|
|
|
|
1 |
Smashing Pumpkins
- 'Mellon Collie And The Infinite Sadness' (Hut) |
|
|
A
grand vision of epic proportions, Billy Corgan and his Pumpkins
were in danger of losing the plot completely with a double album
of one third pure rock, one third quiet strangeness and one third
sprawling prog rock. Not only that but divided into two sections;
'Dawn To Dusk' and 'Twilight To Starlight' to emphasise the direct
contrast in light and shade, that the band succeeded is a major
understatement, with Mellon Collie selling over 7 million copies
worldwide. To listen all the way through in a single sitting
would require great resilience, far better in small doses the
"Dawn To Dusk" disc is littered with solid rockers
(Jelly Belly, Muzzle, Zero), drawn-out prog rock (Porelina Of
The Vast Oceans) and the popular radio hits Tonight Tonight and
Bullet With Butterfly Wings which grab the listener's attention
on first listen. At the other end of the spectrum are the most
fragile and beautiful songs in the Pumpkin's cannon. The aptly
titled Beautiful is just that, a blissful and restrained quiet
moment, along with the higher tempo 1979 and Lily (My One And
Only) it is the second disc that contains the album's best and
most satisfying cuts. Not an album to be taken lightly, this
demands time and attention to fully appreciate the diversity
and sheer scope it offers. |
|
|
|
|
2 |
Radiohead -
'The Bends' (Parlophone) |
|
|
 Initially
drowned by the hype of Oasis' (What's The Story) Morning Glory?
Juggernaut, Oxford's finest sons quietly released The Bends to
a receptive audience only previously aware of the 'Creep' anthem.
Whilst Morning Glory? now reeks of nostalgia, Radiohead's second
album remains a timeless piece of subtle brilliance. The Bends
spawned a host of imitators desperate to get the sound, Muse
were mini-Radiohead on their first record and Coldplay pinched
the slower, delicate songs like 'Fake Plastic Trees', giving
a Y2K make over. The loud rock of 'Bones' and 'My Iron Lung'
gets the body a jigging, calming down only on the slow acoustic
numbers, it's pretty much 50/50 split between rockers and slow
songs. Lurching from the dynamic rock of My Iron Lung and Bones
to the delicate quiet of Bullet Proof (I wish I Was) and [Nice
Dream], the entire basis are covered. The reason why 'The Bends'
works is the music is not forced, the emotions coming out naturally. |
|
|
|
3 |
White Zombie
- 'Astro Creep 2000' (Geffen) |
|
|
 Or
to give its full title of 'Astro Creep 2000: Songs Of Love And
Destruction And Other Synthetic Delusions Of The Electric Head',
surely a crazy album title. What could easily have been a one
trick pony after ploughing through years of thrash induced mayhem,
the follow-up consolidated White Zombie's position as Beavis
and Butthead's band of choice. It's not at all surprising as
the collision of thunderous riffs, techno-influenced beats and
B-Movie samples encapsulated a sound guaranteed to be blasted
from the biggest loudspeakers known to man. Listening to modern
metal bands like Static X and yes, even Rob Zombie's younger
brother rock outfit Powerman 5000, the heady combination of blistering
riffs, Rob's evil growl and a splattering of B-Movie samples
have been aped many times since. The formula (and it is a limited
formula when thinly spread over a few albums) works best on the
singles "More Human Than Human" and "Super Charger
Heaven". Other pluses include "I, Zombie", a fast-tempo
energy rush despite not really going anywhere and the brilliantly
titled "El Phantasmo And The Chicken Run Blast-O-Rama".
The record does drag on too many similar sounding songs, but
it's so much fun I can forgive the monotonous moments. Unfortunately
this was White Zombie's last studio album (a remix disc was released
in 1996) as Rob Zombie split the group to peruse a very similar
sounding solo career that never reached the same heights. |
|
|
|
|
4 |
Leftfield -
'Leftfield' (Hard
Hands) |
|
|
 Appealing
to both rock and dance fans equally, Leftfield were pioneers
in cross-referencing diverse types of music in one melting pot.
