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Trip hop (or trip-hop) is a genre consisting of downtempo electronic music, originating in the early 1990s in the United Kingdom, especially Bristol. Deriving from "post"-acid house,^[1] the term was first used by the British music media and press as a way to describe the more experimental variant of breakbeat which contained influences of soul, funk and jazz.^[1] According to Merriam-Webster's Dictionary, the term was first used in 1989.^[2] Encyclopædia Britannica Online also claims that the term was coined by Mixmag, a British magazine specialising in dance music.^[3] It has been described as "Europe's alternative choice in the second half of the '90s", and "a fusion of hip hop and electronica until neither genre is recognisable."^[4] Trip hop music fuses several styles and has much in common with other genres; it has several qualities similar to ambient music,^[1] its drum-based breakdowns share characteristics with hip hop from the United States,^[1] and it also contains elements of house, dance and dub reggae. Trip hop can be highly experimental in nature.^[1]

Musically, trip hop contains a slow tempo and a hypnotic sound created by an electronic background and prominent string instrumentation. It is usually characterised by beat-driven music which, despite being instrumentally similar to hip hop, varies much in style. Trip hop is characterised by a generally deep, atmospheric sound, and its influences vary, ranging from R&B and urban, to rock and jazz-styled recordings. Nonetheless, the genre is often characterised by low-key productions. Vocals are at times absent or sparse,^[1] even though this is not the case for all trip hop.

Ever since its rise to prominence in the mid to late-1990s, trip hop has enjoyed commercial success not only in its native United Kingdom, but across the world as well. The genre has been described as one which was able to appeal to a mainstream audience.^[1] Several trip hop artists and bands, such as Lamb, Massive Attack, Tricky, Mr Scruff, Portishead and Morcheeba have received attention and/or chart success, both on mainstream national charts and on the more dance and indie-based ones.^[1] Various prominent artists and groups, such as Janet Jackson,^[5] Kylie Minogue,^[6] Madonna,^[7][8] Björk,^[9][10][11] and Radiohead,^[12] have incorporated trip hop in their work. Trip hop has spawned several subgenres which have evolved over the ages, including trip rock (a fusion between trip hop and rock music) as well as Illbient (dub-based trip hop with influences of ambient and industrial hip hop), all part of a post-trip hop scene which encompasses a wider range of styles and influences.

History[link]

1980s: Soundsystem origins[link]

Trip hop may have originated in the mid-1980s in Bristol, UK,^[13] during a time when American hip hop started to gain increasing popularity there along with the then exploding popularity of the house music and dance scene. Although, the term, 'trip hop' was coined first by Andy Pemberton, a music journalist writing for Mixmag, in June 1994 to describe Mo Wax Records Artist (U.K) R.P.M and (American) DJ Shadow's "In/Flux" single.^[14] The originators of hip hop music in the 1970s had been Jamaican-born New Yorkers, but new US regional forms of MCing and DJing arose, and the genre's rise to mainstream success quickly severed it from direct Caribbean antecedents. The UK hip hop scene tended to sample more deeply from Jamaican influences, due to the larger Caribbean ancestry of the British black population, and the existing mass British popularity of reggae, dancehall and dub in the 1980s. Under the influence of American hip hop from the 1980s, both black and white British youth became consumers of hip hop.^{[citation needed]} Hip hop in the UK, unlike the US, was immediately fused with soul, R&B and elements of dancehall.^{[citation needed]}

In Bristol, once one of the most important ports in the Atlantic slave trade and now among Britain's most racially diverse cities, hip hop began to seep into the consciousness of a subculture already well-schooled in Jamaican forms of music. DJs, MCs, b-boys and graffiti artists grouped together into informal soundsystems. Like the pioneering Bronx crews of DJs Kool Herc, Afrika Bambataa and Grandmaster Flash, the soundsystems provided party music for public spaces, often in the economically deprived council estates from which some of their members originated. Bristol's soundsystem DJs, drawing heavily on Jamaican dub music, typically used a laid-back, slow and heavy drum beat ("down tempo").

