If you were alive in 1997 you heard “Tubthumping.” You’ve probably heard it even if you weren’t very old then. It came out of nowhere and, unless you were in the UK, the band then vanished from the public eye soon after. Read More
To say I dislike The Smiths would be an understatement. I don’t hate them so much as I hate the aura around them and this idea that they somehow saved British music from itself (and synthesizers! don’t forget the synthesizers), almost like a younger, hipper Bruce Springsteen (because Springsteen saved rock music from disco, don’t you know). Read More
I love Bauhaus and, initially, I think I found it hard to get into these guys simply because they are not Bauhaus, which is unfair. It’s unfair because these guys are very much their own band, particularly with the wind instruments. (By the way, that flute solo is hilariously Ian Anderson, who I would have thought was super uncool in 1987.) Read More
This is my first Furs record so I cannot comment on whether or not it’s some kind of sell out (doesn’t sound like it!) or some kind of compromise of their earlier sound, which I have never heard. I can comment on the music and try to comment on the context, as I am an avid British post punk listener. Read More
I thought this was their big record until I listened to it. It was still (sadly) a pretty big record, but the big hits I was expecting are not here. That means I don’t know these songs. But that doesn’t make it any better. Read More
1992, Alternative, Alternative Rock, Glam Rock, Jangle Pop, Music, Pop Rock, Rock, and Rockabilly Revival.
I hate Morrissey, both personally, as I find him an objectionable human being and cannot understand why anyone would find him charming, and musically, as I find The Smiths really underwhelming and Morrissey’s solo music (that I’ve heard) to be hilariously middlebrow for someone so full of attitude. Morrissey talks a lot about a certain type of music and then makes music very different from that. He basically doesn’t walk his own talk. And his music is boring. Read More
This album has a reputation for being some kind of sort of pseudo sell out thing, which is something that only the ’90s alternative scene could have ever ascribed to an album this uncommercial. But Butch Vig is here, and there are recognizable songs, so it must be a sell out! Read More
I don’t normally review reissue editions of albums, whether or not I like them. And I wouldn’t review this either only I am going to record a podcast episode about OK Computer shortly and I was advised to listen to the rarities disk. So here goes… Read More
People just love the Replacements and I have been trying for what feels like 10 years to love them. But I don’t. Read More
I didn’t love their debut but grudgingly gave it an okay review because I figured it was better than most post grunge. Well this one is significantly better than most post grunge, in part because Grohl has assembled a real band to play his songs, and the band is better than Grohl by himself. Read More
This is a record with a couple of The Cure’s best singles and a few other decent songs and way too much other stuff. It’s crazy that Smith claims to have written another record worth of songs for this album. Isn’t it long enough already? Read More
1997, Alternative, Alternative Dance, Alternative Hip Hop, Alternative Pop, Alternative Rock, Contemporary R and B, Electronic, Hip Hop, Music, Pop, and Trip Hop.
I love genre-bending. A number of my most favourite bands are bands that can play a wide variety of genres well, and make these genres sound like their own (or, alternatively, convince you they are an entirely different band). So I should like this. I should like this even though it is based in music I don’t personally love (electronic, hip hop). Read More
1992, Alternative, Alternative Rock, Baggy, Madchester, Music, Noise Pop, and Shoegaze.
I should never read anything before I listen to a record, especially a record by a band I don’t love. I heard why they called it Honey’s Dead and suddenly my head was filled of dreams of reinvention. But no, it’s still very obviously The Jesus and Mary Chain. Only this time they’ve gone Madchester (I think). Read More
1992, Alternartive, Alternative Rock, Dream Pop, Music, Neo Psychedelia, and Shoegaze.
I thought I was getting shoegaze, and I do.. But there’s a lot of other stuff going on here that isn’t strict shoegaze. One of the things that I don’t love about some shoegaze is the relentless commitment to one particular style. But there’s enough variety here that I’m kept interested. Also, the songs are pretty good so it’s not just the wall of sound that is appealing. 7/10 Read More
1992, Alternative, Alternative Rock, Cock Rock, Hard Rock, Music, Power Pop, and Rock.
What do we do with a record like this? It’s called Generation Terrorists but sounds like it was produced by Mutt Lange or Bob Rock or someone like that. (Well, the production is maybe not that bad.) We have the bizarre amalgam of 80s hard rock (or “cock rock” as some call it) with extremely political lyrics that belong in punk songs. Is the idea to make super accessible and conventional music but to sneak in the lyrics so that young, impressionable youth are converted? I mean, if that’s the goal here, I’m not sure how much it succeeds. How Read More
A lot has been made of the latent jazz influences on hardcore and post hardcore bands – Black Falg is supposed to have listened to Free Jazz for example. But never was I expecting a hardcore band to make music you might actually confuse with jazz. There are times on this bizarre, crazy record that you could possibly mistake these guys for one of the “Downtown” NYC jazz combos trying to incorporate punk and metal into their music in the 80s. But then, the lyrics come back, and you are reminded that this is indeed rock music. This is a Read More
With hindsight this feels like a step between the earlier Pixies records and Frank Black’s solo career, which would make sense. To me, though, it suffers in that sense, lacking the strongest songs of either earlier Pixies records or Black’s early solo albums, but produced almost if it was one of his solo records. That’s not to say I dislike it – it’s still the Pixies doing what they do best pretty well. I just feel like it’s their weakest record and it very much feels like a transitional one for their main songwriter. 7/10 Read More
This is a strong shoegaze set with roots a little more on the rock side of things (there’s a CCR riff in the opening track…) than what I’m used to, and I must say that endears this to me more than the more famous shoegaze bands I’ve heard previously. There’s still the sort of laconic thing vocal thing that irks me when I don’t love the music, but enjoying the music more than other shoegaze helps. It’s interesting; they straddle this line between shogegaze and more American alternative that I never really imagined. 7/10 Read More
This is a noisy, abrasive set of songs which manages to be significantly more noisy than most of the other grunge bands of the era, at least on record.. That feels like even more of an accomplishment given the expectations around a female-fronted band at the time. I can’t say that I love the songs all that much, but I appreciate the seeming unwillingness to compromise (which seems to have been revealed as something very different through interviews). Pretty great stuff. 8/10 Read More
Sublime is frat boy rock: just musical and lyrical sophistication to appear like it is interesting music, but with enough sex and drugs and reggae to appeal the young man that is not yet been turned into a proper adult. The melodies are strong and the fusion of reggae, hip hop, alternative rock is relatively unique (and is accomplished, absolutely). But the lyrics lose their appeal once you pass 25 or so (or, you know, if you’re a woman) and go through being kind of amusing and seemingly clever to problematic. And the record as a whole just isn’t that Read More
1991, Alternative, Alternative Rock, Indie, Indie Folk, Indie Rock, Lo-Fi Indie, and Music.
