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(schwa)ray: Statistical Anomaly
If I had heard this album and didn't like it, I'd say the most interesting thing about this band is their name. Instead,
it's quite the opposite. There's obviously something special going on with this trio. Mixing together the fury of punk rock,
the sonic manipulation of late '90's indie rock, '70's guitar and rhythm heroics, and a little bit of math-rock, jazz and
funk on the side, this is a wholly formed unit of sound. Jason Braddock's voice can caress you softly in cooperation with
his spacey guitar lines, as Dennis Myers' bass traps you in with James Mullis's drumming and percussion. And then, like a
tidal wave of force, the band embraces the stattaco and huge sound of their origins and influences, bringing it all crashing
down around you. The use of different tones and volume levels as a way to convey feeling and thought is also a powerful part
of what this band is aiming for, as leaps in sonics and feedback whisper into your ears and around you. My only bitch would
be that eight songs doesn't appear to be enough for this band to truly express themselves fully. Otherwise, this is a truly
excellent album, and one that this band should be proud of for years to come.
-Charlie
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Sebadoh: The Sebadoh
Sebadoh's back. Did anybody notice? It feels like they never left. Honestly, this band's output is
just a little too overwhelming sometimes. On the inside of the promo That Virtua Feeling: Sub Pop
and Sega Get Together, the track "Rebound" is included, and the little sarcastic comment about
the song is "From Sebadoh's 700th record (at least it seems like it)". Sebadoh has always been a
hit-and-miss affair, but that's part of their oddball charm. You never know what's gonna kick ass
and what's gonna suck ass. The songs always sounded different depending on who wrote what. But
The Sebadoh brings something completely different into the fray. It almost sounds like they'd
been practicing in the garage, since these songs all have a distinct "band" feel to them, not some
crackpot's (that word actually applies to every member) little solo effort. But does it still
possess that hit-and-miss charm? Not really. Don't get me wrong, all the songs here are pretty good.
Everything has a hook and a little something to keep you interested, even on the weaker moments like
"Tree" and "So Long." Like always, this album has some really kick ass parts to it, like the opener
"It's All You," the headbobber "Flame," and the almost ballad "Love is Stronger." But there's no
feeling like these are silly little solo pop songs that they presented to each other. And that's
both a strength and a weakness when it comes to Sebadoh.
-Charlie
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The Secret Stars: The Secret Stars
An intimate collection of simple yet pretty little music from Geoff Farina almost gets it right as
the description for this album goes. Yet there's also a girl named Jodi who sings sometimes, and has
a very beautiful voice, which she uses on the album's best song, "Eyelashes." This is the perfect
album to put on when you're going to take a nap, think really deep, be sad, be relaxed, or just to
have something soothing in the background. Some people have said that this is better than Karate,
and I can't really make a judgment on that, but I do know it's really, really good. Worth getting if
you can find it.
-Charlie
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Sevendust: Home
Soul and metal? Here we go... Well, actually, this album has it's high points. "Denial," the radio track, is actually damn
good. "Licking Cream," featuring the amazing voice of Skin from Skunk Anansie, and "Bender," with Chino from Deftones, also
have this quality of beauty to them. Otherwise, this record kinda lacks. I mean, the idea is actually really cool, I think.
A very soulful singer with the more modern heavy music sound. But, they don't pull it off very well, unfortunately. Lajon
has one of the best voices in modern metal. And all the other components are very well done. The grinding bass, early
Metallica-like slicing, chopping guitars and the cymbal-heavy drumming akin to the Deftones all stand out. It all doesn't
fit well together too well. This is a mediocre album at best, but I like it. If you want a total change, go for it.
Otherwise, catch a listen first.
-Matt
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764-HERO: "Garrison" b/w "On a Set" 7"
A preview of their upcoming album on Up Records, 764-HERO have issued this 7" single to whet the appetites of listeners.
The A-side, is sparse, short, and over before its time song, with just John Atkins and his guitar for the majority of the
track. The B-side is a more layered song, with another guitar and some keyboards thrown in for good measure. If this is any
indication, the follow up to Get Here and Stay will be a strong album indeed.