Bristol's Wild Bunch crew was one of the soundsystems to put a local spin on the international phenomenon, helping to birth Bristol's signature sound of trip hop. The Wild Bunch and its associates included at various times in its existence the MC Adrian "Tricky Kid" Thaws, the graffiti artist and lyricist Robert "3D" Del Naja, and the DJs Nellee Hooper, Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall. As the hip hop scene matured in Bristol and musical trends evolved further toward acid jazz and house in the late '80s, the golden era of the soundsystem was ending. The Wild Bunch signed a record deal and evolved into Massive Attack, a core collective of 3D, Mushroom and Daddy G, with significant contributions from Tricky Kid (soon shortened to Tricky) and Hooper on production duties, along with a rotating cast of other vocalists.

Another influence was Gary Clail's Tackhead soundsystem. Clail often worked with former The Pop Group singer Mark Stewart. The latter experimented with his band Mark Stewart & The Maffia which consisted of New York session musicians Skip McDonald, Doug Wimbish, and Keith LeBlanc, who had been a part of the house band for the Sugarhill Records record label.^[15] Produced by Adrian Sherwood, the music combined hiphop with experimental rock and dub and sounded like a premature version of what later became triphop.

Early to mid 1990s: Trip-hop's mainstream breakthrough[link]

	"Teardrop" noicon Sample of "Teardrop" by Massive Attack, from Mezzanine – main theme, in the US, for the Fox Network's TV show "House, MD".
Problems listening to this file? See media help.

Massive Attack, a British trip hop group which helped bring the genre to mainstream success in the 1990s.^[16]

Massive Attack's first album Blue Lines was released in 1991 to huge success in the UK. Blue Lines was seen widely as the first major manifestation of a uniquely British hip hop movement, but the album's hit single "Unfinished Sympathy" and several other tracks, while their rhythms were largely sample-based, were not seen as hip hop songs in any conventional sense. Shara Nelson, an R&B singer, featured on the orchestral "Unfinished," and Jamaican dance hall star Horace Andy provided vocals on several other tracks, as he would throughout Massive Attack's career. Massive Attack released their second album entitled Protection in 1994. Although Tricky stayed on in a lesser role, and Hooper again produced, the fertile dance music scene of the early '90s had informed the record, and it was seen as an even more significant shift away from the Wild Bunch era.

Tricky, a major trip hop artist.

The term trip hop was coined that year, but not in reference to anything on the Massive Attack albums. In the June 1994 issue of UK magazine Mixmag, music journalist Andy Pemberton used it to describe the hip hop instrumental "In/Flux", a 1993 single by San Francisco's DJ Shadow, and other similar tracks released on the Mo' Wax label and being played in London clubs at the time. "In/Flux", with its mixed up bpms, spoken word samples, strings, melodies, bizarre noises, prominent bass, and slow beats, gave the listener the impression they were on a musical trip, according to Pemberton.^[17] Soon, however, Massive Attack's dubby, jazzy, psychedelic, electronic textures, rooted in hip hop sampling technique but taking flight into many styles, were described by journalists as the template of the eponymous genre.

1994 and 1995 saw trip hop near the peak of its popularity, with artists such as Howie B and Naked Funk making significant contributions. Those years also marked the rise of London band Red Snapper.^{[citation needed]} More significantly, the period marked the debut of two acts who, along with Massive Attack, would define the Bristol scene for years to come.

In 1994 Portishead released their debut album, Dummy. A trio fronted by singer Beth Gibbons, Portishead also included sonic manipulators Geoff Barrow and Adrian Utley. Their background differed from Massive Attack in many ways: one of Portishead's primary influences was 1960s and '70s film soundtrack LPs. Nevertheless, Portishead shared the scratchy, jazz-sample-based aesthetic of early Massive Attack (who Barrow had briefly worked with during the recording of Blue Lines), and the sullen, fragile vocals of Gibbons also brought them wide acclaim. In 1995, Dummy was awarded the Mercury Music Prize as the best British album of the year, giving trip-hop as a genre its greatest exposure yet. Portishead's music, seen as cutting edge in its film noir feel and stylish, yet emotional appropriations of past sounds, was also widely imitated, causing the band to recoil from the trip-hop label they had inadvertently helped popularize.

