Japandroids, “Young Hearts Spark Fire”

This was the song that launched the Japandroids, rattling around enough on blogs to get the band the attention that would make their career. It’s a solid capsule of their sound, all fuzzy guitars, propulsive drumming, and catchy shouting. It’s easy to see how people got excited for this, and the excitement would pay off with Post-Nothing and to a greater extent Celebration Rock.

Jon Spencer Blues Explosion, “Lap Dance”

This comes to us from one of the leftovers records that JSBX put out, this one collecting miscellany from Acme. The leftovers records are actually not bad, generally, even if they are kind of shaggy. The truth is that peak JSBX was just fun to listen to, even if maybe they weren’t doing their best material. Anyway, this record is Xtra-Acme USA, and it’s not something to pick up until you’ve worn out the proper albums, but if you’re a JSBX freak you should absolutely listen to it.

Elvis Costello & the Attractions, “New Amsterdam”

Costello was in the middle of his 10/10 run of albums (ignoring the covers record), with Get Happy!! being maybe the most distinctive of the lot. It’s not my favorite (that’s probably This Year’s Model followed by Imperial Bedroom), but the soul focus of the record means that it stands out a bit more from the rest of the group. Although Imperial Bedroom is also pretty distinctive, with the lush, orchestrated songs. I’m really not strengthening my point here. Anyway, good record.

Soundgarden, “Swallow My Pride”

A collision of early grunge elements here! This is from the second Soundgarden EP, Fopp, from 1988. It’s a time when Soundgarden was still figuring out who they were, and their sound was still mostly a melding of hard rock and garage rock and wasn’t yet what would be recognizable as grunge. But it goes further than that! This song is actually a cover of Green River, the proto-grunge band from the mid-80s that would spawn both Mudhoney (Mark Arm and Steve Turner) and Pearl Jam (Stone Gossard and Jeff Ament). The elements that would make up grunge were starting to come in to focus even in 1985, when Green River recorded this song, with Steve Turner’s filthy riffs in particular being a building block of the genre. The music made by these bands wasn’t quite yet divorced enough from hard rock, didn’t have quite enough of the grime or the muscular confidence that would allow them to break into something new. But it was coalescing.

The Monorchid, “Abyss”

The Monorchid brought back together a couple Circus Lupus alumni in a new band, but this record isn’t quite the continuation of the noisy post-hardcore of that first band. In some ways, it’s sort of the Hot Snakes to Circus Lupus’s Drive Like Jehu. A comparison that absolutely made more sense in my head than it does when I write it down, but I’ll be damned if I’m going to go back and replace it. Editing is for quitters and professionals, and I’m neither.

Pixies, “Dead”

I was going to make a “ooh, another Lost 90’s Gem” joke here, as if anybody has ever forgotten the Pixies. And then I remembered, no, this album came out in 1989. Time is an illusion.

Jamire Williams, “Dos Au Soleil”

This is so good. It reminds me of nothing so much as Einstürzende Neubauten, in the way it approaches rhythm and the use of open space in the song. I should really look up more work from Williams.

Pavement, “Texas Never Whispers”

Time for a deranged opinion! Specifically: Watery, Domestic, the 1992 EP that Pavement released between Slanted & Enchanted and Crooked Rain, Crooked Rain is, pound for pound, the best Pavement release. Four songs, all killer, and from their peak period. These tracks would end up on various collections, re-issued, re-packaged, re-packaged, but I think it dulls the impact a little bit when they’re just mixed into a compilation or are bonus tracks to an anniversary re-release or whatever. You don’t necessarily realize that these were all in one place originally. Anyway, it’s fantastic, make a playlist of the four songs and have a go or pull it up specifically on Spotify or whatever.

Polvo, “The Fighting Kites”

Polvo’s final album from their first run, Shapes, had kind of a cool reception as I recall. I know personally that I felt like it was a step back from the previous couple albums. But now, a couple decades later, I find myself listening to it more than the rest of their records. So, is it just a more subtle, more challenging record that requires more maturity and sophistication to appreciate? Was I just a dumbass back then? The answer is: I am not more sophisticated and I’m still a dumbass, so I suspect it’s just novelty? Relative novelty, anyway.

Hammerhead, “Evil Twin”

Hammerhead’s initial three-album run with Amphetamine Reptile is probably my favorite on the label, and it’s the second and third albums (Into The Vortex and Duh, The Big City) that are the real prizes. The first record is good, but the latter two are two of my favorite noise rock albums by anybody ever. But it wasn’t like Into the Vortex just thundered out of the sky out of nowhere. It was heralded by the 1993 EP Evil Twin, which showed how much of a step forward Hammerhead had taken. What stands out to me is how propulsive it sounds. Hammerhead is going places, and nothing is going to stop them, and they will just run you over if you’re in the way. That sense of groove moderates the aggression into something that is compulsively listenable to me.

Revenge, “14K”

Revenge is Peter Hook’s (Joy Division, New Order) band after leaving the latter of those bands. They put out one record and a smattering of singles, one of which gives us this song. And, look - Revenge wasn’t very interesting. It was just kind of there. If you’re a big New Order fan, as I was when this stuff was coming out, you might trick yourself into getting excited for it. But don’t fall in that trap!

Gob, “Beauville”

I have regrets when it comes to the tagging system I use around here. Yes, it’s nice to have all the bands tagged, that’s useful. But I wish I had also tagged genres, and subgenres, and some of the common threads in these posts. Like “Canadian Punk” would have been a fun tag. Why did I listen to so many Canadian punk bands in the 90s? I dunno. I have no way of knowing if my punk consumption was disproportionately Canadian or not. How would you measure that? Count up the number of punk albums I own that came out in the 90s, weigh by population, see if they match the expected distribution? I suppose that would work, would likely be possible with some data scraping using the Discogs API, and is absolutely not going to happen unless someone were to pay me. Or if I get super bored.