Changing people's perceptions that dance acts cannot make consistently
challenging albums, Neil Barnes and Paul Daley arrived with the
scorching John Lydon collaboration 'Open Up' before the debut
followed a year later. Despite losing impact over years of mainstream
film and television over-exposure, the ambient club of 'Song
Of Life' and African tribal chants of 'Afro-Left' inspired a
host of imitators yet to beat the original. |
|
|
|
5 |
The Deftones
- 'Adrenaline' (Maverick) |
|
|
 Madonna's
Maverick label signings slowly but surely created a sizable buzz
about their debut album. The Sacramento four-piece blasted out
the aggression of hardcore with the hint of hip-hop influence
in such modern metal classics such as '7 Words', 'Bored' and
'Birthmark'. Along with Korn's debut, 'Adrenaline' became the
catalyst that kick-started the entire Nu-Metal movement. That
canny businesswoman Madonna sure knows how to pick them. 'Adrenaline'
still impresses with the intent and emotional vocal display from
Moreno. Although not as diverse or musically challenging as future
Deftones records, the debut is perhaps the tightest, most exciting
music the band have put their name to, as '7 Words', 'Engine
#9' and 'Nosebleed' are object lessons in controlled aggression.
Considered the best Deftones record by many die-hard fans, this
is an ideal place to start for hearing the band's heaviest side. |
|
|
|
|
6 |
Faith No More
- 'King For A Day, Fool for a Lifetime' (Slash/Reprise) |
|
|
 The
often over-looked 'King For A Day' is wildly inconsistent but
never dull. Ignored at the time of release, the follow-up to
the career-defining 'Angel Dust' is now starting to show it's
true worth. The dramatic variance in musical styles between each
track is quite defiant for a band that survives on restlessness.
The obvious alt-rock cuts are still present in 'Digging In The
Grave' and 'Get Out' but it's when the band step outside the
usual rock genre allowing Patton to actually sing that work best
as in the over the top 'The Last To Know'. Lunging from the laid-back
'Caralho Voador' one moment to the demented 'Cuckoo for Caca'
the next, it's another tour de force, with Mike Patton's stunning
vocal performance the highlight. When long time guitarist Jim
Martin left the band in 1994, Mr Bungle guitarist Trey Spruance
became the replacement, and he fills the album with intelligent
playing and adapts well to the task attempting smooth funk (Evidence),
downbeat dirges (Take This Bottle) and standard alt-rock (Digging
the Grave, Get Out). |
|
|
|
7 |
Foo Fighters
- 'Foo Fighters' (Roswell) |
|
|
 The
self titled debut was a melodic centre covered in distorted guitars
and bouncy energy, tracks like For All The Cows and I'll Stick
Around owe a heavy debt to Nirvana, but that's understandable
since Grohl was in the band. Made against the traumatic backdrop
of Cobain's suicide, former Nirvana drummer Dave Grohl returned
into the public eye with an immediately satisfying collection
of post-grunge compositions. Written almost entirely by Grohl,
the jovial music in Alone + Easy Target and For All The Cows
defies the work of a man whose previous CV simply read "drummer".
The bouncy and throwaway nature of Big Me offers light relief
amongst the sea of post-grunge standards of Good Grief and Watershed.
A stepping-stone to the group effort of The Colour And The Shape,
the Foo Fighters debut still retains the enthusiastic charm it
carried when it first appeared. |
|
|
|
|
8 |
PJ Harvey -
'To Bring You My Love' (Island) |
|
|
 Recorded
as a five piece and produced by the legendary Flood, 'To Bring
You My Love' is the most imposing statement yet by PJ Harvey.
