Endtroducing.....

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• plunderphonics
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Endtroducing..... is the debut studio album by American music producer DJ Shadow, released on September 16, 1996, by Mo' Wax. It is an instrumental hip hop work composed almost entirely of samples from vinyl records. DJ Shadow produced Endtroducing over two years, using an Akai MPC60 sampler and little other equipment. He edited and layered samples to create new tracks of varying moods and tempos.

In the United Kingdom, where DJ Shadow had already established himself as a rising act, Endtroducing received praise from music journalists at the time of its release, and reached the top 20 of the UK Albums Chart. It was certified gold by the British Phonographic Industry. Mo' Wax issued four singles from the album, including the chart hits "Midnight in a Perfect World" and "Stem". It took considerably longer for Endtroducing to find success in the United States. After promoting the album and returning to his hometown of Davis, California, DJ Shadow devoted his time to creating new music. During this period, interest in Endtroducing began to build among the American music press, and it peaked at number 37 on the US Billboard Heatseekers Albums chart.

Endtroducing was ranked highly on various lists of the best albums of 1996, and has been acclaimed by critics as one of the greatest albums of the 1990s. It is considered a landmark recording in instrumental hip hop, with DJ Shadow's sampling techniques and arrangements leaving a lasting influence. In 2020, Rolling Stone magazine ranked Endtroducing 329th on its list of the 500 greatest albums of all time.

Background

File:DJ Shadow and James Lavelle.jpg

DJ Shadow (left) with Mo' Wax label head James Lavelle in 1997

As a high school student, DJ Shadow experimented with creating music from samples using a four-track recorder,<ref>Template:Cite magazine</ref> inspired by sample-based music such as It Takes a Nation of Millions to Hold Us Back (1988) by the hip hop group Public Enemy.<ref name="Rule">Template:Cite magazine</ref> He began his music career in 1989 as a disc jockey for the University of California, Davis campus radio station KDVS.<ref>Template:Cite news</ref> His KDVS work impressed A&R representative Dave "Funken" Klein, who signed him to the Hollywood Basic label to produce music and remixes.<ref name="Rule"/> DJ Shadow's output for Hollywood Basic, including the 1993 single "Entropy" and his work with the SoleSides crew, brought him to the attention of English musician James Lavelle, who signed DJ Shadow to his Mo' Wax label.Template:Sfn

DJ Shadow's first two singles for Mo' Wax, "In/Flux" (1993) and "Lost and Found (S.F.L.)" (1994), utilized samples from "used-bin" vinyl records, blending elements of hip hop, funk, soul, jazz, rock, and ambient music.<ref name="Cooper">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The singles were acclaimed by the British music press, and soon DJ Shadow and other Mo' Wax artists came to be viewed as leading practitioners of a nascent genre that the press termed "trip hop"Template:Sfn<ref>Template:Cite news</ref> – a name coined by Mixmag journalist Andy Pemberton in June 1994 to describe "In/Flux" and similar tracks being played in London clubs.<ref>Template:Cite news</ref><ref>Template:Cite magazine</ref> In the summer of 1994, DJ Shadow started producing his first album.<ref name="Mlynar">Template:Cite news</ref> He completed around half of the record, but Mo' Wax opted to instead issue the finished music as a single – "What Does Your Soul Look Like" – the following year.<ref name="Mlynar"/>Template:Sfn As a result, DJ Shadow began work on his debut album anew.<ref name="Mlynar"/> He was intent on capturing the same feel of his three Mo' Wax singles, and chose the title Endtroducing..... for the album as "it signified the fourth and final chapter in a series of pieces that I was doing for Mo' Wax with a certain sound, a certain tone, a certain atmosphere."<ref>Template:Cite magazine</ref>

Production

File:Akai MPC60.jpg

The Akai MPC60 was used heavily in the production of Endtroducing.