-Charlie
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764-HERO: Get Here and Stay
764-HERO is the number of the Hero Service, which is the divison of the traffic bureau in Seattle
that monitors carpool lane violators. If you dial that number, you'll be connected to their offices,
where you can report someone that's been violating the carpool lane (of course, if someone's
violating the carpool lane, maybe the traffic bureau isn't the place to call...). This is common
knowledge to any 764-HERO fan. I can only guess how many people have called 764-HERO in their own
town's to try to get an answer and see what's there; in San Francisco, you just get a wrong number
message. 764-HERO are like that. When they're in the right place, they can provide something useful
and connecting, and when they're not, you just have to redial and hope for something better. Get
Here and Stay finds the power duo now a trio, with a more lush sound thanks to not only a bass,
but also keyboard arrangements and fuller, more powerful guitars. Most of the songs on this album
work, especially the low key numbers like "Loaded Painted Red" and "Calender Pages," along with the
over the top full throttle rock songs like "History Lessons" and the terrific "Ottawa Dropout." Most
of the songs tend to thrash you this way and that, swerving down a musical and lyrical highway. But
some just fail to connect. "Typo" and "Stained Glass" are the low moments, as their hooks are
audible but fail to truly catch, as the songs have no particular direction. Even those two hold up
well against any typical band's material, but for 764-HERO it's child's play to write a pop/rock
song. This is only the most underrated band in Seattle, for Christ's sake. Luckily for any listener
to this album, most of the time the band dials correct.
-Charlie
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764-HERO / Modest Mouse: Whenever You See Fit 12"
What have we here? A split with two of the best bands in Seattle playing together on an exclusive
song they wrote together on tour?! Can we say "must-have?" Pretty much, this song kicks some serious
ass, and since it's recently being re-released on CD no less, I figured I should post up a review of
the 12". The 12" is a better collectable and better to have than the CD in my opinion, given that
the CD only has three songs and that's usually unacceptable for CDs, and expected for 12" singles.
Like I previously stated, the A-side is the song and it whoops the llama's ass. The B-side is two
remixes, one by DJ Dynomite, the other by Sientific American, and are labeled "DJ Dynomite Mix" and
"Sientific American Mix" unbelievably, and those are damn good as well. So it's official, I endorse
this, I listen to it whenever I can, I'm pregnant with John Atkins' baby ... Oops, goin a little too
far. Specifics if you wish: John Atkins' angelic voice bouncing off Isaac Brock's, two drummers
bashing the hell out of their sets and doing different things entirely. 12", CD, taped from a
friend, whatever, you need this.
-Charlie
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Silverchair: Neon Ballroom
I really really really think I misjudged Silverchair. I found them kinda annoying on
Frogstomp, which continues to irritate me to this day because it's clogged by a lot of
filler. Freak Show was a step up for me, as they showed some melody and actual songwriting
backbone many times. But this album caught me completely off guard. Silverchair's maturation as a
group and as a collective of songwriters is astounding. A little bit of everything pops up on this
album, including orchestras and choirs. Also, Daniel Johns has improved drastically as a singer and
lyricist. On previous releases, he sounded a little forced and fake, but here you believe every word
he says; he sounds truly desperate on "Emotion Sickness" and "Ana's Song (Open Fire)," and angry
enough to make you shout along on "Anthem for the Year 2000." Another nice aspect of this album is,
unlike Frogstomp and Freak Show, this is no hit-or-miss affair. Every song has a hook
to it, and is memorable in some ways, even in the weaker moments. It's also not bogged down by
filler, because the singles are as good as everything else on the album. Certain songs recall other
bands that we've all heard before (Nirvana, Soundgarden, Smashing Pumpkins, although those moments
are quick and fleeting), but some moments recall bands like Radiohead ("Emotion Sickness") and even
a little Slint on "Spawn Again." Also nice is the layout in packaging. Gone are the days of hundreds
of photos of the band on the inside; instead, each song has its own page and an accompanying picture
that actually goes along with the song, almost like Sunny Day Real Estate's Diary and How
it Feels to be Something on. The lack of band members faces creates a more personal feel to the
album, especially for first time listeners, as the band has no faces to associate with the music
(eventually, you'll see the band in blurry pictures near the end of the booklet). But the best
aspect of this album: if the band continues to improve drastically between albums as they've done
thus far, Silverchair will easily surpass this one soon.
