{"x":1590573152822,"d":[{"id":"254458","type":"artists","href":"/v1/catalog/gb/artists/254458?l=en-GB","attributes":{"url":"https://music.apple.com/gb/artist/tricky/254458","artistBio":"Trip-hop pioneer Tricky got his start with fellow Bristol icons Massive Attack before branching out on his own as a solo artist. With his distinctive raspy vocals and hypnotic production style, he became a fixture in the electronic scene in the '90s, earning critical acclaim with his seminal 1995 debut Maxinquaye and notable efforts like 1996's Pre-Millennium Tension and 1998's Angels with Dirty Faces. He continued to release music into the 21st century, occasionally bubbling up the charts with albums such as Blowback (2001), Knowle West Boy (2008), and False Idols (2013). In addition to songwriting and production, he is also an actor and author.\r\nBorn Adrian Nicholas Matthews Thaws, he was raised in the Knowle West area of Bristol. Enduring a tough childhood, he set aside gang life in order to focus on music, penning lyrics and rapping in the mid-'80s. At first, he was a member of the Wild Bunch, a local rap crew that eventually metamorphosed into Massive Attack before the end of the decade. Tricky provided pivotal raps on that group's groundbreaking 1992 album, Blue Lines, before releasing his debut solo single, \"Aftermath.\" Around this time, he met a teenage vocalist named Martina Topley-Bird, who went on to become one of his most fruitful musical collaborators.\r\nIn 1994, Tricky signed with 4th & Broadway. The contract contained a clause that allowed him to release side projects under different names, in addition to regular Tricky releases. \"Ponderosa\" and \"Overcome\" were released over the course of 1994; that same year, he made a cameo on Massive Attack's second album, Protection. Tricky's debut album, Maxinquaye, appeared in the spring of 1995. Not only did the album receive overwhelmingly positive reviews when it was released, but it entered the U.K. charts at number two, despite the total lack of daytime radio airplay. Throughout 1995, Tricky was omnipresent in the U.K., collaborating with and remixing for a wide variety of artists, including Björk, Luscious Jackson, and Whale. In the fall of 1995, he released Tricky vs. the Gravediggaz, a collaboration with the American hardcore rap group, as well as a single called \"I Be the Prophet,\" which was released under the name Starving Souls. At the end of the year, Maxinquaye topped many year-end polls in Britain, including Melody Maker and NME.\r\nIn February of 1996, Nearly God -- an album featuring Tricky's collaborations with artists as diverse as Terry Hall, Björk, Alison Moyet, and Neneh Cherry -- was released, again to strong reviews; it came out in the U.S. six months later. After completing the second full-fledged Tricky album, in early 1996 he relocated to New York City, where he began working with underground rappers. An EP called Grassroots was released in the U.S. in September. Two months later, Tricky's official second album, Pre-Millennium Tension, was released. The set went on to become his second-best selling in the U.S. and his first to chart on the Billboard 200.\r\nIn addition to his three releases of 1996, he remixed artists as diverse as Elvis Costello, Garbage, Yoko Ono, and Bush. Tricky's next full-length solo effort, Angels with Dirty Faces, appeared in 1998, followed a year later by Juxtapose, a collaboration with Cypress Hill's DJ Muggs and DMX's producer Dame Grease.\r\nIn 2001, Tricky returned with the Mission Accomplished EP, which was released by the Epitaph subsidiary label Anti. Blowback, his first for Hollywood Records, appeared later that June and included various collaborations with Hawkman, Live's Ed Kowalczyk, Alanis Morissette, and Red Hot Chili Peppers' Anthony Kiedis and John Frusciante. Increasingly aware of his brooding persona in the media and annoyed that popular music magazines had started labeling him \"the Dark Prince,\" he made Vulnerable in 2003 in an attempt to expose himself as a more accessible artist. The same year, the Back to Mine label released an album of remixes that he compiled before he took a five-year hiatus from recording new material. \r\nKnowle West Boy, his most critically acclaimed recording since Pre-Millennium Tension, marked a strong return by the trip-hop pioneer in 2008, and Tricky toured for a solid year behind it. In August of 2010 he emerged with the single \"Murder Weapon,\" a reworking of Echo Minott's '90s-era dancehall hit that obsessed him. Following in the tradition of his infamous read of Public Enemy's \"Black Steel\" with backing vocalist Martina Topley-Bird, \"Murder Weapon,\" like its precursor, also featured a female voice, in this case, Irish-Italian singer Franky Riley, one of his backing vocalists on the road. Tricky followed the single with the album Mixed Race later that fall. \r\nUnhappy with Domino Records, he started his own False Idols label for the release of his ninth solo album, also named False Idols. After a couple of years of touring and festival appearances, he announced details of his tenth album, Adrian Thaws. Titled after his birth name, the 2014 release was another creative rebirth from the ever-evolving artist. Like 1996's Nearly God, his 2016 release Skilled Mechanics fell somewhere between a proper album and a side project, with Tricky joined by guests like Oh Land as well as artists from the False Idols imprint. He was back in 2017 with ununiform, which found him returning to his sonic roots with the help of frequent collaborators Topley-Bird and Francesca Belmonte, along with newcomers to his circle like Kazakh rapper Scriptonite and California vocalist Avalon Lurks, who sang on a cover of Hole's \"Doll Parts.\" \r\nTaking a break from music, he penned an autobiography titled Hell Is Round the Corner, which arrived in 2019. That same year, Mina Mazy, his daughter with Topley-Bird, passed away at the age of 24. In mourning, he processed some of his grief by returning to the studio. The resulting EP, 20,20, arrived that same year and featured collaborations with Marta and Anika. ~ Stephen Thomas Erlewine & Neil Z. 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Co-piloted by the likes of Richard File and Pablo Clements, and involving recurring roles for subterranean rockers such as Josh Homme, Chris Goss, and Mark Lanegan, sprawling albums such as Never, Never Land (2003) and Where Did the Night Fall (2010) have ensured that Lavelle won't be known simply as a trip-hop catalyst. After a seven-year break from recording albums, Lavelle and company returned in bleak, cinematic style with the related The Road: Part I (2017) and The Road: Part II (Lost Highway) (2019).\n\n \r\nChildhood friends James Lavelle and Tim Goldsworthy co-founded Mo' Wax in 1992 and established the label with releases by the likes of Repurcussions, Palm Skin Productions, and DJ Shadow. When Mo' Wax launched, Lavelle was still a teenager, motivated by U.S. underground movements such as hip-hop and electro, as well as U.K. scenes and developments including rare groove, acid house, Sheffield bleep, and acid jazz, the latter of which he had covered as a columnist for Straight No Chaser magazine. After Lavelle and Goldsworthy remixed tracks by United Future Organization and Mondo Grosso under the guise Men from U.N.K.L.E., they added Kudo of Major Force, Skylab, and Love T.K.O. The trio made their Mo' Wax debut as UNKLE in 1994 with The Time Has Come EP, featuring \"If You Find Earth Boring\" -- a leisurely 14-minute suite of sample-based instrumental hip-hop -- and remixes from Portishead, Howie B, and Plaid. Despite the rapidly increasing popularity of Mo' Wax, including a partial-ownership deal with A&M and a Top 20 U.K. hit with DJ Shadow's Endtroducing....., UNKLE released the Money Mark-assisted Berry Meditation EP and were among the most sought-after remixers of the era with clients including Radiohead, Massive Attack, the Jon Spencer Blues Explosion, Beck, and Tortoise. \r\nGoldsworthy and Kudo had remained more heavily involved in nuts-and-bolts production, while Lavelle engaged in the conceptual, organizational, and A&R end, crafting beats, laying out vague sketches, and using his connections for extra assistance. The first two, however, were effectively replaced by DJ Shadow for Psyence Fiction, UNKLE's 1998 debut album. It set a standard for all future UNKLE albums with its stylistic diversions and unlikely assortment of guests, this time involving Radiohead's Thom Yorke, the Verve's Richard Ashcroft, Talk Talk's Mark Hollis, and Metallica's Jason Newstead, plus legendary hardcore rapper Kool G Rap. The album reached number four in the U.K., topped the independent chart, and in the U.S. almost managed to crack the upper half of the Billboard 200. Shadow subsequently left to concentrate on his own work.