The Contino Sessions

"Vegas, baby. Vegas." I hate Las Vegas, also I don't remember this album being interesting. Perhaps, it was ahead of its time, now we need to schedule a trip to Vegas. For research.

Great find. Never heard of Death In Vegas. This journey is going to take 3 years itself. Then I’m going to have another 3 years of going through the catalogues of my 4 and 5 star artists. I totally agree with Ivey that this is reminiscent of the Air - Virgin Suicides album.

This was cool. Had a massive attack vibe but more lively. Not sure when I’d listen to it again but glad I did.

Soul auctioneer... Somebody listened to highway 61 recently I guess. I liked this album a lot more than I probably should. I have a real soft spot for this late nineties electronica or whatever genre you would call this

Needs more bass. I want to listen to this while drinking in a cement basement club wearing all black.

Liked it! I might not have enjoyed it without reading a little about the group and the approach to this album. Surprise appearance by Iggy Pop!

Not really just electronica, but has some aspects. Solid beats and jam band feel almost. Good energy / working music

A record with a lot of 90s Britpop swagger - had a good time listening to this. A kind of Oasis / Primal Scream thing going, with it's own dark streak and clever storytelling, while consistently paced and just the right length.

This is why I keep going with this 1001. I've heard of Death in Vegas but never consciously listened to them. This is really where I'm at at the moment post-Covid with Putin threatening to bomb us and a worldwide financial crisis ongoing. Dark, gloomy, shoegaze and catchy.

Never heard these guys before. Weird synths and samples. Clanging guitars. Chunky beats and bass. Actually not too bad. Pleasantly surprised by this album. Stand out tracks: Death Threat, Aisha, Dirge.

Not in my edition of the book! 1999. 4 stars Interesting Brit alt guitar rock that wants to be Godspeed You! Black Emperor when it grows up, but with lyrics. Could be the soundtrack to a cult urban horror film. Good if you like this sort of thing, which I do.

A decent album with a cool electronica/rock vibe, some well chosen guest stars and enjoyable swagger.

Excellent album, has one of my all time favourite tracks, 'Aisha'. Almost a 5.

An excellent album. I particularly enjoy the part in "Flying" where it sounds like an HGV is reversing.

forgot how good

This is ending up in the regular rotation

Instrumental vibes. Great album while working

Excellent album, didn’t realise that the singles came from this.

Dirge and Aisha are the stand outs In this latenight comedown. I love this album and could listen to it I. A loop as the droney electronica washes over me

Solid melodies, limited vocals, this plays mainly as an instrumental album and it is great. Post-rockers should take a note from this album, and quit trying to overcomplicate their music with forced chaotic bits, anti-melodies, etc. Beautiful is not quite the word to describe how this album plays, but there are moments where it is. The intelligence behind the compositions are what really stand out though, the intention of each track disposes any ambiguity, each track seeming to carry with it some "sense" of sense. What the album accomplishes at the cost of complexity, it makes up for in feeling. The rhythms and melodies at times may sound basic, but they managed well in their repetitive cycle, keeping songs feeling progressive rather than stagnate. Usually, songs and music without a feeling of purpose tend to get lost here and the rating inevitably goes down because of that. The same does happen here to a degree, but where this album succeeds for this review is that the question of 'Why?' is more introspective and quizzical rather than a frustrating disappointment.

Went into this one blind, album cover really didn't give me much in terms of what to expect. Turns out to be a pretty solid heavy electronic album, really enjoyed the beats on this one was some great background music. The lyrics in some of the songs would normally be pretty cringey, but somehow in this case they made it work and it wasn't too bad. Definitely would listen again or check out some of their other works.

Death in Vegas is a new band for me. IThere are enough sounds from guitars and drums on The Contino Sessions that it's not obvious that Death in Vegas plays electronic music. This album was a pleasant surprise. "Dirge", "Lever Street" or "Flying would give you a good example of what Death In Vegas does. There was one track, "Aisha", that had some spoken word that I did not enjoy. The track isn't terrible, but I would be tempted to skip the track if I played the album again. Because I enjoyed the album enough to continue listening to the remaining tracks on the extended album, I will round up from 3.5 stars to 4. I could come back to this album for a second listen.

First time listening - pleasantly surprised

I am not familiar with this band. The electronica that they have recorded is pretty straightforward and listenable for me. The trancelike loops are engaging and interesting enough, although a couple of tracks did seem to be dragged out. Fun, but nothing particularly life changing here.

I like it! Good background music. I'm afraid it won't be overly memorable, though. Even now, I can't keep the name of the band in my head. If you ask me in two weeks if I've ever heard of Death in Vegas, I will probably say no.

Dirty guitars and synths. Guest vocalists before everyone was doing it. The first half is great and builds to a peak with Aisha. Rating: 3.5/5 Playlist track: Aisha Date listened: 10/05/22

5/4/2022 - ALBUM #97 Today's Album: "The Contino Sessions" by Death in Vegas - This album is one that really took me by surprise with each track. The opener, Dirge, is a really awesome track with these "la la la" background vocals that give the building instrumentals this really cool, yet kinda creepy, atmosphere to it. It's a clear highlight given just how nuts the band goes with wild effects while still keeping my engaged in this chilled out beat. The next track, Soul Auctioneer, continues with this brooding creepy atmosphere but it's even more elevated with this slow dragging rhythm and these really drugged out vocals. It honestly sort of sounds like Bob Dylan and even though I've shit on his vocals in the past, they actually really work well in this dark and creepy setting. Death Threat is a great instrumental track that surprised me in a variety of ways just on it's own. The strange noise in the background loop, the building electronic sound scape, and the interspersed more code give this track a really disorienting feel to it, but still somehow stays so engaging. The next track, flying, while still sounding somewhat similar to the previous songs, brightens things up with a more full rock instrumentation and these cool reversed synth accents. The track keeps getting crazier and crazier as it goes on and sort of reminds me of something King Gizzard or Psychedelic Porn Crumpets would do, with these blasted out distorted guitars hanging out quieter in the mix. This track has a great energy to it and the 7 minute runtime of it really doesn't ever feel bogged down. Aisha is a really strange track from the perspective of a serial killer that eats dead bodies. The narration feels super in your face and monotone and the band is really just showing their proficiency in creating these really solid, but creepy and uncomfortable instrumentals and they only get better as the track progresses. I have heard so many bands try to do this creepy sort of aesthetic, but this band does it in such a badass way it just works. Lever street is this really sweet instrumental that sounds fantastic, but I have to knock a few points off for it's progression being straight up Heart of Gold by Neil Young. Aladdin's story was the real big surprise on this record, brightening the usually broody dark instrumentals up to feeling pretty pleasant. The instrumental here is fantastic and the vocal really fits it well. I love the sax and organ in specific on this track. Broken Little sister probably falls the flattest out of the track list, feeling like some really generic grunge, and it just doesn't really go anywhere with it. Neptune City is a great instrumental closer to this album, feeling like it's uniting a lot of the electronical ideas throughout the project while balancing the dark and light aesthetics. Overall, this album is a fantastic listen for anyone that can handle something a little unconventional or experimental. Give this one a listen if you're more of an instrumental kind of person and like electronica. Highlights: Dirge, Death Threat, Flying, Aisha, Lever Street, Aladdin's Story, Neptune City Score: 7.5/10 Incredibly experimental, but so well done

Like a donkey punch to the back of the neck

This always felt like a sister album to Primal Scream - XTMNTR to me. An older, slightly mellower, less successful step-sister but a sister nonetheless.