-Charlie
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Slint: Spiderland
Let's imagine 1991, shall we? Nirvana was just about to become the biggest rock band in history, and
usher in a new wave of music and a few talented bands, but mostly shitty clones; people were just
getting over hair-metal and cock-rock that were remnants of the '70's and '80's; and in Chicago and
the surrounding areas, a musical revolution was well under way. Most indie bands in the area had
started playing a new sound was dubbed "post-rock" as it destroyed ever element that rock'n'roll and
its followers had. Singers were outlawed, time structure was a mysterious thing, choruses were
unheard of, and talent, musicianship, and composition were all taking a backseat to the overall
sound and force and feeling of the music. Thus, Slint forged this beautiful, stunning piece of
elegant work, with spoken work lyrics, shimmering, tuneless guitars, and a powerful rhythm section.
Spiderland is one of the few classic albums that indie rock has, and is most deserving of
that term anyway you look at it. This was new, this was inspiring, this was the most risk-taking,
newest music the world has every heard, and Slint would inspire more people than Nirvana or Fugazi
or any other band ever had. The one key difference, however: No one ever has tried to copy
Slint's sound. You can't. These four had something unique and special going on that no one could
ever touch or change or replicate, and it's so evident it will make your stomach do somer-saults. Or
maybe that's just the music. Starting with the gorgeous "Breadcrumb Trial" and "Nosferatu Man," the
album climbs at a steady pace until its crescendo, "Good Morning Captain." Hands down, this song is
the greatest in the brief history of indie rock. It's lyrics tell the story of the aftermath of a
shipwreck, and as the song builds, an unexpected conclusion leaps forth from your speakers, four
ghostly screams and howls of "I miss you!" before the song explodes into silence. Slint was
a legend in their own time, and still is today.
-Charlie
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Slipknot: Slipknot
Slipknot is not the greatest band of our time. I just wanted to clear that up. All you metal-heads
walking around with Slipknot t-shirts on are weird. You need to find a good band you can all like
together. I'm done with the ranting. I really don't see why people enjoy this album so much. It
can't be for the musical works, and certainly not for their live shows. I think people like them
so much because of the image and the "originality" of the group's line up. I think the singer has an
okay voice and actually uses it at times, but that's about it. You
might know this because their first single, "Wait and Bleed," isn't the hardcore kill your friend in
the pit kind of song. It's more melodic and has some vocals to it. And I think you need that portion
of music when you're in a band, because if you don't, you are called heavy metal. I've seen them
live; they were powerful, but the kind of powerful to get the audience pumped up enough to kill the
people around them. I don't know if these guys will be around the music world for a while, but I
hope that if they are, they start making some good music, because Slipknot already gets played on
MTV. I guess that explains it actually. Go get this album if you want to work out and kick
somebody's ass. If you're not interested, don't buy the album.
-Chris
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The Smashing Pumpkins: Siamese Dream
Transcending the deathtrap pigeon-hole of 'grunge' in the early nineties, it was with Siamese Dream in 1993 that the
depth and grandeur of The Smashing Pumpkins' musical vision was fully realised. It was here that the sound of their debut
album Gish - a mixture of thunderous Led Zeppelin style rock and Pink Floyd-esque psychadelia - was expanded one
thousand fold to give their music its own unique identity. Siamese Dream embraces and incorporates a heap of
contradictions that have made for all the classic elements of modern rock music. Loud guitars, yet with melodic pop
sensibilities. Bold experimentation, yet with classic songwriting. Overblown grandeur, yet with down to earth raw energy.
The highlight, however, is Billy Corgan's guitar playing - which is used to weave a variety of shapes, sounds and emotions
throughout. From the alt-pop perfection of "Today" to epics like "Soma" and "Silverfuck", this album is simply
breath-taking. Siamese Dream still represents the Smashing Pumpkins' finest hour.