\r\nAmid much work as a DJ, Lavelle recruited Richard File, a singer, songwriter, and producer who had participated in an UNKLE remix and contributed to Mo' Wax releases under the aliases Forme and DJ Aura (alternately Aura). File figured prominently in Never, Never, Land, UNKLE's second album, released in 2003. More expansive and less rooted in hip-hop, its samples were derived more frequently from films and well-known hard rock and post-punk recordings than from obscure jazz, soul, and funk sources, and emphasized File's songwriting. Graham Gouldman, Queens of the Stone Age's Josh Homme, Brian Eno, Jarvis Cocker, and Massive Attack's 3D comprised a fraction of the guest list. The set reached number 24 in the U.K. and the Top Ten of Billboard's dance/electronic chart in the U.S. Lavelle and File returned four years later with War Stories, including previous and new associates such as Alice Temple, the Cult's Ian Astbury, Masters of Reality's Chris Goss, and Homme, the latter two of whom factored in the album's stoner rock/alternate metal edge. \r\nFile departed and was replaced with yet another longtime Mo' Wax associate, Pablo Clements -- a writer and producer known for his work as part of Psychonauts. A pair of odds 'n' ends collections, More Stories and End Titles...Stories for Film, both released in 2008, contained old and new material, including music from UNKLE's soundtrack to the documentary Odyssey in Rome. Where Did the Night Fall, the fourth proper UNKLE album, arrived in 2010 with a band-oriented approach assisted by three-fifths of Lake Trout (aka Big in Japan), the Black Angels, Nick Cave, and Mark Lanegan. UNKLE didn't release another album for seven years, but the interim was filled with live performances and numerous smaller-scale projects including soundtrack contributions, plus Lavelle's production of Queens of Stone Age's \"...Like Clockwork\" and \"curation\" of the 2014 Meltdown Festival, which featured an UNKLE set. A documentary on Lavelle, The Man from Mo' Wax, was released in 2016. UNKLE soon returned with The Road: Part I and The Road: Part II (Lost Highway), labyrinthine and frequently grim albums released in 2017 and 2019, respectively. An extensive roster of figures both old and new to UNKLE recordings, including Lanegan and Goss, as well as Mick Jones and Eska, made contributions. ~ Andy Kellman & John Bush","bornOrFormed":"1992","origin":"London, England","genreNames":["Electronic"],"editorialArtwork":{},"artwork":{"width":2400,"height":2400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features128/v4/14/31/e9/1431e937-267a-4145-13e9-eadbc8ea3d69/mzl.wrerojxw.jpg/{w}x{h}bb.jpeg","bgColor":"000202","textColor1":"00d2f6","textColor2":"00b2de","textColor3":"00a8c5","textColor4":"008fb2"},"name":"UNKLE"},"relationships":{"station":{"href":"/v1/catalog/gb/artists/133444/station?l=en-GB","data":[{"id":"ra.133444","type":"stations","href":"/v1/catalog/gb/stations/ra.133444?l=en-GB","attributes":{"url":"https://music.apple.com/gb/station/unkle/ra.133444","playParams":{"id":"ra.133444","kind":"radioStation","format":"tracks","stationHash":"CgcIARoDxJIIEAE"},"requiresSubscription":true,"isLive":false,"mediaKind":"audio","name":"UNKLE","artwork":{"width":2400,"height":2400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features128/v4/14/31/e9/1431e937-267a-4145-13e9-eadbc8ea3d69/mzl.wrerojxw.jpg/{w}x{h}rc.jpeg","bgColor":"000202","textColor1":"00d2f6","textColor2":"00b2de","textColor3":"00a8c5","textColor4":"008fb2"}}}]},"albums":{"href":"/v1/catalog/gb/artists/133444/albums?l=en-GB","next":"/v1/catalog/gb/artists/133444/albums?l=en-GB&offset=25","data":[{"id":"1218004193","type":"albums","href":"/v1/catalog/gb/albums/1218004193?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/64/d0/f7/64d0f793-7c24-6eaa-d856-0b0c6de8d398/191018977191.jpg/{w}x{h}bb.jpeg","bgColor":"babebd","textColor1":"141414","textColor2":"161412","textColor3":"353636","textColor4":"363634"},"artistName":"UNKLE","isSingle":false,"url":"https://music.apple.com/gb/album/the-road-pt-1/1218004193","isComplete":true,"genreNames":["Electronic","Music","Rock","Adult Alternative","Jazz","Bop"],"trackCount":15,"isMasteredForItunes":false,"releaseDate":"2017-05-26","name":"The Road, Pt. 1","recordLabel":"Songs For The Def","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features118/v4/f6/3f/91/f63f9196-aa5e-bb1a-cb3d-b87500949ec1/source/{w}x{h}bb.jpeg","bgColor":"c9c9c9","textColor1":"131112","textColor2":"242223","textColor3":"373637","textColor4":"454344"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features118/v4/ab/9d/dc/ab9ddc37-e860-a38c-4895-c109928dd98a/source/{w}x{h}bb.jpeg","bgColor":"cfcfcf","textColor1":"161719","textColor2":"1a191b","textColor3":"3b3c3d","textColor4":"3e3d3f"}},"copyright":"℗ 2017 Songs for the Def","playParams":{"id":"1218004193","kind":"album"},"isCompilation":false}},{"id":"1440922148","type":"albums","href":"/v1/catalog/gb/albums/1440922148?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music128/v4/ed/30/54/ed30540c-d124-1e7d-4efe-7c4c85ec7aa5/00731454104821.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ab9e7c","textColor1":"121211","textColor2":"252221","textColor3":"312e26","textColor4":"403a33"},"artistName":"UNKLE","isSingle":false,"url":"https://music.apple.com/gb/album/psyence-fiction/1440922148","isComplete":true,"genreNames":["Electronic","Music","Hip-Hop/Rap","Alternative Rap","Jazz","Bop","Electronica","Rock","Big Band","Dance","Techno","Rap"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"1998-08-21","name":"Psyence Fiction","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 1998 Mowax Recordings/A&M Records Ltd.","playParams":{"id":"1440922148","kind":"album"},"editorialNotes":{"standard":"Long before every kid with a Tumblr was a \"tastemaker,\" there was James Lavelle. 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He made his full-length debut with the 2006 double-album The Last Resort, which spanned styles such as trip-hop, dub techno, and post-rock. Subsequent albums such as 2013's Lost and 2019's Obverse leaned heavily toward dark new wave and dream pop, and the artist's compilations, such as the Harbour Boat Trips series, shone a spotlight on these influences.\r\nBased in Copenhagen, he made his debut in 1997, DJ'ing the local club circuit and occasionally performing live. After a self-imposed hiatus spanning several years, he returned with his own productions, which quickly grabbed the ear of the then-red-hot Naked Music house music label. His self-titled debut EP (released in 2003) was well received and won praise from DJs and clubgoers. This led to a series of 12\" singles on such labels as Audiomatique and Tic Tac Toe before Trentemøller found a home on Germany's esteemed Poker Flat, where he released a series of critically acclaimed singles. \r\nHis ambitious, moody double-disc album The Last Resort was released in 2006 on Poker Flat. The album featured an increased usage of non-electronic instruments, as well as many downtempo and ambient tracks, and it received much praise. In 2007, Audiomatique issued The Trentemøller Chronicles, a double-CD retrospective of his non-album work up to that point, including tracks from singles and EPs as well as remixes for Robyn, Moby, and the Knife. Also in 2007, Trentemøller assembled his first live band and performed in the United States for the first time, as well as at several European festivals. In 2009, HFN released Trentemøller's Harbour Boat Trips 01: Copenhagen, a mix that primarily contained indie rock and folk rather than electronic music.