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Random Selection From My Collection: Georgia On My Mind

If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.



If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


While I stubbornly chose to ignore all forms of electronica prior to, cialis usa decease uhm, discount actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.) I’ve used several songs from these albums on many mixes over the years (starting with cassettes, then MiniDiscs/DATs, then blank CDs, then iTunes Playlists – yes, I’m that old.)

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable, but what a voice it is – soulful, haunting and vulnerable with echoes of Dusty Springfield.

Orton’s next album is scheduled for end of 2009.

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


While I stubbornly chose to ignore all forms of electronica prior to, cialis usa decease uhm, discount actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.) I’ve used several songs from these albums on many mixes over the years (starting with cassettes, then MiniDiscs/DATs, then blank CDs, then iTunes Playlists – yes, I’m that old.)

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable, but what a voice it is – soulful, haunting and vulnerable with echoes of Dusty Springfield.

Orton’s next album is scheduled for end of 2009.

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


While I stubbornly chose to ignore all forms of electronica prior to, sildenafil order uhm, sildenafil viagra actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


While I stubbornly chose to ignore all forms of electronica prior to, cialis usa decease uhm, discount actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.) I’ve used several songs from these albums on many mixes over the years (starting with cassettes, then MiniDiscs/DATs, then blank CDs, then iTunes Playlists – yes, I’m that old.)

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable, but what a voice it is – soulful, haunting and vulnerable with echoes of Dusty Springfield.

Orton’s next album is scheduled for end of 2009.

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


While I stubbornly chose to ignore all forms of electronica prior to, sildenafil order uhm, sildenafil viagra actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, generic viagra unhealthy trip hop or techno, cialis generic then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


While I stubbornly chose to ignore all forms of electronica prior to, cialis usa decease uhm, discount actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.) I’ve used several songs from these albums on many mixes over the years (starting with cassettes, then MiniDiscs/DATs, then blank CDs, then iTunes Playlists – yes, I’m that old.)

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable, but what a voice it is – soulful, haunting and vulnerable with echoes of Dusty Springfield.

Orton’s next album is scheduled for end of 2009.

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


While I stubbornly chose to ignore all forms of electronica prior to, sildenafil order uhm, sildenafil viagra actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, generic viagra unhealthy trip hop or techno, cialis generic then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, generic viagra drugstore trip hop or techno, viagra buy then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, discount viagra medical trip hop or techno, viagra buy case then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, levitra well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, buy viagra drugstore trip hop or techno, buy cialis then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra usa levitra trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra sale ailment trip hop or techno, viagra canada for sale then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of
had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, cialis sales cialis sale trip hop or techno, then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) fused elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and more fully realized in Comfort of Stranger, her song-stylings became conventional alt-folk (if such a thing exists) and pop, and far less electronica.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, viagra buy check trip hop or techno, order
then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

Destiny, Zero 7.
La Femme D’Argent, Air.


While I stubbornly chose to ignore all forms of electronica prior to, cialis usa decease uhm, discount actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.) I’ve used several songs from these albums on many mixes over the years (starting with cassettes, then MiniDiscs/DATs, then blank CDs, then iTunes Playlists – yes, I’m that old.)

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable, but what a voice it is – soulful, haunting and vulnerable with echoes of Dusty Springfield.

Orton’s next album is scheduled for end of 2009.

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


While I stubbornly chose to ignore all forms of electronica prior to, sildenafil order uhm, sildenafil viagra actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, generic viagra unhealthy trip hop or techno, cialis generic then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

While I stubbornly chose to ignore all forms of electronica prior to, uhm, actually listening to it (I know, aghast!), I was nonetheless aware of its mainstream acts in the 90s, including The Chemical Brothers, Massive Attack, The Prodigy, The Crystal Method and Fatboy Slim. (Much to my eventual dismay, I discovered Massive Attack’s Mezzanine far too late in life.) But what really caught my attention during this period was the voice of Beth Orton, who was an occasional guest singer for The Chemical Brothers early in their career.

Many acts based in electronica (indiscriminately) combined elements of pop, dance, funk, acid jazz, soul and even krautrock, but Beth Orton was the first to successfully blend it with folk. Her first two full-length albums (Trailer Park in 1996 and Central Reservation in 1999) were a perfect fusion of lilting acoustic instrumentation and delicate (sometimes disquieting) digital soundscaping that defied conventional classification. (Technically, SuperPinkyMandy was her debut album, but it had an extremely limited released only in Japan.)

had a number of songs I frequently used in mix tapes –> MiniDiscs/DATs –> Blank CDs –> iTunes playlists – yes, I’m that old.

Orton released two more albums, Daybreaker in 2002 and Comfort of Stranger in 2006, but I didn’t quite connect to them as much as the first two. Starting with Daybreaker and fully realized in Comfort of Stranger, her song-stylings became more alt-folk and pop, and far less electronica. If it weren’t for her voice, there really wouldn’t be anything particularly remarkable. Orton’s next album is scheduled for end of 2009.

soulful, haunting, vulnerable voice; traces of dusty springfield

Destiny, Zero 7.
La Femme D’Argent, Air.
She Cries Your Name, Beth Orton.
Don’t Need A Reason, Beth Orton.
Sweetest Decline, Beth Orton.
Central Reservation, Beth Orton.


