustic guitar and cheap organ whose major career was devoted to concept albums such as Zopilote Machine , Sweden , and Tallahassee , mostly about disintegrating relationships, which were as lyrically ambitious as musically humble.

Smith kept delving deeper into the human psyche with Elliott Smith , that focused on heroin addiction, and Either Or , but then resorted to Brian Wilson-ian arrangements of violins, reeds and keyboards for Xo In New York, Jeff Buckley was condemned to re-live his father Tim's turbulent and brief life, but Grace boasted a denser sound, more reminiscent of Van Morrison's soul-jazz ballads.

Dinosaur Jr's bassist Mike Johnson, who had also collaborated to Mark Lanegan's masterpieces, became the most credible candidate to the title of "Leonard Cohen of the s" with the funereal ballads of Year Of Mondays and What Would You Do His main competition for that title was Nebraska's Simon Joyner, a philosopher equipped with Leonard Cohen's deep baritone and doleful vision, but also with a much grander musical ambition.

The oneiric Songs for the New Year was Cohen-ian in spirit and letter, but the trilogy recorded with Mike Krassner, beginning with Yesterday Tomorrow and In Between and continuing with the lengthy ballads of The Lousy Dance and Hotel Lives , progressively increased the complexity of his compositions, capitalizing on an impressive cast of distinguished jazz, folk and rock musicians Ken Vandermark on clarinet, Fred Lonberg-Holm on cello, Jeb Bishop on trombone, Ernst Long on flugelhorn, Will Hendricks on vibes , that augmented a rock trio Ryan Hembrey on bass, Glenn Kotche on percussions, Michael Krassner on guitar.

It was a wedding of chamber and pop settings that transported the slow, hypnotic music to a metaphysical dimension, while retaining a deeply-moving, humane dimension. Los Angeles' Duncan Sheik wrapped the chronic mood of desperation and heartbreak of Duncan Sheik into an "ambient folk-rock" style that merged lush string arrangements and the acoustic style of the troubadours. Suicidal dirges and stately odes were the soundtrack of the s. Walsh's Blue Laws , from Boston.

Ohio's Jason Molina, better known as Songs:Ohia, evolved from the cliche' of the melancholy cry of a tortured soul towards the sinister post-psychedelic depression of Ghost Tropic Neo-pop, As far as melody goes, the decade was largely marked by the gigantic shadow of Boston's Stephen Merritt. His multi-faceted career began under the moniker Magnetic Fields as a humble amateur of pop music who vented his fear and nostalgy via formally impeccable melodies and arrangements.

The formative Distant Plastic Trees and The Wayward Bus , sung by Susan Anway, and his first masterpiece, Holiday , which was also the first album sung by Merritt himself, coined a form of "introverted kitsch" that quoted the Sixties without sounding derivative and that employed electronic rhythm and instruments in a discrete manner. Despite being light like feathers, Merritt's ditties sounded like tributes to Brian Eno's early albums and to the classics of synth-pop.

Leaving behind his synth-pop roots, Merritt wed the idyllic register of a Donovan, neoclassical orchestrations and the persona of a bashful lunatic. The algebraic precision of his musical artifacts was only apparently a continuation of Brian Wilson's and Van Dyke Parks' program: Merritt shunned their symphonic opulence and favored the small, intimate format of the chamber ensemble.

Get Lost was, first and foremost, an exercise in laying out chamber instruments; but it was also his bleakest statement, and thus redeemed the indulgence with deeply felt emotions. At the same time, Merritt's mission was very much a thorough reexamination of the pop tradition, from Burt Bacharach to Phil Spector, from Tin Pan Alley to doo-wop: his ultimate sin of vanity, the colossal 69 Love Songs , was a catalog of variations on cliches of pop music.

Merritt had managed a synthesis of historical proportions but he carried it out with the humble attitude of an everyman who hardly knew anything about history. In the meantime, he had also released albums as the 6ths and the Future Bible Heroes. The 6ths albums, Wasps' Nests and Hyacinths and Thistles , were collection of sugary ditties performed by impressive casts of guest vocalists. The importance of arrangement and production had eventually taken over the importance of lyrics and melodies, and thus wrecked the whole idea of innocent, sincere, heartbreaking music.

Most tunes on later albums such as I , credited to the Magnetic Fields, The Tragic Treasury , credited to the Gothic Archies, and Distortion , credited again to the Magnetic Fields, did not serve any purpose other than Merritt's post-modernist strategies, but a few revealed that he still had a soul, the soul that in the s had conquered the indie-pop and pre-emocore generation.