\r\nInto the Great Wide Yonder, issued on Trentemøller's In My Room label, followed in 2010 and was even more removed from the dancefloor than his first full-length. He continued his successful touring schedule, with his live band that featured up to seven members. Reworked/Remixed, a double-CD collecting further remixes released since The Trentemøller Chronicles, arrived in 2011, as did Trentemøller's installment of the LateNightTales compilation series. These were followed by 2013's Lost, a song-oriented indie rock-influenced effort that featured guest appearances from Jana Hunter, Marie Fisker, and slowcore group Low. A remixed version of the album, Lost Reworks, appeared in 2014. 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Over the course of her career, Harvey established herself as one of the most individual and influential songwriters of her era, exploring themes of sex, religion, and political issues with unnerving honesty, dark humor, and a twisted theatricality. At the outset, she led the trio PJ Harvey, which delivered her stark songs with bruisingly powerful, punkish abandon, as typified by 1993's Rid of Me. Over time, however, the subtle and artistic side of Harvey prevailed. Her 2001 album Stories from the City, Stories from the Sea featured a heady mix of trip-hop, guitar rock, and troubadourism, earning her the prestigious Mercury Prize. As the years passed, Harvey continually shifted gears, from the ghostly Victoriana of 2007's White Chalk to the moody social commentary of 2011's Let England Shake (which earned her a second Mercury Prize, making her the only artist to have done so) and 2016's The Hope Six Demolition Project.\r\nHarvey grew up on a sheep farm in Yeovil, England, where she was raised by her quarryman father and her artist mother. As a child, she learned how to play guitar and saxophone, and when she was a teenager, she played in a variety of bands as a sideman. In 1988, Harvey joined Automatic Dlamini, the Bristol-based project of John Parish. She played saxophone, guitar, and sang backing vocals as they toured throughout Europe in support of their debut album, The D Is for Drum. Harvey also appeared on the band's unreleased second album, Here Catch Shouted His Father. Though she left the band early 1991 to start her own project, she continued to collaborate with Parish throughout her career. She formed the trio PJ Harvey with her former Automatic Dlamini bandmates drummer Rob Ellis and bassist Ian Oliver, who soon returned to Automatic Dlamini and was replaced by Steve Vaughan. After making their live debut that April, in June the band moved to London, where they recorded demos that they sent to labels that included the experimental indie imprint Too Pure. In October 1991, the label released PJ Harvey's debut single, \"Dress.\" It became a indie rock sensation, as did its follow-up, \"Sheela-Na-Gig,\" with both singles receiving lavish praise in the U.K. music press. \r\nIn March 1992, Too Pure issued PJ Harvey's debut album, Dry. Recorded for under $5,000, the album earned international acclaim. The trio followed it with an extensive tour, culminating with an appearance at that summer's Reading Festival. Shortly after the tour, Harvey moved to London, where she nearly suffered a nervous breakdown due to the extraordinary pressure and expectation surrounding her second album. Later in 1992, PJ Harvey signed to Island Records, and that December the band worked with Steve Albini at Cannon Falls, Minnesota's Pachyderm Recording Studio to make their second album. Albini imposed his trademark noisy, guitar-heavy sound on the record, which mirrored its harder-edged themes. Arriving in May 1993, Rid of Me was a major critical success and expanded Harvey's cult greatly. She supported the album with a tour featuring herself in a fake leopard-skin coat and a feather boa, signaling her developing interest in theatricality. \r\nAfter finishing the Rid of Me tour in August 1993, the trio disbanded. Harvey's first release as a solo artist was October's 4-Track Demos, a collection of her original versions of the songs on Rid of Me. To make her third album, she worked with producer Flood, bassist Mick Harvey, and guitarist Joe Gore and former bandmate Parish. Harvey developed a richer, bluesier sound with the expanded band, and the resulting record, To Bring You My Love, was hailed as a masterpiece by many critics upon its February 1995 release. Thanks to considerable press attention, as well as strong support from MTV and modern rock radio for the single \"Down by the Water,\" To Bring You My Love became a moderate hit, entering the U.S. charts at number 40 and earning silver certification in the U.K. Harvey spent all of 1995 touring the album. During 1996, she was relatively quiet, contributing vocals to Nick Cave on his Murder Ballads album and collaborating with Parish on Dance Hall at Louse Point. \r\nIn 1997, Harvey began work on her fourth album, reuniting with Ellis and Flood on a set of introspective songs that that incorporated electronics into her music. The results were September 1998's Is This Desire?, which was nominated for a Grammy Award for Best Alternative Music Performance. The album's single \"A Perfect Day Elise\" reached number 25 on the U.K. Singles Chart. Harvey also ventured into acting that year. In Hal Hartley's The Book of Life, she portrayed a modernized version of Mary Magdalene. She also appeared as a Playboy Bunny in Sarah Miles' short film \"A Bunny Girl's Tale,\" in which she also performed the Is This Desire? outtake \"Nina in Ecstasy.\" Two years later, Harvey reunited with Ellis and Mick Harvey for Stories from the City, Stories from the Sea. A more straightforward set of songs written in Dorset, Paris, and New York, it also featured several collaborations with Radiohead's Thom Yorke. Harvey's fifth album was one of her most commercially and critically successful, charting in the U.S and U.K., and winning the Mercury Prize. It also earned a Grammy Award nomination for Best Rock Album, while the single \"This Is Love\" was nominated for Best Female Rock Performance. \r\nAfter extensive touring in support of Stories from the City, Stories from the Sea, Harvey split her time over the next two years working on new material and collaborating with like-minded friends and contemporaries. She appeared on Gordon Gano's Hitting the Ground, Giant Sand's Cover Magazine, and John Parish's How Animals Move, but her most prominent collaboration was with the Queens of the Stone Age side project the Desert Sessions. She performed on more than half of 2003's Desert Sessions, Vols. 9-10, including the single Crawl Home. During this time, she recorded her sixth album. Handling production duties and playing every instrument except the drums (which were once again handled by Ellis), Harvey released Uh Huh Her, a fiery set reminiscent of some of her earliest work, in May 2004. The album reached number 12 on the U.K. Album Charts and was certified silver in her homeland soon after it appeared. Two years later, the live DVD On Tour: Please Leave Quietly featured performances from Harvey's dates in support of Uh Huh Her.\r\nIn November 2006, Harvey began work on her seventh album. Collaborating with Flood, Parish, and Eric Drew Feldman in a West London studio, she went in another wildly different direction. Eschewing guitars in favor of ghostly, piano-based ballads, White Chalk arrived in September 2007. Following the tour for the album -- which found her adding autoharp to her repertoire of instruments -- she then resumed her partnership with Parish for A Woman a Man Walked By, which hit number 25 on the U.K. Albums Chart when it came out in March 2009. That year, she also scored director Ian Rickson's Broadway production of Henrik Ibsen's Hedda Gabler. \r\nIn 2010, Harvey, along with Flood, Parish, Mick Harvey, and drummer Jean-Marc Butty, began recording her eighth album in a church near Dorset. Let England Shake combined years' worth of poetry and lyrics Harvey wrote about World War I and the 21st century war in Iraq and Afghanistan with largely improvised recordings. Upon its arrival in February 2011, the album met with widespread acclaim, winning a Mercury Prize -- making her the only artist to win the award twice -- as well as Album of the Year at the 2012 Ivor Novello Awards. Late that year, Let England Shake: 12 Short Films by Seamus Murphy collected the films that the photographer/director created for the album. Around that time, Harvey also composed some of the score for a