-Ruari
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The Smashing Pumpkins: Mellon Collie and the Infinite Sadness
It was undoubtedly ambitious that an alternative rock band would think of releasing a full double album's worth of material
in 1995. The difference, however, between The Smashing Pumpkins and other alternative rock bands of their time was their
tendancy to embrace the kind of bold experimentation and dramatic musical arrangements not seen in rock music since the
likes of Pink Floyd in the seventies. It was Mellon Collie that truly set The Smashing Pumpkins apart from their
peers, and established them as a vital musical force in their own right. Mellon Collie pretty much covers the whole
spectrum of rock music as we know it, and this makes for one of the most rounded albums I have ever heard. The break away
from traditional guitar/bass/drums format has enabled Billy Corgan's musical visions and production techniques to soar
beyond anything previously heard in alternative rock. At the same time, this album sounds less polished than Siamese
Dream, its predecessor. The heavy rock numbers really do roar with a distortion previously unheard in The Pumpkins'
work. Surprisingly though, these songs work alongside more production reliant songs like "Tonight, Tonight" and "1979". All
double albums run the risk of becoming self-indulgent or sounding drawn out, and I'm afraid Mellon Collie does fall
victim to this trait occasionally. There is however very little in the way of filler, and the album pretty much remains
incredibly strong throughout. My only real complaint would be that the last few songs on the second disc seem to lose the
momentum carried by the rest of the album. While tracks like "Lily (My One And Only)" are certainly adequate pop numbers, it
kind of sounds like a cop-out. If this album had ended with a high note of the same standard the rest of Mellon
Collie displays, it could have been one of the greatest double albums of all time. Still, this album has few faults, and
is definitely worth a place in any rock fan's collection.
-Ruari
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The Smashing Pumpkins: MACHINA / The Machines of God
Ladies and gentlemen, boys and girls, children of all ages, pack your bags. We're going on a rant. I mean, seriously, what
the fuck is up with Billy Corgan? He must really underestimate the intelligence of an average rock listener. Half the time
he's trying to gain new fans, the other half he's trying to appease them. Maybe he just realize that you can do both if you
don't really try at all. While this disc isn't as bad as most of Adore was, it's still not all that great. The songs
sound tired and boring, not in the music but in the way it's played. This sounds like a collage of slapped together guitar
riffs and lyrics from Pretentiousness For Dummies, lots of art rock, and a collection of LPs from The Pixies, Black
Sabbath, and The Cure. And the computers. Christ, the computers are everywhere. This entire album sounds looped through a
mainframe, leaving about as much soul as Corgan himself still has. I can just imagine him sitting there holding a straw with
one hand and sucking the very essence out of modern rock music, the other hand fiddling around with synthesizers and the
electronic machines that fueled their previous weak and artsy effort. The psuedo-goth rock is still there, the heavy crutch
on electronics and digital beats is still around, and every new direction the Pumpkins try finds them falling flat on their
faces. The absolute worst moment comes in the ten minute "Glass and the Ghost Children," where Corgan proclaims that he's
been hearing the voice of God his entire life. Wow, Billy, great statement. If God's voice produces this sort of
below-average, banal, trite, mediocre, warmed-over, pedestrian, half-assed bullshit, chalk up another mark for the Athiests.
-Charlie
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Snapcase: Lookinglasself
I love this fuckin CD. Honestly. I've never loved many things before. I loved my first pet Gerbil, I
love Charlie's mom, and I love porn. This CD is right up there. I bought their two releases after
this and loved them, but this is so much better. The hardcore (cliche nowadays, I know) is so
prevelent. I love heavy music, and this is heavier then Progression Through Unlearning and
Designs For Automotion combined! Jesus, where to begin... The bass heavy intro to "Filter" is
great and "No Bridge" with "Fields of Illusion" truly stand out as the best tracks on the CD. With
just about twenty-five minutes and eight songs, it is one of the shorter hardcore CDs I have heard,
but probably the best (bar Strife). I seriously suggest you buy this CD if you even remotely kinda
sorta maybe like Snapcase.
-Matt
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Snapcase: Designs for Automotion
Short, sweet, and to the point, Snapcase's Designs for Automotion clocks in at just around
thirty minutes. But it's a long thirty minutes for this band, as they crank out some heavy, but
original, hardcore, and manage to keep you entertained. We've waited three years for this album, and
it's not a disappointment, but it doesn't live up to all expectations either. As always, Snapcase
use their intelligence as their main musical weapon, creating delicate song structures and
meaningful lyrics through the screaming and distortion pedals. The songs all flow, but about half
the time the hooks don't latch. And also, come on guys! Three years for thirty minutes! What's up
with that!? But I digress ... Fans of hardcore and hard rock will find something to like on this
album, and I guess that's what Snapcase won't disappoint them, and given that in the hardcore scene
pleasing your fans is the main goal, I guess you could say Snapcase has another hit on their hands.
