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
The UK has a long, weird tradition of hilariously opinionated and antagonistic rock front men who bash other musicians and other people and then make wussy music; the Reids, Morrissey, the Gallaghers (I’m sure there are many more). That shouldn’t matter, really, but I find it harder to accept pop music (and poppier rock) on its on terms when the people make it are assholes and have massive chips on their shoulders which they want the world to know about. I mean, if you’re going to be a dick in the press, make punk music or metal or something fitting… 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, 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
The idea that Counting Crows (and this record) are “alternative” has to be one of the reasons “alternative rock” went from meaning something to being the designation for mainstream rock music in the 90s. Read More
This is some pretty good stuff. I can understand why some people don’t love it, as Palmer’s delivery is often extremely affected. But that’s sort of the point, isn’t it? I mean, this is cabaret rock, it should be at least a little bit theatrical, right? Palmer’s songs are mostly great, even when they (often) borrow lyrics from famous songs from the past. She does an excellent job of combining a theatrical side with confessional songwriting that feels honest and, in its best moments, revealing. Pretty good, pretty good. 7/10 Read More
1996, Alternative, Contemporary Folk, Indie Folk, Indie Rock, Movies, Singer Songwriter, and Slowcore.
This is a solid collection of rootsy indie music. Her songs are strong and the arrangements are idiosyncratic, albeit not anywhere near as idiosyncratic as was becoming common in the indie world. I have always thought I should get into Cat Power but, though I like this record, I find it kind of innocuous. It’s fine, but I don’t know that my impression will last and, at least at this moment, I cannot see myself rushing back to it any time soon. 7/10 Read More
Before Uncle Tupelo, I feel like alt country (such as it was) was so much cleaner. Despite the ostensible punk influence on the genre, the alt country records I’ve heard from the last 80s are all pretty much straight up country rock. There’s more of an edge here, even if it isn’t much of one compared to some later alt country bands. It’s a strong set of songs and one reason I prefer these guys to Son Volt is because I like the two competing songwriters, I think it made them better. 8/10 Read More
Though Hex is generally considered the official beginning of post rock, you could make a very strong argument that post rock begins with this record. Already very much hinting at it on Spirit of Eden, the music here is often even less recognizable as rock music, with entire songs seemingly barely existing as actual pieces, in a way that had little precedent in popular music prior to this band. The jazz influence is perhaps even more pronounced this time out, but though some or even all of these songs were initially recorded as if they were free jazz, the results 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
At some level, it’s understandable why a certain section of Toronto’s (and Canada’s?) music critics lost their minds over this band back in 2006. There probably weren’t a lot of bands like this at the time, I suppose. And from listening to this record, I can imagine they are a good live band. I can imagine that, if you like energy in your shows above everything else, they are probably a great live band. But… Revivalism is revivalism and this band revives others’ music. They revive it very well, and the energy translates a lot better than you might have 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