0059. Teargas & Plateglass – Black Triage [2007]


Dark, droning, ambient… I found this when I typed “trip-hop” into a torrent search field, and I’m damn glad I found it.  Very evocative stuff.  Stuff like this would fit perfectly in a Silent Hill game.  In fact, if these guys had taken over composition for Akira Yamaoka, I’d be completely OK with that.  So, you know, maybe don’t play this for a Sunday picnic, but do play it during a long night drive on mostly vacant roads.  This is only their second album, but they’ve only put out two with the exception of a few singles.  I’m not as conversant on their debut as I am on this one, but I fully intend to be at some point soon.  Aside from the topic of this album, writing this blog entry got me to visit these guys’ website for the first time.  Check out this piece of writing I discovered right on the homepage:

“By any measure, we live in an extraordinary and extreme time.  Language can no longer describe the world in which we live.  With antique ideas and old formulas, we continue to describe a world that is no longer present.  In this loss of language, the word gives way to the image as the ‘language’ of exchange, in which critical thought disappears to a diabolic regime of conformity – the hyper-real, the omnipresent image.  Language, real place gives way to numerical code, the real virtual; metaphor to metamorphosis; body to disembodiment; natural to supernatural; many to one.  Mystery disappears, replaced by the illusion of certainty in technological perfection.  Technology, acceleration do not affect our way of living – they are our new and comprehensive host of life, the environment of living itself.  It is not the effect of technology on the environment, culture, economy, religion, etc., but rather that all these categories exist in technology.

In this sense, technology is the new nature.  The living environment, old nature, is replaced by a manufactured milieu, an engineered host – synthetic nature.  In a real sense, we are off planet, dwelling on a lunar surface of stone, cement, asphalt, glass, steel and plastics, engulfed in the atmosphere of electromagnetic vibrations – the soothing lullaby of the machine.  The common notion tells us that technology is neutral, that we can use it for either good or bad.  We do not use technology, we live technology; technology is our way of life.  Being sensate entities, we become our environment – we become what we see, what we hear, what we eat, what we smell, what we touch.  Where doubt is prohibited, we become, without question, the environment we live in.

With our origins based in the natural order, should this context radically change, the mysterious nature of the human being shall also radically change – a change that will reflect the transformation of nature itself, at a turning point or vanishing point.  Natural diversity becomes a burnt offering, sacrificed to the infinite appetite of technological homogenization.  We now live the fiction of science.  We are now, not in some remote future, cyborgs.  We are at one with our environment – we are technology.  In this wonderland, freedom becomes the pursuit of our technological happiness.  Our standard of living is predicated on commodity consumption, as the shibboleth of the new religion is ‘pray for more.’  In vehicles of ecstasy, with cinematic engines of inertia at audiovisual speed, trans-port and tele-port blend into one.  The beginning becomes the end.  The port disappears in the speed of light.  The nanosecond (one billionth of an ‘old second’), technological speed, transforms reality as it creates an ecstatic phenomena of compelling and unparalleled intensity.

By human measure, charismatic technique portends the miraculous, as it engenders the condition of ‘exit velocity’ – a condition that blurs human perceptions, shatters all meanings, drains all content and breaks our bonds to earth.  All locations are subsumed into the startling terra firma of the image, a demonic conformity that is the genesis of massman.  In the shadow of the mass, all previous definitions crumble,  The ‘time’ and ‘space’ of history exit to an homogenized zone of no return.  In this supernatural implosion of g-force, human moorings give way, sending humans out-of-orbit into the void of technological space.  The accompanying loss of original habitat and our subsequent relocation into accelerated space throws nature into catastrophe, as it engenders traumatic stress syndrome as the now normal condition of post-human existence.

Technique, while promising comfort and happiness, means power, means control, means conformity, means destiny.  Technology creates a condition of war that is at once universal and unseen.  The explosive tempo of technology is war; the untellable violence of relocation in technology is war.  All of us are refugees driven from our human state.”

Pretty cool stuff, right?  Pphh, yeah, as if anyone actually read all that.  Anyway, check out the album.

Wikipedia Says:

Teargas & Plateglass are a band who produce electronica, dark ambient, drone music with accompanying videos.

They are influenced by the works of Godfrey Reggio and Sebastaio Salgado, David Sylvian, Jennifer Charles, Tweaker and David Hykes.

Teargas & Plateglass
Teargas and plateglass logo dark blue.jpg
Background information
Origin Unknown
Genres Electronica, Dark Ambient,Drone_Music
Years active 2001 to Present
Labels Waxploitation
Website www.teargasandplateglass.com
Members Unknown
Past members Unknown


The American Film Institute, which exhibited their music videos in 2008, called them “a bold experimental vision”.[citation needed] URB said the band “pave the way so the dark side can take its rightful place at the forefront of the genre”[citation needed]. XLR8R described their sound as “darkness mixed thick like a pool of blood” and advised listeners to “take with a stiff glass of Absinthe”.[citation needed] Danger Mouse likened their music to “the end of the world”. King Britt noted that “their music restores my faith that deep, dark music still moves the masses”.

