In 1998, it would have been difficult to find anything of merit on most pop or rock radio. You were likely more likely to hear Celine Dion singles, Matchbox Twenty songs or Aerosmith classics which had long past their prime.
Yet electronic music had made a serious statement by 1998. Here are nine tracks that helped define this genre.
Madonna’s “Sepheryn”
Madonna wanted her tenth studio album to sound both old and new at once, so she hired producer William Orbit to help achieve this aim. William sent Madonna a demo version of “Sepheryn,” an earlier folk-rock piece composed by Clive Muldoon and Dave Curtiss (now Ray of Light) which could serve as inspiration for writing new material.
The final anthem was an unforgettable blend of modern electronica and classic world music, boasting infectious beats, synthesizer riffs and symphonic melodies reminiscent of Madonna’s early dance-pop days while exploring spiritual awakening through lyrics that celebrated spiritual awakening. It marked Madonna as an accomplished multi-genre musical genius capable of transcending genre boundaries.
Madonna spent much of 1997 holed up at Larrabee Studios recording Ray of Light with Orbit and programmer Marius de Vries, amid growing speculation from some fans that she may be losing her touch. Instead, this experiment in personal transformation resulted in an artfully executed album featuring melancholic drama like Swim and Sky Fits Heaven through to Shanti/Ashtangi meditations such as Shanti/Ashtangi; Ray of Light explored deep within Madonna herself while serving as an antidote against growing senses of anxiety within our globalized society.
No wonder Gescom’s debut reached number two on the Billboard 200 chart despite its experimental sounds and unpredictable structure. Sony released the MiniDisc digital format that allowed users to create custom playlists and take music anywhere with them; its shuffle feature became integral in Gescom’s debut’s appeal – featuring glitches, rhythmic sketches and ambient soundscapes; its listeners could discover all its subtle nuances as they played back over and over the record’s 50 tracks on repeat mode.
A Tribe Called Quest’s “Find a Way”
While most of the ’90s was being dominated by one-hit wonders and attempts at commercial dominance by Gangster Rap, A Tribe Called Quest were pushing their craft further into experimental realms. Their sophomore effort Beats, Rhymes & Life may not have set charts ablaze but certainly left an impactful mark; pushing their sound further in an experimentative direction than before and opening up even more exciting territory sonic-wise than its predecessors; though not everyone loved Beats Rhymes & Life as much; regardless it remains an enjoyable listen for anyone that appreciates east coast hip hop!
This album shows the band continuing their exploration into abstract neo-soul and buttery R&B while also exploring their funky, infectious roots. Lead single “Find a Way” stands out, featuring Dilla-inspired grooves with head-nod worthy kicks; though its chorus may be too catchy for some listeners.
Phife and Ali have taken great care in crafting this album to be enjoyable for listeners of all genres; their creativity shows in tracks like their jazz-influenced tribute to a “smooth criminal,” as well as its concluding track featuring Q-Tip, Phife, Charlie Brown Dinco D and Busta Rhymes as he vocalises like an alligator roaring out his signature verses on “Busta Rhymes is Coming”, making his mark with listeners, A&Rs and executives alike that he can become an independent star himself.
In a decade that witnessed Backstreet Boys become megastars and nu-metal’s explosion across alternative music scene, A Tribe Called Quest kept hip-hop lively. Boasting an eclectic sonic palette ranging from Gene Wilder mumbles to Vincent Price laughing off-camera in Michael Jackson’s Thriller video, their group was an astounding example of musical magpie sensibilities prevalent within early 90s hip-hop; no better example can be found than People Instinctive Travels And The Paths Of Rhythm album.
Jennifer Paige’s “Crush”
Jennifer Paige’s timeless classic “Crush” captures both the excitement and uncertainty associated with new romance. First released as the lead single from her self-titled debut album in 1998, it quickly reached number three on Billboard Hot 100 charts worldwide and quickly became an international dance music staple, appearing everywhere from radio programs and club nights to films and video games. Boasting an addictive pop melody and lyrics as well as multiple awards nominations over time – its timeless popularity has even led to endless tribute videos on YouTube ranging from fan-made lyrics videos to choreography covers.