Scottish transplant Chris Connelly, who had played in Chicago's industrial combos Ministry and Pigface, reinvented himself as a pensive pop crooner on albums such as Shipwreck and The Ultimate Seaside Companion , credited to the Bells. Frank Black, the new alias of former Pixies' vocalist Charles "Black Francis" Thompson, now relocated to Los Angeles, indulged in his trademark "scream of consciousness" on his solo albums Frank Black and Teenager Of The Year , still characterized by erratic structures and reckless melodies.

Mike Gira basically continued the atmospheric work of latter-period Swans. His tortured soul engaged in a form of lugubrious and apocalyptic folk, which constituted, at the same time, a form of cathartic and purgatorial ritual.

On one hand, Gira crafted the sinister and baroque layered instrumental music of Body Lovers' Number One Of Three and the subliminal musique concrete of Body Haters On the other, Angels Of Light's ethereal and supernatural folk music of How I Loved You , a concept on sex, and Everything Is Good Here Please Come Home , which explored simultaneously the personal, historical and political planes, renewed the similarities with Nico's stately, pagan, ancestral lied.

Basically, the Body Lovers was the culmination of the Swans' experiments with magniloquent production the "male" component of their sound , while Angels Of Light was the continuation of Jarboe's "female" component of the group's sound. Both the leaders of the Go-Betweens recorded solo albums, but only Grant McLennan's Horsebreaker Star lived up to their reputation. In Britain, David Gray was a sophisticated bard in the tradition of Van Morrison who scoured a broad emotional and musical territory, from the passionate confessions of A Century Ends to the vibrant power-ballads of Sell Sell Sell , from the fragile pop vignettes of White Ladder to the bleak introspection of A New Day At Midnight Disguised as Divine Comedy, Irish songwriter Neil Hannon indulged in the orchestral pop of Casanova , anchored to old-fashioned arias and classic storytelling.

Neo-folk: the men Los Angeles happened to be the next stop in the evolution of the genre. Beck Hansen turned eccentricity into stardom and changed the way singer-songwriters sounded and were perceived by the mainstream. With the carefree eclectism of Mellow Gold Beck invented folk music for the age of hip-hop and proved that stylistic confusion can appeal to the masses.

A more organic approach to the fusion of folk, blues, rap, garage-rock and pop enhanced the overall sound of Odelay The fact that his lyrics were free-form associations, and only vaguely hinting to social reality, was somehow consistent with his superficial approach to musical integration an operation that other musicians had carried out at a deeper level.

Mutations , reminiscent of Radiohead's subtle orchestrations, and Midnite Vultures , a sort of tribute to soul music, rapidly removed the sheen from one of the decade's most over-rated artists. Beck may have learned his tricks from an obscure and insane folksinger, Paleface, whose Paleface was a bizarre product of the anti-folk movement.

Eels, the project of Los Angeles-based songwriter Mark Oliver Everett, worked out a storytelling style that was both humble and sophisticated on Beautiful Freak , locating his tone and arrangements somewhere between Beck and the Flaming Lips. Electro-Shock Blues , a bleak concept album and a moving requiem for friends who died, upped the ante by adopting Tom Waits' skewed orchestral arrangements and topping Neil Young's manic depression. By exploiting the disorienting sonic events generated by keyboards, samplers and turntables, and by integrating jazz and neoclassical motifs, Everett coined a solemn, disturbing, jarring form of folk music.

By the time of the autobiographical concept Blinking Lights And Other Revelations , Everett had refined his ability to modulate a monotonous discourse into graceful, colorful, mesmerizing calligraphy. Virginia's Mark Linkous, who records under the moniker Sparklehorse, created studio miracles such as Vivadixiesubmarinetransmissionplot and It's A Wonderful Life , which coupled oddly original music with melancholy overtones, something that harked back to the Pearls Before Swine.

Soon, eccentric arrangements became as important as the words and the refrains. Ohio's Joseph Arthur wed electronica and folksinging on the eclectic Big City Secrets , but made his point more poignantly with the simpler and catchier songs of Come To Where I'm From Jack Drag, John Dragonetti's project, penned Unisex Headwave , an eclectic work that ran the gamut from blues to pop to psychedelia to hip-hop.

Wainwright progressed from vaudeville to opera with Poses Australia's Ben Lee adopted a high-tech instrumentation of computers, keyboards, samplers and drum-machines on Breathing Tornados Nebraska's Bright Eyes, the brainchild of Conor Oberst, signaled the maturity of this movement with the multiple refracting moods and sounds of Fevers And Mirrors Stone Temple Pilot's vocalist Scott Weiland 1 became the eccentric bard of 12 Bar Blues , another example of stylistic fusion and futuristic folk.

Chicago harbored two wacky satirists in the vein of David Peel. Bobby Conn displayed the wicked, twisted, frequently obnoxious wit of street performers: Bobby Conn was a wild, uncensored ride in a labyrinth of genres, and the concept album The Golden Age sounded like a parody of his generation.