If you are anything like me prior to 2001 when I harbored absolute disdain for anything related to electronic pop, generic viagra drugstore trip hop or techno, viagra buy then put down your tattered copy of the final edition of No Depression and give electropop a chance. I’ll admit that I still abhor techno because, well, shitty music will always be shitty music, but there has been much to like about electropop since the late 90s.

In 2001, I was at HiFi Records, which unfortunately closed several years later, in Chicago and heard Zero 7’s “Destiny” for the first time. I was immediately struck by the warm, melodic, spacey and laid-back sound – this was not the electronica I knew (it subsequently became very clear that I actually knew very little). But surely it was atypical for electropop to use acoustic instrumentation and soulful singers, right? I soon discovered that Zero 7 distinguished itself by doing precisely that. Despite criticisms of emulating the sound of their French counterpart, Air and their much-lauded Moon Safari album, the U.K.-based Zero 7 was influenced enough by jazz and soul to carve out its own niche. And so Destiny became my gateway song to electropop. Check out their debut album, Simple Things.

I’m still an electronica neophyte and am only sporadically exposed to music tagged with the label, so were it not for the buzz it garnered, I probably wouldn’t have paid too much attention to Passion Pit’s debut album (Manners) released a few weeks ago.

Released just a week later, Phoenix’s Wolfgang Amadeus Phoenix has been given the Repeat treatment on my CD player. Wow, infectious much??

Destiny, Zero 7.
La Femme D’Argent, Air.


There’s a special place in my heart for Ray Charles’ version of “Georgia On My Mind”. Sure, discount cialis sale Hoagy Carmichael and Stuart Gorell wrote the song in 1930 and countless people have covered it, buy cialis but it undeniably belongs to The Genius. The sweeping strings, the tickled ivories, the choir in perfect harmony, and of course, the voice – how could it not be one of the greatest songs ever?? (For what it’s worth, Rolling Stone ranked it as the 44th Greatest Song of All Time.)

Before you read on, please listen to Brother Ray sing one of the songs on my desert-island mix.

Ray Charles’ Georgia On My Mind has been, and still continues to be, a source of enduring comfort and inspiration. I’ve reached out for the song during moments of deep, unyielding sadness when it felt like nothing could possibly dig me out, but somehow, at least for those 3 minutes and 40 seconds, the song brings about an inexplicable calm. The sadness itself doesn’t magically disappear, but it does (after much repeated listening) eventually morph into the good kind of sadness (sadness, after all, can be beautiful). Equally as powerful were the moments of intense happiness and gratification that also demanded repeated listening. I’ll admit that some past relationships have induced many-a-repeat listening brought on by joy and eventually sadness; it could, in fact, be said that the song acted as bookends for those relationships. The only relationship to start with Ray and not end with him is…my marriage. I don’t think even my wife, Amanda, knows the value of this song in my life, or that during my music-listening sessions late at night after she’s fallen asleep I frequently play the song while thinking about how much I love her and am grateful that we were able to find each other. (Hi, honey! You’re my only reader so it’s ok to be dripping with sentimentality!)

When I was in college, one of my favorite TV shows was Quantum Leap. In the second season (my freshman year), Sam leaps into the body of an undercover cop in order to save the life of his partner. It was the late 60s and the Vietnam War is raging, and Al (the observer) is a young Navy pilot captured by the North Vietnamese. The undercover cop happened to live in the same city as Al’s wife (Beth), who, despondent after hearing of Al’s MIA status, is about to meet the man who would eventually become Beth’s second husband. We later find out that Al had engineered this particular leap so that he could ask Sam to convince Beth that he’s still alive and that he will return to her. I don’t recall much more from this episode, but I do distinctly remember a tender moment when Beth is slowly dancing alone with arms outstretched as if Al were holding her, and the song on the radio is Charles’ Georgia On My Mind. In the end, as much as it troubles him to do so, Sam refuses to help Al because it is against Leaping rules (or whatever it’s called). Now skip to the series finale three years later and Sam is given another opportunity to help Al, even though doing so could deny what he wants most – to go back home. He leaps back as himself and finds Beth where we last saw her in the second season and proceeds to tell her that Al is fine and will return home soon all the while we hear Charles sing in the background. A very moving conclusion to a wonderful show.

Hmmm, this entry was suppose to be about Van Morrison’s version of Georgia On My Mind. While many of Van Morrison’s songs elicit the same emotional reaction, I’ll save the importance of Van Morrison in my life for another entry. As for his version (found in the 2002 album, Down the Road), it’s pretty darn good. For the most part, it’s representative of his signature blend of classic R&B, emotive blues, and impassioned vocals with occasional jazz phrasings. It’s Van Morrison – ’nuff said.

Georgia On My Mind, Ray Charles.

(If you need a good laugh, check out Michael Bolton’s vocal histrionics-laden version with, that’s right, Kenny G. And yes, YouTube voters gave it 5 Stars. I dare you to make it past two minutes of it! In the interest of science, however, I watched the whole video – all 301 seconds.)




Posted in Classic Appreciation, Covers, Desert Island Mix, Music and Life, Random Selection From My iTunes Library.