production of Hamlet at the Young Vic. The following year, Harvey released \"Shaker Aamer,\" a song about the Guantanamo Bay detainee who undertook a hunger strike for four months. That December, she read her poetry in public for the first time at the British Library. \r\nTo create her ninth album, Harvey traveled to Kosovo, Afghanistan, and Washington, D.C., with Murphy in tow. Their collaboration became the 2015 book The Hollow of the Hand, which collected her poems and his photographs. Working once again with Flood and Parish, Harvey recorded parts of the album in public at the London cultural center Somerset House. The results were released as The Hope Six Demolition Project, which arrived in April 2016. The album topped the U.K. Albums Chart and earned a Grammy Award Nomination for Best Alternative Music. In June 2017, Harvey issued \"The Camp,\" a collaboration with Ramy Essam that benefitted children escaping from the Syrian Civil War. The following March, she and Parish worked together on \"Sorry for Your Loss,\" a tribute to former Sparklehorse leader and Harvey collaborator Mark Linkous. Harvey's score for director Ivo van Hove's stage adaptation of All About Eve appeared in April 2019. The work borrowed from Franz Liszt 's Liebesträume -- a musical touchstone in the original film -- and featured songs sung by the production's stars, Gillian Anderson and Lily James. ~ Stephen Thomas Erlewine & Heather Phares","bornOrFormed":"09 October 1969","origin":"Yeovil, England","genreNames":["Alternative"],"editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features69/v4/ce/7e/d8/ce7ed8e7-da4b-9c7f-5952-7adae99e4b5b/source/{w}x{h}bb.jpeg","bgColor":"040100","textColor1":"f1ece9","textColor2":"bdcdd1","textColor3":"c1bdba","textColor4":"98a4a7"},"bannerUber":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features69/v4/8c/d2/88/8cd288f6-7ba7-549e-b974-13bc303caaf9/source/{w}x{h}bb.jpeg","bgColor":"0b0705","textColor1":"bdced4","textColor2":"a9c8bf","textColor3":"99a6aa","textColor4":"89a19a"}},"artwork":{"width":2400,"height":2400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features49/v4/9e/c7/0a/9ec70a86-3498-5401-9c0c-56ef66c593d3/mzl.cjcstvpq.jpg/{w}x{h}bb.jpeg","bgColor":"c7c7c7","textColor1":"050505","textColor2":"212121","textColor3":"2c2c2c","textColor4":"424242"},"name":"PJ Harvey"},"relationships":{"station":{"href":"/v1/catalog/gb/artists/252623/station?l=en-GB","data":[{"id":"ra.252623","type":"stations","href":"/v1/catalog/gb/stations/ra.252623?l=en-GB","attributes":{"url":"https://music.apple.com/gb/station/pj-harvey/ra.252623","playParams":{"id":"ra.252623","kind":"radioStation","format":"tracks","stationHash":"CgcIARoDz7UPEAE"},"requiresSubscription":true,"isLive":false,"mediaKind":"audio","name":"PJ Harvey","artwork":{"width":2400,"height":2400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features49/v4/9e/c7/0a/9ec70a86-3498-5401-9c0c-56ef66c593d3/mzl.cjcstvpq.jpg/{w}x{h}rc.jpeg","bgColor":"c7c7c7","textColor1":"050505","textColor2":"212121","textColor3":"2c2c2c","textColor4":"424242"}}}]},"albums":{"href":"/v1/catalog/gb/artists/252623/albums?l=en-GB","next":"/v1/catalog/gb/artists/252623/albums?l=en-GB&offset=25","data":[{"id":"1442556188","type":"albums","href":"/v1/catalog/gb/albums/1442556188?l=en-GB","attributes":{"artwork":{"width":1423,"height":1411,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music128/v4/24/1d/1c/241d1c80-293d-6276-25b1-f8134c47512a/00731454814522.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"595c55","textColor1":"f3f5f4","textColor2":"f7f3e8","textColor3":"d4d6d4","textColor4":"d8d5ca"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/stories-from-the-city-stories-from-the-sea/1442556188","isComplete":true,"genreNames":["Pop","Music","Rock","Adult Alternative"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2000-01-01","name":"Stories From the City, Stories From the Sea","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2000 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1442556188","kind":"album"},"editorialNotes":{"standard":"Polly Harvey says she aimed for “absolute beauty” on her most upbeat, direct record yet. She’s certainly been reinvigorated by a love affair but that doesn’t mean her edges and explosiveness have been dulled. A simple drums-bass-guitar set-up carves the melodic lushness and “This is Love” declares its carnal desires with a dopamine rush of blues-punk, while “Big Exit” wraps the insecurities of love in a buzz of dual guitars and counter-melodies. Don’t expect a happy ending either: Thom Yorke duet “This Mess We’re In” is gorgeous but heavy-legged with impending trouble.","short":"A Mercury Prize-winning opus with a feral lust for life. 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A Universal Music Company.","playParams":{"id":"1440758226","kind":"album"},"editorialNotes":{"standard":"For her 11th album, PJ Harvey steps away from the strident agit-folk that made her name in the ‘90s, writing instead a subtle and hauntingly beautiful record that is simultaneously a meditation on the brutality and futility of the First World War and a nostalgic paean to her home country. As is her custom, guitars take center stage, all eerie and drenched in chilling reverb (“In the Dark Places”), while Harvey’s vocals are uncharacteristically understated and soft, reaching tremulously to the top of her register on “Hanging in the Wire.”","short":"A subtle and hauntingly beautiful meditation on war."},"isCompilation":false}},{"id":"1440833588","type":"albums","href":"/v1/catalog/gb/albums/1440833588?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music128/v4/e6/c4/47/e6c4471e-7174-2d7b-1938-4a9ab211e14a/00602547771278.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"212121","textColor2":"5f1712","textColor3":"4e4e4e","textColor4":"7f4641"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/the-hope-six-demolition-project/1440833588","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative"],"trackCount":11,"isMasteredForItunes":true,"releaseDate":"2016-04-15","name":"The Hope Six Demolition Project","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features49/v4/4b/c7/77/4bc7776a-b5b9-3e5f-1d20-0b70ae923c45/source/{w}x{h}bb.jpeg","bgColor":"010000","textColor1":"ffffff","textColor2":"b5caca","textColor3":"cccbcb","textColor4":"91a1a1"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features49/v4/fa/14/95/fa149537-ef3d-c80e-f40d-29e1d5b8fcdf/source/{w}x{h}bb.jpeg","bgColor":"0b0705","textColor1":"bdced4","textColor2":"a9c8bf","textColor3":"99a6aa","textColor4":"89a19a"},"bannerUber":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features49/v4/f3/55/ac/f355ac02-23ad-3cb9-f082-61b44857d071/source/{w}x{h}bb.jpeg","bgColor":"0b0705","textColor1":"bdced4","textColor2":"a9c8bf","textColor3":"99a6aa","textColor4":"89a19a"}},"copyright":"℗ 2016 Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1440833588","kind":"album"},"editorialNotes":{"standard":"PJ Harvey’s ninth album of stormy, spectral blues-rock feels like a kind of sequel to 2011’s Let England Shake. This time, she maps her apocalyptic vision onto America. Led by the eerie, anthemic “The Community of Hope,” The Hope Six Demolition Project strikes Harvey’s inimitable balance between ethereal and direct, ghostly and gut-punching. The military choruses (“The Ministry of Defence”), blues stomps (“The Ministry of Social Affairs”), and haunted, New Orleans-style shuffles (“Medicinals”) here are all anchored by her plaintive howl. ","short":"Stormy, spectral blues-rock from one of England’s most indelible songwriters."},"isCompilation":false}},{"id":"1440922042","type":"albums","href":"/v1/catalog/gb/albums/1440922042?l=en-GB","attributes":{"artwork":{"width":1451,"height":1471,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/62/93/97/62939784-38fb-499e-8a54-4e27a7cf2cd4/00731452408525.