Kind of interesting

I'd forgotten how good this is. Dirge and Aladdin's Story are both beautiful. Aisha is perfect Iggy Pop lunacy. Lovely instrumental stuff that calls back to Sabers of Paradise (which probably explains the Andrew Weatherall link.) Shame about the couple of stodgy rock numbers with the Jesus and Mary Chain and Bobby "Dullest Man in Rock" Gillespie dragging the rest of the album down from an otherwise unimpeachable performance.

This was really good! I'd only vaguely heard of Death in Vegas and never listened to them so had no idea what to expect going into this The instrumentals and production were fantastic, and while the vocal performances were a bit hit and miss (Bobby Gillespie was quite disappointing on Soul Auctioneer, though Iggy Pop was incredible on Aisha) this was overall a really enjoyable album

so weird but really cool

Music to dissociate to

Solid, interesting stuff. I like the blend of sounds going on here, and the songs may be a little long but they develop themselves well enough that I don't mind it.

Recognised some of this. A great listen and the one with Iggy Pop was highly amusing!

This album took me completely by surprise. I had never heard of this artist before this album but what an album it is. The first half of this album started out really strong and felt like the electronica version of Radiohead with strong, ominous production. I wasn't as big of a fan in the second half but still enjoyed it nonetheless. Fav songs: Dirge, Death Threat

Me cuesta trabajo escuchar artistas o bandas mayoritariamente instrumentales pero en verdad me sorprendió lo fácil que fue escuchar este disco. A ratos guitarrazos, a ratos sintetizadores, a ratos sampleos, me parece un gran descubrimiento que se va directo a la lista de favoritos y tocará escuchar todo lo que han hecho hasta la fecha. Me recordaron a Kasabian, pero sin letras. Songs: Aisha, Dirge, Broken Little Sister, Neptune City

Cuando vi la portada y que el género era electrónica, pensé: "Ahí vamos otra vez a vivir la experiencia de Orbital u otra de esas", pero no, nada que ver. Este disco está catálogado como elctrónica, pero bien podría pasar por Rock, Madchester o una forma rara de Jazz. La cosa es que sí me gustó (no todo, la de Aisha me cayó bastante mal) y creo que puedo tenerlo de fondo para trabajar o incluso que salgan las rolas de vez en cuando en el shuffle.

Enjoyed this. It fades into the background but in a good way I thought. Some of the vocals was a bit lame but overall good stuff

Electronic with soul. It’s dance music for grown ups

Filthy baselines👌. Bit long though, my only criticism.

Grata surpresa, foi o primeiro álbum de uma banda que desconhecia e funcionou muito bem. Ótima sequencia de eletro-rock.

4/5 - Pretty Rad but Dated

Amazing one, I enjoyed every song, this is some good stuff

nice alternative electronic album, add to it vocals from various artists and you get a banger album

- disharmonies are intriguing, - will definitely listen to again but needs right mood - not listened to much shoegaze but might explore more

Brilliant album. Some cracker tracks, mainly Dirge, Aisha, Neptune City.

so tight, love love

- disharmonies are intriguing, - will definitely listen to again but needs right mood - not listened to much shoegaze but might explore more

Some great songs and some forgettable. Dirge was the perfect opening to the album, and Aisha surprised me in a good way as well. 'Soul auctioneer' was the only song I actively disliked.

Slight psychedelic rock instrumental feels. Good background electronic album

Really liked this album! Was different for sure with its industrial/rock/alternative vibe but kept listening to it and didn’t get sick of it at all.

Makes you feel cool. What else is there to say

Good stuffs!

Really good

4 out of 20 if ya KNOW WHAT I MEAN

Wow. I knew nothing about these guys or the music they did. This was GREAT. Not the kind of thing I'd go to a concert for, or listen to in the car, or at a party. But excellent "Get work done" music. Dirge and Death Threat are big favorites

Electronica, neo-psychedelia, shoegaze, krautrock

I hadn't heard of this band before, and I'm generally not big into electronic music, but this was amazing. Eclectic and kept my interest throughout. 4 stars.

I remember listening to this when I was maybe 19?

It's Friday and I'm listening to an album from 1999 called The Contino Sessions by the band named Death in Vegas. They are described as rock, electronic, industrial and minimal techno. The first song off this album is great, I'm already quite hooked on it. It's groovy and pulsating all at once. I can imagine I would have enjoyed this in 1999, which would have been my time living and working in Washington DC. It's good music to work to. It has a good beat, there isn't a lot of singing, and it keeps on moving and rolling through. The 3rd track was very good and helpful in keeping me on track. And track #5 kicks in with Iggy Pop adding just the right amount of sneer to fit well with this album. This might need some further listening, which is not as common when working my way through these albums. The final song is great and a nice way to end with an insistent beat that you just have to grab onto.

I dug this album. The new-psychedelic mix of electronica and trip hop was pretty good. Reminded me a lot of Primal Scream, just not as interesting. I still enjoyed the listen though, it was good rhythmic background music. Favorite song: Dirge Least favorite song: Death Threat

Good electronic beats, dark and gothic at times. Way too many versions on the album. Dirge #2 is pretty good.

Cool, funky soundtrack vibes.

I had always written them off in the past, but most of this is quite enjoyable!

Really good listen - Dirge is awesome

Really surprised me actually

Pretty good

Was generally good but the songs in albums like this tend to blend together so it’s not super memorable

3★/5 [06.25.2026] 06.27.2026

This was a vibe. Sounded a bit trip-choppy. 3.5/5

Well. Some decent beats.

I feel like I should like this more given it is combo of genres that I really like. Shoegaze, goth, trip hop, and ambient. I do feel like it isn't quite the sum of its parts though. I think the biggest issue is the vocals. Most of the time they are pretty weak, and when Iggy Pop comes in on Aisha the lyrics are trying so hard to be edgy that it is just corny. There are some great tracks here and it probably isn't a coincidence that they are typically ones that are instrumental. I will likely go back to those, particularly Dirge. Otherwise though, I can't say I loved this.

Got dang this was long and incohesive.

Another boring one. No build-ups, no story, no emotion

Al principio no mgtó, dsp lo escuché de nuevo pa recordar y me quedó gustando KJSDHF

Review - I expected this to be a sort of generic '90s country rock album based on the artist+album name, caught off guard by the dark gothy big beat sound. Genuinely very good. Score - 7.5/10 Need to listen? YES

Love the dirge, some cool motifs but a bit too eerie.

This album had a pleasing range to it. Even though I didn’t love it throughout, things kept moving musically and emotionally. First I thought I was listening to Damon Albarn, then My Bloody Valentine, and then things coalesced around an unexpected church organ (which was my favorite part). It felt like every track had a different singer (further reading confirmed as such) (further reading confirmed as such), although unfortunately that also contributed to inconsistent quality. 3.5 stars for me, with an intention to return to this one.

Almost, but not quite, interesting.

Very, very hesitant. But there's some good on it. Kinda very forgettable at times though.

Solid stuff. Loved some songs, others just went by.

Very in that Blur era of music. Kind of interesting but didn’t really do that much for me.

Hit and miss.

