XL Recordings
Getting Started in XL Recordings
Editor's Picks
Top Tracks from XL Recordings
| Listen | Track Name | Length | Download |
|---|
| 1. |  |
A-Punk
|
2:17 |  |
| 2. | |
Oxford Comma
|
3:15 | |
| 3. | |
Cape Cod Kwassa Kwassa
|
3:34 | |
| 4. | |
M79
|
4:15 | |
| 5. | |
Campus
|
2:56 | |
| 6. | |
The Kids Don’t Stand A Chance
|
4:03 | |
| 7. | |
Mansard Roof
|
2:07 | |
| 8. | |
I Stand Corrected
|
2:39 | |
| 9. | |
Walcott
|
3:41 | |
| 10. | |
One (Blake’s Got A New Face)
|
3:13 | |
About XL Recordings
When XL started, back in the heady Acid House days of 1989, they specialised in the gritty, street-orientated, D.I.Y. rave sounds that were coming from London's suburbs. Alongside other independents like Shut Up And Dance and Suburban Bass, XL helped shape a sound that was equally influenced by American urban music and European electronic sounds. Their noisy, abrasive records were shunned by all media and had a fuck you aesthetic reminiscent of punk.
XL were sufficiently taken with a Detroit duo called The White Stripes to license their first 3 LPs; when they then delivered their fourth LP, the number one multi-platinum Elephant, they became perhaps the most original and important new rock group in the world. Then Dylan Mills found XL, an East London teenager who called himself Dizzee Rascal. His perceptive lyrics and groundbreaking production made his Mercury Prize winning album Boy In Da Corner every bit as uncompromising, uncouth and innovative as The Prodigy's early work. Like The Prodigy, Dizzee rose from the street, via pirate radio and raves, to critical acclaim and mainstream success; and with their respective homes of Bow, E3 and Braintree, Essex they grew up only a few miles apart.
Genres
Picks
Featured Regions
View All (A to Z)
© 1992 - 2008 All Media Guide, LLC