-Charlie
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Sonic Youth: Daydream Nation
The feedback machines are also known as Sonic Youth. Great light hearted pop songs with wailing
feedback and poetic lyrics. The all-star American rock band. Daydream Nation is my favorite record
from Sonic Youth. And you know why? I love all the songs, but just one stands out to me. It's called
"Teen Age Riot." Does that name ring a bell in your head? It should, because it's a damn good song
by a damn good band from a goddamn great album! If you're not a metal head and enjoy experiencing
diverse music with an actual message (I'm sure Sonic Youth has one), you need to get this album.
Thurston isn't really the vocalist to the group, but more like the person who plays guitar and reads
his poetry to the crowd of people listening to them. Kim plays the good ol' bass guitar and
occasionally sings, and the other two guys, Lee and Steve, just make it kick some serious ass.
-Chris
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Soundgarden: Screaming Life / Fopp
Now this is my band! And these are my boys playing the rock-n-roll music the right way!
Soundgarden's first two EPs compiled onto one disc, brilliant idea from Sub Pop, although you'd
expect them to sell them seperately so they can make more money. That's the Sub Pop way after all.
This band is just so classic! Kim with the simple yet dark sounding riffs played through a crappy
amp with bad distortion, Hiro (the bass player who should have never left the band) who backs it all
up, Matt the amazing drummer who can never be copied, no matter how hard you try, you just never
know what he'll throw in next, and Chris, dear Chris, the vocalist/occasional guitar player who puts
the band far past the amazing mark. He is one of the most amazing singers music has ever seen, and
he just gets better after every album. This is the band called Soundgarden, they made the whole
Seattle scene worth glancing at. Of course, there is definatly some other bands that were good too
(Screaming Trees, Mudhoney, Skin Yard) well, maybe a lot more than good. But Soundgarden was the
best thing to come out of that scene for many years. The only other band that I can put them on the
same level as is Sunny Day Real Estate. This is the traditional Sub Pop release in the late 80's.
Live photo of the band on the cover in black and white taken by Charles Peterson, another one on the
back, and Screaming Life was recorded by Jack Endino, the man that can't produce, just record. Make
sure you get this album before Louder Than Love, because it's better and it contains their
original sound. The covers for the two are very similar, so don't buy the wrong one! I'm warning
you, you just can't beat early Soundgarden!
-Chris
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Speedking: "Devilina" b/w "Faker 7"
Now this is indie rock. What can I say about this band, really? Speedking spent years being
one of the best bands you've never heard of, and broke up after releasing just 7 songs (three 7",
one split 7") of some of the arguably best hardcore/post-punk music ever written. I'm surprised they
didn't get more exposure; they toured with the likes of Six Finger Satellite and June of 44.
"Devilina" is a hard-rock song thrashed into a swirling furious mass of sound. "Faker" is just as
strong an effort as the A-side, and squeaks in some melodies and vox2 to a good effect. Enraging and
calming at the same time, this is the kind of tune you put on when you're trying to get over why
your girlfriend left you for your best friend, and when you plot your revenge. It's a sucker punch
to the kidney's that you almost enjoy. It's violent, feral, and restrained all at the same time, and
is not to be missed.
-Charlie
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Spineshank: Strictly Diesel
Imagine Fear Factory minus all that whack "Man Vs Machine" crap, with more composed music, and some of the coolest vocals
I've heard. That's Spineshank. The musical sound definitely reminds me of a toned down Fear Factory, and Jonny Santos'
vocals kick so much ass. "Intake" starts off with a downtuned, grinding bass kicking into a chorus full of distortion,
screams, and cymbals. My personal favorite is "Detached," where Santos softly croons "What do you believe?" For the most
part his vocals are very good, if at times hard to understand. The guitars are very well written, although somewhat
monotonous. The bass is the best aspect, along with the drums. The cover of "While My Guitar Gently Weeps" is an amazing
one, paying perfect metal-esque homage to George Harrison. All in all, this album is very good. Some filler, but other
highlights include "40 Below," (used in a Speedstick commercial no less) "Grey," and "Mend."
-Matt
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Staind: Tormented
It's so amazing when a band with such talent like Staind progress into a much more complex, deeper band with time. This
album set the stage for arguably the best metal release in the past five years. Yes, that is saying a lot. On
Tormented, the songs are rougher and under-produced, which is not surprising since they produced this independently.
