Pre-Millennium Tension is the second album from English rapper and producer Tricky, released in 1996. It was a conscious effort by Tricky to depart away from the trip hop label with which critics had described his previous music. The album was well received by critics, being named the ninth best record of the year in the 1996 Pazz & Jop poll. Background In an October 1996 interview for Ray Gun, Tricky said he wanted to make Pre-Millennium Tension an "out-an-out punk record" to get away from the trip hop label with which his previous work had been categorized by critics. He said, "I thought it was going be heavier... What I wanted to do was a total fast album. Some of the tracks are fast and hard, but they didn't come out like that." The album was mainly recorded in Jamaica, and other parts were recorded at Platinum Islands Studio, New York. It was recorded & mixed & programmed by Ian Caple. Recorded in Grove Studios, Ocho Rios, Jamaica & mixed at El Cortijo Studio in Spain. According to PopMatters writer Wayne Franklin, Pre-Millennium Tension "revealed a new, more sinister sound, most likely attained due to his move to New York City and his work with underground rappers ... containing the singles "Christiansands" (the biggest hit of his career), "Tricky Kid", and "Makes Me Wanna Die" (which contains a sample of Eric B. & Rakim’s "To the Listeners")". Critical reception Pre-Millennium Tension received positive reviews from critics, who found the record's music ambitious, eclectic, and threatening. USA Today reviewer Elysa Gardner called it a dazzling trip hop album and Tricky "prolific, innovative and fearlessly eccentric", comparing him to American musician Prince. In the Chicago Tribune, Greg Kot said Tricky had transcended the boundaries of trip hop by drawing upon and manipulating a number of styles, including ambient, drum and bass, hip hop, and dancehall, in his evocative production. "Few records have more artfully blurred the boundaries between sensuality and terror, fascination and fear, seduction and confusion", Kot wrote. David Bennun from The Guardian argued that Tricky had deconstructed hip hop clichés and "gangsta-isms" into bizarrely malcontent songs on what was an "astonishing record – not a great one, but a very good, very awkward and very strange one". Village Voice critic Robert Christgau found his use of hip hop soundscapes compelling on a record that "comprehends and inhabits the dystopia