DJ Shadow began production on Endtroducing in 1994 in his California apartment, before moving to the Glue Factory, the San Francisco home studio of his colleague Dan the Automator.<ref>Template:Cite AV media notes</ref> Shadow strove to create an entirely sample-based album.<ref name="Rule"/> His setup was minimal, with only three main pieces of equipment: an Akai MPC60 sampler, a Technics SL-1200 turntable and an Alesis ADAT tape recorder.<ref name="Rule"/> He used the MPC60 for almost all composition.<ref name="Taylor">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> DJ Shadow bought it in 1992 at the suggestion of DJ Stretch Armstrong, who recommended it as a more advanced alternative to the "industry standard" sampler at the time, the E-mu SP-1200; according to DJ Shadow, the SP-1200 "had been around for like four years, the sound was well established, and it had some real audio limitations in terms of the bit rate and stuff".<ref name="Taylor"/>

DJ Shadow sampled vinyl albums and singles accumulated from his trips to Rare Records, a record shop in his native Sacramento, where he spent several hours each day searching for music.<ref name="Grundy">Template:Cite news</ref> His routine is depicted in the 2001 documentary film Scratch.<ref>Template:Cite magazine</ref> The Endtroducing album cover is a photograph taken at Rare Records by B Plus, showing producer Chief Xcel and rapper Lyrics Born (the latter wearing a wig), who like DJ Shadow were members of the SoleSides collective.<ref name="Grundy"/><ref name="Palladev">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn ABB Records founder Beni B (wearing a baseball cap) is also seen in the full version of the photograph, which appears in the album's liner notes.<ref name="Palladev"/>

Endtroducing samples music of various genres, including jazz, funk, and psychedelia, as well as films and interviews.<ref name="Raz">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> DJ Shadow programmed, chopped, and layered samples to create tracks.<ref>Template:Cite news</ref> He opted to sample more obscure selections, making it a rule to avoid sampling popular material.<ref name="Rule"/> Though he also used samples of prominent artists such as Björk and Metallica,<ref name="Sullivan">Template:Cite magazine</ref> DJ Shadow said that "if I use something obvious, it's usually only to break my own rules."<ref name="Rule"/> Minor vocal contributions were provided by Lyrics Born and another SoleSides member, rapper Gift of Gab,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as DJ Shadow's then-girlfriend Lisa Haugen.<ref name="Hirway">Template:Cite podcast</ref> He finished recording Endtroducing in early 1996.<ref name="Mlynar"/>

Composition

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DJ Shadow describes his albums as "really varied", and said of Endtroducing: "I feel like 'Organ Donor' sounds nothing like 'The Number Song' which sounds nothing like 'Midnight' and on and on."<ref>Template:Cite magazine</ref> He said he was often depressed during the production of the album and that his "feelings of self-doubt and self-esteem come through in the music."<ref>Template:Cite news</ref>Template:Sfn

Endtroducing is opened by "Best Foot Forward", a sound collage of record scratches and hip hop vocal samples.<ref name="O'Neil"/> "Building Steam with a Grain of Salt" is built around a looped piano line sampled from Jeremy Storch's "I Feel a New Shadow",Template:Sfn with various other musical elements entering throughout the track, including samples of an interview with drummer George Marsh,Template:Sfn a women's choir, bass fills, electronically altered drum kicks, and funk guitar.<ref name="Raz"/><ref name="Fisher">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "The Number Song" uses multiple drum breaks and vocal samples of count-offs.<ref>Template:Cite magazine</ref> "Changeling" deviates from the previous uptempo tracks, incorporating new-age sounds and gradually building toward a "sublimely spacey" coda.<ref name="O'Neil"/><ref name="Michel"/> It segues into the first of three "transmission" interludes placed throughout the album, each featuring a sample from the 1987 John Carpenter film Prince of Darkness.<ref>Template:Cite news</ref> "What Does Your Soul Look Like (Part 4)" layers wordless chants over a looped bass groove, creating what PasteTemplate:'s Mark Richardson describes as an "uneasy" techno soundscape.<ref name="Richardson">Template:Cite magazine</ref> Track six is an untitled interlude featuring a man reciting a monologue about a woman and her sisters over a funk backing.Template:Sfn

The two-part "Stem/Long Stem" begins the second half of Endtroducing. John Bush of AllMusic called the track a "suite of often melancholy music, a piece that consistently refuses to be pigeonholed into any musical style."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The first half, "Stem", sets strings against a recurring sequence of erratic drum beats, before giving way to the more ethereal "Long Stem",<ref name="O'Neil"/> followed by "Transmission 2". "Mutual Slump" features "dreamy" female spoken vocals and prominent samples of Björk's "Possibly Maybe".<ref name="Hirway"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The sparse "Organ Donor" juxtaposes an organ solo and a drum break.<ref name="O'Neil"/> "Why Hip Hop Sucks in '96" is a brief interlude featuring a repeating G-funk-esque beat, over which a voice shouts "It's the money".<ref name="O'Neil"/><ref name="Vaziri">Template:Cite magazine</ref> DJ Shadow composed the track to express his dissatisfaction with the state of commercial hip hop music in the mid-1990s.<ref name="Vaziri"/>