All the songs here seem to keep the same message: self Loathing, depression and drugs. Not drugs directly, but in connection
with the first two messages via great imagery in the lyrics. Aaron Lewis has one of the most unique, amazing voices in music
and shows it incredibly well. "Come Again" sings of a past relationship, "See-Thru" about a fake friend (with some wicked
guitar work by Mike Mushok), and "4 Walls," capping the album off nicely. Yes, you all heard right, there is an originial
version of their radio smash "Mudshovel," which is almost the same as the newer version, with less production. All in all,
this is one of the better debut releases by a metal band I've heard.
-Matt
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Staind: Dysfunction
I cannot find a damn thing wrong with this CD, and believe me, I've looked. It's a downer, but they don't whine; they yell.
There are no stupid power chords and spewed lyrics. It's all complex, yet simple. "Home," "Me," and "Just Go" are slower and
heavier, while "Suffocate" and "Raw" will kick you down with a fast paced cymbals-ladened sound, thumping basslines and
chopping guitars. The vocals are the best. Aaron Lewis's voice is addictive. Unless you're in Tibet, you must have heard
"Mudshovel" somewhere, with that bassline that keeps you humming. The best song is the secret track, "Black Rain/ Excess
Baggage". It's an acoustic session with Aaron where he songs a simple yet powerful song about breaking up. Being associated
the bane of music, Fred Durst, hasn't hurt these guys one bit.
-Matt
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Static-X: Wisconsin Death Trip
So what do we call this new genre of music that Static-X have invented? Yeah, that's right. I guess you can chalk them up
there with The Beatles, Led Zeppelin, The Pixies, Slint, and a handful of others, although I doubt many would want to admit
it. Never have I heard electronics and guitars embrace each other so openly. This makes the current Nine Inch Nails material
look like a bad joke. This album spins along on a dance beat, coated in thick metal guitars, and layered with keyboards.
Above it is Wayne Static's unique voice, that is gruff and ragged, but can still convey power and emotion, as well as carry
a tune. It still remains to be seen whether or not they're visionaries or just really good at making interesting music, but
Static-X is definitely going somewhere.
-Charlie
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Strife: Truth Through Defiance
A collection of rareties and live tracks, this is an above average listen. I love the live version of "Grey" before In
This Defiance was released and the sans Chino version of "Will to Die." Theres not much I can say, as it only has four
exclusive tracks to it. The production on those leave something to be desired. The live songs are very good quality, and
this is a must-have for any hardcore fan.
-Matt
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Sunny Day Real Estate: Diary
My favorite band at the time of this writing. I think the album Diary is one of the five best
albums of the 90's. Hands down please. I know the album has got some filler, but the other songs on
it are so good that it doesn't even matter. Highlights are "Seven," "In Circles," "Song About An
Angel," "Round," "Shadows," and "Grendel" (read the book called Grendel). Their music is so
emotional, the words are poetic, and they're sung by one of the most amazing voices rock music has
ever heard, Jeremy Enigk. But we can't forget the other musicians in the band. Dan, the guitar
player, Nate, the amazing bass player for the band, and William, the better than Dave Grohl drummer.
They all fuse this together and come up with something that will keep listening for years and years
to come. I don't know if anyone has noticed this, but, on the third album, Jeremy sounds a little
bit like John Lennon. Maybe that will make you become a Sunny Day fan. You really need to get this
record, even if you don't like indie rock, maybe these guys will move into the mainstream soon, I
hope they don't though.
-Chris
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Sunny Day Real Estate: LP2
Sophomore slump? What's that? I'm afraid I don't understand. Oh, you mean that bands are supposed to get worse after their
first album? You mean a second album isn't supposed to have killer bass work like on "Theo B" or great drumming such as that
displayed on "Red Elephant?" I have to forget about excellent work like on "5/4" and "J'nuh?" There are supposed to be hooks
that leave marks so deep you can't get them out of your head for days like "Friday" and "8" and "Rodeo Jones?" Oh my, well,
if sophomore albums are supposed to be bad, then Sunny Day Real Estate hasn't done their job very well at all! Listen to
this, it's great! How can they call this a sophomore slump album? Maybe they'll be worse on their next album to make up for
how incredible this one is.
