Displaying items by tag: dance
Thursday, 15 February 2018 10:07

Massive Attack - Unfinished Sympathy

"Unfinished Sympathy" is a song by English trip hop group Massive Attack, released under the temporary group name Massive. It was written by the three band members Robert "3D" Del Naja, Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall, the song's vocalist Shara Nelson and the group's co-producer Jonathan "Jonny Dollar" Sharp. The song was released as the second single from the band's debut album Blue Lines, on the band's Wild Bunch label distributed through Circa Records on 11 February 1991.[1] The choice of using the name "Massive" was done to avoid a radio ban as its release coincided with the Gulf War. Produced by Massive Attack and Dollar, the song incorporates various musical elements into its arrangement, including vocal and percussion samples, drum programming, and string orchestration by arranger Wil Malone. Upon release as a single, "Unfinished Sympathy" topped the Dutch Top 40 and became a top twenty hit on the singles charts of countries including Switzerland and the United Kingdom. The single was accompanied by a memorable music video, directed by Baillie Walsh, featuring a single continuous shot of Nelson walking through a Los Angeles neighbourhood, oblivious of her surroundings. Recognised as a pioneering song in the development of British dance music, "Unfinished Sympathy" was acclaimed by music critics for its distinctive production and Nelson's vocals. It ranked highly on several publications' year-end lists of the best singles of 1991, and has since featured in many polls of the best singles of all time of both music critics and the public worldwide. The song later appeared on the soundtrack to the 1993 film Sliver.
Published in Song of 2day
Monday, 28 April 2014 12:14

Blood Ceremony - Witchwood

As Aldous Huxley once wrote, "The charm of history and its enigmatic lesson consist in the fact that, from age to age, nothing changes and yet everything is completely different." Though our dystopian visionary surely meant to slyly reference far more sinister puppet masters with his damning and oh-so-quotable bon mot, the unruly hellions pulling rock’n’roll’s nylon strings are less inclined to read between the lines. They prefer to go back to basics but slap a few fresh coats of paint on there to keep things sparkling. The song remains the same, and on The Eldritch DarkBlood Ceremony follows that axiom with near-religious fervor.

Published in Song of 2day
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