2.5

*The Contino Sessions* There are parts of this album I really like a lot and was really toying with giving it a four stars but I actually when I think about it as a whole it's such a mixed bag. It really starts off well with "Dirge" with dark fuzzy loops and Allison Dot's angelic voice. And "Primal Scream" quite frankly reminds me of "Clint Eastwood" two years later. And Iggy Pop's murderous soliloquy on "Aisha" is pure haunting gold. But my favorite part is the instrumental flying which kind of almost has a Floydian feel if the jammed over drum loops. The rest of the album was a mixed bag and not that there was anything really bad in it and in fact I liked most of it i love the fact that the drums felt real even though they were Loops it felt like manual drum loops rather than programmed. And the alt Rock vibe that is kind of pervasive throughout the album really hit a sweet spot for me. But nothing really ascended to the four tracks that I mentioned. (7.67) ★★★½

Competent, and a few interesting tracks, but mostly boring. 3 stars

I actually thought the first couple songs on this were pretty cool. Kind of a mix between electronica and a JAMC/Primal Scream sound (Jim Reid and Bobby Gillespie both lend their vocals to this). There was a big of a sag for me after the first couple tunes, but it did rebound at the end. Favorite tracks were "Dirge" and "Soul Auctioneer". 3.5 stars.

Death In Paradise is more my scene but this has its moments. It’s a by far scuzzier, sleazier, more threatening counterpart to Chemical Brothers and late 90s Massive Attack. Opener Dirge is top-drawer stuff - crushing and cinematic. Good song to use in movies and trailers. Aisha with guest spoken word from Iggy Pop is hard as nails and cool as frozen fudgicles. Good Gran Turismo song. A lot of the other tracks are kind of more boringer and less interesting though and the track with Bobby Gillespie of Primal Scream is a very lame, dorky comedown after what was a very cool and epic grinding opener. Bobby Dorkspie of Primal Dorks.

didn’t put my heart into listening to this idk if it was for me

fine

This was perfect for the moment I played it in, doing a bunch of paperwork. It made that way more enjoyable. Very 90s. Better than most of the electronic music the generator has given me recently.

It took a bit of time to fully marinade, but once the spacey trances kicked in, this wasn't half bad. I just wish the ends weren't so burnt because the voiceless morsels in the meaty middle seemed pretty well done. While not the best meal I've ever had, it was still overall edible.

3 sterne

I am sure that there is a deep message in this album. I didn't hear it.

Thursday, 28 May, 2026 Interesting. Good atmosphere. Very Britain, late 90s. I’d listen again.

Actually liked it quite a bit but somehow not very memorable

Repetitive enough to fade away but changes enough to prevent itself from becoming boring. No real bangers, but sets a mood

Made for an enjoyable drive, but I wouldnt return to it

This is mostly an instrumental record with some vocals sprinkled in a few of the songs, and some Star Wars sound effects thrown in to a couple. I enjoyed it enough to give it three stars, but I wouldn’t bother listening to it again, and really don’t understand how it made this list.

Aisha kinda brought it back but I'm not sure about this rating

Pretty interesting when it kept a brooding, menacing atmosphere and on the tracks where the electronic sounds build up into some gritty chaos, and not so interesting where neither applies, "Lever Street" and "Aladdin's Story" are united together as the dynamic duo of skip-button fodder Glimpses of potential that don't jump quite high enough to reach the stars

Andrew Weatherall-adjacent, slightly psychedelic, with some nice wooziness. The Bobby Gillespie song sounds like him singing a Dylan lyric over a Weatherall remix of Primal Scream. Some interesting gristly noisy bits, too.

This felt very late 90's but overall this was just okay. There was not much here to keep me interested. Dirge is a decent enough track but the rest of the album is hardly anything to dig into. That said, and not to diminish them, Death In Vegas do have some good songs overall!

I enjoyed this album well enough. It's electronic but there are other things going on and some pretty cool parts here and there. The songs are repetitive but they don't seem to drag on like a lot of electronic music does. There is some variance and some real instruments keeping things interesting throughout. I don't think I'd listen to this again but I did appreciate what they did with this one and am glad to have heard it. 3/5

60/100. This is a dark and hypnotic trip hop record. Death in Vegas create an atmosphere that slowly pulls you into a hazy and disorienting world. The album is genuinely intriguing because of how weird and dreamlike it becomes. Everything feels blurred together through layers of electronic textures, slow grooves, and shadowy production choices that make the music feel more like an environment than a collection of songs. It can become a little too foggy and unfocused at times, but the atmosphere is so vivid and distinctive that it keeps the album compelling even in its weaker moments.

Okayy

Bon sans plus

Decent background music

Solid, each song felt more unique than most other electronic albums.

Liked it

Sounds like the soundtrack of Metroid Prime 2 and besides other Metroid soundtracks, I didn't like Prime 2's that much. Two, maybe three stars.

I listened to this a few months ago and was surprised to enjoy it. It wasn't as enjoyable the second time around

I enjoyed this today. I'm a fan of electronic and this era of trip hop... Is this trip-hop? Idk what to really call this. The sound is gritty and noisy at points and some cool guest vocals. It didn't blow me away but I liked it. Very much soundtrack vibes, easy to fall into the background.

I had never heard of this band before but enjoyed the album.

Fine. I had this album back when it was released. I liked it more back then, but unfortunately it has not aged well for me. I’m not even sure how I became aware of it. Maybe because of Iggy’s guest spot?

Anytime “sessions” is in the album title you, know you’re in for it. This was groovy at times but mostly felt repetitive.

7/10 estuvo bueno pero no me encanto

Excellente BO pour la fin de mon livre mais sinon je sais pas trop pourquoi c’est là

Essence of mid. Some stuff I really like and then some stuff that left me puzzled

oops.. actually didn’t listen to this one so ignore rating..

Aisha was the high point. Between Iggy Pop’s spoken word vocals, that scream, and the TARDIS noise in the background, I might even dare to call it camp. There are a couple of skips for sure, but the songs I liked really sunk in.

Buenos synthes y groove tipo boombap, bastante oscuros

Wants to be Radiohead, isn't Radiohead

Oh, it's dancy. Oh wait, it's grungy with guitars. Is that Bobby Gillespie? Mostly instrumentals I see. Is it done yet?

Interesting discovery. A little bit of trip hop, lo fi

Bonne surprise

Another fairly dark album. I thought this one worked pretty great except for when they added lyrics to the tracks. It's pretty cool, but not the most memorable or exciting album. Favorite track: "Flying" or maybe "Dirge"

"The Contino Sessions" attempts to build a moody and atmospheric record, but it ends up dense and restrained. Unlike many others, I didn't particularly appreciate the guest vocalists; but I thought the instrumentation was...just fine.

Better than expected. I liked the Aladdin song.

Good.

Pretty good overall, but Aisha is cringe and bad.

It felt a little unimaginative and lacking direction. The opening track, "Dirge" was good, as was "Aisha". There were some other tracks that were okay, but largely forgettable.

This album has some interesting moments. But ultimately fails to launch. Most of the songs start in one place and don't evolve much. There are a few ear worms both lyrically and in the instruments. This album is good. But I am left wanting more out of it.