An underlining menace lurks throughout the muzzy blues numbers
as in the dark 'Meet Ze Monsta'. The commanding 'Long Snake Moan'
is unadulterated havoc played with immense passion, a stark contrast
to quiet and barely audible 'Working For The Man' as Flood gets
indulged in elementary dynamics. This is PJ Harvey's coming of
age record, further proof of her expanding talents as a great
singer and songwriter. |
|
|
|
9 |
Oasis - 'What's
The Story, Morning Glory' (Creation) |
|
|
 If
'Definitely Maybe' signalled the arrival of Oasis, then 'Morning
Glory' quite simply made them the UK's hottest act, becoming
the year's biggest selling album. Displaying an even greater
Beatles influence, the monumental anthems of 'Wonderwall' and
'Don't Look Back In Anger' became Britpop's most defining moments,
even breaking the band in the usually hard-to-crack American
market. Whereas eagerly awaited follow-up 'Be Here Now' was carried
along on reputation and hype alone, exposed afterwards as a shallow
indulgence, 'Morning Glory' remains a powerful collection of
melodic and memorable rock songs that defined an era. |
|
|
|
|
10 |
Garbage - 'Garbage'
(Mushroom) |
|
|
 When super-producer Butch Vig decided to call
his new band Garbage, the world was waiting to use that word
to describe the music. Luckily for him and his motley crew of
fellow technology buffs and Scottish vocalist Shirley Manson,
a welcome antidote to Grunge was born. The debut retains a certain
class and menacing sexiness through mood pieces Supervixen and
Only Happy When It Rains, venturing into uplifting pop on Stupid
Girl. The utilisation of loops and computer technology does not
sound like a soulless machine it could have been thanks to Manson's
sensual vocals and star quality. |
|
|
rformance
comparison. Nvidia GeForce2 MX 400, 200, 100, review
|
11 |
Supergrass -
'I Should Coco'
(Parlophone) |
|
|
 A
breath of fresh air, the youthful and charismatic tunes on 'I
Should Coco were a welcome antidote to the gloom and doom of
US Rock. The blast of noisy guitar on 'Caught By The Fuzz' was
a frantic tale of teenage drug taking that gained widespread
acclaim with the press, further enhanced by the retro 'Mansize
Rooster'. When the debut was finally released, the immediate
singles were joined by slower, more mature work of 'Time' and
'Sofa (Of My Lethargy)' and summer anthem 'Alright' nearly got
the band a UK #1 single. 'I Should Coco is an almost perfect
pop record that sums up the excitement of the joys of youth. |
|
|
|
|
12 |
Kyuss - 'And
The Circus Leaves Town' (Elektra/Asylum) |
|
|
The
final album from the influential "stoner" group adds
a commercial and even contemporary sheen to their sprawling Palm
Desert rock blueprint. During the period, Kyuss developed between
Josh Homme and John Garcia, ending the band prematurely. The
final part of a satisfying trilogy of now-classic records (Blues
for the Red Sun, Welcome to Sky Valley and ...And the Circus
Leaves Town respectively) went on to influence a new generation
of sludgy, down-tuned bands including Fu Manchu and Orange Goblin. |
|
|
|
ALBUMS OF 1995
(# 13 - 40) |
13.
Moby - Everything Is Wrong
14. The Flaming Lips - Clouds Taste Metallic
15. Fear Factory - Demanufacture
16. Aphex Twin - I Care Because You Do
17. Green Day - Insomniac
18. Rancid - ...And Out Come The Wolves
19. The Wildhearts - PHUQ
20. Monster Magnet - Dopes To Infinity
21. Therapy? - Infernal Love
22. Sonic Youth - Washing Machine
23. Elastica - Elastica
24. The Chemical Brothers - Exit Planet Dust
25. Neil Young - Mirrorball
26. Pavement - Wowee Zowee
27. Pulp - Different Class
28. Tricky - Maxinquaye
29. Paradise Lost - Draconian Times
30. Presidents Of The U.S.A. - Presidents Of The U.S.A
31. David Bowie - Outside
32. Boss Hog - Boss Hog
33. Blur - The Great Escape
34. Red Hot Chili Peppers - One Hot Minute
35. Alanis Morissette - Jagged Little Pill
36. Bjork - Post
37. Cypress Hill - Cypress Hill III: Temples Of Boom
38. Drugstore - Drugstore
39. Longpigs - The Sun Is Often Out
40. Skunk Anansie - Paranoid & Sunburnt
More
Reviews:
Alice
In Chains - 'Alice In Chains' (Columbia)
The cover of a three-legged dog could easily be put into context
of the state of the band - that on it's last legs. At times,
uninspiring production and weak sludgy sound do not do the sometimes
excellent tracks justice. 'Grind' is a pulsating and enthralling
opening with the voice of guitarist Jerry Cantrell making sure
"In the darkest hole / you'd be well advised not to plan
my funeral before the body dies". There are surprisingly
quiet moments of the self-titled album, but it's during those
bleak and guitar driven that the band come into their own. 'Again'
and 'Over Now' rank amongst the best of a very inconsistent bunch.