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"e3e7e8","textColor1":"05161b","textColor2":"031e1c","textColor3":"324044","textColor4":"2f4645"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/to-bring-you-my-love/1440922042","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Alternative","Singer/Songwriter"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"1995-02-27","name":"To Bring You My Love","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features114/v4/48/6c/93/486c9394-989b-6913-92dd-9dd10474c009/source/{w}x{h}bb.jpeg","bgColor":"1b1e1d","textColor1":"dae3db","textColor2":"c3cccd","textColor3":"b4bcb5","textColor4":"a1a9aa"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features124/v4/de/ac/ac/deacac3b-0194-94cb-0e69-d91f7dda5437/source/{w}x{h}bb.jpeg","bgColor":"595a5c","textColor1":"f2f2f5","textColor2":"daebf0","textColor3":"d4d4d6","textColor4":"c0ced2"}},"copyright":"℗ 1995 Universal-Island Records Ltd.","playParams":{"id":"1440922042","kind":"album"},"editorialNotes":{"standard":"After releasing two savage instant-classic LPs as a trio with drummer Rob Ellis and bassist Steve Vaughan as PJ Harvey, Polly Jean Harvey blew up her band but got to keep the name. When it was released in February 1995, To Bring You My Love felt like a tectonic shift—in scope, in sonics, in stakes—as the bare-bones minimalism of 1992’s Dry and 1993’s Rid of Me gave way to something bolder and more dramatic. Harvey took on U2’s producer (Flood), their management and at least some of their ambition, trading grungy (as opposed to grunge-y) aesthetics for gowns and theatricality. But viewed from a distance, the album feels more of a piece with its predecessors than nearly anything that would come in her career subsequently. It’s a perfect fulcrum in a rich discography: Her presence is still feral, but tempered by the more nuanced textures and moods that she would come to explore further and eventually define herself by. The album’s key personnel—chiefly, her one-time bandmate John Parish and the Bad Seeds’ Mick Harvey—would become her most frequent and important collaborators over the ensuing decades, and To Bring You My Love reads like a road map of where they would later go.
\nThe opening title track sets the swampy, unsettling mood—a dark religious revival that channels the blues without mimicking it, forging a connection between American traditionalism and gothic English horror (see: the whispered, cursed incantation closing out “Down by the Water”—“Little fish, big fish, swimming in the water/Come back here, man, give me my daughter”). “Long Snake Moan” and “Meet Ze Monsta” channel the ferociousness Harvey built her reputation on, while “Working for the Man” and, particularly, closing track “The Dancer” point Harvey forward, exploring the power in relative restraint, of withholding in all the spots where she used to deploy exorcism.","short":"Polly Jean Harvey's great leap forward turns 25."},"isCompilation":false}},{"id":"1440923277","type":"albums","href":"/v1/catalog/gb/albums/1440923277?l=en-GB","attributes":{"artwork":{"width":1451,"height":1453,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music128/v4/b8/88/14/b8881455-d360-fa41-ab3d-59c983cb6368/00731451469626.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"efefef","textColor1":"030304","textColor2":"252525","textColor3":"323233","textColor4":"4d4d4d"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/rid-of-me/1440923277","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Alternative","Indie Rock","Singer/Songwriter"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"1993-01-01","name":"Rid of Me","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 1993 Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1440923277","kind":"album"},"editorialNotes":{"standard":"After introducing a trio sound that fan Warren Zevon likened to Bartok, PJ Harvey moved on to up the ante with producer Steve Albini. Bringing the use of soft-loud dynamics to a new, er, levels, Albini showcased the Harvey band's rumble in a way that made even their great debut, Dry, sound a little tame. Filled with sexual and social power and loathing, the record also put across a wicked sense of humor, as when a male band member howls a \"Lick my legs, I'm on fire\" mantra at the end of the title track or the outfit turns Dylan's \"Highway 61 Revisited\" into a sonic carnival ride. The blend was not unlike that of Polly Jean Harvey's hero Captain Beefheart, who was apparently pleased: The two have been confidantes for years."},"isCompilation":false}},{"id":"1440912742","type":"albums","href":"/v1/catalog/gb/albums/1440912742?l=en-GB","attributes":{"artwork":{"width":1450,"height":1434,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music118/v4/57/97/21/57972118-19ac-b44f-8631-c32c945a83df/00731452456328.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"fffffd","textColor1":"0b1213","textColor2":"161f1d","textColor3":"3c4142","textColor4":"454b4a"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/is-this-desire/1440912742","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Alternative","Singer/Songwriter"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"1998-09-28","name":"Is This Desire?","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 1998 Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1440912742","kind":"album"},"editorialNotes":{"standard":"Following a clutch of visceral alt-rock releases, PJ Harvey closed out the '90s with this simmering, electronic-infused album. Is This Desire? is built on the intimate tales and torments of various women—the prostitute's plight in \"Angelene\" is reflected in Harvey's grungy snarl, while the innocent \"Joy\" hopelessly rumbles through creeping industrial dissonance. Harvey's electronic experiments are as moody as her characters, fluttering between grinding, overblown beats on \"My Beautiful Leah\" and \"A Perfect Day Elise,\" and a minimalist, Portishead-like throb on \"Electric Light.\"","short":"Moody, intimate tales captured in simmering electronics."},"isCompilation":false}},{"id":"1443639741","type":"albums","href":"/v1/catalog/gb/albums/1443639741?l=en-GB","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/e5/06/90/e506909e-6225-a13f-8ee3-d250834526c3/00602517403260.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"10151b","textColor1":"e7f2f4","textColor2":"eaf1ee","textColor3":"bcc6c9","textColor4":"bec5c4"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/white-chalk/1443639741","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2007-01-01","name":"White Chalk","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2007 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1443639741","kind":"album"},"editorialNotes":{"standard":"White Chalk is a quick, quiet piano-based song cycle. Unlike the majority of PJ Harvey’s catalog, there are no pounding rhythms. The drums, provided by the Dirty Three’s Jim White, are most often muted, and Harvey herself abandons any instinct to shriek for the pleasures of seductive coo-ing. Guitars have been packed and none of the garage rock clang from her previous album, Uh Huh Her, has been invited to participate. Harvey begins with “The Devil,” singing high in her range, words forming in vague combinations, the piano repeating its patterns obsessively. “Dear Darkness” is swallowed up by a large church reverb and a choir of voices that lend a solemn spirituality to the majestic melody. Many of the songs segue into one another and the flow is much like what the titles suggest: “The Piano,” “Silence,” “Broken Harp,” “When Under Ether.” The album’s closer, “The Mountain,” is the sound of marking time, the piano notes closing down the show as Harvey escapes through a hole in the sky. A low-key but affecting work.","short":"Hushed yet potent songs of grief and despair."},"isCompilation":false}},{"id":"1450131752","type":"albums","href":"/v1/catalog/gb/albums/1450131752?l=en-GB","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music124/v4/5e/08/a3/5e08a370-b5c8-e94d-6473-8252c8b1ad4a/cover.jpg/{w}x{h}bb.jpeg","bgColor":"1e1f1a","textColor1":"edaa76","textColor2":"e8a88a","textColor3":"c38e64","textColor4":"bf8d73"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/dry/1450131752","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"1992-03-02","name":"Dry","recordLabel":"Too Pure","editorialArtwork":{},"copyright":"℗ 1992 Too Pure Records Ltd","playParams":{"id":"1450131752","kind":"album"},"isCompilation":false}},{"id":"1442242670","type":"albums","href":"/v1/catalog/gb/albums/1442242670?l=en-GB","attributes":{"artwork":{"width":1442,"height":1426,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/0d/5c/43/0d5c436e-29c5-542e-4c11-ae4ee4261ddf/00602498667118.