Without having heard the two previous albums, and not being familiar enough with the evolution of home recordings in the ’80s, I still feel confident in saying that I think this album is a pretty big deal; it’s influence on 90s indie rock, indie folk and the lo-fi movement in general is rather immense. Along with early Pavement, this feels like the blueprint for so much American indie rock in the 90s well into this century. There are two problems for me that keep it from being an absolute classic: The first is the sheer length of this record. Like Read More
This is a strong, particularly grungy grunge record, with a bit more of a roots feel than some of the other grunge records from the period. I really like the aesthetic – especially because it is a little more musically diverse than I was expecting – but I find the songs not quite up to par compared to some of the other major grunge bands. (For example, Ten has way better songs but has dated horribly compared to this record.) Maybe I’ll come to like the songs more in time, but I still like the record a lot and I Read More
I’m pretty sure this was the Hip’s biggest album. It has a couple of their bigger hits on it – including “Ahead by a Century” which, if not their biggest hit, never seemed to leave Canadian radio in 1996. But I get a strong sense of deja vu from this record, particularly from “Gift Shop” which reminds me of another Hip song so damn much (I just can’t quite place it right now). I like some of their records from the first part of the decade and I’m not sure that this one really improved on any of them. It Read More
This is my first experience of The Manics, beyond one single (“If You Tolerate This than Your Children Will Be Next,” which I have a compilation). As I’ve noted more times than I can count, the problem with hype is that is elevates your expectations to heights where they will never be satisfied. This is a well made Britpop record with well-above-average lyrics. But one of the best albums of all time? Really? I want my “great” records to do more than just make me happy. For me, greatness is as much measured in influence and staying power (“transcendence” as Read More
Les Claypool is probably the closest rock music has ever come to a “Jimi Hendrix of the bass,” but he will forever be underknown because of his desire to play in his own band and follow his own whims. And those whims are…weird. As others have noted, this is Funk Metal meets Frank Zappa (and other art rock). There are numerous things that might put you off: Claypool’s voice, the sense of humour, the unwillingness to make anything resembling earnest, straightforward rock music (and yet, somehow, this album spawned two minor hit singles…). But these things are actually virtues if Read More
Unlike the follow up, I really like this one. The production’s better, even if the song’s aren’t. (Everything’s a little more raw and unhinged.) Whether you think of this as hard rock or some kind of metal, there was nothing really like this being made in the late ’80s; funkier and way weirder than the Gunners but way louder and cooler than any other mainstream hard rock band at the time (that I’m aware of). I can hear a lot of ’90s rock in this record. And though a number of bands may have done this better, it sure sounds Read More
This is a reasonably strong set of songs by Mould, occasionally supported by the kind of attitude towards noise that Husker Du used so well at their peak. But the the diversity that made Husker Du great isn’t really present, nor is the contrast between their two songwriters. It’s like listening to half the band, really. That’s not terrible, but it’s not amazing either. It’s a solid little record, but that’s all. 7/10 Read More
I have generally liked Cornell’s songs more than not and he has a good voice. But there’s an earnestness (for lack of a better word) to his music that can be unappealing. He can, at times, sound like he should have been belting out classic rock songs instead of grunge. When Soundgarden is around to hide his over-singing and to give a little more muscle to his songs, I have zero problem with Cornell. The problems emerge, for me, when he is backed by a softer band. For example, though I didn’t mind Audioslave’s first hit (am I the only Read More
1991, Alternative, Alternative Rock, Funk Metal, Music, Neo Soul, Reggae Rock, and Ska Punk.
When I first heard Mr. Bungle, it sounded to me like it had come out of nowhere – this crazy amalgam of ska, metal video games, porn, crass humour and, as I would learn later, Frank Zappa. I was 19 (I think), and so it really, really appealed to me. Since then, I’ve realized that at least some of what Bungle was doing was not just indebted to Zappa, but was indebted heavily to some more comedy-oriented bands of the ’80s. But listening to Fishbone for the first time, it feels like the real influence on Bungle’s debut was Fishbone. Read More
This murky, kind of lo-fi record at times reminds me of a lo-fi Eleven. But I feel like such a comparison is a real disservice to Antietam who are, to my ears, a far more varied and capable band than Eleven, even if the husband-wife things it an easy comparison. This is a band that’s a little too lo-fi to be considered mainstream “alternative.” And the range they show here makes me really regret my initial comparison to Eleven and how that’s sort of dominated my thinking about them. This is one of those solid indie rock records that features Read More