"Midnight in a Perfect World" mixes a soulful vocal line with a slow drum beat.<ref name="O'Neil"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It samples the bassline from Pekka Pohjola's "The Madness Subsides",<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as well as elements of David Axelrod's piano composition "The Human Abstract".<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Napalm Brain/Scatter Brain" progresses slowly, starting with a bassline and a drum loop, then gradually increasing in tempo as additional instrumentation enters the mix.<ref name="O'Neil"/> The track eventually reaches its climax and deconstructs itself, leaving a single string sample playing by its conclusion.<ref name="Fisher"/> Endtroducing ends "on an up note" with "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)", which is anchored by warm saxophone and keyboard hooks.<ref name="Richardson"/> A third and final "transmission" closes the album with the spoken words "It is happening again", sampled from the David Lynch television series Twin Peaks.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Release

Endtroducing was released by Mo' Wax on September 16, 1996, in the United Kingdom.<ref name="EndtrospectiveNotes">Template:Cite AV media notes</ref><ref name="Mendelsohn">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the United States, it was issued by Mo' Wax and FFRR Records on November 19, 1996.<ref name="EndtrospectiveNotes"/><ref name="Mendelsohn"/> DJ Shadow promoted the album through various interviews and press appearances.Template:Sfn The record spent three weeks on the UK Albums Chart, peaking at number 17,<ref name="UK"/><ref name="OCC">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and was certified gold by the British Phonographic Industry in 1998.<ref name="BPI"/> It also charted at number 75 in the Netherlands.<ref name="NLD"/> "Midnight in a Perfect World" was previously issued as the album's first single on September 2, 1996,<ref>Template:Cite magazine</ref> and it was later released to American college and modern rock radio stations in January 1997.<ref>Template:Cite magazine</ref> It peaked at number 54 on the UK Singles Chart,<ref name="OCC"/> while its music video, directed by B Plus, received much airplay on MTV's electronic music program Amp.<ref name="Sullivan"/> "Stem" was released as the album's second single on October 28, 1996,<ref>Template:Cite magazine</ref> reaching number 74 in the UK and number 14 in Ireland.<ref name="OCC"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "What Does Your Soul Look Like (Part 1)" followed on January 12, 1998,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> charting at number 54 in the UK.<ref name="OCC"/> A fourth and final single – a double A-side release featuring producer Cut Chemist's remix of "The Number Song" and DJ Shadow's remix of the synth-pop band Depeche Mode's "Painkiller" – was issued on February 23, 1998.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Describing the time spent promoting Endtroducing as "some weird rollercoaster ride", DJ Shadow was dismayed by the lack of reaction upon returning to his hometown of Davis, compared to the attention he had received within the British music scene.Template:Sfn He felt he had been manipulated by the press and his record label and "went from being angry to being depressed" over the perceived lack of control he had over his life.Template:Sfn DJ Shadow found himself compelled to produce new tracks such as "High Noon" as outlets for expressing his turbulent feelings at the time.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Following this period, interest in his work grew in the US; newspapers ran stories on Endtroducing and DJ Shadow received several phone calls a day, enough to convince him to hire a manager.Template:Sfn Endtroducing eventually entered the Billboard Heatseekers Albums chart and peaked at number 37 on the listing in April 1997.<ref name="Heatseekers"/>