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"282226","textColor1":"eddfb0","textColor2":"eace8e","textColor3":"c5b995","textColor4":"c3ab79"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/uh-huh-her/1442242670","isComplete":true,"genreNames":["Rock","Music","Singer/Songwriter","Adult Alternative","Alternative","Indie Rock"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2004-01-01","name":"Uh Huh Her","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2004 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1442242670","kind":"album"},"isCompilation":false}},{"id":"1458625400","type":"albums","href":"/v1/catalog/gb/albums/1458625400?l=en-GB","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/0a/ec/fc/0aecfc2c-f0d2-035f-0595-5ef4fe228e8e/cover.jpg/{w}x{h}bb.jpeg","bgColor":"bbbbbb","textColor1":"060606","textColor2":"1e1e1e","textColor3":"2a2a2a","textColor4":"3d3d3d"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/all-about-eve-original-music/1458625400","isComplete":true,"genreNames":["Soundtrack","Music"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2019-04-12","name":"All About Eve (Original Music)","recordLabel":"INVADA Records","editorialArtwork":{},"copyright":"℗ 2019 Invada Records UK","playParams":{"id":"1458625400","kind":"album"},"isCompilation":false}},{"id":"1445894134","type":"albums","href":"/v1/catalog/gb/albums/1445894134?l=en-GB","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/86/64/59/8664599f-96f1-6841-50b4-7fd43db5a08a/00602527640358.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"f4f4f4","textColor1":"010304","textColor2":"2c2b2b","textColor3":"323334","textColor4":"545353"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/let-england-shake-plus-videos/1445894134","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative"],"trackCount":15,"isMasteredForItunes":false,"releaseDate":"2011-01-01","name":"Let England Shake (Plus Videos)","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2011 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1445894134","kind":"album"},"editorialNotes":{"standard":"For her 11th album, PJ Harvey steps away from the strident agit-folk that made her name in the ‘90s, writing instead a subtle and hauntingly beautiful record that is simultaneously a meditation on the brutality and futility of the First World War and a nostalgic paean to her home country. As is her custom, guitars take center stage, all eerie and drenched in chilling reverb (“In the Dark Places”), while Harvey’s vocals are uncharacteristically understated and soft, reaching tremulously to the top of her register on “Hanging in the Wire.”","short":"A subtle and hauntingly beautiful meditation on war."},"isCompilation":false}},{"id":"1444160683","type":"albums","href":"/v1/catalog/gb/albums/1444160683?l=en-GB","attributes":{"artwork":{"width":1434,"height":1356,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/67/27/d7/6727d7e6-6290-20e4-8759-0f558aab4aa9/00602517098848.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"090a09","textColor2":"2b2b2b","textColor3":"3a3b3a","textColor4":"555555"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/the-peel-sessions-1991-2004-us-release/1444160683","isComplete":true,"genreNames":["Rock","Music","Singer/Songwriter","Adult Alternative","Alternative","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2006-01-01","name":"The Peel Sessions 1991 - 2004 (US Release)","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2006 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1444160683","kind":"album"},"editorialNotes":{"standard":"British broadcaster John Peel died on October 25, 2004 after several decades of promoting the cutting edge of new music on his BBC radio program. Recording a ‘Peel Session’ was a rite of passage for any emerging young band and when an unknown PJ Harvey walked into his studio on October 29,1991, she had yet to release her debut album Dry. The four cuts featured here from those sessions prove she was already in full possession of the charisma and drive that would characterize her work. It would have been of greater archival interest if all her Peel Sessions were collected, but as a collection of select highlights there is a high level of consistency here: her wigged-out, shrieking cover of Willie Dixon’s “Wang Dang Doodle” from 1993, the shuffling tension of 1991’s “Sheela-Na-Gig” and the moody dynamic clang of 2000’s “Beautiful Feeling,” where her album’s production niceties are ditched in favor of her live band’s raw scrape. The collection is capped with a bare, emotionally-pained version of “You Come Through” as performed at the December 16, 2004 John Peel Tribute Concert.","short":"Stripped-down live sessions with her friend and champion."},"isCompilation":false}},{"id":"1443483327","type":"albums","href":"/v1/catalog/gb/albums/1443483327?l=en-GB","attributes":{"artwork":{"width":1417,"height":1413,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/d8/1b/04/d81b043d-9092-9719-03fa-7b084406b971/00602527028491.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"0e0d0d","textColor2":"2a2929","textColor3":"3e3d3e","textColor4":"545454"},"artistName":"PJ Harvey & John Parish","isSingle":false,"url":"https://music.apple.com/gb/album/a-woman-a-man-walked-by/1443483327","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2009-02-27","name":"A Woman a Man Walked By","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2009 Universal Island Records Ltd. A Universal Music Company.","playParams":{"id":"1443483327","kind":"album"},"editorialNotes":{"standard":"After the quiet, meditative piano ballads of White Chalk, one might expect PJ Harvey to strike back with something slightly more direct. But a few extroverted moments aside, she keeps her sound focused on the dream she’s imagining. John Parish has acted as both a band foil, playing co-producer and bandmate on her “solo” albums, and as a co-billed conspirator on 1996’s underrated Dance Hall at Louse Point, and here he adds his extra instrumental input to push Harvey further into the spotlight. “Black Hearted Love” begins things as the sort of melodramatic pop that Harvey plays with like a second nature. “Sixteen, Fifteen, Fourteen” whips up a gypsy chant with its acoustic emphasis. “Passionless, Pointless” sweeps into the ethereal supernatural space where Harvey’s voice defies gravity. “Daniel” is an eavesdropping into a mother’s psychic dislocation as a sense of loss overwhelms the moment. “Leaving California” swoops with a loopy sense of melody and Harvey’s near-mocking falsetto."},"isCompilation":false}},{"id":"1442963777","type":"albums","href":"/v1/catalog/gb/albums/1442963777?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music128/v4/71/ea/a6/71eaa609-b170-ca8d-b208-e7598f09b0f3/00602527784113.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"050908","textColor1":"02e703","textColor2":"01dc00","textColor3":"02bb04","textColor4":"01b201"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/itunes-session/1442963777","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"2011-01-01","name":"iTunes Session","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2011 Universal Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1442963777","kind":"album"},"isCompilation":false}},{"id":"1443834026","type":"albums","href":"/v1/catalog/gb/albums/1443834026?l=en-GB","attributes":{"artwork":{"width":1423,"height":1411,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music128/v4/89/62/d7/8962d747-c219-582a-1ea6-94d48e8208d4/00731451845024.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"0f1314","textColor1":"faf8e9","textColor2":"f8f7c8","textColor3":"cbcabe","textColor4":"c9c9a4"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/4-track-demos/1443834026","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Singer/Songwriter","Alternative","Indie Rock"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"1993-01-01","name":"4-Track Demos","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 1993 Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1443834026","kind":"album"},"isCompilation":false}},{"id":"1443788228","type":"albums","href":"/v1/catalog/gb/albums/1443788228?l=en-GB","attributes":{"artwork":{"width":1423,"height":1411,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music128/v4/b4/d7/86/b4d78676-0c64-1541-3459-e9894f41bbb8/00731452427823.