At the end of the decade, Indiana's isolated Dave Fischoff virtually invented a new form of folk music, barely audible and mostly indecipherable, with Winston Park The greatest of this not so wild bunch was Freedy Johnston, a New York transplant who introduced himself as Neil Young gone cow-punk on the effervescent, edgy and eclectic Trouble Tree , but then was rapidly converted to a smoother and streamlined sound.

By the time Never Home came out, Johnston had transformed into a more superficial pop auteur. Kerosene was too obviously derivative, but Melting In The Dark let loose his passion for Sixties garage-rock, which overflew on the propulsive, noisy and emphatic My Midnight Wynn's quest for a balance of youthful punk-rock and adult roots-rock, of a music capable of roaring, sweating and bleeding, culminated with Here Come The Miracles , a survey of his emotional territory, a varied set of solemn, mournful, upbeat, tender, romantic, rough, demonic, harsh ballads and rave-ups.

Firehose's and Minutemen's bassist Mike Watt entrusted the vignettes of Ball-Hog Or Tugboat to an extraordinary cast of vocalists.

The Replacements' Paul Westerberg remained a bard of ordinary anguish, but only Suicaine Gratifaction went close to fully realizing his vision. Neo-blues, White blues singer-songwriters were obscured by the stars of lo-fi pop and neo-pop. Texas' Chris Whitley used his spectacular guitar technique to vent teenage angst on Living With The Law the way punk's anti-heroes did. Post-feminism, The ladies had their own styles plural. First of all, at the turn of the decade, an eccentric figure of lo-fi psychedelic storyteller emerged out of New York's underground lofts.

New York's multi-instrumentalist Azalia Snail devoted her career to enigmatic and arcane reconstructions of the hippie era. Snailbait featured a parade of folk-psychedelic vocal impersonations as well as erratic guitar playing with no rhythm section, and peaked with a minute collage of singing, distorted tapes, found noises and assorted turbulence, So Much More To Go.

Burnt Sienna indulged in psychedelic effects, amid distorted vocals and dissonant music, leading to the chaotic Fumarole Rising , the culmination of her program of disintegration of the pop song. The Swans' vocalist Jarboe resumed that band's apocalyptic folk on Thirteen Masks , a set of majestic odes, oneiric visions, psychodramas, fairy tales, religious psalms, and ethnic nightmares that ran the gamut from purely acoustic to subtly electronic.

While not as magical and emotional, the vocal tour de force of Sacrificial Cake upped the ante: each song "was" a different voice, and the album as a whole sounded like a grotesque conventicle of personas.

Already early in her career, Lida Husik couldn't decide whether she wanted to be a popster or a sound painter. Bozo , produced by Kramer, was a collection of ethereal and dreamy lullabies for voice, guitar, organ and beats.

Each song was programmed to sink slowly into the listener's subconscious, like a magic potion. Your Bag , on the other hand, was devoted to experimental compositions based on collage techniques.

Both albums were drenched into hallucinogens. As she emerged from the haze of drugs, Husik turned to the political stance of The Return Of Red Emma , which sounded like a theater piece set to a vast catalog of possible musics. Leaving behind the hallucinated nightmares of her acid-induced early years, Husik regressed to the childish folk tunes of Joyride and Fly Stereophonic , which were also her most touching works particularly the former , while, at the same time, venturing into electronica with the astral lounge music of Green Blue Fire , a collaboration with ambient specialist Beaumont Hannant, and with the trance-collages of Mad Flavor , which were, first and foremost, aural experiences.

At the same time, the ladies particularly in New York and Los Angeles continued the noble and intellectual self-searching saga inaugurated by Joni Mitchell. A similar ensemble wove the delicate tapestry of Robin Holcomb for her simple, sweet melodies, sung in a register which evoked Nico's glacial and melancholy lament.

With these brainy nursery rhymes she achieved a unique fusion of classical, jazz and folk music. Further removed from her jazz roots, Rockabye was a collection of sophisticated songs delivered by an aristocratic chanteuse.

One of the most moving voices of the decade was a humble violinist from Indiana: Lisa Germano. Her albums were comparable to the harrowing ending of a thriller. Rather than songs, the carefully assembled elements of On The Way Down From Moon Palace were humble concertos that straddled the line between country, classical and new-age music. Her mournful melodies were reminiscent of Pachelbel's Canon and Albinoni's Adagio while the instrumental setting was a lesson in psychology.

Happiness "universalized" her grief, but also climbed one tier down into her personal hell, past, present and future merged in her feeble and confused stream of consciousness. Geek The Girl was both a self-portrait and an allegoric concept. It was both an epic diary of insecurity and a Dantesque journey into the psyche of a girl. It was her most atmospheric work, but also her most personal. In telling the story of her story, and making it the story of all women's stories, she performed the miracle of a kind of simplicity bordering on madness.