Critical reception

Endtroducing received critical acclaim.<ref name="Cooper"/> Alternative Press praised the album as "an undeniable hip-hop masterpiece" showing "DJ Shadow remembers that sampling is an art form",<ref name="AlternativePress"/> while Q reviewer Martin Aston described it as "a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat".<ref>Template:Cite magazine</ref> David Bennun from The Guardian said the record was "not only one of the most daring and original albums of recent times, but also one of the loveliest",<ref name="Bennun"/> and in Melody Maker, he wrote: "I am, I confess, totally confounded by it. I hear a lot of good records, but very few impossible ones... You need this record. You are incomplete without it."<ref>Template:Cite magazine</ref> Robert Christgau commented in Playboy that Endtroducing consists of "not so much songs as compositions",<ref>Template:Cite magazine</ref> and also claimed that while listeners unfamiliar with the album's style of music would not find its tracks as powerful, "they are so rich and eclectic, and spun out with such a sense of flow, that this album establishes the kind of convincing aural reality other British techno experimenters only fantasize about."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Author and rock critic Greil Marcus penned a glowing review of the album in Artforum, where he called it "absolutely modern – which is to say ambient-dreamy and techno-abstract" and "quite brilliant throughout".<ref>Template:Cite magazine</ref>

Entertainment Weekly critic Jon Wiederhorn likened Endtroducing to "a surreal film soundtrack on which jazz, classical, and jungle fragments are artfully blended with turntable tricks and dialogue snippets" and said that it "takes hip-hop into the next dimension."<ref name="Wiederhorn"/> Tony Green of JazzTimes commended DJ Shadow's "unerring ear for motif and texture",<ref>Template:Cite magazine</ref> and Simon Williams of NME called him "both slyly knowing and brilliantly naive, fusing the dramatic and the deranged to his own sweet end."<ref name="Williams"/> SpinTemplate:'s Sia Michel said that the album "practically folds you into its symphonic fantasia, the coming-of-age story of a 24-year-old bunk-bed dreamer."<ref name="Michel"/> Rolling Stone journalist Jason Fine found that while Endtroducing occasionally lapses into less interesting "moody atmospherics", "even in the record's mellowest moments, Shadow's allegiance to the hard beats of hip-hop saves him".<ref name="Fine"/>

Endtroducing appeared in numerous publications' lists of the best albums of 1996. The album topped year-end lists by Muzik and OOR,<ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> and placed second in Melody MakerTemplate:'s.<ref>Template:Cite magazine</ref> It was voted fourth place in The Village VoiceTemplate:'s Pazz & Jop critics' poll for 1996.<ref>Template:Cite news</ref> Robert Christgau, the poll's creator, named Endtroducing the best album of the year.<ref>Template:Cite news</ref> The album also ranked in the top ten of year-end lists by The Face,<ref>Template:Cite magazine</ref> the Los Angeles Times,<ref>Template:Cite news</ref> Mojo,<ref>Template:Cite magazine</ref> NME,<ref>Template:Cite magazine</ref> and Vox.<ref>Template:Cite magazine</ref>

Legacy

Endtroducing has appeared in critics' lists of the greatest albums. Publications such as Pitchfork,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Q,<ref>Template:Cite magazine</ref> Rolling Stone,Template:Sfn Slant Magazine,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Spin<ref name="Dolan">Template:Cite magazine</ref> have placed it on their lists of best albums of the 1990s. Robert Christgau named it among his 10 favorite albums from the decade.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> NPR listed Endtroducing as one of the 300 most important American records of the 20th century,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Time selected the record as one of the "All-Time 100 Albums" in 2006.<ref>Template:Cite magazine</ref> It was also included in the book 1001 Albums You Must Hear Before You Die.Template:Sfn In 2020, Rolling Stone ranked Endtroducing number 329 on its list of the 500 greatest albums of all time.<ref>Template:Cite magazine</ref>

Guinness World Records cited Endtroducing as the first album created entirely from samples.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> AllMusic editor Stephen Thomas Erlewine called it "not only a major breakthrough for hip-hop and electronica, but for pop music."<ref name="Erlewine" /> It was a driving force in the development of instrumental hip hop music, inspiring numerous DJs and producers to create sample-based works.<ref>Template:Cite news</ref> Tim Stelloh of PopMatters cited it as the "benchmark" for the genre.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Will Hermes called Endtroducing "trip-hop's crowning achievement" in Spin,<ref>Template:Cite magazine</ref> and Jeff Weiss of the Los Angeles Times wrote that it defined American trip hop.<ref>Template:Cite news</ref> Music journalist Trey Zenker described it as a "plunderphonics masterpiece" in an essay for Tidal,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while Turk Dietrich of the American experimental music duo Belong said that it was a nearly unrivaled masterwork of sampledelia.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Endtroducing inspired the British rock band Radiohead to edit and loop drums on their 1997 album OK Computer.<ref>Template:Cite magazine</ref> Several artists sampled on Endtroducing, including David Axelrod and British rock band Nirvana, praised the album.<ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> DJ Shadow expressed surprise at the album's stature: "After the record, I'd always bump into these world-class producers who'd say, 'Yeah, Endtroducing – what a great piece of production.' I just did it on one sampler in a tiny little studio."<ref name="Dolan"/>