The band released an eponymous album in 2001, then in 2004 performed unannounced eastern European shows under the names Septagon, Undecagon, Duodecagon, Enneacontagon, and Hecatommyriagon.

Black Triage[edit]

To compliment the visceral music, the text inside the CD booklet was penned by the filmmaker Godfrey Reggio of Koyaanisqatsi fame.

Three music videos were produced for the album and debuted at the 2007 American Film Institute Festival, which called the band ‘a bold experimental vision’

Notable Songs[edit]

Two Teargas & Plateglass songs were used for trailers for the movie X-Men: The Last Stand. The song “Plague Burial” was used for the theatrical trailer, and the song “Book of Black Valentines” was used for the non-theatrical trailer. “Plague Burial” was also used in the trailer for Beowulf (2007). Several songs have been heard in CSI, CSI New York and CSI Miami. The song “a uniquely hostile place” was used in the Steven Spielberg produced television show The United States of Tara (Showtime).


  • Teargas & Plateglass (album). Self-titled album released in 2004. Now out of print.
  • Black Triage (album). Released 2007.
  • One Day Across The Valley / Behold a Sea of Ills So Vast (10″). Released 2008.
  • Plague Burial / Simplify this Landscape with Darkness (10″). Released 2008.
  • A Uniquely Hostile Place (7″). Released 2011.

0034. ††† – ††† [2014]


Chino Moreno project.  Need I say more?  Maybe so.  This is very mellow stuff.  Kind of trip-hoppy, kind of electronic rock.  I love pretty much anything Chino touches, so when Crosses put out their first EP, I was all over it.  I honestly don’t know how to sell you on this.  I just highly, highly recommend you check it out.

Wikipedia Says:

Crosses (stylized as †††) is the debut full-length album by the American musical groupCrosses.[8] The album was released on February 11, 2014 on Sumerian Records. The album contains remastered versions of songs from the bands previous two EPs (EP 1and EP 2, respectively) as well as five new songs that were originally set to be released asEP 3. The album debuted at 26 on the Billboard Top 200 upon release. The album’s sound reflects elements of electronic rock, nu gaze,[1] dream pop,[2]ambient, dark ambient, gothic rock, trip hop, darkwave, witch house, and electronica.[2]


In September 2013, Crosses announced via Twitter that they were releasing their third EP on November 12 on Sumerian Records.[9] In October 2013, Crosses announced that a full-length album was set to be released on November 26, 2013 on Sumerian, and also posted the new track “The Epilogue” online for streaming.[10] The release date for the band’s eponymous debut was later pushed back to February 11, 2014, and the new track “Bitches Brew” was posted online for streaming along with the announcement.[11] On November 26, the date Crosses were originally scheduled to release their debut album, the band instead released a music video for “Bitches Brew” directed by Raul Gonzo.[12] The album contains remastered versions of all songs from the previous two EPs as well as five new tracks (essentially, EP 3). The track order intermingles new tracks and songs from both EPs.

Critical reception

Upon its release, Crosses received positive reviews from music critics. AtMetacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 74, which indicates “generally favorable reviews”, based on 9 reviews.[3] Allmusic reviewer Gregory Heaner wrote: “††† is a solid effort that stands on its own merit rather than simply cruising on the cultural cache of its members.”[2] The Boston Globe writer Ken Capobianco stated: “The music has a cinematic feel and ominous tone, as if the band is scoring a yet-to-be-made David Fincherfilm.”[13] Mike Diver of Clash wrote: “As while there’s ingredients enough here to have the listener expecting something savagely tearing at the envelope of experimentalism, Crosses proves to be a most-accessible collection – perhaps the most ‘pop’ record Moreno has realised to date.” Nevertheless, he also further added that the album “meets its pre-release hype head on, and comes away the winner.”[6]

Nevertheless, Ian Cohen of Pitchfork Media gave the album a mixed review, stating: “While ††† may be on the same scale as Deftones, they’re not a replacement, and it stands to reason that Moreno can ascend to the heights of their previous work. But on †††, it’s like he never had wings.”[1]

Track listing

No. Title Originally from Length
1. “This Is a Trick” EP 1 3:07
2. “Telepathy” EP 2 3:35
3. “Bitches Brew” 3:28
4. “Thholyghst” EP 1 4:26
5. “Trophy” EP 2 3:53
6. “The Epilogue” 3:55
7. “Bermuda Locket” EP 1 3:42
8. “Frontiers” EP 2 4:01
9. “Nineteen Ninety Four” 4:17
10. “Option” EP 1 4:24
11. “Nineteen Eighty Seven” EP 2 3:11
12. “Blk Stallion” 3:06
13. “Cross” EP 1 2:52
14. “Prurient” EP 2 4:06
15. “Death Bell” 4:12
Total length:

Note: All tracks on the album have a † in their title – substituting all t’s for the † symbol; “Cross” is simply labelled “†”.