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"d3ad86","textColor1":"060705","textColor2":"060707","textColor3":"2f281f","textColor4":"2f2820"},"artistName":"John Parish & PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/dance-hall-at-louse-point/1443788228","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Alternative","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"1996-01-01","name":"Dance Hall at Louse Point","recordLabel":"Island Records","editorialArtwork":{},"copyright":"℗ 1996 Island Records, a division of Universal Music Operations Limited","playParams":{"id":"1443788228","kind":"album"},"editorialNotes":{"standard":"Art-rock explorer Parish provides the music while Harvey writes and delivers the words on this spiky collaboration. Both are in a questing mood: channeling desire, deceit and salvation, Harvey runs the gamut from a manic whisper to inflamed wails while Parish whips up a maelstrom of detuned guitars (“Taut”) and discordant blues (“Rope Bridge Crossing”). Their artful abandon succeeds best on “Civil War Correspondent”, where Parish’s gauzy guitars complement rather than swamp Harvey’s rising despair and a haunting organ swirl."},"isCompilation":false}},{"id":"1445154361","type":"albums","href":"/v1/catalog/gb/albums/1445154361?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music128/v4/c5/3a/e0/c53ae05c-4439-35b9-60c2-5fae1ef65c0b/00602498671498.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"eecea7","textColor1":"0d0d13","textColor2":"2c282c","textColor3":"3a3431","textColor4":"524944"},"artistName":"PJ Harvey","isSingle":false,"url":"https://music.apple.com/gb/album/you-come-through-single/1445154361","isComplete":true,"genreNames":["Rock","Music","Adult Alternative"],"trackCount":3,"isMasteredForItunes":false,"releaseDate":"2004-07-19","name":"You Come Through - Single","recordLabel":"Universal-Island Records Ltd.","editorialArtwork":{},"copyright":"℗ 2004 Universal Island Records Ltd. 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A Universal Music Company.","playParams":{"id":"1445050879","kind":"album"},"isCompilation":false}}]}}},{"id":"133086","type":"artists","href":"/v1/catalog/gb/artists/133086?l=en-GB","attributes":{"url":"https://music.apple.com/gb/artist/dj-shadow/133086","artistBio":"DJ Shadow is a pivotal figure in the art of sampling. The Bay Area native's early solo work for the U.K. independent Mo' Wax label culminated in Endtroducing..... (1996), a hip-hop masterwork that incorporated obscure recordings spanning jazz, soul, funk, prog, psychedelia, and other forms, to filmic effect. Since co-piloting UNKLE's Psyence Fiction (1998) with Mo' Wax founder James Lavelle and moving a little farther out with his proper follow-up, The Private Press (2002), Shadow has confounded expectations with each successive step. Across The Outsider (2006), The Less You Know, The Better (2011), and The Mountain Will Fall (2016), the producer naturally distanced himself from using only recordings liberated from cramped record stores hazardous to his breathing. Among other unpredictable moves, he worked with rappers, singers, and fellow musicians ranging from E-40 to Tom Vek to Nils Frahm, embraced the local hyphy movement, and integrated gnashing metal and limpid folk. His scope widened even more with Our Pathetic Age (2019), a double album with separate instrumental and vocal sections.\r\nJosh Davis, the man known as DJ Shadow, grew up in the California towns of Hayward and Davis. A rare hip-hop fan in early-'80s suburbia, Davis gravitated toward the turntable/mixer setup of the hip-hop DJ over the guitars, bass, and drums of his peers. He worked his way through hip-hop's early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic MC's, and Public Enemy, groups who prominently featured DJs in their ranks. Further inspired by the production advancements of Steinski and Mantronix, Davis started fiddling around with four-track beatmaking while he was in high school. While attending the University of California, Davis, he DJed at the college radio station and established the Solesides crew and label (with the likes of Blackalicious and Lyrics Born). \r\nShadow began releasing the Reconstruction from the Ground Up mixtapes in 1991 and pressed his 17-minute hip-hop symphony \"Entropy\" in 1993. During the same period, he remixed tracks for the Hollywood BASIC label and assisted Oakland firebrand Paris in the making of Sleeping with the Enemy. Shadow's work spread through the DJ-strong hip-hop underground and eventually caught the attention of hip-hop aesthete James Lavelle, who had just started the London-based Mo' Wax label. After a handful of productions issued on 12\", including \"In/Flux\" and the What Does Your Soul Look Like EP, Shadow made his full-length debut with Endtroducing....., released in late 1996 to immense critical acclaim. Preemptive Strike, a compilation of the preceding material with some new cuts, followed in early 1998.\r\nLater that year, Shadow produced Psyence Fiction, the debut album by James Lavelle's UNKLE project, co-starring the likes of Kool G Rap, Thom Yorke, Richard Ashcroft, and Mike D. His next project came in 1999 with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his first production album, the proper follow-up, The Private Press, was released in June 2002 with Solesides' Lateef the Truthspeaker showcased as the lone live vocalist. Between studio LPs, Shadow released a mix album, Diminishing Returns, and a live album and DVD, Live! In Tune and on Time. In 2006, his long-awaited third solo album, The Outsider, came out, but instead of following the blueprint he used on his past two records, Shadow enlisted help from previously unaffiliated Bay Area rappers like Keak da Sneak and E-40, as well as David Banner and Q-Tip. \r\nShadow toured frequently during the next few years, but released no material until 2010, when the single \"Def Surrounds Us\" teased a new album. Issues around rights clearance delayed the release during 2011, but The Less You Know, the Better finally appeared that September. Rooted in sample-based hip-hop, it also featured a field with Tom Vek and Little Dragon among the collaborators. A year later, Reconstructed: The Best of DJ Shadow rounded up Shadow's greatest hits, while Total Breakdown: Hidden Transmissions from the MPC Era 1992-1996 compiled his early productions (with its title referencing his studio tool of choice at the time, the Akai MPC). \r\nHe launched his new Liquid Amber label in 2014 with The Liquid Amber EP, then issued the Nite School Klik EP in 2015, the latter a self-titled debut from his project with producer G Jones. The Mass Appeal label picked up his 2016 solo release, The Mountain Will Fall, an album that featured guests Nils Frahm and Run the Jewels. Only three years later, Shadow returned with the societal critique Our Pathetic Age. A 40-minute instrumental suite of sorts was joined with a set of vocal tracks boasting the producer's largest crowd of collaborators, including De La Soul, Nas, and Ghostface Killah, as well as Run the Jewels. ~ Sean Cooper & Andy Kellman","bornOrFormed":"29 June 1972","origin":"San Jose, CA","genreNames":["Electronic"],"editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features3/v4/d5/05/74/d50574a6-c7a9-f841-1133-334036fe51cd/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"d1bdac","textColor2":"f34850","textColor3":"a7978a","textColor4":"c23940"}},"artwork":{"width":1000,"height":1000,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/08/b7/3d/08b73dc8-818e-1014-0c9e-3fa9855dd1b3/pr_source.png/{w}x{h}bb.jpeg","bgColor":"090909","textColor1":"f2f5f1","textColor2":"cfd4d3","textColor3":"c4c5c3","textColor4":"a7abaa"},"name":"DJ Shadow"},"relationships":{"station":{"href":"/v1/catalog/gb/artists/133086/station?l=en-GB","data":[{"id":"ra.133086","type":"stations","href":"/v1/catalog/gb/stations/ra.133086?l=en-GB","attributes":{"url":"https://music.apple.com/gb/station/dj-shadow/ra.133086","playParams":{"id":"ra.133086","kind":"radioStation","format":"tracks","stationHash":"CgcIARoD3o8IEAE"},"requiresSubscription":true,"isLive":false,"mediaKind":"audio","name":"DJ Shadow","artwork":{"width":1000,"height":1000,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/08/b7/3d/08b73dc8-818e-1014-0c9e-3fa9855dd1b3/pr_source.png/{w}x{h}rc.jpeg","bgColor":"090909","textColor1":"f2f5f1","textColor2":"cfd4d3","textColor3":"c4c5c3","textColor4":"a7abaa"}}}]},"albums":{"href":"/v1/catalog/gb/artists/133086/albums?l=en-GB","next":"/v1/catalog/gb/artists/133086/albums?l=en-GB&offset=25","data":[{"id":"1422926592","type":"albums","href":"/v1/catalog/gb/albums/1422926592?