The majestic dejection of the episodes worked like the exhausting grief of a lengthy funeral. In the process, Germano reenacted Nico's most lugubrious nightmares as well as Leonard Cohen's saddest fables. Her songs had become pure existential shivers. Excerpts From A Love Circus saw the light at the end of the tunnel, although the scene was still unfocused.

Leaving behind the claustrophobic excesses of the previous albums, Germano entered a less creepy landscape. Rather than soliloquies, these songs sounded like dialogues between her touching voice and her ghostly violin. But the romantic interlude ended with the maniacal intensity of Slide , back to the inner wasteland that ever more eccentric arrangements likened to Alice's Wonderland.

Its ballads were simple but profound, personal but universal, melodic but discordant, thus achieving a synthesis of emotional states, not only of musical styles. The violence of hyper-realism seemed to prevail over the fairy-tale magic of introversion on Under The Pink , a work derailed by syncopated rhythms, dissonant lashes, gospel organs, hysterical fits, orchestral flourishes and moody vocals.

Leveraging the experiments of that album, the harpsichord-obsessed Boys For Pele sounded like a work of uncontrolled musical genius: it indulged in timbric juxtaposition, but mostly for its own sake. Backed by a rock'n'roll band and enhanced by electronic arrangements, Amos eventually chose a simpler career, starting with the much more accessible and trivial From The Choirgirl Hotel Juliana Hatfield, the Blake Babies' bassist and vocalist, continued to offer a moderate view of youth's troubles.

Hey Babe was a masterpiece of whim and contrarian morals, penned by girlish voice, modest melodies, and graceful guitar rock. The self-pitying and self-loathing themes that recurred throughout the album painted a charming and anthemic biography of a teenager growing up. That existential implosion began to show a muscular side on Become What You Are , whose sound ranged from folk-rock to hard-rock, and Hatfield definitely lost her musical virginity with Only Everything , which submerged her artful whining with loud and furious riffs.

The pop-soul divas continued to rule the best-sellers' charts, notably Mariah Carey, one of the most successful artists of all times. The soul-jazz tradition was updated to the new sound technology by the likes of Alana Davis, Poe, and most notably Sophie Hawkins. Neo-folk: the women The s saw an explosion of female singer-songwriters, partly as a consequence of the riot-grrrls movement and partly as a sign of a changing psychological landscape. Kristin Hersh carried out a solo parallel career to her band Throwing Muses with the acoustic collections Hips And Makers , a tender and shy self-tribute via a stream of consciousness that reached the depths of her soul, and Strange Angels , two albums of a music that was as cold as ice, as ascetic as a nun's rosary.

Sky Motel , on the other hand, sounded like a Throwing Muses reunion, and broke the spell. With the mostly-acoustic and autobiographical Pieces Of You , San Diego-via-Alaska's Jewel Kilcher manufactured a pseudo-hippie persona akin to Joni Mitchell and her proud soprano.

The 10, Maniacs' chanteuse Natalie Merchant conceived the fragile, tender, sensual melodies set to sophisticated folk-jazz arrangements of Tigerlily Danielle Howle's powerful and disorienting vocals increased the appeal of her deep thoughts on About To Burst Patty Griffin inherited the mantle of Lucinda Williams on Living With Ghosts , for voice and guitar, until Children Running Through fulfilled the promises of her grating country-pop-gospel fusion.

The latter formulated an art that took the shy pessimism of auteurs such as Nick Drake and Laura Nyro to a new dimension of introspection. Its sketchy vignettes and self-analyses coined a subtle and almost embarrassing format, that turned the listener into a voyeur peeping through the keyhole. Marshall was, at the same time, the cameraman and the actress: she played the role of a tormented heroine while she was filming herself playing that role.

Her songs were as much acting as they were singing. Marshall's cinematic genius peaked with the song cycle of Moon Pix , enhanced with the ambient, free-form arrangements of Dirty Three's Jim White and Mick Turner. The emotional intensity packed by her half whisper in the gloomy lieder of You Are Free bordered on the suicidal.

Another New Yorker, Fiona Apple, conveyed the anguish of her generation she was still a teenager on the piano-driven Tidal , boasting a cabaret-like blend of blues, soul and jazz, and When The Pawn Hits The Conflicts , enhanced by Jon Brion's idiosyncratic arrangements that mixed the old-fashioned and the futuristic.

San Francisco-based Hannah Marcus penned some of the most otherworldly atmospheres, reminiscent of Laura Nyro's ominous elegies, Nico's glacial soliloquy, Tim Buckley's folk-jazz fusion, Lisa Germano's painfully childish introspection, Jane Siberry's abstract self-reflections, as well as of Patti Smith's delirious stream of consciousness, especially on her second and fourth albums, Faith Burns and Desert Farmers

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