Dr. Dre "2001" (1999)

Wising up to the dangers of working with Suge Knight, Dr. Dre left Death Row Records to set up his own label, Aftermath. It took seven years for Dre's anticipated second release to come to light and the timing couldn't of been better. With Eminem's mainstream debut dropping earlier in the year its success put Dre's name in the limelight for "finding" Eminem and gave the record a massive momentum with blinding singles like "Still D.R.E." & "Forgot About Dre", an unforgettable collaboration with Eminem that the two spitting some of their slickest verses with Dre explaining where he'd been while blasting his doubters who thought he couldn't make a "comeback". When Eminem steps up to the mic he gives one of his most vivid raps that continual grew with intensity as he violently describes the two causing havoc and dropping the "Hoping out with two broken legs, trying to walk it off" line. The timing of the record couldn't of been much better and it delivered some of Hip Hops most successful music, but beyond the shiny surface of the singles, this album has a touch of quality on its own level, inspired by a drive to prove wrong to his doubters Dre gave us his best record.

Staying ahead of the game, Dre and co-producer Mel-Man took the clean, instrument oriented direction of the bling era to a new plateau, mixing the slickest, cleanest and tightly polished sound of the time with timeless hooks and flawless songwriting that gave every song a hook and catchy instruments that would stick in the mind for years. Track after track Dre carefully orchestrates a genius balance of instruments that play of each others space, dropping in subtleties behind the leads and narrating themes through short distinctive melodies and grooving beats. Looking into the source materials you can see a large portion of this record comes from the production team alone, and where there source material is used it sometimes barely resembles the original with the tunes and melodies being reinvented on lush, charismatic instruments.

The overall mood and tone of the record is sleek, dark, smooth and grooving. Proving himself time and time again, the main theme follows Dre through the recent years as he reminds wheres hes been and stating that hes still got it through dynamite tracks and raps. As a lyricist he finds his best form here, taking a stronger presence than on "The Chronic" while showering us in classic lines and solid verses that hold up so well over time. Once again there's an array of guests supporting Dre including Snoop Doggy Dogg who appears on two of the albums best tracks, but doesn't have quite the same charm as he did last time, Eminem, Xzibit, Kurupt and Nate Dogg all bringing their best to the record.

Despite having similar blueprints to other Hip Hop records of the era, 2001 is loaded with a substance and style that's executed to perfection. Its a stronger and congruent record that knows itself s better than The Chronic did. There is even an instrumentals version available that sounds great when you're in the mood for just the beats and they hold up on their own. The record wraps up with "The Message", a moving number produced by Lord Finesse, the only one not by Dre and Mel-Man and has the classic Finesse bell ringing quietly in the background. Its a humbling tribute song to end the record on and takes it over the hour mark without a moment of filler. A genius record that solidified Dre's status in Hip Hop forever.

Favorite Tracks: The Watcher, Still D.R.E., Xxplosive, Whats The Difference, Light Speed, Forgot About Dre, Lets Get High, Muder Ink, Ed-Ucation, Ackrite, Bang Bang

Rating: 9/10

Dødheimsgard "666 International" (1999)

Today I felt like talking about a record I've been revisiting recently. Must of been around 10 years ago I found this unique little album that fuses the styling of Black Metal with a noisy Industrial sound. The result is distant from its obvious influences and from start to end provides a dizzying, abrasive listen that visits many musical contexts, but also delivers some memorable tunes. The album opens with a bang, a descending, clean piano clashes with a blitz blast beat and brimming guitar distortion that pass into a weary, bleak landscape as Aldrahn introduces himself with clean, poetic vocals that build the mood. Quickly the direction changes as the vocals become demonic and guttural, the intensity builds from the guitars and drums, and the tone for this album is set.

From this point onwards Dodheimsgard, translated "Home Of Death", move through many artistic, avant-guard musical passages that are as enjoyable as they are intriguing and bizarre. There are dizzying, nauseous blast beats and rhythmic groves mixed with abstract sounds and instrumentation that even find room for screeching noise abuse at the end of "Final Conquest". Anything goes, it may seem, but despite how abstract the styles and influences explored in this album are, Dodheimsgard hold it together in memorable fashion. And of course this dizzying listen is parted by piano interludes that provide a needed contrast.

The production is not the cleanest, but its flaws are strengths in this noisy record filled with absurdities, there was little that could go wrong. With such a wide range of sounds, drum kits and even guitar distortions its impressive to think there are no moment in this record where anything feels underwhelming or overlooked. As a whole it feels thorough and ready to fit its purpose, which is musical exploration at its extremes.

Favorite Tracks: Shivra-Interface, Ion Storm, Final Conquest, Sonar Bliss

Rating: 7/10

Limp Bizkit "Significant Other" (1999)

 

Limp Bizkit could well be described as the champions of the controversial Nu Metal / Rap Metal era of the late 90s/00s. At a time when MTV was still pushing alternative music Bizkit exploded into the mainstream with this, their sophomore album, topping the billboard charts on the back of hit single "Nookie". Bizkit's monumental success was fraught with controversy (Woodstock 99) and not long lived with line up changes hurting their forth effort in 03. Despite selling 40 million records worldwide they have been a love / hate band with front man Fred Durst a controversial figure often at the center of attention. I picked up this album around Christmas of 99. I was torn between Fatboy Slim's "Living Through Chemistry" and SO, which could of been a bitter disappointment, but luckily I made the right choice. Teenage angst is often cited in a negative light as a big part of Nu Metal's success, but 15 years later I still enjoy this record and appreciate what it did for me back then. At an emotionally torrid time while first discovering the world of music, deep bonds are made, I'm thankful that I've held onto them.

