This is a relatively diverse set of pretty catchy alternative rock songs, most of which manage to sound unique enough to stand out from the sheer number of records like this.
Tag: Alternative Rock
Kerosene Hat (1993) by Cracker
I don’t know what I would have thought about this record had I not known that the lead singer of this band was in Camper Van Beethoven, but I suspect I would feel differently.
Mezcal Head (1993) by Swervedriver
The thing I like about Swervedriver is their diversity; they are the rare shoegaze band that doesn’t seem determined to one thing and one thing only. (In fact, their diversity might call into question the shoegaze label.)
Scraps at Midnight (1998) by Mark Lanegan
I got really annoyed with Lanegan’s Blues Funeral (which came out a while ago now) because of its title. I got annoyed because the title referenced the blues and the record didn’t much, as if I had some kind of deeper knowledge of the blues than Lanegan does. But I read a quote from him …
Stunt (1998) by Barenaked Ladies
You can count me among the many (millions?) of Canadians who were shocked by the success of this record in the USA when it came out. To me, Barenaked Ladies were a comedy novelty act who had some funny songs and videos, which I had mostly grown out of by the time this record came …
The Waterboys (1983)
Note: The version I listened to on Google Play was the remaster which, as others have noted, adds bonus tracks, not on the end, like a normal new edition, but in the middle of the album, so I have heard a slightly different version of this record than that which was released in 1983.
Munki (1998)
I have always found these guys overrated, so I am wondering what I am doing here, listening to a later album of theirs that even the fans are divided over. I’m not even speaking to the one Mary Chain fan I know about this record. So what am I doing?
Try Whistling This (1998) by Neil Finn
I don’t know much about Crowded House. I know I’ve heard a few of their songs just due to exposure, but I couldn’t even name them right now. So I have no context for this record. You’ve been warned.
The Good Will Out (1998) by Embrace
I am listening to this record for the third time, and about to talk about it on my music anniversaries podcast, and I’m wondering why the hell I bothered. I don’t like it, nobody requested it and it isn’t really a big deal, is it?
Leitmotif (1998) by dredg
Apparently these guys were Nu Metal once upon a time. You can sometimes hear that in the vocals – without actually knowing anything about Linkin Park, I’d say I hear a similarity in the way this guy sings – but on the whole the idea that this was a Nu Metal band on their EPs …
A Thousand Leaves (1998) by Sonic Youth
The first track makes me think of their early music, even though I haven’t heard anything earlier than their earlier than their fourth album, so maybe I don’t know what I’m talking about. But anyway the opening makes it sound like they’ve gone more experimental. (Actually a few tracks do.)
Our Beloved Revolutionary Sweetheart (1988) by Camper Van Beethoven
Perhaps for the first time they acknowledge their debt to Kaleidoscope by covering a song Kaleidoscope covered (“O Death”). If I didn’t think these guys were the ’80s College Rock Kaleidoscope before, I do now.
Songs of Faith and Devotion (1993) by Depeche Mode
At this point I have heard enough synthpop (and enough Depeche Mode) to understand how this record breaks from that tradition (much like the previous record, Violator, also does), and so I feel like I might actually have something decent to say about it, unlike when I first listened to Violator.
Porno for Pyros (1993)
I don’t love Jane’s Addiction. One reason for that is that I had just heard way too much about how great they were before I ever heard more than a couple of songs. The other reason is Farrell’s voice, I don’t love it.
Life’s Too Good (1988) by The Sugarcubes
For Bjork fans coming to this after listing to her solo career, this album feels like a bit of glimpse into Bjork in utero: her voice is already fully formed and distinct but much of the other stuff that make Bjork Bjork seems missing or replaced by a rock band which sometimes has a male …
Hootenanny (1983) by The Replacements
This is a bizarre, jokey mess of a record, as much of a transition record (in hindsight) as any record I’ve heard by an American band.
Green Thoughts (1988) by The Smithereens
This is one of those records that basically just fails to move me. I understand that it’s all very competent and I do not dislike the aesthetic, really, but something here is missing for me.
Where You Been (1993) by Dinosaur Jr
There’s a part of me that listens to this and thinks “it’s another Dinosaur Jr. record, you shouldn’t rate it this high!” I have this obsession with artists who evolve. When artists don’t evolve (enough) I used to dock them points (as if they cared). The older I get, the less I care about this, …
The Lion and the Cobra (1987) by Sinead O’Connor
I get why this record was such a big deal when it came out: in 1987 it seemed rare that someone with such a distinctive voice comes along, who writes her own songs, and who seems like her artistic personality is already fully formed.But I think that, in retrospect, that view says more about 1987 …
nimrod. (1997) by Green Day
People tell me this is Green Day’s diverse, experimental record. There’s some humour there in that description but from everything I’ve read, it is relatively diverse compared to their other ’90s albums. (I myself have only ever listened to Dookie.)
So Much for the Afterglow (1997) by Everclear
I don’t know this band save for “Wonderful” so I cannot tell you whether the Beach Boys-esque opening to the title track is a giant left turn or not. If it is, that’s brave of them. But, for those of us who do not know this band, it’s the wrong note to start the album. …
Tubthumper (1997) by Chumbawamba
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.
Strangeways, Here We Come
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 …
Earth Sun Moon (1987) by Love and Rockets
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 …
Forever Now (1982) by The Psychedelic Furs
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 …
My Own Prison (1997) by Creed
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.
Your Arsenal (1992) by Morrissey
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 …
Dirty (1992) by Sonic Youth
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!
OK Computer OKNOTOK 1997 – 2017 by Radiohead
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…
Pleased to Meet Me (1987) by The Replacements
People just love the Replacements and I have been trying for what feels like 10 years to love them. But I don’t.