Wonderfully woven together. Ridiculous patchwork of samples, sounds, an extremely specific moods. The whole thing just feels like a low-lit back room full of weed smoke.

I love how you can clearly hear the echoes of Tricky’s sonic world in British artists nowadays: everything from FKA Twigs to Forest Swords to Burial to The XX.

5 Likes

Pre-Millenium Tension sounds even more dark and claustrophobic than Maxinquaye…both great albums though.

2 Likes

I’m thinking a 9 but going to have a listen later as it’s been a while.

I always meant to get round to this album and never did, I remember my parents having it at the time and everything, maybe this week :wink:

1 Like

Yep the dark and claustrophobic was exactly what drew me into Pre Millennium Tension. Heard Bad Dreams and thought the beat reminded me of something Martin Rev would make. Big fan of Tricky’s vocal style on that record too.

Get off our lawn! (shakes fist)

4 Likes

The zenith of trip-hop*. 10 all day. PMT nearly equals it. Black Steel possibly one of the all time greatest covers to the extent Tricky and Martina basically own it now, as such I voted for it as my top track.

*Ok so Dummy and Mezzanine have a fair shot at that title too but this isn’t their thread, so fuck 'em.

4 Likes

One of those records I always meant to listen to, but never really did. (Or if I did, it was a cursory dip of toe rather than proper listen).

Had a go earlier and it seems pretty good. One where the overall tony of the album really shines through, even if none of the songs individually particularly jumped out. Only one I can remember is the one with the same sample as Glory Box. Not sure who got their first, but Portishead is better. Going to keep going and see how it fares across the week.

Some good selections for next week too. Gone for Psychocandy as that’s one that never quite clicked, but I’ve not quite given up hope with. Would be quite happy with any of the others (except maybe White Stripes)

1 Like

I always enjoyed mark fisher’s description of PMT as being about class resentment. don’t really get that vibe from maxineque.

think tricky’s autobiography is totally worth the read, especially the earlier bits.

I’ve always really like the dodgy line ā€˜fucked you in the arse just for a laugh’

1 Like

Love how in the autobiography

He talks about a house he bought in New Jersey and he has no recollection of where it was, what happened to it, how it was sold, or where the money went.

I think my favourite bits are the chartering private jets and then not bothering to get on them, and the stuff about buying an AK in LA. I can’t get over how much cash someone as marginal as Tricky was able to make off a couple of great albums.

I can’t say I have spent a lot of time with it but it is sonically very special, and a world apart from anything that came before or after, really. It’s a real shame he seems to have fallen off since the 2000s, he doesn’t really get his due imo.

The book sounds great, I may put it on the list

Perhaps there was just a lot less in the way of music actually available to punters back then (so it was harder to stand out), hence Maxinquaye (which would have been in the top 10, possibly top 5 albums in that year’s end of year lists) would have been big news.

He’s been fairly prolific since then, even if the quality control has been up and down. He teamed up with some big names on Nearly God during his peak phase. He was part of Massive Attack as well (also, well, Massive) and he was briefly in one or two big films (The Fifth Element). I don’t think he was a niche artist.

1 Like

I’m very much in my 30s :rofl:

1 Like

yeah not so much niche back in the day, obviously got a lot of coverage and sold a lot. i’m just still amazed from that book how rich he seemed to be. genuinely didn’t know that you could be ā€˜charter a private jet’ level rich off a few big albums. its not like he was as big as oasis, like my mum knows all his songs and he’s on the radio, that scale of thing.

I’m pretty much fascinated by Tricky. The first two albums and Nearly God are so incredible and then it the music’s just all bad for twenty years afterwards.

Got that massive attack money too at the start didn’t he?

Here’s k punk on tricky, which has always shaped how I think about him

http://k-punk.abstractdynamics.org/archives/009421.html

"Last year, I quoted Jameson’s important observations on class and the experience of inferiority. I make no apologies for repeating the passage: ā€˜[C]lass consciousness,’ he wrote, ā€˜turns first and foremost around the question of subalternity, that is around the experience of inferiority. This means that the ā€œlower classesā€ carry around within their heads unconscious convictions as to the superiority of hegemonic or ruling-class expressions or values, which they equally transgress and repudiate in ritualistic (and socially and politically ineffective) ways.’ Unless resentment is confronted, any affirmation is in danger of becoming an unconscious affirmation of one’s subordinated, inferior position. Affirmation will precisely end up a ā€˜socially and politically ineffective’ ritualistic transgression, an acting out, that leaves the class structure intact. The will to become more (ā€˜I am nothing and should be everything’) turns into a defence of what one already is. My defences/ become fences…

Unacknowledged resentment remains the dominant libidinal motor here: cf what Bat, in Owen’s comments boxes calls ā€˜the furiously oscillating couple of playa/hater in hip-hop culture’. Indeed - nothing demonstrates this phenomenon better than hip hop: capitalist realism as social lottery and cartoon spectacle, with the lonely playas in their penthouses engaging in a kind of resentment of resentment. ā€˜Why can’t they let us enjoy our wealth in peace?’

It’s fitting that Owen should invoke Tricky here. Pre-Millennium Tension fits into a long tradition of working class disillusion with the trappings of pop success. The lines from ā€˜Christiansands’ that Owen cites - ā€˜I’ll master your language’ (followed by: ā€˜and in the meantime I’ll create my own’) - would resonate with anyone projected out of the subordinate class or anyone who wishes to escape such subordination. ā€˜Tricky Kid’ recounts what happens when Tricky achieves his goal; it is at one and the same time his version of playa bragging (ā€˜I live the life they wish they did… Now they call me superstar’) and a registering of disgust at what he witnesses at the summit (ā€˜coke in ya nose’). Disgust at ruling class revelry doubling into self-disgust, both slipping into religous mania - class dislocation has never sounded so psychotic. Sadly, Tricky could not himself resolve the contradictions that his success produced - how could he? How could any individual?"

1 Like

Not a fan of anything really after PMT, but it wasn’t all bad. Broken Homes could have slotted into Nearly God. Both For Real and Contradictive from Juxtapose are decent. Evolution Revolution Love from Blowback was good. I’m pretty sure he still has a knack for a humalong tune, he just struggles to hold it together over an album…

2 Likes