Tricky also released his debut solo album, Maxinquaye, in 1995, to great critical acclaim. With Massive Attack, Tricky had been known for his unique, whispered, often abstract stream-of-consciousness murmuring, influential on 3D's own rapping attempts, and already seen as remote from the gangsta rap braggadocio of the mid '90s US hip hop scene. Even more unusually, however, many of the solo songs on Maxinquaye did not even feature Tricky's own voice. His then-lover, Martina Topley-Bird, sang them, including her reimagining of Public Enemy's militant 1988 rap "Black Steel in the Hour of Chaos," while other songs were male-female duets dealing with sex and love in oblique ways, over beds of sometimes dissonant samples. Within a year, Tricky had released two more full length albums which were considered even more challenging, without finding the same popularity as his Bristol contemporaries Massive Attack and Portishead. Through his brief collaborations with Bjork, however, he also exerted influence closer to the pop and alternative rock mainstream, and he developed a large cult fan base.

The London-based band Archive developed trip hop into progressive rock with elements of both hip hop and orchestral music recently with the album Controlling Crowds (Part I-III and Part IV).

Post-trip hop[link]

Björk, a recording artist who often incorporated trip hop in her albums and music.^[18][19][20]

After the success of Massive Attack, Portishead and Tricky albums in 1994 and 1995, a new generation of trip hop artists emerged with a more standardized sound.^{[citation needed]} Notable "post-trip-hop" artists include Esthero, Morcheeba, Sneaker Pimps, Alpha, Jaianto, Mudville and Cibo Matto. They integrated trip hop with other genres – including ambient, soul, IDM, experimental industrial, atmospheric drum n bass/jungle, liquid dubstep, breakbeat, drum 'n' bass, acid jazz, and new age. The first printed record for the use of the term "post-trip hop" was as late as October 2002 when British newspaper The Independent used it to describe Second Person and their hybrid sound.^{[citation needed]} Trip hop developed into a diversified genre that is no longer limited to the "deep, dark style" of the early years, eliminating the original impression of trip hop as "dark and gloomy".^{[citation needed]}

Trip hop has influenced artists outside the genre, including Gorillaz, Emancipator, Nine Inch Nails, Radiohead, Travis, How to Destroy Angels^[21], Beth Orton, The Flaming Lips, Bitter:Sweet, Beck, Deftones as well as Icelandic singer Björk, who utilized the genre throughout her 1995 album Post.^[22] Australian pop singer Kylie Minogue's 1997 album Impossible Princess featured strong trip hop styles on several tracks, as well as also mixing in sounds of rock and jazz^[23]

Musical aesthetics[link]

Dido Armstrong, a recording artist who has incorporated trip hop in her work.

Common musical aesthetics include a bass-heavy drumbeat, often emulating the slowed breakbeat samples typical of hip hop in the 1990s. Vocals in trip hop are often female and feature characteristics of various singing styles including R&B, jazz and rock. The female-dominant vocals of trip hop may be partially attributable to the influence of genres such as jazz and early R&B in which female vocalists were more common. However, there are notable exceptions; Massive Attack has collaborated with male and female singers. Tricky often features vocally in his own productions and Chris Corner provided vocals for late albums with his group Sneaker Pimps.

Trip hop is also known for its melancholy. This may be partly due to the fact that several acts were inspired by post punk bands; Tricky and Massive Attack both covered and sampled songs of Siouxsie and the Banshees^[24][25] and The Cure.^[26][27] Tricky opened his second album Nearly God by a version of "Tattoo", a pre-trip-hop song of Siouxsie and the Banshees.^[28]

Trip hop tracks often sample Rhodes pianos, saxophones, trumpets, and flutes. Trip hop differs from hip hop in theme and overall tone. Instead of gangsta rap with its hard-hitting lyrics, trip hop offers a more aural atmospherics with instrumental hip hop, turntable scratching, and breakbeat rhythms. Regarded^{[by whom?]} in some ways as a 90s update of fusion, trip hop may be said to 'transcend' the hardcore rap styles and lyrics with atmospheric overtones to create a more mellow tempo that has less to do with black American urbanite attitude and more to do with a middle-class British impression of hip hop.^{[citation needed]} As Simon Reynolds put it, "trip hop is merely a form of gentrification."^[29]

Trip hop production is historically lo-fi, relying on analogue recording equipment and instrumentation, although more traditional instruments such as electric guitars and drum kits are common features. Portishead, for example, record their material to old tape from real instruments, and then sample their recordings, rather than recording their instruments directly to a track^{[citation needed]}. They also tend to put their drums through considerable compression.^{[citation needed]}

See also[link]

• Chill-out music
• Industrial hip-hop
• List of electronic music genres

References[link]

^[15]

External links[link]

• "Trip Hop Radio" Internet radio
• "Trip-Hop" Allmusic guide essay by Sean Cooper
• "World of Trip Hop" Webpage
• NPR's history of trip hop

Look up Trip or trip in Wiktionary, the free dictionary.