3.5 (47:59, 9 tracks, 2nd album ,1999) electronic "big beat" I do not think it is a coincidence that Death in Vegas was released to me two albums (210 vs 208) after Fatboy Slim’s debut (widely consider the birth of big beat.) A dark club beat decent into drug addiction, disconnection from reality and a serial killer who lives in a cemetery. If I was drinking heavily dancing in a converted church in the late 90’s. . . this album would kick ass. As is I liked it but I don’t see me revisiting it frequently. Was glad to have listened before I died. Widely regarded as a high-water mark for the band, blending electronic "big beat" structures with live garage-rock grit and gothic atmosphere. Critics generally praise its cinematic, moody production and its departure from typical late-90s dance floor tropes. Aisha (ft. Iggy Pop): The album's standout track and literal centerpiece features a chilling, spoken-word performance by Iggy Pop as a serial killer. It is often cited as the record's highlight for its aggressive energy and Middle-Eastern influenced instrumentation. 1) Dirge: the hypnotic opening track famous for its slow-burning, six-minute crescendo built around a simple four-bar riff and ethereal vocals by Dot Allison. While some critics find it repetitive, many view it as a visceral and hypnotic masterpiece. Named after the traditional musical term for a song of mourning or a funeral lament. While the lyrics are minimalist, the track's meaning is primarily conveyed through its heavy, ritualistic atmosphere and structural evolution. Vocals, provided by Dot Allison, consist of a wordless "la-la-la" melody. Critics describe this as a "lazy" or "ethereal" performance that functions more like an instrument than a narrative, contributing to a "mantra-sized" and "incipient psychosis" vibe. True to its title, the song evokes a sense of somber remembrance. It has been described as a "rich-hippy mountain retreat vibe" mixed with "gothic beauty," setting a tone of euphoric sadness that persists throughout the album. The song is built on a simple two-chord riff that repeats for nearly seven minutes. It begins with just the guitar, gradually adding layers of bass, drums, and choir-like vocals until it feels like it is "spiraling out of control". Creator Richard Fearless intended the track to reflect his love for the hypnotic and monotonous nature of techno but performed with live instruments. This repetition is meant to draw the listener into a trance-like state, mimicking the emotional weight of a traditional dirge. The track's dark, cinematic quality has made it a popular choice for soundtracks to evoke tension or melancholy. It has appeared in: Films: I Care a Lot (2021), The Last House on the Left (2009), and Demonlover (2002). Television: Misfits, This Is Going to Hurt, and Veronica Mars. 2) "Soul Auctioneer" is a dark, experimental track that explores themes of nihilism, narcotic disconnection, and social decay. While the band hasn't provided a single definitive explanation, the meaning can be understood through its lyrical imagery and the creative context of the collaborators. The title character is described as a "high priest" who "sells scorpion tightropes while surfing on fear". This suggests a figure—perhaps a drug dealer, a manipulative leader, or a metaphor for internal demons—who profits from the vulnerability and terror of others. The chorus features visceral descriptions of suffering: "There are hands in my pockets / Pulling at my spine / Eggs bearing insects / Hatching in my mind". These lines convey a sense of paranoia, loss of control, and a "soft sick underbelly" of modern existence. Lyrics like "terminal narcosis" and "a dead head, a blunt needle" point directly to drug addiction and the resulting emotional blindness. As the frontman of Primal Scream, Gillespie brought his signature "narcotic hip-hop" style to the track. Reviews describe his delivery as a "sinister" and "sneering" performance that leans into the darker side of human experience. According to Richard Fearless, the creator of Death in Vegas, the song was designed to evoke a "haunted house ambience" and the "powerful" feeling of sadness and euphoria, rather than telling a linear story. The track is often paired with "Dirge" to cement the album's reputation for being "enamored of the dark side". 3) "Death Threat" is a visceral instrumental track that functions as a sonic bridge toward the album's aggressive midpoint. Unlike other songs on The Contino Sessions that rely on guest vocalists to provide a narrative, "Death Threat" conveys its meaning through raw, abrasive textures and structural tension. Critics often describe the track as a "surreal, instrumental experiment". It is characterized by heavy, distorted guitars and a persistent, "juddering" rhythm that creates a sense of impending violence or industrial dread. The song utilizes a "sparkling arpeggio" intro that quickly gives way to a repetitive, sharp guitar riff. Beneath this, a mobile bassline suggests "deep, anxious feelings" hidden by a static exterior, while horn sections are used to dramatize releases of tension. The track's atmosphere is frequently linked to the darker aspects of the drug experience. The build-up and release are described as "narcotic," verging on unsettling, as if unsuccessfully trying to soothe pain or anguish through noise. Within the album's sequencing, "Death Threat" is part of an "incrementally aggressive rise". It serves as a precursor to the album's climax, "Aisha", building the listener's heart rate and sense of unease before Iggy Pop's spoken-word narrative begins. 4) "Flying" is a melancholic, late-night instrumental. Explores themes of isolation, nocturnal restlessness, and quiet reflection. Positioned between the high-energy chaos of "Death Threat" and the sinister narrative of "Aisha," it serves as a "comedown" or atmospheric reset for the album. The track’s few lyrics—"It begins to tell / 'round midnight / till after sundown"—evoke the feeling of being alone in the city during the early morning hours. It captures the specific state of mind that occurs when the world is quiet but the brain remains active. Reviews often describe the track as a "chilled-out" moment that prevents the album from becoming an "angstfest". It utilizes a "peaceful, Eastern sound" with gentle guitar work and trumpets, contrasting the industrial grit of previous tracks. The title likely refers to the mental state of detachment or "drifting" often associated with exhaustion or narcotic influence, fitting the album's broader "gothic electronic" aesthetic. "Flying" is strategically placed to lower the listener's guard. By providing a "gentler momentum," it makes the sudden, aggressive entrance of the following track, "Aisha," feel more jarring and impactful. Unlike the dense, layered production of the album's singles, "Flying" relies on a more sparse, melodic arrangement that highlights Death in Vegas's ability to blend krautrock influences with acoustic textures. The track cements the band's reputation for being "enamored of the dark side". Richard Fearless has stated that the record was intended to be sad and powerful, noting that "there's a close parallel between sadness and euphoria". 5.) "Aisha" is a chilling first-person narrative of a serial killer, delivered as a dark spoken-word performance by Iggy Pop. It is arguably the most famous track on The Contino Sessions and is known for its unsettling, predatory atmosphere. The song opens with the line, "Aisha, we've only just met and I think you ought to know: I'm a murderer." The lyrics describe a man who lives in a "cemetery" and believes "every perversion is justified". Iggy Pop revealed that he was dating a woman named Aisha at the time and found the name "evocative" for the song. He stated that while the persona is extreme, the emotions behind the lyrics were fueled by real "things happening to him personally". Critics and fans have noted the irony of the name; in Arabic and Swahili, "Aisha" means "life" or "alive and well". Using a name that represents life for a song about a "murderer" who "destroys life" creates a stark, symbolic contrast. The track was recorded in a single take to capture a "living thing". Iggy Pop sat down with the music and "tried to talk over it" without a formal rehearsal to keep the delivery raw and spontaneous. The music video supports the "stalker" theme, featuring a woman in a red dress fleeing from an unseen entity. The song’s heavy, looping riff and building noise are designed to make the listener's "skin crawl". 