Andy Battaglia of The A.V. Club suggested that the influence of Endtroducing may have had a negative effect on the album itself, saying that it "has been partially diluted by the symphonic beat-collage culture it helped spawn."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The acclaim set high expectations for future releases by DJ Shadow,<ref>Template:Cite magazine</ref> and he expressed his dissatisfaction with being expected to "repeat Endtroducing over and over again".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nonetheless, DJ Shadow clarified that he views the album in a positive light: "People always seem to suggest that there's this pressure, and that Endtroducing is some kind of albatross, and I've just honestly never felt that way. I think that I have a healthy enough respect for the lineage of the music and how rare it is that you can connect with an audience. If that will always be 'the record' then so be it, that's cool."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> By April 26, 2005, Endtroducing had sold more than 290,000 copies in the US alone.<ref name="Billboard">Template:Cite magazine</ref>

Reissues

A deluxe edition of Endtroducing was released on June 6, 2005.<ref name="O'Neil"/> It includes a second disc, Excessive Ephemera, comprising alternate takes, demos, B-sides, remixes, and a live track, as well as new sleeve photographs and notes about the making of the album.<ref name="Billboard"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref> A second deluxe edition commemorating the album's 20th anniversary, the Endtrospective edition, was released on October 28, 2016, featuring Excessive Ephemera, the remix album Endtroducing... Re-Emagined, and additional sleeve photographs and notes.<ref>Template:Cite press release</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A 25th-anniversary reissue was released on September 24, 2021. The reissue was remastered at half speed at Abbey Road Studios from DJ Shadow's original DAT recording.<ref>Template:Cite magazine</ref>

Track listing

Samples credited in liner notes<ref name="EndtrospectiveNotes"/>

• "Building Steam with a Grain of Salt" contains samples of "I Feel a New Shadow", written and performed by Jeremy Storch.
• "The Number Song" contains samples of "Orion", performed by Metallica.
• "Changeling" / "Transmission 1" contains samples of "Invisible Limits", written by Peter Baumann, Christopher Franke, and Edgar Froese and performed by Tangerine Dream.
• "What Does Your Soul Look Like (Part 4)" contains samples of "The Vision", written by Ray Smith and performed by Flying Island.
• "Stem/Long Stem" / "Transmission 2" contains samples of "Love Suite", written by Patrick Campbell-Lyons and Alex Spyropoulos and performed by Nirvana.
• "Mutual Slump" contains samples of "Possibly Maybe", written by Björk Guðmundsdóttir, Marius de Vries, and Paul Hooper and performed by Björk.
• "Midnight in a Perfect World" contains samples of "Sower of Seeds", written and performed by Baraka; and "The Madness Subsides", written and performed by Pekka Pohjola.
• "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)" / "Transmission 3" contains samples of "The Voice of the Saxophone", written by Jimmy Heath and performed by the Heath Brothers; and "All Our Love", written and performed by Shawn Phillips.

Personnel

Credits are adapted from the album's liner notes.<ref>Template:Cite AV media notes</ref>

Production

• DJ Shadow – production, engineering, mixing
• Dan the Automator – engineering (assistant)

Design

• B Plus – photography
• Barney Bankhead – photography
• Will Bankhead – photography, sleeve design
• Ben Drury – sleeve design

Charts

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Weekly chart performance for Endtroducing.....

Chart (1996–2019)	Peak position
Belgian Mid Price Albums (Ultratop Flanders)<ref>{{#invoke:citation/CS1|citation	CitationClass=web }}</ref>	29
European Top 100 Albums (Music & Media)<ref>Template:Cite magazine</ref>	54
UK Dance Albums (OCC)<ref>Template:Cite magazine</ref>	1
UK Independent Albums (OCC)<ref>Template:Cite magazine</ref>	3

Bibliography

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Further reading

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External links

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