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Through their rise in the ’90s – via the tailend of Manchester’s Hacienda heydey, hyped-up club nights in central London, and changing the game with big beat – Ed Simons and Tom Rowlands surely never envisaged making a record as universally popular as ‘Surrender’. 1997 LP ‘Dig Your Own Hole’ helped pave the way, melting psychedelia and rousing rock ‘n roll with fist-pumping dance, but its follow-up took things to a new level.
The majority of ‘Surrender’’s tracks still stand tall as landmark moments in the duo’s career. Lead single ‘Hey Boy Hey Girl’ has few peers when it comes to making tens of thousands of muddy festival-goers lose their minds. Noel Gallagher’s impassioned vocal on ‘Let Forever Be’ remains a delight, combining old school psych with modern electronica, and standing up alongside fellow guest contributors Bernard Sumner, Hope Sandoval, and Jonathan Donohue. It’s a record of serious depth and dynamism; the likes of which could only be coined by an act who truly earned their stripes via the underground. But it also has the undeniable ambition of a band who want to conquer the world, and it has helped inform every move The Chemical Brothers have made since.
What followed is one of the most uplifting, life-affirming psychedelic albums of all time, a record that paved the way for MGMT, Tame Impala and a new age of free-spirited pop, not to mention the licence it gave Coyne to bounce on festival crowds in a giant zorb. Rather than the band sacrificing their experimental side, ‘The Soft Bulletin’ is defined by it, but it filters wild, frenzied ideas into a coherent end product, its overall message being that life is precious, fleeting and worth grabbing with two hands.
Three years prior to her ubiquitous chart hit ‘Milkshake’, it was 1999 debut album ‘Kaleidoscope’ that introduced Kelis as one of the most exciting voices in turn-of-the-millennium R&B. Who
Ahead of ‘Ágætis byrjun’’s release, the otherwise modest Sigur Rós posted a statement on their website, declaring: “We do not intend to become superstars or millionaires. We are simply gonna change music forever, and the way people think about music.” At the time, they had a small following in home country Iceland. Previous album (1997 debut) ‘Von’ had sold 300 copies. But despite the tongue-in-cheek gravitas of that statement, the band knew they were onto something. An initial 1998 release was pushed back a year, as they perfected the giant, cascading, otherworldly sounds that make up this remarkable album.
At a time when Britpop wasn’t so much falling out of fashion as limping to the finish line, Suede had one last masterstroke before their brief dissolution in the ‘00s’. ‘Head Music’ was a quiet evolution, a groove-filled step forward with a dark backstory. It also found the kind of commercial success Suede were firmly used to (here’s a time warp memory: Virgin Megastores changed names of its branches to ‘Head Music’, just to mark the release of this record). It remains their third and final (to-date) album to top the UK charts.
But by this point in their career, keyboardist / guitarist Neil Codling was suffering chronic fatigue syndrome (he would later leave the band, before the recording of 2002’s ‘A New Morning’), and frontman Brett Anderson was in the midst of a struggle with addiction. It was only upon ‘Head Music’’s 2011 re-release that he decided to include the songs ‘Heroin’ and ‘Crackhead’ in an extended tracklist – indication that he had demons he didn’t want to share back in 1999. And yet this album also served as a blueprint for the Suede we know today; a band still intent on honing their craft when they could simply sit still and enter autopilot mode.
A crisp, beat-driven strand of hip-hop came to dominate the ‘00s and infiltrate pop, and much of that stemmed from the dream team duo of Missy Elliott and Timbaland. ‘Da Real World’ was Missy’s second collaboration with the soon-to-be-essential producer. Together – Missy’s razor-sharp wordplay set against Timbaland’s ingenious samples and flickering hi-hats – they were a formidable pairing.
Indeed, Death in Vegas’ frontman Richard Fearless told The Irish Times in 2000 that they had barely considered anyone else for those guest spots: “We just hoped they would say yes and didn’t think any further ahead than that.” Thankfully, the invites were promptly snapped up, and we were left with a watertight, expert curation of a nine-track album that frankly couldn’t sound different if recorded again from scratch in 2019 – it was just meant to be.