Chart performance

Chart (2014) Peak
Australian Albums (ARIA)[14] 43
US Billboard 200[15] 26



Additional musicians[16][17]

  • Duff McKagan – additional bass on “This Is a Trick”
  • Stephan Boettcher – mandolin assistance
  • Molly Carson – phone call on “Frontiers”
  • Chris Robyn (Far) – live drums

Production and artwork[16]

  • Eric Broyhill – mastering
  • Crosses – production
  • Brendan Dekora – assistant engineer
  • Shaun Lopez – production, engineering, mixing
  • Brooke Nipar – photography
  • Eric Stenman – mix engineer

0029. Portishead – Portishead [1997]


Mmmm… This one’s a BIG favorite of mine.  This was my first introduction to trip-hop.  I’ve put this on while I wrote chaotic word vomit (aka “poetry”).  Particularly notable tracks are Undenied, Mourning Air & Western Eyes, although I love every track on the album.  My all time favorite song of Portishead’s, though, is “Roads,” off their debut album, “Dummy.”  I first heard that on the movie Tank Girl when the main character took a sand shower.

Anyway, definitely check this album out if you’re a fan of Lana Del Rey, Lamb, Lorde, Massive Attack, Thievery Corporation, etc.  Most of you reading this are probably already fans of Portishead, so I don’t need to sell you on them.

Wikipedia Says:

Portishead is the second album by English band Portishead, released in 1997. The album reached No. 2 on the UK Album Chart[1] and No. 21 on the Billboard 200 chart.[2]

On 3 December 2008, Universal Music Japan re-released Dummy and Portishead as a limited SHM-CD version.[citation needed]


Professional ratings
Review scores
Source Rating
Allmusic 4.5/5 stars[3]
Entertainment Weekly (A)[4]
Robert Christgau (B-)[5]
Pitchfork Media (8.2/10)[6]
Rolling Stone 4/5 stars[7]
Slant Magazine 4.5/5 stars[8]
Melody Maker (positive)[9]
Vibe (positive)[10]
NME 8/10 stars[11]
Spin 9/10 stars[12]

Portishead received critical acclaim upon its release. Spin praised the record and noted that the band created a “gothic“, “deadly” and “trippy” atmosphere.[12] Commenting the textures of the music, music journalist Barry Walters observed that the group got “darker, deeper and more disturbing” in comparison to their previous effort Dummy.[12]


Publication Accolade Year Rank
Melody Maker Albums of the Year 1997 18[7]
NME 1997 Critics’ Poll 1997 32[7]
Q 50 Best Albums of 1997 1997 (*)[7]
Spin Top 20 Albums of the Year 1997 6[7]
Village Voice 1997 Pazz & Jop Critics’ Poll 1997 14[7]

(*) designates unordered lists.

Track listing

All songs written and composed by Geoff BarrowBeth Gibbons and Adrian Utley, except where noted.

No. Title Length
1. “Cowboys” (Barrow, Gibbons) 4:38
2. All Mine 3:59
3. “Undenied” (Barrow, Gibbons) 4:18
4. “Half Day Closing” 3:49
5. Over 4:00
6. “Humming” 6:02
7. “Mourning Air” 4:11
8. “Seven Months” 4:15
9. Only You 4:59
10. “Elysium” 5:54
11. “Western Eyes” 3:57


  • Only You” samples Ken Thorne from “Inspector Clouseau” and The Pharcyde from “She Said”.[13]
  • “Western Eyes” is listed as sampling “Hookers & Gin” by the “Sean Atkins Experience” in the album’s liner notes. In reality, this band does not exist; the sample was created by the band like most of the others on the album.[14]


All songs produced by Geoff Barrow, Adrian Utley, Beth Gibbons and Dave McDonald.

