Music » Trip-Hop Music

Ever since Bj?rk's vital, effusive 1993 debut, her music has been increasingly intimate, gently private, and concerned with seclusion. It's typical then that Vespertine's first single is called "Hidden Place." The studious solitude is rewarding, though. Vespertine is a lush, gorgeous swell of midpace electronica, symphonic strings, and Bj?rk's uniquely alien, spectral vocals. There are fantastical wonders here. "Cocoon" (another eulogy to withdrawal from the world) is delicate as a breath, Bj?rk sounding too fragile to be flesh as she lauds "a beauty this immense." "Pagan Poetry" and "Aurora," likewise, are adrift in an enchanted reverie. When she chooses, she crafts killer tunes; "It's Not up to You" is as lovely as anything on Post. Yet, frequently, on such tracks as the yearning, glancing "Undo," Bj?rk seems to be simply thinking aloud, reveling in this wildly rich and visceral music. She's reclaimed cutting-edge electronica, so often the province of geeks and technicians, for the poets and the passionate. Vespertine is a landmark, a revelation, and a truly fabulous achievement. --Ian Gittins

The collaboration of studio whiz Geoff Barrow and singer Beth Gibbons, Dummy was made at the same time as a short film noir called "To Kill a Dead Man," and the same approach--gloomy, tormented, and wildly melodramatic--permeates the album. "Sour Times" (the hit in which Gibbons cries, again and again, "Nobody loves me, it's true") and the more cryptic "Glory Box" are the linchpins of the album, defining its sound: dark flashes of old soul and film music, dehumanized electronic bleeps, Gibbons emoting like she's consumed by shame, and a bass-and-beat pulse derived from the slow bump and grind of the Bristol scene that spawned Barrow's old collaborators, Massive Attack. --Douglas Wolk

With dark shades of dub and songs that stretch with patient grace, 100th Window finds trip-hop legends Massive Attack seeping through your speakers with the same eerie intensity they mined on 1998's revelatory Mezzanine. The burden of high expectations has been a constant for this band since they released the classic Blue Lines in 1991. Under pressure to produce yet another record that changes the playing field of dance music, the collective has turned in a brooding, orchestral work that profits greatly from collaboration. The breathy, distinctive voice of Sinead O'Connor elevates a song like "What Your Soul Sings" into a deeply affecting, candlelit nocturne, while Horace Andy's stylized vocal washes through the string-laden "Name Taken." O'Connor also shines on "A Prayer for England," a remake of "Safe from Harm" off Lines, as her barely contained emotions artfully collide with Window's stark, distorted production. It may not turn the world upside down again, but Massive Attack retains the power to keep you transfixed and blissfully off-balance. --Matthew Cooke

2003 album follows their debut Felt Mountain, Black Cherry is a Moroder meets Morricone affair, sexually explicit with a dancefloor electro flavor. 10 tracks. Mute.

1999 reissue of this 1997 collection of early singles now features two previously unreleased bonus tracks ('Californie' and 'Brakes On') for a total of seven cuts.

Japanese edition of the alterna-pop singer/songwriter's beguiling and charmingly eccentric 2000 album debut. Includes the infectious first single 'I'm Like a Bird' and two bonus tracks, 'Onde Estas' and 'Party' (Choroni Mix). Standard jewel case.

English version featuring different cover art.

Release Date: 1996-05-21, Audio CD, Atlantic / Wea

Bristol's Massive Attack released a classic with their first album, Blue Lines, but only those who were paying careful attention noticed; soon, they were overshadowed by the likes of Tricky and Portishead, who were colleagues. But not so after the release of Protection, which sported a massive hit and was just as critically acclaimed as their first album. (The hit was the title track, for which Everything but the Girl's Tracy Thorn lent her divine pipes--a move that made the act's name, and also presaged EBTG's move to the dance floor.) Eschewing the showmanship of their scene mates, Massive prefer subtler soundscapes and using a diverse range of vocalists (including Horace Andy, Nicolette, and Tricky) who give them a number of flavors and moods with which to work. Protection is an understated album with a rich palette; it reveals more of itself on repeated listens, growing better--and deeper--each time. --Randy Silver

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.