"The lyrics of "The Tired and the Hurt" by Moby convey a powerful sense of longing and nostalgia for a past that was filled with light, hope, love, and endless possibilities. The imagery of light and clear skies, endless dreams, and expansive forests creates a vivid picture of a world that once existed in a state of beauty and purity, where everything seemed possible and nothing was out of reach. However, this idyllic past is contrasted sharply with the present reality described in the chorus, where the singer finds themselves feeling tired, hurt, and broken, surrounded by cold and desolate seas."
"The Weezer wannabe tags were certainly understandable when it came to Nada Surf's debut; besides a similarity of intent (a quick, punchy post-grunge pop/rock album with quick, punchy post-grunge pop/rock songs), the production from Ric Ocasek sealed the deal for many. The fact that the band had been going for a while before Weezer's own 1995 splash seems to have been ignored, admittedly. But if Nada Surf never came up with anything that had the influence and lingering impact of Pinkerton, say, High/Low is a nicely frazzled and fun release that actually bears a little similarity at points to prime Cheap Trick. To be sure, it's not an exact comparison (Caws is nowhere near the singer Robin Zander is, for a start), but in terms of spiky intensity shot through with just enough emotional yearning, Caws has the job down well. His guitar playing does the business well enough, while the Lorca/Elliot rhythm section similarly shows its skill track for track."
"In 2001, a Gothenburg, Sweden-based duo called the Embassy released a 7" titled Sneaky Feelings. Sharing a name with both an Elvis Costello song and a jangly 1980s New Zealand indie-pop group, the four-song EP was little-noticed by Americans at the time, but it marked a turning point for their city's music scene. Blending Fredrik Lindson's yearning vocals and chiming guitar chords with Torbjörn Håkansson' pattering percussion, euphoric electronics, and occasional exotic sample or two, the record had more in common with the twee-meets-house hybrids of early-1990s Saint Etienne than with any record of its period-- even the Avalanches' similarly balmy, ambitious Since I Left You. By the end of the 2000s, echoes of the Embassy's aesthetic could be found in critically acclaimed albums by Jens Lekman, the Tough Alliance (who named their imprint, Sincerely Yours, after an Embassy song), Studio (ditto for their Information imprint), Air France, jj, and the Honeydrips, among others. Gothenburg's indie pop scene was now run by mysterious pranksters all too happy to tie the already thin line between sincerity and artifice up in sailing knots."
"Seven of the thirteen tracks were composed by full-time members Johnny Marr and Bernard Sumner, and the other six co-written with former Kraftwerk member Karl Bartos. He was recommended to Electronic via a friend of Sumner's, and commuted to Manchester throughout 1995 during the recording sessions, which stretched from late 1994 to late 1995. The protracted sessions resulted in a dense, thick production that was later acknowledged by both Sumner and Marr and criticised in professional reviews; they consequently spent much less time on their next album Twisted Tenderness. Raise the Pressure was also remarked upon for Bernard Sumner's impressionistic lyrics, which some saw as the result of his use of Prozac during this period, following an appearance on the BBC 2 programme The Late Show, which explored the effects of the antidepressant on creativity. According to Sumner, however, he only wrote one lyric whilst under the influence of Prozac. Musically the album comprises guitar pop/rock songs ("One Day", "Out of My League") and more dance oriented tracks ("Until the End of Time", "If You've Got Love")."