Trip may refer to travel, a vacation, or a psychedelic experience. It is also an informal description for a circuit breaker or its action. Trip may also refer to:

People[link]

• Trip Adler (born 1984), American entrepreneur
• Trip Gabriel (born 1955), American journalist
• Trip Hawkins (born 1953), American entrepreneur
• Trip Kuehne (born 1972), American golfer
• Trip Lee (born 1987), American musician
• Trip MacCracken (born 1974), American football manager
• Trip Payne (born 1968), American puzzle designer

Fiction[link]

• Trip (Power Rangers), fictional character in the Time Force Power Rangers
• Trip Fontaine, fictional character in The Virgin Suicides
• Trip Tucker, fictional character in the television series Star Trek: Enterprise
• The Trip (1967 film)
• The Trip (2002 film)
• Trip (film), a 2008 short film
• "The Trip" (Seinfeld)
• The Trip (1999 TV series), a Channel 4 show
• The Trip (2010 TV series), a BBC 2 show
  • The Trip (2010 film), a film edited from the above TV series

Music[link]

• The Trip (1966), song from the album Sunshine Superman by Donovan
• The Trip (Art Pepper album), 1976
• Trip (Cause and Effect album), 1994
• Trip (Rivermaya album), 1996
• The Trip: Created by Snow Patrol, a 2004 album compiled by Gary Lightbody
• Trip (Hedley song)
• TRIP, a 2008 album by Rina Aiuchi
• The Trip (Lætitia Sadier album), 2010
• The Trip (band), Italian progressive rock band
• The Trip (the band), Australian alt-pop/rock band

Other uses[link]

• Trip (drink), a Finnish brand of juice
• TRIP Linhas Aéreas, a Brazilian airline
• TRIPS, the Agreement on Trade-Related Aspects of Intellectual Property Rights
• Trip, a village in Bixad Commune, Satu Mare County, Romania
• The Trip, otherwise known as Ye Olde Trip To Jerusalem, a very old pub in Nottingham, England
• Triangular prism

See also[link]

• All pages beginning with "Trip"
• All pages with titles containing "Trip"
• Tripp (disambiguation)
• Trippin' (disambiguation)
• Tripping (disambiguation)
• Tripe (disambiguation)
• Stumble (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Look up hop in Wiktionary, the free dictionary.

Hop or hops may refer to:

• Hop, a kind of small jump, usually using only one leg
• Humulus, a genus of climbing flowering plants
  • Humulus lupulus, a species of plants which is grown commercially in many countries to produce hops
  • Hops, the female flower clusters of one species of hop (Humulus lupulus and varieties), used primarily as a flavouring and stability agent in beer
• Hop, a type of dance, including:
  • Lindy Hop, a swing dance of the 1920s and 1930s
  • Sock Hop, an informal dance
• Hóp, a Viking name for what was possibly a part of the North American coast: see Vinland
• Hóp, an Icelandic lake
• Hop River, a river in Connecticut, USA
• Hop, informal term for opium, a narcotic drug
• Hop (software), a web broker and programming language
• Hop (networking), next gateway along a path to a destination host
• Hop (protein), the Hsp70-Hsp90 organizing protein
• Hop (telecommunications), a telecommunications term in several different contexts
• Hop (film), a 2011 film

See also[link]

• Hopper (disambiguation)
• Hopping (disambiguation)
• Hip hop

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2010)

Wax Tailor is the alias of French trip hop/hip hop producer, Jean-Christophe Le Saoût^[1] (born 19 July 1975 in Vernon, Eure). He started in 2004 with two EP's (Lost The Way and Que Sera / Where My Heart's At). The first album Tales of the Forgotten Melodies was released in March 2005, mixing hip-hop, downtempo, trip-hop with samples extracted from movies. This album became one of the best selling electronic releases of the year^{[citation needed]}. The second album Hope & Sorrow released in April 2007. It was nominated for the French "Victoires de la Musique" and US Indie music award.