6) "Lever Street" is a minimalist instrumental that acts as a tonal shift or "breather" following the intense climax of "Aisha". While it lacks lyrics, its meaning is derived from its "brittle" atmosphere and its role in the album's emotional sequencing. The track is defined by a vintage B3 organ (or keyboard standing in for one). Reviews describe it as a "sweet" but "brittle organ wheeze" that gives the song a sacred or mournful quality, almost like a small, private religious service following the "sins" described in previous tracks. After the aggressive, industrial noise of "Death Threat" and the "murderer's confession" in "Aisha," "Lever Street" provides a moment of vulnerability and stillness. It is uniquely slow and sparse compared to the rest of the album, serving as a "dilution" of the record's otherwise claustrophobic and dark atmosphere. Like much of The Contino Sessions, the track plays with the "close parallel between sadness and euphoria." It has been described as "alluringly beautiful" yet "poisonous," suggesting a sense of peace that is still tinged with the album's overarching melancholy. It functions as a bridge into the final arc of the album, leading into the gospel-influenced "Aladdin's Story". By stripping away the heavy beats and guest vocalists, "Lever Street" refocuses the listener on the "subtle nuance" and studio craftsmanship of Richard Fearless and Tim Holmes. 7) "Aladdin's Story" is a gospel-influenced track that serves as an "upbeat" yet surreal moment on the album, intended to create a jarring contrast with the darker, gothic themes of preceding tracks like "Aisha". Creator Richard Fearless described the song as his "cover interpretation" of a bootleg tape featuring guitarist Mick Taylor auditioning for the Rolling Stones in 1969. The track features the London Community Gospel Choir, with a choir arrangement by Dot Allison. This was a deliberate stylistic nod to the way Spiritualized utilized gospel elements on their records. The song prominently features the refrain, "Nobody knows the trouble I've seen / Nobody knows my sorrow". By placing these classic lyrics of spiritual suffering within a swaying, melodic tune, the band creates a sense of euphoric sadness. Critics note that these "lighter" moments make the "gothic stuff" on the rest of the album feel much more unsettling by comparison. Along with the track "Neptune City," it provides a brief respite from the industrial noise and predatory narratives found elsewhere 8) "Broken Little Sister" is a gritty, shoegaze-influenced track that serves as one of the album’s most direct nods to 90s alternative rock. It features the distinctive, "disaffected" vocals of Jim Reid, the frontman of The Jesus and Mary Chain. True to Jim Reid's lyrical style, the song explores themes of damaged innocence and emotional fragility. The title and lyrics suggest a character—the "broken little sister"—who is struggling with internal or external trauma, reflected in lines like "She’s a broken little sister / She’s a twisted little girl." Like much of the album, the song carries a "narcotic" undertone. It captures a sense of wasted beauty, blending a catchy pop melody with a dark, distorted sonic landscape. The track is widely seen as an intentional tribute to the Jesus and Mary Chain’s "Psychocandy" sound. By layering Reid’s "sneering" vocals over driving, fuzzy guitars, Death in Vegas successfully bridged the gap between electronica and garage rock. Critics describe the track as "classic Mary Chain-style rock" updated for the late 90s. It relies on a heavy, motorik beat and feedback-drenched guitars that create a wall of sound, contrasting the more sparse, atmospheric tracks like "Flying." Positioned in the middle of the record, it adds to the "aggressive rise" of the album's energy, providing a more structured, rock-oriented punch compared to the experimental instrumentals. 9) "Neptune City" is the album's expansive, seven-minute instrumental finale. It serves as a cinematic "sunrise" after the dark, claustrophobic journey of the preceding tracks. After an album defined by serial killers, narcotic decay, and industrial grit, "Neptune City" provides a sense of hope and release. Critics often describe it as "uncharacteristically sunny" and a "joyous" departure from the record's gothic core. The title and sound evoke a sense of vast, open space. Richard Fearless has noted that the track was inspired by his love for the ocean and the feeling of looking out at a horizon, providing a "powerful" feeling of euphoria that balances the album's earlier sadness. The track is anchored by a soulful, repetitive brass section and a "walking" bassline. It borrows from 1960s soul and Motown textures, but filters them through a modern, electronic lens, creating what has been called a "euphoric, brass-filled" climax. Functioning as the ultimate "morning after" track, it resolves the tension built up throughout The Contino Sessions. By ending on such an uplifting note, the band highlights the album's core theme: the parallel between sadness and euphoria. Its slow-build arrangement has made it a favorite for film and TV to signal a transition or a moment of profound realization. Beyond Iggy Pop, the album features a "who's who" of alternative rock, including Bobby Gillespie (Primal Scream) on the dark "Soul Auctioneer" and Jim Reid (The Jesus & Mary Chain) on "Broken Little Sister". Atmospheric Instrumental Shifts: Reviews often note the album's dynamic range, moving from the industrial noise of "Death Threat" to the uncharacteristically "sunny" and brass-filled closer, "Neptune City". Frequently described as "gorgeous and wasted" or "timeless electronic garage goth". Publications like NME and E! Online gave it highly positive ratings for its unique straddling of rock and dance. However, some reviewers feel the middle of the album can become "incoherent" or that the guest vocals occasionally feel detached from the instrumental backing. A few critics noted it was too raw for the club scene but too electronic for mainstream rock fans at the time. The album has maintained a strong cult following, leading to high-quality vinyl reissues by Music on Vinyl for its 20th anniversary. As of July 2013 it was certified gold by British Phonographic Industry for 100,000 sold units in UK. In 2000 the album was nominated for the Mercury Music Prize. The track "Aisha" was featured in the soundtrack of the 2001 racing video game Gran Turismo 3: A-Spec while "Dirge" was featured in the trailer for The Black Dahlia (2006) and the opening scenes of I Care a Lot (2020) Track listing All music is composed by Richard Fearless and Tim Holmes, except where noted. 1. "Dirge" 5:44 2. "Soul Auctioneer" 5:59 3. "Death Threat" 4:50 4. "Flying" 7:06 5. "Aisha" 5:54 6. "Lever Street" 3:39 7. "Aladdin's Story" 4:45 8. "Broken Little Sister" 5:18 9. "Neptune City" 4:43 Total length: 47:59 The Unknown was written by Mick Jagger and Keith Richards as The Rolling Stones song, but was never declared for publishing rights. Death in Vegas Richard Fearless – production, keyboards Tim Holmes – production, keyboards, engineering Additional musicians Ian Button – guitar (tracks 1, 3–9) Seamus Beaghen – guitar, keyboards (4–7) Mat Flint – bass Simon Hanson – drums Will Blanchard – drums (7, 8), percussion (9), Spencer Bewley – handclaps on "Dirge" Gary Burns – keyboards on "Neptune City" Ali Friend – upright bass on "Lever Street" Vocalists Dot Allison – vocals on "Dirge", choir arrangement on "Aladdin's Story" Bobby Gillespie – vocals on "Soul Auctioneer" Iggy Pop – vocals on "Aisha" Jim Reid – vocals on "Broken Little Sister" London Community Gospel Choir – choir on "Aladdin's Story"