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/b6/64/13/b66413e6-91dc-dc66-54fd-a93611118813/00886445856637.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"3793bc","textColor1":"060a0b","textColor2":"0a191f","textColor3":"10262e","textColor4":"13313f"},"artistName":"DJ Shadow","isSingle":false,"url":"https://music.apple.com/gb/album/the-mountain-will-fall/1422926592","isComplete":true,"genreNames":["Electronic","Music","Hip-Hop/Rap","Alternative Rap"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2016-04-14","name":"The Mountain Will Fall","recordLabel":"Mass Appeal","editorialArtwork":{},"copyright":"℗ 2016 Reconstruction Productions, Inc.","playParams":{"id":"1422926592","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1448896560","type":"albums","href":"/v1/catalog/gb/albums/1448896560?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music114/v4/89/1e/dc/891edc51-c375-7791-fbba-060fd5df3413/00602567750772.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"232d22","textColor1":"e8d6d1","textColor2":"d7b9a2","textColor3":"c0b4ae","textColor4":"b39d88"},"artistName":"DJ Shadow","isSingle":false,"url":"https://music.apple.com/gb/album/endtroducing/1448896560","isComplete":true,"genreNames":["Hip-Hop/Rap","Music","Electronic","Electronica","Jazz","Bop","Big Band","Underground Rap","Rap","Alternative Rap"],"trackCount":16,"isMasteredForItunes":false,"releaseDate":"1996-09-16","name":"Endtroducing.....","recordLabel":"UMC (Universal Music Catalogue)","editorialArtwork":{},"copyright":"℗ 1996 Mowax Recordings/A&M Records Ltd.","playParams":{"id":"1448896560","kind":"album"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1489224662","type":"albums","href":"/v1/catalog/gb/albums/1489224662?l=en-GB","attributes":{"artwork":{"width":3000,"height":3000,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/0b/82/10/0b82109a-0787-739e-cfe7-4683cdf7c695/19UMGIM81176.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"010101","textColor1":"f3f3f3","textColor2":"f72322","textColor3":"c2c2c2","textColor4":"c61c1b"},"artistName":"DJ Shadow","isSingle":false,"url":"https://music.apple.com/gb/album/our-pathetic-age/1489224662","isComplete":true,"genreNames":["Hip-Hop/Rap","Music"],"trackCount":26,"isMasteredForItunes":false,"releaseDate":"2019-11-15","name":"Our Pathetic Age","recordLabel":"Mass Appeal Records II","editorialArtwork":{},"copyright":"℗ 2019 Mass Appeal/Reconstruction Productions, Inc.","playParams":{"id":"1489224662","kind":"album"},"editorialNotes":{"standard":"Over the course of the last three decades, DJ Shadow has done plenty to change how we hear hip-hop and electronic music. On his sixth studio LP, the double-length Our Pathetic Age, he does it once more. “It’s not something I ever really thought about until it was suggested by a friend,” Shadow tells Apple Music. “It kept running around in my head, ‘What if I tried to do a double record?’ It became the goal.” The first half of the album features the genre-less, rule-breaking instrumentals he’s been making since his game-changing 1996 debut, Endtroducing...... In the second part, his beats tease the best out of a diverse group of rappers, including Nas, Pharoahe Monch and three Wu-Tang members, plus younger MCs such as Dave East, Loyle Carner and Wiki. “When I work with songwriters and vocalists, it’s a chance to open up a little bit and be influenced by the creative energy of someone else,” he explains. “I definitely miss—and was inspired by—the era of hip-hop where there was such a diversity in thoughts and ideas. I think that’s one of the reasons why, through the years, I’ve worked with so many different types of MCs and vocalists—because I like a little bit of everything.” Here, DJ Shadow talks us through some of Our Pathetic Age’s key tracks.
\nFirestorm\n“When I sat down to start working on the record, I just wanted to do different things, try things I hadn't done before and take a few risks. I didn't tell anybody I was going to [make an entirely orchestral track]. I just started working; it was feeling good and fresh. When you've been making music for 30 years and you end up discovering a little vein or taking a direction that you've never really allowed yourself to take in the past, it's something to take note of. There was something really validating about it.”
\nRosie\n“I’ve been finding records recently from the early ’60s and late ’50s that are outside the normal parameter of time that I like to look around in—and I’ll find an unusual sound. The sample here has a folky, gospel kind of quality, and then I unwittingly worked my way through three different eras of production. The first part felt a bit like what I would've done at a point in my career maybe 15 years ago; then the second part of the song, where the beat really deviates, represents a more contemporary sound. The third phase is more melodic. On this record, I really worked at writing melodies and working more with synths, just trying to elevate that side of my game as a producer.”
\nRain on Snow (feat. Inspectah Deck, Ghostface Killah & Raekwon)\n“Ever since their first [single] in late ’92, I’ve been a Wu-Tang Clan fan. I actually DJed for a lot of the Wu-Tang guys on one of their first trips together to the West Coast. I was guest DJing on a radio station called The Beat, they showed up. The host of the show asked them to freestyle, so I played with them, literally 25 years ago, but I don't think anybody remembers it. On this track, the verses actually came in the order they appear, so [Inspectah] Deck set it off, and I think his verse is incredible. They were all just really cool about taking direction and seemed genuinely concerned like, 'Are you into it? Do you need me to redo it?' Which is refreshing when you’re working with another artist.”
\nKings & Queens (feat. Run The Jewels)\n“I've had so much admiration for the path that [Run The Jewels MC and producer] EL-P has taken through the years. We became known around the same time in the mid-'90s and I've been a fan ever since. I used to write to him, like eight or nine years ago, and say, ‘This is incredible what you’re doing, it’s really inspirational. Keep going!’ So it was cool to be able to work with him and [Run The Jewels rapper Killer] Mike on [2016 single] ‘Nobody Speak’. For this album, we didn't want to do ‘Nobody Speak’ part two or even attempt to do something that had a similar energy or a similar trajectory. So I gave them that beat, which is very Three 6 Mafia- and UGK-inspired, and I think it resonated with them right away.”
\nBeen Use Ta (featuring Pusha T)\n“I’ll sit around and talk with my label, Mass Appeal, and Nas, who's the co-owner. We'll kind of spitball ideas about who I want to work with. One of the guys at Mass Appeal was like, ‘Would you work with Pusha?’ I said, ‘Of course.’ That was in November [2018]. I sent the beats and then around May [his vocal] just sort of showed up in my inbox, and I was like, ‘Wow! OK. It's on!’ It was just super easy and pretty amazing.”","short":"“I wanted to try things I hadn't done before and take a few risks.”"},"isCompilation":false,"contentRating":"explicit"}},{"id":"1444207150","type":"albums","href":"/v1/catalog/gb/albums/1444207150?l=en-GB","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music128/v4/a3/74/ef/a374ef5c-41cc-1f51-1e54-90f0cee78433/00602537161744.rgb.jpg/{w}x{h}bb.jpeg","bgColor":"3b2d2e","textColor1":"f3f0f1","textColor2":"ccc8cc","textColor3":"cec9ca","textColor4":"afa9ac"},"artistName":"DJ Shadow","isSingle":false,"url":"https://music.apple.com/gb/album/reconstructed-the-best-of-dj-shadow-deluxe-edition/1444207150","isComplete":true,"genreNames":["Electronic","Music","Electronica","Hip-Hop/Rap","Alternative Rap","Jazz","Bop","Big Band","Rap","Rock"],"trackCount":25,"isMasteredForItunes":false,"releaseDate":"2012-01-01","name":"Reconstructed: The Best of DJ Shadow (Deluxe 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