On SO Bizkit find their purpose and identity, evolving from the aggressive, bouncy Nu Metal outfit into a group with an immediately identifiable sound. Borland's guitar work is on a new level, pumping out phat, grooving riff after riff that gels with Otto's slamming drumming, which has a rhythmic Hip Hop quality. Rivers is always there as the glue holding the songs together and occasionally taking the lead (Re-Arranged). DJ  Lethal (once of House Of Pain) adds an extra dynamic to their sound with not just scratching, but choice samples that play well into the songs. Borland's riffage on tracks like Break Stuff is unforgettable and a huge part of what makes them so, but Durst is probably the most important part of their success.

Durst's style and attitude made him a figure of attention, his pursuit of celebrity status may have contributed to their success but it also made him a love/hate character in the eyes of many. His lyrical style is easy to attack, Durst is not the greatest of rappers and far from it, however what he brings to the table is the hook. Durst has an uncanny ability to write catchy, memorable lyrics that despite at times being cheesy and goofy, are universally relate-able. Everyones had one of those days, and "Everything is fucked, Everybody sucks" may not be deep, or poetic, but its relate-able, and thats his charm. He can also sing, has a fantastic scream too, and is the special ingredient along with Borland's riffs that gave Bizkit an explosive, original Nu Metal sound that captivated a generation for what now seems like a brief moment. Significant Other is the album that made it happen and I will forever treasure it as an important record that helped opened the door to a world of music for me.

Favorite Tracks: 9 Teen 90 Nine, Trust?, Nookie, Break Stuff, Re-Aranged, Nobody Like You

Rating: 8/10

The Art Of Noise "The Seduction Of Claude Debussy" (1999)

Being a Debussy fan its no surprise this album grabbed my attention. Having recently discovered this band through a dear friend showing me their classic "Moments In Love" song, I researched them and this being their last album, would be my first. Information available on this record quickly sucked me in, promising such a varied range of music genres and vocals from Rakim and John Hurt. I felt I had stumbled upon something great, and I had. As the album opened with "Il Pleure", a piece that gracefully sets the tone, It was sealed for me. After many spins later I can say may initial anticipation was not let down. This album is a stunning work of art.

This record is comprised of many musical styling that fuse effortless in such artistic form that you may wonder how these styles have not met before. The Classical sound here is the main focus, with a strong rhythmic presence of Jungle / Breakbeat that interchanges as the main focus in different moments throughout. Sally Bradshaw brings her Operatic voice into the frame, just another part of what makes this record so great. Her vocals take lead on "On Being Blue", her voice here and throughout is just sublime. Theres also a strong but generalized electronic presence here with all sort of synth & styles just further adding to the depth this album has.

To top if all off the album is wonderfully narrated by John Hurt, a voice many of us know well, who brings the theme of this record in place. Theres also room for legendary rapper Rakim in this album. I felt his appearance a little underwhelming, although his classic calm and collected flow was there, lyrically it fell a bit short for his standards, but then again this isn't a rap album and he fits in here just fine. All in all this is a stunning album, one I'm sure over time will be a classic in my books.

Favorite Tracks: Dreaming In Color, On Being Blue, Metaforce, The Holy Egoism Of Genius

Rating: 9/10

Dimmu Borgir "Spiritual Black Dimensions" (1999)

For my first post it would be only fitting to start with my favorite record, When i was a teen i was into the nu-metal and hip hop that MTV & VH1 were pushing at the time, but curiosity got hold of me when a friend in an online community pushed me in the direction of extreme metal, Dimmu Borgir, Meshuggah & Emperor for example were some of the bands i started taking an interest in. I was completely taken back by the extremity of force and aggression used in this music, it was unlike anything i was used to and it didn't take me long to become fascinated with it. This record was my 2nd or 3rd Borgir record i ordered from nuclear blast over the internet, and having only heard the opening track before i was quite shocked by the wall of sound that bombarded my ears at first listen, it took me a few more to adjust and behind that symphonic wall of sound was a musical masterpiece that, by my speculation, goes unnoticed even within the bands own fan base.

This album is 9 tracks of dark and blissful, majestic musical compositions that inspire awe and wonder every time i listen to it. The themes and sounds explored in this record are other worldly, and resonate a vibe of a place lost between life and death, it goes to a place no other record does. The music is directed by some powerful and deep lyrical content that really melds with the music. The overall sound of this album is crisp and warm with that "wall of sound" feel. The guitars are solid and packed with fantastic riffage, Astennu's lead guitar work on this record ads a haunting and chaotic flair, something i miss in later Dimmu records. To accompany all thats good I've said so far, the piano and synth work on this record is sublime and is the backbone of what makes this such a special listening experience, there are countless "moments" in this record of which Mustis's elegant key work is usually the highlight. The song structure across this album is mixed, and it feels like the band know exactly what there doing when they chose to progress or stick to simpler structures. Overall there is plenty on offer on all fronts here.

I doubt anyone reading this will enjoy this record as much as i have, but i assure you there is something very magical happening within those waves of sound bombarding your ears... let me leave you with a quote from my favorite song on this album, and of all time :-)

"Oh, dreadful angel of mine

Enrich me with the vastness of your being

Rigid father, teach me how to comprehend

I'll commit myself to understand

 For i am the accomplice"

Favorite Songs: All

Rating 10/10