Like it 3/5

Late 90s soundtracky type thing. Nothing revolutionary here for me. I liked the groovy “Aladdin’s Story” the best.

5 - AVERAGE

This is not something i'd normally like, but the whole point of 1001 Albums generator is probably that. I'm positively surprised about this album, not only is a fairly solid rock composition, the themes are varied and styles are well-explored. Aisha and Alladin's Story are trippy songs within reason, I definitely think Lever Street should've closed the album and Dirge is a opening. I'd call it ewntry-level for psychedelic instrumental rock. Favorite Track: Aisha

Radiohead at home kind of stuff.

This was fine. Most of it faded into the background, but it had some parts that I thought were cool.

not terrible, 3/5

++: Dirge, Soul Auctioneer, Aisha, Aladdin's Story, Neptune City +: Flying +-: Lever Street, Broken Little Sister -: Death Threat 7,7/10

While I know very well Scorpio Rising, I never took the time to listen to this album. It's a good old DJ / producer album in the trip hop genre like the 90s were able to produce. While it's a nice trip to memory lane, the album is not all that memorable. Favorite Songs: Dirge ;

This was a tough one to rate. I couldn't really rate the album as a whole because I felt like the songs were so different, yet there wasn't a whole lot different between them. You had your slower trip-hop-esque stuff and your more rock orientated songs, but they sounded similar enough with this eerie, grungy feel to it. I think I preferred the former - the opening track was great, and Aisha was my favourite. I didn't like how the album ended though, and that song with Gillespie was very poor.

3/8 Album was okay

It was pretty cool. High 3/low 4

Pretty good, if a little aimless. I like some of the guest spots, and the production pushes the rock through the electronica/rock fusion just enough for my ears. I think I prefer others from the era though.

Never heard of these guys. Quite enjoyable but nothing really stands out.

Before this I had heard Dirge and Aisha so it was reasonable to think that The Contino Sessions might be a pleasant listen but it turned out to be somewhat tiresome. Some nice bits here and there and three good songs (Aladdin's Story is the third one) but that's about it.

Makes me think of Nine Inch Nails. There's some Underworld and hints of Massive Attack in there as well. Electronics mixed with distorted guitars and some drums. Yep, must be a 90s record. The whole records gives me the vibes of being in rundown and dirty alley in New York in the middle of the night. Definitely sounds dirty and harsh most of the time. 'Dirge' was a decent track, and so was 'Soul Auctioneer' (though lyrics reminds me of Mark E. Smith. Not good). 'Death Threat' was out of control and not particularly nice. In the end it was decent, but no hard-hitter for me. Found it decent at times, and a bit too dissonant at other times. 'Dirge' is a nice track, so is 'Aisha', and 'Broken Little Sister'.

This was a pretty decent trip-hop album. It made me think of Massive Attack or Fatboy Slim. It was a bit darker, however; at times it felt like it was trying a little too hard to be edgy—like it really wanted to be the score to The Matrix (instead of “Clubbed to Death”). Other parts felt cooler and more confident. “Dirge” might be the best track; the buildup throughout the whole song was strong. It even felt a bit like RJD2 (whom I haven’t thought about in years). I think this lands on a strong 3.

Everyone in the uk was onto the same shit back in the 90s isnt it?

Ganska ballt

Pretty cool!

shoegaze, drones, some pleasant melodies too

I don't mind a noisy, motorik, big beat, drone-y record like this. But seriously, Primal Scream released their similar but superior Vanishing Point album the previous year. The appearance of Bobby Gillespie on one track doesn't help with the comparisons. Cameos by Dot Allison, Iggy Pop and Jim Reid are highlights on this record, but hardly career highlights for any of those people. This is to my taste, but nothing special. 2.5 stars, rounding up because I like this kind of sound.

Today was my first experience of Death In Vegas, and it’s been alright. I’m not a big fan of electronica, but there are things I like, and The Cortino Sessions has joined them. It’s probably down to the overall mood of the collection, and the guest vocalists who provide just about every highlight, from Iggy Pop on “Aisha” to the London Community Gospel Group on “Aladdin’s Story”. Opener “Dirge” is probably the exception, and my favourite – Dot Allison is the featured vocalist – and it’s the build-up and ultimate release that makes it special. 6/10

Really enjoyed getting into it but then my mind did wander

Weird psychedelic trip hoppy late 90s stuff.

I like the sound of this electronic jam rock, especially the drums. There are some really good melodies and grooves, but most of the songs kind of flow by without leaving much of an impression.

Never heard of Death in Vegas. Hypnotic, pulsating, upbeat interesting listen. Some crazy stuff but probably won’t revisit. 3.0

The first tracks of this album are really good and bring you into a certain groove. Sometimes that's all you need: A good rhythm section, the right tempo, a slowly built-up effect. But is this good enough for an album? Nah, it all wears off. When "Aisha" started, I shrugged and that was that. I also don't think I need to listen to more albums by this band because it seems that most of the instrumentation comes from guest musicians anyway.

Scrotums

The other electronic albums I've heard so far from this list have not impressed me, but The Contino Sessions by Death In Vegas is for sure the best I've listened to yet. The songs on this album do not feel as if they repeat themselves one after the other and instead the electronic elements present are used to represent an artistic vision. 3.5/5

Þetta er tónlistarstíll sem ég er vanalega ekkert voðalega hrifinn af en það var einhver töffaraskapur í þessu albúmi þannig að það dansar við það að fá fjórar stjörnur frá mér en ég set það samt í þrjár því ég býst við að gleyma því fljótt aftur

I enjoyed it, good background music while pricing transfers.

Solid commuting music

This album transported me to a dive bar in the early noughties - poor lighting, terrible lager in hand, a floor that you stick to as you walk, and the mist of pot in the air. I’m not sure if that was where they were intending on taking me, but it is where I found myself.

Totally fine.

I've heard of this artist but not sure if I've listened to much. interesting so far.

Crunchy industrial meets flowing pop and for the most part it works

cool electronica... but just needed 1 disc. Second disc kind repetitive

A collection of what sounds like a bunch of industrial trip hop interludes. Not bad not good. All veg and no meat

Different. It was listenable, for the most part.

Decent background music

Mostly found this boring with some moments that I just didn’t like. There were parts that were okay as background music but it just wasn’t my thing. Fav song: Aladdin’s Story Least fav: Aisha

Not a huge fan of this one to be honest. Happy that there were some lyrics and the beats were alright but just not for me. Specific rating - 3.0 Fav song - Aladdin’s story Least fav- broken little sister

Late 90s electronic rock. Chill background electronica.

Polovico casa k sm to poslusala sm spala

Mildly interesting

My standard criticism of albums like this is that they can be come too repetitive around one hook or riff. This is partially true here at times, but not in the Fat Boy Slim overkill way. There’s much more to this offering, and a bit more edginess. I knew the total romp of a tune ‘Aisha’….an absolute banger.

The next entry into the 1001 Albums That Are Good But It's Fine If You Never Hear Them list. Pretty good but I'm not sure how it snuck onto this list. Actually pretty decent melodies but ultimately it just feels like dull-ass, go nowhere music.

Not bad.

Uniquely itself, Death in Vegas has its own sound that makes them themselves. Dirge made its own statement as a sound with melodic trance la la la and beat that brought it along. Great album!

Enjoyable, hip, nothing special but well done 3 - deserves to be on this list

C'est un peu indescriptible. C'est psychédélique, souvent old school dans l'approche, mais c'est sorti en 1999. C'est un plutôt bon album, qui se fait souvent sombre, mais je ne sais pas vraiment quoi dire de plus dessus. On revient dans les albums anglo-saxons plus ou moins rock. Ce sera encore un 3/5 pour moi. Je pense qu'à la fin, 90 % des albums auront reçu cette note.

A good introduction to the neo-psychedelia genre.

Never heard of this before, but a good album with some very recognisable featured vocals. Dirge and Aisha probably the best tracks.