Background[link]

After being a host on a French radio in the Paris suburb of Mantes-La-Jolie, JC Le Saout started the French Rap band La Formule in the 1990s. He created his label Lab'Oratoire in 1998 and produced records from La Formule as well as Break Beat compilations and a collaboration with the Swedish band Looptroop. He began work on the Wax Tailor project in 2001, first appearing on a remix of Looptroop & La Formule's "Deep Under Water". Wax Tailor's first EP Lost The Way was released in 2004 and features contributions from Charlotte Savary, Marina Quaisse, and Big Dada rapper Infinite Livez. Other musicians who have appeared alongside Wax Tailor include North Carolina Hip-Hop duo The Others made up of Mattic, Johnny Madwreck "Madwreck" and DJ DR, Ursula Rucker, Sharon Jones, Voice and A State Of Mind.

His third album "In The Mood For Life" was released on September 22, 2009.

Winner of the 7th annual Independent Music Awards Vox Pop vote for best Dance/Electronica album "Hope & Sorrow"

Discography[link]

Albums[link]

• Tales of the Forgotten Melodies 2005
• Hope & Sorrow 2007
• In The Mood For Life 2009

EPs[link]

• Lost the Way 2004
• Que Sera/Where my Heart's at 2004
• Our Dance/Walk the Line 2006
• Positively Inclined/The Way We Lived 2007
• To Dry Up/The Games You Play 2007
• We Be/There is Danger 2008
• Say Yes 2009
• I Own You 2010

Remixes[link]

• Looptroop & La Formule - Deep under Water (Wax Tailor remix) 2001
• Olaf Hund - Kitch Kitch Myrtille Sauvage 2001
• Clover - Death of the Lonely Superhero (Wax Tailor remix) 2005
• Nina Simone - I Am Blessed 2008

Videos[link]

• I Own You (Charlie Winston & Wax Tailor)
• Say yes (A.S.M & Wax Tailor)
• Where my hearts at (Tenas)
• The Games You Play (Tenas)
• We Be (Mathieu Foucher)
• We be (Al'Arash Collectif)
• Positively Inclined (A.S.M)
• To Dry up (Laurent King)
• Hypnosis Theme (Hugo Arcier)
• Our Dance (Laurent King)
• Lost the Way (Seamus Haley)
• Dragon Chasers

Covers, references, and sampling[link]

• His track "Seize The Day" recorded with Charlotte Savary appears in the soundtrack of the 2008 film Paris by Cédric Klapisch.

References[link]

External links[link]

• Official Website
• Wax Tailor at Discogs
• Wax Tailor We Be : by Mathieu Foucher
• Wax Tailor artist page at Le Plan
• Wax Tailor at MusicBrainz
• Wax Tailor artistpage at Mole Listening Pearls

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (May 2011)

Rob Dougan (/rɒb duːɡən/; born 1969 in Sydney, Australia), is a genre-blending music composer.^[1] Mixing elements of orchestral music, trip hop, and bluesy vocals, his work is tangentially relatable to electronic music. He was known primarily for his breakthrough 1995 single "Clubbed to Death (Kurayamino Variation)", further popularised by 1999's The Matrix soundtrack. "Clubbed to Death" was re-released on his debut album Furious Angels in 2001, seven years after its initial release.

History[link]

In 1990, Rob Dougan's friend Rollo brought him from Australia to London. From 1991 to 1995, Dougan was a Producer and remix artist. In 1994 his remixes started charting in the UK. He also released his first single, "Hard Times".

In 1995, his hit single Clubbed to Death gave him a recognised name in the UK dance club scene. He produced half a dozen remixes of it, including the "Kurayamino Variation". His label Mo' Wax Records was pleased and commissioned the follow-up, "Clubbed to Death 2" (later the bonus track on the album). CTD2 was never released as a single, but appeared on the James Lavelle disc of the 1996 DJ mix compilation album, Cream Live 2.

"Furious Angels" was not released on Mo' Wax but Dougan eventually released it as a single in 1998 on Rollo's label Cheeky Records. Dougan worked for the following six years, doing remixes and licensing his tracks, in order to self-produce the album which was backed by a full orchestra and a full choir.^{[verification needed]}

In 1999, his exposure increased dramatically when his "Clubbed To Death (Kurayamino Variation)" was featured on the soundtrack of The Matrix. He has also provided remixes of songs by U2, Moby and Kylie Minogue, and contributed two more tracks to the soundtrack of 2003's Matrix sequel The Matrix Reloaded, Château and Kung Fu (a shortened version of "Furious Angels" made for "The Matrix Reloaded"). The Matrix Reloaded DVD also includes the I'm Not Driving Anymore Instrumental soundtrack on the background movie.