-Charlie
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Sunny Day Real Estate: How it Feels to be Something On
I remember how I felt when I first heard that Sunny Day Real Estate had broken up. It was like when a good friend dies, that
hurtful knowledge that they're never coming back. Tears stung my eyes, heart aching with the knowledge that a great band was
no more. I cherished my copies of Diary and LP2, treating them as best as I could. But then I remember all the
rumors, all the hushed words of a reunion, something that doesn't usually happen. Then came word that a rarities album was
coming out, and that made me feel a little better. Then I heard that the band was regrouping for a few new tracks, and I
felt even better. Then I found out that they had decided to regroup and write an entire new album, and I was the best I'd
ever been. But even those great feelings couldn't prepare me for this... During the offtime, the members went back to school
and studied nuclear physics. It's the only explanation I can gather after listening to an album that creates this much of an
explosion on everything around you and in you. This is the most intensely personal album the band has made yet, as the words
hit home in your heart with Jeremy Enigk's beautiful voice. Wave upon wave of shimmering guitar courtesy of Enigk and Dan
Hoerner glide over ther rhythm section, with bass lines by Jeff Palmer commanding your beat and excellent drum and
percussion work by William Goldsmith. A departure from the harder aspects into a new diginified and composed style of music
is the most logical and greatest step this band took, working terrifically with the band's newfound approach of writing
music instead of just plain songs. The etheral "Pillars," the off-kilter "Roses in Water," the pretty "Every Shining Time
You Arrive," the emotionally hurtful "Two Promises," the great "100 Million," the excellent "How it Feels to be Something
On," the successfully experimental "The Prophet," the hook-filled "Guitar and Video Games," the pounding rhythm of "The
Shark's Own Private Fuck," and the beautiful "Days Were Golden" make up this record, and each one stands out above every
other song on the album. This makes me want to love music again. This album defines everything indie rock should be. This
band makes me want to grab a guitar and sing my heart out. And I'm not alone.
-Charlie
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Sunny Day Real Estate: Live
Ahem. And the point of this would be? I'd rather just go trade some bootlegs. Fuck Sub Pop for screwing over this band and
making them stoop down to the live album area to get out of their contract.
-Charlie
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Sunny Day Real Estate: The Rising Tide
Finally! An album has come out this year that's been making people talk about it! If the moderate level of rejoicing over a
new Modest Mouse album was all we had to look forward to, I think I would've burned my CD collection. But this album has
people voicing their opinions left and right. Probably because this is the new Sunny Day Real Estate. No, I didn't forget to
type "record" at the end of that last sentence. We're seeing the big-budget version of Sunny Day Real Estate. And like the
new Modest Mouse album, while it's different, it sounds like a natural progression of sound. The striking immediacy of the
last three records is nowhere to be found on this album. Instead, this effort has a well thought out and rounded sound to
the songs. It's evident that a lot of thought and effort was put into this album. But unlike the earlier studio albums by
SDRE, I have a bitch about this one. The production on this album is awful. It's been polished down so far that the ragged
edge that helped propel their work is gone. But that also kind of adds to the enjoyment. It shows that this band isn't
perfect and can make a mistake here or there along the way. It's still a good listen, and I'm really nit-picking to attack
the production. The only major misstep song-wise is "Television," which sounds like a complete rip-off of The Beatles, Pearl
Jam, and Rush. Otherwise, another excellent album from a band that can deliver better than many others.
-Charlie
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System of a Down: System of a Down
I saw these guys at last years Ozzfest. They were pretty good. At that time, I was starting to get
back into the metal scene. I'm glad I didn't because there isn't much there. Boy oh boy am I glad.
But still, they did put on a good show at Ozzfest. But it's just a "show". Nothing more. I can tell
this band will fall into the same position as Korn did. Poor, poor Korn. You were so good in the
beginning. Out of this new wave of metal, I think we've got maybe, maybe, a couple good acts that
will do something positive with their new shiny careers. I can think of one right now, and that is
Staind. I don't have much hope for the rest of them. Now keep in mind, I do like this album, I just
don't think it's going to do anything but win the embrace of the general public who listens to music
for entertainment and not for the right reason. It's already being promoted like crazy and being
shoved down fans throats who don't really know that there might be some underground metal band doing
it ten times better. What did get me semi-interested in this band was the weird fusion between rock
music, and the other hundred types of music thrown in there. I don't want to name those, just read
an interview with them, they'll explain why they're better than the rest of those bands. If you see
this band live, you'll definitely consider buying the album; if you're a metal head, you'll buy it,
and if you've done neither, I don't know who the hell you are.
-Chris
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