The Wedding Present decided to release a single every month for 1992, cranking out originals and covers during the series. They were collected into two records, Hit Parade 1 and Hit Parade 2, and both are great. The band was at their absolute best in the early 90s, and so getting this many tunes from them at that time is great. There’s no real reason to pick between them, both are outstanding.
[Read More]I really like song titles that sound like a D&D adventure. Especially when they’re instrumentals, as that means you’re not being subjected to lyrics that sound like a D&D adventure.
Love Battery’s Dayglo is one of the best albums from the grunge scene, a swirling psychedelic masterpiece that stood out at the time and only gets better with age. Before their masterpiece, many of the ideas were present in Between the Eyes, a record that featured many of the same wah-soaked moves that they would soon perfect. The bottom isn’t quite as firm, so the record isn’t quite as good, but it’s still an excellent listen.
[Read More]There are a bunch of long songs on YSIV (Young Sinatra 4), but I’m not sure that it totally works for me. Goodness knows I don’t have a problem with long songs in general, but I really kind of want more evolution over the course of a track than this exhibits.
See, now, this makes a point. Bellow through a bullhorn, pound away with some bass and drums, get the point across. Done.
[Read More]Die Warzau mostly got lumped in with other industrial dance acts, mostly due to a name that looked like an industrial band and a vocal style that sounded like Nitzer Ebb after some vocal lessons. But in retrospect, there’s really very little that connects them to other industrial dance. There’s nowhere near enough noise, it’s not chilly enough, there’s no disaffection on display. This is just dance music that somebody has darkened ever so slightly.
[Read More]You know, cranking out a monthly EP for an entire year is an absolutely tremendous achievement, one of the more impressive ones I’ve seen from an artist in years. I think it’s kind of a shame that they didn’t have a wider audience for them. It looks like 5-600 people subscribed, judging by how many people have them in their collections on Bandcamp. Maybe they’ll package stuff up and release them later.
[Read More]Lots of music gets described as “anthemic”, and I’ve sometimes wondered what people mean by it. I think for me, it describes something that you want to shout along with, preferably with other people. Not sing, mind you. Shout. That’s an anthem, something to get you pumped up. The song has to ring, you know? Japandroids, of course, perfectly fit that template. How could you not want to shout along with this?
[Read More]I love the hubris in naming the first track on your debut album “Greatest Rapper Ever”. It’s a little like the now forgotten Cinder Block naming their first LP Greatest Hits, something I think about a lot even though I’m probably the only person who ever thinks about Cinder Block. Including, likely, the members.
I’m sure other bands have done the same bit, but that one sticks with me.
[Read More]I’m sorry, nothing I’m going to say is going to change anybody’s mind here. Either you were 100% in when you heard the name “Goblin Cock” or you were not.
As Helmet moved further away from their Amphetamine Reptile days, their sound just progressively got cleaner and cleaner. I mean, it’s still distorted guitars and all, but it was all kind of clockwork stuff eventually. Whether it was triangulation to try and capture a bigger audience or not, I think it didn’t serve them too well. This song is a pretty good example, this would have been much noisier in earlier days, with maybe a big squalling guitar solo or some wild screeching or something. Instead, there’s just kind of a few yells from Page Hamilton, and that’s more or less it. I can’t exactly call it tame, not really, but it’s…domesticated?
[Read More]This album, Midwest Farmer’s Daughter, came out in 2016 on Jack White’s label, and is very much a throwback. It wears its inspiration on its sleeve, with Loretta Lynn’s influence heard everywhere in the music and of course the album title’s homage. Trying to live up to Lynn is of course a massive challenge, but Price does well. There’s nothing especially adorned about this album, it’s just very straightforward country, but it’s a lovely record.
[Read More]After the anarchic fun of Cure For Sanity, which got some popular attention particularly on dance floors, their followup (The Looks or the Lifestyle) came out the next year trying to cash in on the popularity. But while there was a surface similarity, it all felt kind of pro-forma. Lots of chanting, repetitive lyrics gestured at being anthems, but nothing really lands on the record, and it should really be ignored.
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