In 2002 in the UK, and 2003 in the rest of the world, Dougan released his debut album Furious Angels to critical acclaim^[2] and some surprise from the new tone of his work, as well as from his own Leonard Cohen-esque gravel-voiced vocals.^{[citation needed]} Later in 2003, a two-disc re-release of Furious Angels featured all-instrumental versions on the second disc.

In 2006, Dougan was reportedly writing "a couple of songs" for Sugababes (for whom he produced the single "Too Lost in You"), and working on two albums of his own — one original, one classical.^[3]

As of April 2008, Dougan is mentioned in a wine blog as an owner of a wine vineyard La Peira en Damaisela, leaving questions about the supposed two albums he had been working on.^[4]

A short film made for jewellery designer Solange Azagury-Patridge, "The Letter", directed by Laurence Dunmore and starring Thandie Newton and Jason Isaacs features new music by Rob Dougan; the short film, however, does not mention the title of the song.^[5]

	Rob Dougan "Will You Follow Me" (2002) noicon 23 second clip of Will You Follow Me. This song was used on (jewellery and car) commercials in the USA. Dougan's Modern Classical style.
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	Rob Dougan "Clubbed To Death (Kurayamino Mix)" (1996) noicon A 35 second clip. This track was used in The Matrix and for the trailer of Ultraviolet. This clip shows Rob Dougan's Trip hop style.
Problems listening to this file? See media help.

Discography[link]

Albums[link]

Studio albums[link]

Singles[link]

Notes[link]

Selected songs showcasing style[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (May 2011)

"Clubbed to Death (Kurayamino variation)" 

The classic featuring big beats and orchestral themes. Used in The Matrix "Woman in the Red Dress" scene. The strings at the beginning of the "Kurayamino Variation" mix are adapted from Enigma Variations, a popular piece by British composer Edward Elgar. The opening string figure of the Jupiter movement from Gustav Holst's The Planets is also sampled throughout this song. Both these examples demonstrate a strong 20th century classical influence.

"I'm Not Driving Anymore" 

Instrumental and vocal versions. From Furious Angels album. This song originally appeared on the soundtrack for the movie Driven in 2001. The instrumental version was used as the theme for Law & Order: Special Victims Unit Law & Order in the UK until season 12. It was also used in the trailers and DVD menu of The Matrix Reloaded, and the opening video montage of the New York Knicks for the 2006-2007 NBA season.

"Furious Angels" 

Features big beats, strings and other orchestral overtones. From The Matrix Reloaded initial fight scene between Neo against several agents, to buy time for the other Zion captains and crew (such as Morpheus and Niobe) to escape. The instrumental version of 'Furious Angels' also appears in the opening FMV sequence of Grand Prix 3. It was also used in a commercial for the Post Office Service in the United Kingdom. A remixed version is used as the theme for Law & Order in the UK from season 13 onwards.

"Château" 

Features beats, strings and brass. From The Matrix Reloaded fight scene of Neo against the Merovingian's henchmen. Also used as an unofficial song to introduce the highlights of the 2008 Summer Olympics in the UK. Fast paced, atmospheric, modern instrumental.

"Born Yesterday" 

Also from Furious Angels. Vocal version offers plaintive, powerful lyrics.

"Left Me for Dead" 

Again, from Furious Angels. Vocal version poses some angry lyrics alongside strings and deep bass beats.

"Clubbed to Death 2" 

Furious Angels exclusive track. A more driving version than the 1 counterpart. It uses samples from Frédéric Chopin's Prelude in E Minor.

"Will You Follow Me" and Instrumental 

From Furious Angels. Virtually all orchestral elements creating some romantic modern orchestra music. Used in the new Motorola Z8 advert. UK's ITV used it in a video with highlights of the 2008 Formula 1 World Championship.

"There's Only Me" 

Instrumental and vocal versions. From "Furious Angels". Used as the theme for Law & Order: Criminal Intent in the UK.

See also[link]

• Matrix trilogy: The Matrix, The Matrix Reloaded and The Matrix Revolutions

References[link]

External links[link]

• IGN's 2003 interview - All about his involvement with the Matrix series' soundtracks.
• Rob Dougan at the Internet Movie Database