An interesting sound!! Didn’t totally catch me but 3.75

I like this well enough. But it doesn't seem like essential listening. I'll round up to a 3. Not confident.

A little boring at times, but interesting instrumentals and not too long. 3.0/5.0: Good

Most of this is pretty good. Not liking the song Aisha, the lyrics are off putting. Like worshiping a serial killer - not good. But musically, this is all pretty good. Not sure - was the second disc released with the original? It should have been left off.

Áhugavert. Aisha með Iggy best.

This was interesting. Some really cool sounds with some vocal tracks that distracted from the cool sounds. Still cool tho.

Lots of experimentation in these Contino sessions, so it's veeery hit or miss even in the good tracks. Occasionally they would play a nasty bass or synth line amidst the noise, and those moments made the whole listen worth it. Standouts: Dirge • Flying • Lever Street • Aladdin's Story

The opening track was awesome. Fantastic atmosphere, great groove. I liked how built up more and more throughout the whole song. The rest of the tracks were not nearly as good unfortunately. They kept the atmosphere and some fun drumming and guitars but lost the build up, which was the main thing for me. There was still a fair bit to like about this album, but some parts felt too drawn out. 7/10

At times mesmerising, at times a little tedious. But overall a solid late-90s electronic album. Dirge and Aisha were standout tracks.

Esse tipo de músicas muitas vezes me passa uma ideia de estaticidade, as músicas parecem um pouco desconexas, ainda não consegui entender muito bem seu apelo.

Actually grooving. Was stomping around Cambridge and felt pretty hardcore

Radically interesting album

Not totally for me, but there were some cool songs here. Sort of a heavy-shoe gaze vibe. Maybe a 4 or 5 out of 10, but I'll round up today. Fave tracks: - Dirge - Soul Auctioneer - Flying - Aisha - Neptune City - Luther's Funk

Genuinely quite good not what i expected

This is not your comfort album. It's an odd blending of electronica and psychedelia and industrial. Lyrically sparse, and not really hooky. It's not bad, just not something you can settle into and vibe with. I liked it, and I'm glad I heard it, but I don't know if I'll return to it. My Rating: 3/5

Pretty cool album. Rare for an “electronic” album to keep my attention with little to no lyrics, though I’d say it’s closer to a rock album than electronic (with some hip hop influence). Thought the first track was the best one.

3.0 Starting to sound a bit dated but thought it was an OK listen. I'm a bit more than halfway through this exercise. Getting a little tired of writing reviews but still finding some motivation to listen to the albums

Best Song: Dirge I was thinking to myself this morning, I need to listen to more electronic music. Then, I thought, I don't like electronic music, why would I listen to more of it? Then I saw that today's album is electronic music which I don't like. This is electronic music and I don't like it. That being said, This isn't straight electronic, there is some rock and other influences so, while it isn't great, it is better than Aphex Twin and the like. 3/5.

Electric groove mostly instrumental and boring. Feels like I heard this a million times but don’t recognize anything. Probably wrong but this doesn’t feel original or influential. Been done before.

Not bad mostly instrumental, but I doubt I’ll listen to it again

was a little dark at the beginning but was nice toward the end.

I wasn't familiar with this artist at all, but I ended up really liking this album.

Not what I was expecting. I don’t care much for electronic music but it was enjoyable. I won’t rush to listen again.

Nice!

There were a few moments on this that I actually sort of enjoyed. For the most part, electronic music just doesn’t know when to quit when it’s ahead, though.

Kinda fun at times. I liked Dirge, in particular. 3.5*

Some of this was alright but I just found myself getting bored of quite a few of the songs after the second or third listens.

Two years before Gorillaz debut makes this more interesting than it sounds, I think. Not a bad album for a chill Monday morning. 3.5/5

3.5

5.5/10 Highlight: Dirge

Almost didn’t make it through the whole thing. It’s just not my style of music. It is decent enough. Could definitely have it playing in the background at work or something.

I liked that this was a little outside the realm of the typical albums in this list.

I hope to one day love something as much as this book loves electronica music. The songs with vocals on them are good songs and the instrumentals are interesting enough to listen with them in the background. I am finding it more and more difficult to grade these electronica/dance/whatever albums, because they are not necessarily my favorite kind of music and I'm not sure if I really am neutral on the music or the music has earned my neutral feeling. It feels fair to list albums I could take or leave as a "3" because I could listen again, but would choose not to, but also would not object angrily if I heard the album again. I will not revisit this one. The song "Dirge" is one of the better songs on the album, as it goes somewhere and earns its almost 6-minute run time. Not all of these songs earn their run time, which is a problem for my ears. My favorite tracks were: Dirge Soul Auctioneer Lever Street Aladdin's Story

A decent album. A bit of what is this doing on the list but not nearly as egregious as ‘Destroy Rock’. Easy background music and fun to play Balatro to. Nothing too revolutionary or catchy that I’m going back to it.

I enjoyed this album more than I initially thought I would when it started out. The singing parts were the parts I didn't enjoy very much while the music itself was very easy to listen to and great to listen to in the background while doing other things.

Good but not my style

It’s slow, it’s hard to understand, but it’s a very chill time for everyone. Not amazing, not bad.

This one caught me off guard. It moves like dark dance music, but with a swagger that’s closer to rock noir than anything in mainstream EDM. I’m not exactly fluent in dance subgenres, yet this album pulled me in immediately. The Iggy Pop feature was a highlight—his presence raises the whole record. Instead of feeling like a token cameo. And then you hit “Aladdin’s Story,” where the Stones influence is unmistakable: a slow-burn groove, a sense of danger, that late-night, half-ritualistic pacing. What really sealed it was what auto-played afterward: PJ Harvey and Mark Lanegan. That algorithmic pairing felt both obvious and correct. It tells you exactly where this album sits—electronica with dirt under its nails, orbiting the same gravitational pull as the darker corners of alt-rock. The Contino Sessions turned out to be way more in my lane than I expected.

6/10 Favorite: Dirge

Feels like it should be better than it is, somehow less than the sum of its parts.

yea it's ok but "must hear", I don't think so.

70

alright but won't relisten

I liked this record when it came out - 26 years later though, it all feels a bit... relentless. It was like chewing an oversized ball of gum with a headache. But in a good way. Possibly. Maybe I'm just happier now than I was then. Maybe I just like a nice chorus. The standout track by a country mile is Broken Little Sister, the guest vocals by Jim Reid making it sound every bit like a lost Jesus and Mary Chain track - it was great to hear it again. There's a decent list of guest vocalists with Reid, Iggy Pop, Dot Allison and Bobby Gillespie all getting in on the action and yes, it's a good record... it's just a bit of a chewy slog.

Not entirely sure what I was expecting from this. I thought I perhaps knew them but left feeling I can't have heard this album before. It sounds like they deaprately want to be writing soundtracks - wouldn't be surprised to learn that this is a soundtrack to something, but something too cool for me. Did I hear Jim Reid from Jesus & Mary Chain in there?? So it held my interest and I may go back to it, but is it particularly exciting / different etc. Not really. But worthy of a listen.

They named this album after Houmous & Chutneys infamous Death In Vegas Tour. The year after the terrible Siegfried & Roy tragedy! 3.4 8/9 Aladdins Story

Didn’t expect to like this but gave it a chance and was pleasantly surprised. Some very heavy hitting collabs here

Decent, trippy music. I listened to the entire album - sort of - and only noticed it was over when some other sort of music started playing. Nothing all that memorable here, but also nothing terrible or irritating on this disc.