Additional Musicians
  • Clive Deamer – Drums
  • Sean Atkins – Additional vocals
  • John Baggot – Organ, piano
  • Andy Hague, Ben Waghorn, John Cornick – Horns
  • S. Cooper – Violin

Sales chart performance

Chart (1997) Peak
Australian Albums Chart[15] 2
Austrian Album Chart[citation needed] 6
Belgian Album Chart (FL)[citation needed] 9
Belgian Album Chart (WA)[citation needed] 23
Danish Album Chart[16] 6
Dutch Album Chart[citation needed] 31
Finnish Album Chart[citation needed] 14
French Album Chart[citation needed] 3
New Zealand Albums (Recorded Music NZ)[17] 1
Norwegian Album Chart[18] 7
Swedish Album Chart[citation needed] 6
Swiss Album Chart[citation needed] 11
US Billboard 200[2] 21

0019. Lovage – Music To Make Love To Your Old Lady By [2001]


This album’s title is by no means a misnomer, although it works a lot better if you’re both into trip-hop and/or Mike Patton.  I think it’s fuckin’ fantastic.  Great for any fans of Portishead, Massive Attack, Lamb, Thievery Corporation, etc.  The particularly notable tracks on this album are Anger Management, To Catch A Thief, Strangers On A Train, Sex (I’m A), Book Of The Month and finally, Archie & Veronica.  Definitely keep your tender earholes open wide for those gems.

I never got a chance to see this group live, and I kinda doubt I’ll ever get a chance.  This (as far as I know) is the only album they’ve ever released.  Really too bad, because I’d love to hear some new stuff from them someday.  Anyway, check it out.  Make sure to click the picture above to go to my podcast site where you can hear the album in its entirety.

Without any further ado…

Wikipedia Says:

Nathaniel Merriweather Presents… Lovage: Music to Make Love to Your Old Lady By is the 2001 debut and so far only album of Lovage. Lovage is a studio supergroupfeaturing Dan the Automatorproducing, Mike Patton and Jennifer Charles on vocals, Kid Koala on the turntables, Brandon Arnovick (as Astacio the Nudist) on guitar, Daniels Spills on keyboards and SweetP on harpsichord & noseflute.

Dan the Automator provides trip hop beats while the vocals mostly consist of Mike Patton and Jennifer Charles engaging in sultry and provocative dialogue. Nevertheless, the overall tone of the album is tongue-in-cheek. The album cover is an homage toSerge Gainsbourg’s second album. The song “Sex (I’m A)” was originally written and performed by 1980s New Wave band Berlin. The Lovage version differs significantly from the original. The album features many references to Alfred Hitchcock, most notably the titles of the songs “To Catch a Thief“, “Lifeboat“, and “Strangers on a Train“, which were all named after the movies, and contain re-dubbed excerpts. The album title itself also refers to an album Hitchcock appeared on in 1956 titled Alfred Hitchcock Presents: Music to Be Murdered By.

An instrumental version of the album[8]has also been published.

Track listing

No. Title Additional artist(s) Length
1. “Ladies Love Chest Rockwell” Vocals: Prince Paul (as Chest Rockwell, the alias used for Handsome Boy Modeling School) 1:19
2. “Pit Stop (Take Me Home)” 3:56
3. “Anger Management (Why Must God Punish Me)” 4:17
4. “Everyone Has a Summer” Scratches: Kid Koala 4:16
5. “To Catch a Thief” 3:17
6. “Lies and Alibis” 3:16
7. “Herbs, Good Hygiene & Socks” Vocals: Afrika Bambaataa 1:55
8. “Book of the Month” 4:28
9. “Lifeboat” 4:45
10. “Strangers on a Train” 4:36
11. “Lovage (Love That Lovage, Baby)” Vocals: Damon Albarn (as Sir Damien Thorne VII of the Cockfoster’s Clan) 1:04
12. Sex (I’m A)” (Berlin cover) 6:19
13. “Koala’s Lament” Scratches: Kid Koala 3:53
14. “Tea Time with Maseo” Vocals: Maseo (as Chármelle Carmel) from De La Soul 1:38
15. “Stroker Ace” 4:29
16. “Archie & Veronica” 6:05


0013. Berry Weight – Music For Imaginary Movies [2010]


For fans of Portishead, Massive Attack, Lana Del Rey, Tricky, Lamb, Thievery Corporation, etc.  I found this album when I typed “trip-hop” into the search bar of Demonoid, and I’ve been a HUGE fan ever since.  After the first time I listened to the album all the way through, I put it on repeat, and listened to it about 10 more times.  Seriously.  I forget whatever the hell I was doing besides listening to this album, but that experience cemented this album in my mind and my heart.

I’ve tried to turn others on to this group and/or this album, but to no avail (as far as I know).  The video for Equations was what I thought would reel in at least someone on my Facebook, but nope.  Equations is one of the most notable tracks on the album, along with The Lotus and Sky Below.  They all have vocals while the rest are instrumental.  The instrumental tracks are all fantastic too, but the vocal tracks stick in my mind the best because I absolutely love the lyrics.  Here’s the video for Equations so you can see what I’m talking about:

See?!  Awesome, right?  Anyway, here’s what Wikipedia says about this album:

Wikipedia Says:

Nothing again!  No Wiki entry for this, or the Machito album.  You’re on your own, I suppose.  Good luck and happy yojne-ing!