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| Safety (EP) | |
|---|---|
| Name | Safety |
| Type | EP |
| Artist | Unknown Artist |
| Released | 1998 |
| Recorded | 1997–1998 |
| Studio | Abbey Road Studios; Electric Lady Studios; Sunset Sound |
| Genre | Alternative rock; electronic; experimental |
| Length | 23:12 |
| Label | Warp Records; XL Recordings |
| Producer | Brian Eno; Nigel Godrich |
Safety (EP) is a 1998 extended play released by an experimental alternative artist during a period of cross-genre collaboration among prominent musicians and labels. The record arrived amid activity from artists associated with Warp Records, XL Recordings, 4AD, Mute Records, and influential producers who worked with Radiohead, U2, David Bowie, Björk. Safety combined elements from electronic, rock, and ambient traditions and featured contributors linked to studios such as Abbey Road Studios, Electric Lady Studios, and Sunset Sound.
The EP was conceived after the artist toured with contemporaries from scenes around Manchester and Seattle, drawing influence from acts like Joy Division, My Bloody Valentine, Nirvana, Massive Attack, Portishead, The Prodigy, Sonic Youth, The Smashing Pumpkins, and Nine Inch Nails. Initial sessions were financed by independent labels such as Rough Trade Records and Domino Recording Company, while distribution involved partnerships with Sony Music Entertainment subsidiaries and regional imprints including Matador Records and Fueled by Ramen. The release date coincided with a wave of late-1990s EPs from bands on Sub Pop and compilation contributors to NME features and festival lineups like Glastonbury Festival and Lollapalooza.
Musically, the EP blends textures reminiscent of Brian Eno’s ambient work, the guitar treatment associated with Kevin Shields and The Edge, and rhythmic programming akin to producers who collaborated with Tricky and Massive Attack. Songs reference melodic practices heard in R.E.M. and harmonic gestures similar to Radiohead’s mid-period material, while percussive elements nod toward The Chemical Brothers and Underworld. Lyrically, the material evokes imagery comparable to poets and lyricists linked to Patti Smith, Thom Yorke, Lou Reed, Leonard Cohen, and Nick Cave, with recurring themes of urban isolation, technological mediation, and late-night introspection. Vocal phrasing alternates between intimate deliveries suggestive of Jeff Buckley and more processed textures used by collaborators of Björk.
Recording sessions took place in studios historically used by artists such as The Beatles, Jimi Hendrix, The Rolling Stones, Prince, and The Doors. Producers credited include figures associated with seminal records by U2 and Radiohead; mixing engineers had worked with Coldplay and Depeche Mode. Techniques incorporated analog tape manipulation favored by Steve Albini and modular synthesis methods employed by Kraftwerk-adjacent technicians. Guest musicians included session players who had performed with PJ Harvey, Elliott Smith, Elvis Costello, Sinead O'Connor, and orchestral arrangers linked to George Martin-style scoring. The production emphasized room ambience, reverb chains popularized in recordings at Abbey Road Studios, and granular sampling practices reminiscent of Aphex Twin.
Promotion for the EP utilized channels frequented by artists represented on Warp Records and XL Recordings, including radio sessions on BBC Radio 1, live appearances at venues like The O2 Academy Islington and The Roxy Theatre, and features in magazines such as NME, Rolling Stone, Pitchfork, and Melody Maker. A lead single was serviced to alternative playlists and college radio alongside a limited-run 7" distributed through independent stores associated with chains like Rough Trade and Sister Ray. Music video production involved directors who had worked with Sony Music Entertainment and indie labels to create visual pieces screened at festivals including SXSW and CMJ Music Marathon.
Upon release, critics compared the EP to works by Radiohead, Massive Attack, Portishead, Bjork, and David Bowie, citing its textural depth and production polish. Reviews appeared in outlets such as NME, Time Out, The Guardian, The Independent, and Spin, with commentary noting affinities with the output of Brian Eno, Trent Reznor, and Kevin Shields. Some reviewers highlighted songwriting parallels to R.E.M. and Jeff Buckley, while others critiqued the record for relying on influences from My Bloody Valentine and Sonic Youth rather than forging wholly original territory. End-of-year lists from publications including Q Magazine and Melody Maker placed the EP among notable 1998 alternative releases.
Commercially, the EP achieved modest success, charting on niche rankings such as the UK Indie Chart and college radio airplay tallies in the United States and Australia. Sales were bolstered by inclusion in compilations issued by labels like Domino Recording Company and placement in retail outlets affiliated with Tower Records and independent distributors. While not attaining mainstream chart positions comparable to releases by Radiohead or U2, the EP strengthened the artist’s profile within circuits connected to Warp Records and secured licensing placements in television projects overseen by production houses that worked with BBC and Channel 4.
The EP was issued on compact disc, 12" vinyl, and limited-edition 7", with bonus remixes on certain pressings by producers associated with The Chemical Brothers, Aphex Twin, and Massive Attack. Track sequencing emphasized a flow from ambient opener to a more rhythm-driven centerpiece and a sparse closing piece, reflecting a structure used by artists on 4AD and Mute Records. Special editions bundled liner notes featuring photography shot in cities like London, New York City, and Los Angeles and included credits to engineers who had worked at Abbey Road Studios and Electric Lady Studios.
Category:1998 EPs