Compared to 'Dirt', this doesn't even compare, the energy drained
of feeling and hope. The despair and droning will be too much
for some and unhealthily compelling for others. It can all be
summed up by Over Now's truthful "Guess it's over now /
I seem alive somehow…We pay our debt sometime", an
indicator of the band's short term future.
Marliyn
Manson - 'Smells Like Children' (nothing/Interscope)
First
off, the cover versions are truly amazing and improve the song
rather than just be carbon copies. Maybe the only reason to buy
this stop-gap release. The raw power of Rock N Roll Nigger is
ideal car radio blasting music while Sweet Dreams is a successful
re-working of the Eurythmics '80s classic. And 'I Put A Spell
On You' has some of Manson's creepiest vocals. The rest, well
it's hard going and best heard with an open mind, as it's self-indulgent
and plenty of in-jokes abound. Read the book 'Long Hard Road
Out Of Hell' for an interesting insight, you'll listen to 'White
Trash' in a new perspective. The remixes from the debut are interesting
deviations but hardly essential, comprising of beefed up techno
beats and a bag of technical tricks. 'Kiddie Grinder' is undoubtedly
the most successful remix, but truth be told, stick to the originals.
The track sequencing flows quite well and as a creative experiment
it's worth hearing more than once. Better still, just find the
three covers versions and ditch the rest.
Nine
Inch Nails - 'Further Down The Spiral' (nothing)
If you thought TDS was too miserable and depressing then approach
Further Down The Spiral with extra caution, it's even more depressing
and despairing. The two versions available, US and UK, offer
slightly different experiences. The US release concentrates on
Mr Self Destruct and Eraser taken from TDS, whilst the UK version
contains the electronically refined Heresy remix and an alternative
track listing. Piggy (nothing can stop me now) and The Art Of
Self Destruction, Part One sets the quality control limit on
maximum. The live recording of The Downward Spiral (The Bottom)
appears to be the same version as on long-form video 'Closure'
and Hurt (Quiet) sounds not unlike the original thus deeming
pointless. Next up, 'At The Heart Of It All' is a far too long
seven-minute plus repetitive atmospheric track that should have
been cut down to about two minutes tops. The US version is dominated
by the Eraser interpretations, which raises the same question
as of 'Things Falling Apart' a lack of variety. It's not all
doom and gloom though as it has to be said, Further Down The
Spiral is in some ways a superior remix disc to 92's Fixed, mainly
because Reznor and his team of remixers have taken production,
creativity and experimentation to new levels. The Self Destruction
versions are true works of industrial mayhem, taking an already
strong track and turning it into something fresh and enduring.
The positives far outweigh the negatives,and as said before,
the best NIN remix disc, more listenable than Fixed and, well,
just better than 'Things Falling Apart'.
Neil
Young - 'Mirrorball' (with
Pearl Jam)
In four creative days, the unique collaboration cut in Pearl
Jam's Seattle studio sounds of as a rehearsal jam session still
in progress such is the informal and sometimes sloppy nature.
It turned out to be a bold and rewarding move for the ever-cool
Neil Young to use Pearl Jam as his backing band. Pearl Jam will
one day look back on their illustrious career and consider this
creative period as a brave and successful move artistically if
not commercially. Despite the obvious limitations in terms of
song development and false starts, it is also it's greatest strength
- the musical instinct and desire to explore new territories
for both artists outside their day jobs. The commanding Throw
Your Hatred Down matches anything Neil Young has done previously,
although to class Mirrorball in the same league as Freedom or
Harvest would be pushing it.
Pearl
Jam - 'Merkinball'
(with Neil Young)
The companion to similarly tilted Mirrorball, the two track single
Merkinball contains Long Road and I Got ID. Both were recording
during the same session as the Mirrorball material with Neil
Young, showcasing the same ragged edge and charm. I Got ID sees
Young add guitar to the song which sounds remarkably like early
REM. The other titled Long Road is also on the Dead Man Walking
soundtrack, although as an alternative recording with Nusrat
Fateh Ali Khan. Merkin Ball, although far from an essential purchase
for Pearl Jam fans is still worth seeking for the quality content
alone.
|
