In 1999, Japanese electronic composer Ryuichi Sakamoto decided to address the coming new millennium with an album that hearkened back to Classical sounds of the early 20th Century, resulting in one of his most sublime albums to date.
At the end of 1999, Prince reemerged, signed to a new record label with his first new album of newly recorded, non-archival material. This three-disc set compiles the original record, a rare fan-club only release, and a DVD of his New Year’s Eve 1999 pay-per-view concert. Though more a stutter-step than the intended comeback, it proved that The Artist was still Prince.
This stripped-down, slightly psychedelic record was a collaboration between members of Seaweed and Screaming Trees.
This EP, initially released in 1999 in super-limited numbers in Japan, served as a rare balm for Modest Mouse fans worried that their signing to Epic Records would change them, offering early versions of songs from their 2000 major label debut, The Moon & Antarctica.
California-based dreampop band Trespassers William would make a handful of gorgeously hazy and well-received records. Anchor, their debut album, sees its first major reissue since its 1999 release, and is a more stripped down and minimal affair.
The final (as of now) two albums by Everything But The Girl find them diving deep into electronica and dance music–and then getting lost in it, as vocalist Tracey Thorn steps out of the spotlight.
Get hypnotized by this intoxicating Philip Glass composition for two flutes.
The recent deluxe reissue of Nikki Sudden’s 1999 collaboration with The Chamber Strings serves as a cautionary tale about the mixing process.
A dreamy b-side still evokes powerful memories to yours truly.
Post-Radiohead stadium anthemic Britpop for the perpetually depressed, moody, teenaged, and misunderstood, appealing to turtleneck-wearing clove-smokers and football goons alike!