Pretty good but there's a non-zero chance I will never remember this.

this shit better knock my socks off to make me listen to the "disc 2" of edits and instrumentals that spotify has listed the first track did blow me away but the rest of it was only occasionally engaging; felt more like filler, though the cohesion and general presence of the music allowed to me to keep listening at least partway into disc 2 without minding it at all. cool to see a precursor to something like polyphia.

Good

Glad to see Iggy Pop can still find work in the art sphere, let along the 90s trip-hop and psych rock scene. Dirges is pretty cool, but the whole album left an overall “meh” feeling. Massive Attack they are not, and that’s okay.

Lives in a weird space in 2025. Very "trainspotting" era of pop culture for me. OK?

It was good, though kinda samey towards the end.

I liked it. First album I had never heard of

I did like this, but it got a bit repetitive.

This album suprised me! I usually don't like these electronica albums and find them boring, but I thought this album was a little more exciting and I actually enjoyed some of the songs lmao

Wasn’t feeling the album until the 4th track ‘Flying’ but after Aisha started playing that’s my fav song so far that riff rocks ass and another high point of this album is Aladdin’s story Would I return to this album in the future… yes

Occasionally great, mostly a little too chaotic for me.

I'd need to give them more of a listen to really decide what I think. But, overall I think I enjoyed this

Riktigt bra grooves, men jag är mera ett fan av när grooves bygger, försvinner och sen kommer tillbaka? Mycket "sitta på samma ackord och riff i 5 min", känns som ett väldigt bra drogalbum dock HAHH

A lot of ambient sound. Fine for listening.

Pretty good. Some trip hop, some electronic. If anything this record could be more focused, but not bad at all. 3/5

A bit of a mixed bag. There were bits I liked and others – generally the more manic, house style bits – that I didn’t particularly enjoy. It’s the sort of record that if I had the time to spend time with, that may well grow on me. But that’s unlikely, and those manic bits reminded me of a time when everything seemed to sound like that. Good on them at least for making things sound different across the album. A non-committal 3 here.

I liked this when I was at university - it's cool but I don't really think it belongs in this list. Maybe it does. Maybe I need to have a little word with myself. Maybe I need to give it another listen. Which is what I will do now.

Was vaguely familiar with the band but not this release. Was not a band I expected to see. After listening, still not sure why it made it, but it's nice background music. Doesn't put me to sleep, doesn't pump me up, just sounded kinda decent while I was steadily doing my task. Effective enough that I listened twice in a row, but not because anything stuck in my head I needed to hear again. It was more I just wanted to keep on pace with what I was doing, and this album worked well enough for the first hour, let's try for the second

Wasn't into it at first, but started to grow on me in the back half. Nothing groundbreaking, but still ok.

This was like Stereolab lite. A bit more accessible. But perhaps not quite as gripping and engaging in it's hypnotic flow. This is an album that will grow in enjoyment as you keep playing it back.

What did this remind me of? 2.7

A good 3

There was something about this I kind of liked. Very full sound. It wasn't very tuneful but was good for working.

Interesting album, pretty cool DJ type music.

Yeah, there’s some good sounds on thid. Some tracks i really got into. Stop trying so bloody hard to be cool though, freak. 3.5/5.0 Best Song: Aladdin’s Story

3/5 album. I like the dark vibe. The first songs are great, but then it gets a bit boring.

Enjoyed about half but a few of these should have stayed inside his head.

vibey and moody but ultimately not really enough going on here for me to rank it higher.

I had never heard this band before, but this is great! I mean weird and very 90s but I enjoyed it a lot. nothing quite stood out to me but I didn't enjoy it

Umalo su postigli da album bude dovoljno drugačiji da nešto vrijedi.

Didn't finish it, was doing OK before I got to the end.

Seems like good trip hop, found it interesting. Def felt a bit dated though, as most trip hop does now...

Wow a British electronica album I didn’t hate! Miracles still happen! Yeah this was kinda groovy. A little more trip hop, a little more rock, with shorter songs and more variation so everything didn’t just blend together. A couple songs here I really dug.

Alright, again. Probably wouldn't deliberately listen to it again but wouldn't complain if it came on the radio or shuffle.

Surprised by this one in a good way! Might relisten someday

No está del todo mal, pero es demasiado instrumental para mi gusto.

Solid British trip hop, which is a welcoming thing for a Massive Attack fan like me. Favorite track: Dirge

nice surprise appearance by jim reid!

Oh, it won the Mercury Music Prize, almost certainly shit then. Can honestly say that I "listened" to it yesterday and it barely registered at all. In fact, I have had to go back and listen to the main tracks called out in the reviews to have something to say. Definitely some Underworld vibes and certainly of a time when Britain hadn't gone to total shit. Dark sweaty basement club DJ throws "Aisha" on, yep, can imagine it went down well. Not as shit as I thought it might be, largely forgettable.

A little weird

Quite enjoyed the vibe and texture to this, but god did it get repetitive.

If this album were a soundtrack to a movie or a computer game, the songs would truly shine and be more memorable. It's a bit boring.

Something a bit different. Enjoyed it ina superficial way but ultimately it’s a nice sound in the background .

Started pretty strong

Some great tracks

Meh, kinda forgot it was playing.

Boring background music.

I listened to like half the album, but it was pretty good— I didn’t expect to like it that much. It was mainly ambient music but the guitar was very good. Not much to say other than that…

3.1 2x decent but weird

Enjoyed more than I expected. A few snoozers but a few bangers too

This album is all over the place, and I like that. The Contino Sessions comes across as very experimental for this electronic band because they included noise rock, church music, shoegaze, screaming, and sometimes went hard enough to be considered metal or at least hard rock. But Death in Vegas (fantastic band name, by the way) managed to make it work. There is a flow that shouldn't make sense. The instrumental sections show that Death in Vegas has actual talent. The lyrics are weird and not what you expect. Honestly, I don't understand it either, but Death in Vegas kept me interested and engaged somehow. 3.5

Some good use of varied instrumentation and song structure made this much more interesting than I expected. This is not what I expect from an “electronic” band. The genre moniker doesn’t seem to fit here, but that’s often the case with more unique bands. A lot to like here, not much I loved, but consistently interesting.

Liked how these songs added layers and built....but many of them didn't go anywhere and overstayed their welcome. "Aisha" is a great song and a great guest vocalist in Iggy Pop. Appreciated the way they play with genre and shape shift from song to song. Good background music for a Tarantino film

Like a trip hop Spacemen 3. Annoying yet great.

Some good moments and a polished sound, but mostly rather boring. Less claustrophobic tracks late-on provide a nice contrast. Certainly not bad by any means but how the heck is it on this list 😅

Fint nok baggrundsmusik

Some bangers and some nice guests. I enjoyed it.

IT was OK. Just Ok. Solid 3. Techno instrumentals.

Album muito instrumental, achei um bom albúm para um clima mais quente

I know this album pretty well, a mate used to play it all the time, but I much prefer Dead Elvis. That album had more of a lightness to it and this one feels darker. It’s pretty good but not one that would of occurred to me to put in this list!

Dark electronica. It’s something that very much could be my cup of tea, but it’s too repetitive and dull, so it fades into the background. Like many electronica albums on this list, it shows its age.

I can't shake the feeling that I maybe should have gotten high before listening to this.