'GOOD MOURNING' - ALKALINE TRIO
Although Alkaline Trio is regarded as a popular band, Good Mourning often receives little recognition as a milestone of the group’s career. The Trio has mastered fusing grim lyrics with catchy and powerful progressions, and their talent sure doesn't stop on this record. Fueled with a heavier polished recording than their older material, the album conveys more of a robust package of dismal love songs. As heard on the tracks ‘Continental’ and ‘If We Never Go Inside,’ Good Mourning offers a hauntingly defiant sound which has become scarce in the recent punk community.
(NDeL)
TIME'S UP' - LIVING COLOUR
This lot were always going to be a major problem for those who like their Metal empty headed and white. Perhaps because they happen to be black and actually had something to say. Either way, this eccentric and eclectic mix from 1990 explores some vivid themes that marry pure power, crushing Rock and questioning lyrics; not to mention some seriously toned six-stringin' from Vernon Reid. The opening onslaught of the title track, through the virtuoso swing of 'Love Rears It's Ugly Head' and 'Someone Like You'; which is possessed of a crawling verse and killer chorus. 'Type' spits out bile to those who walk around with their heads up their backsides and 'Fight The Fight' is a cry for unity in a continually f**ked up world. Alongside 93's Stain, Time's Up is still their most direct body of work to date and continues to confound those with closed minds. (SF)
'PAINKILLER' - JUDAS PRIEST
By 1990, having just been found not-guilty in the now infamous backwards messages trial, Judas Priest were seen as relic of a bygone age, the Turbo and Ram It Down albums had alienated their core audience by chasing sales in America and Thrash Metal was at it’s zenith. Painkiller was the return-to-form that nobody saw coming – revitalised with new drummer Scott Travis this was Priest turned up to eleven – louder, faster and harder than anything that came before it - from the opening drum beats of the title track to the last notes of One Shot at Glory, Painkiller remains the standout Album in a 40-year career – as said on posters of the time “backward or forwards this album kills”. (SH)
'1965' - THE AFGHAN WHIGS
The difference between early Afghan Whigs records and late period is Greg Dulli's perspective. What starts as a fetishising of the dark end of the street becomes a first person account. Dulli always seemed to get that great music could only come from somewhere between the heart and the cock. The id and the ego. The gutter and the moon. '1965' represents this enlightened position. It's tough as diamond nails but still lets you shake your ass a little. These are the same elements that made Stax and Philadelphia International the sirloin to Motown's burger. It also highlights the shortcomings of our current bumper crop of skinny rawk haircut lads - boys playing a man's game. (MC)
'RIDES' - REEF
Oh, wait . . . I remember that noise! Damn, it's been ages. Where you been? It seems implausible but the sound of a band having fun is so often absent from contemporary releases. The idea of four dudes meeting up, driving around, getting loaded and watching the sun come up is about as noble a notion as I can imagine. Reef's Rides stands as a testament to that view. It radiates goofy charm while still progressing from the bands looser, lighter albums. Groovy little burners sit comfortably next to daybreak ballads and it all comes off as effortless. (MC)
'FLOOD' - HEADSWIM Released in '94, Flood is the sound of four guys who were in love with the music they made. With such an all out exuberance to their sound using maelstrom guitars, whip-cracking drums and super-symphonic keyboard strokes, Flood still comes down like a jack hammer with great songs and simmering production. Hallucinatory and shape-shifting rock that should've made them huge. (SF)
'MAGNIFIED' & 'FANTASTIC PLANET' - FAILURE
Released in the mid '90's both these LPs were seen as the perfect antidote to post-nirvana grunge. And granted Ken Andrew's vocal has a certain Cobain-ity about it, but by no means is this derivative. What's forgotten and should be re-discovered, are two albums that crackle and combust in malevolently fetid form; spiralling scythe like into the memory banks. Brilliant stuff. (SF)
'HONEY'S DEAD' - THE JESUS & MARY CHAIN
We picked this one up on vinyl in Generation Records, New York; having last heard it on tape about 20 years ago. Awesome set of Indie as it should be; all fuzzed up guitars, hooks and melodies that sit beneath that classic 90's era vocal. So distinctive and timeless, sounds as great today as it did on high fidelity chromium dioxide. (SF)
'OCTOBER RUST' - TYPE O NEGATIVE
A blast of darkness and doom from Pete Steel and his army of goths. Probably their best, certainly our fave, it sees Steel on top form as the atmospherics build from track to track with sinuey guitar and low end acoustics. A talent sorely missed. (SF)
'GHOST NOTE' and 'FOLLOW THE TRAIL' - MOTHER TONGUE
We love their debut. It's still a fabulously bluesy concoction of alt-rock played by real musicians. These two follow up LP's have passed by like drunks on a motorbike; no one really has heard or recognised the fact that this band are so much more deserving than the plethora of crap out there. We urge you to seek and enjoy, you won't regret it. (SF)
'DROPPED' - MIND FUNK
This belter was released in '93, not long after the band were 'dropped' by Epic. Its nothing like its funk-metal predecessor; its acid trip grunge pure and simple. Low slung, considered, bold and beautiful. (SF)
'A VULGAR DISPLAY OF POWER' - PANTERA
The kind of metal material that lesser bands sold their Metallica riffs for; an album that still makes life worth living. (SF)