By 1998, electronic music had already established itself as a cornerstone of pop culture for over a decade–enough time for its rough edges to soften and the underground scene to diversify into multiple subgenres. Jungle had given way to drum n’ bass in Europe while trip-hop was quickly becoming its dominant style; here in America rave clubs hosted genres ranging from West Coast deep house to Florida breaks music events.
While many electronic music genres may be best suited for dancefloors, they also make for excellent home listening material. Air, Massive Attack and Boards of Canada all released career-defining albums during 2014 that brought in listeners who weren’t initially fans of electronic music genres.
Los Angeles was also the epicenter of homegrown experiments in bristly minimal techno. Well before Plug Research released Dntel and Rhye-related projects like Milosh and Quadron, Allen Avenessian and Joe Babylon released their sole album as Mannequin Lung; its scratchy yet elliptical beats made for club playback, yet its moody synths and dubby effects created an atmospheric aesthetic with stoned elements that was both soothing and invigorating at once.
Bjorn Torske’s “Nedi Myra”
Bjorn Torske is a revered Norwegian producer who pioneered a sound he dubbed “skrangle-house,” which fused psychedelic rock’s exploratory mood with house and techno rhythms to form something called “skrangle-house.” His distinctive sound would later be adopted by high-profile Norwegian artists like Todd Terje and Lindstrom as well as spark a whole new genre of dance music; two albums released by him – Nedi Myra and Trobbel – have now been lovingly reissued this month by Smalltown Supersound!
While not his most celebrated album, this release still plays an essential part in the development of electronic music in the 90s. With its signature hypnotic bassline, haunting vocals and abrasive synthesizers – including its distinctively futuristic yet atmospheric feel – this release showcases everything producers were striving for during that era.
In 1998, Pittsburgh’s Jordana LeSense cemented her place among drum & bass’s leading voices with this track from Pittsburgh titled ‘Jordana LeSense: Resilient Snares and an Obsessive Bassline, balanced perfectly by a spine-tingling Rhodes breakdown – the song quickly become an international success and charted multiple countries.
Though most of the tracks on this album have been previously released, this compilation marks an essential piece in the development of electronic music, particularly since it comes from an era when MiniDisc format had reached its pinnacle of influence and become an influential force over a full decade–long enough for rave’s rough edges to soften and underground sounds to develop in numerous directions. MiniDisc’s shuffle function made an ideal way for exploring this kind of music; thus providing an opportunity to discover many tracks.
Michael Mayer’s “Neuhouse”
Long before Cologne’s Kompakt label began releasing rigorous, minimalist techno tunes regularly, this collection of their early works captured the ethereal side of house music. From Herbert and Dani Siciliano’s “Going Round” to Superpitcher’s “Prototype,” this set captures an era in Berlin when house music began shifting towards glossy yet moody sounds.
Though many of the albums and mix CDs mentioned here would make an ideal addition to any self-identifying electronic-music fan’s shelf, none can match Jordana LeSense’s groundbreaking contribution on her 1998 Jungle Sky debut, “Jerusalem.” Her bass taps into tech step without succumbing to screw-face parody; its unrelenting snares on “Jerusalem” are softened by an spine-tingling Rhodes breakdown for an unforgettable listening experience.
By 1998, rave’s rough edges had begun to soften and the underground had dispersed into various directions. Pittsburgh-based Jordana LeSense’s second full-length album served as an indispensable bridge between rave and chill. LeSense’s melodic productions provided an early taste of dubstep and neo-trance while her haunting vocals helped lay the groundwork for dreamy electronica – working alongside artists like Matmos and Smith N’ Hack. LeSense’s album proved an instant classic.