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rformance comparison.
Nvidia GeForce2 MX 400, 200, 100, review.
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1 |
Massive Attack
- 'Mezzanine' (Virgin) |
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 The shadowy overlords
of trip-hop fulfill their potential with a dark, sexy and menacing
record of tight grooves, inspired guest appearances and a soundtrack
to late night driving music. The fragile beauty of 'Teardrop'
still sends shivers down the spine and 'Inertia Creeps' is a
nightmarish trip-hop groove. The first half contains the strongest
songs, losing its way slightly half-way through, with two versions
of 'Exchange' being unnecessary. The follow-up '100th Window'
was an inferior photocopy of 'Mezzanine', which makes you realise
how on the game Massive Attack were with 'Mezzanine'. |
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2 |
Marilyn Manson
- 'Mechanical Animals' (Nothing/Interscope) |
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 AA sophisticated and at
times mature body of work, 'Mechanical Animals' surprises in
the sheer strength of the songs. This is Marilyn Manson's modern
day glam rock update of Ziggy Stardust. First single 'The Dope
Show' drips with studied lethargy, hard rock stomper 'Rock Is
Dead' sets the mood of the album with infectious choruses and
mocking sarcasm, climaxing on the ludicrously catchy 'I Don't
Like The Drugs (But The Drugs Like Me)' with singing strippers
and a groove that would make Prince proud thrown in the mix.
After winning over the rock crowd with 'Antichrist Superstar',
the polished 'Mechanical Animals' was customised for mainstream
acceptance, but failed to capture the public's imagination as
some anticipated. Part of the reason is down to the shift in
image away from shock-goth NIN industrial atmosphere towards
glamorous Hollywood mocking, a move the majority of fans didn't
feel the connection. Whereas 'Antichrist Superstar' was loaded
with destructive rage, 'Little Horn' and '1996' barely keeping
together as they rallied against the world, the Glam-Rock influenced
'Mechanical Animals' was a brave move during a year when rock
music suffered a blip in creativity. Manson was canny during
his career as the goth-rock of 2000's 'Holywood' returned to
his dark-hearted ways in retaliation to 'Mechanical Animals'
criticism. But based purely on the music, disregarding Manson's
image, 'Mechanical Animals' is a very well rounded collection
of songs. |
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3 |
Mercury Rev
- 'Deserter's Songs' (V2
Records) |
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 The
child-like wonder that resonates through 'Deserter's Songs' in
Jonathan Donahue's voice will either be music to your ears or
an irritating annoyance depending on your taste. But music this
good simply cannot be ignored. The rich orchestral sounds in
the beautiful compositions of 'Holes', 'Tonite It Shows', 'Opus
40' and especially 'Goddess On A Hiway' are heavenly works that
use a diverse range of instruments without coming off as contrived. |
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4 |
Smashing Pumpkins
- 'Adore' (Virgin/Hut) |
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After
a band release a statement as grand as Melon Collie during their
career, the only path is down. So the low-key 'Adore' was perhaps
a commercially bomb, confusing fans expectant of layers of guitars
and over the top angst. The outcome effectively put the Pumpkin's
career into irreversible decline. Yet despite the negativity,
there are several fine moments ranging from Ava Adore's successful
foray into "goth electronica" (I made-up a stupid pigeon
hole). 'For Martha' has a surprisingly retrained performance
from Billy Corgan, which constrast with the pop sensibilies of
Ava Adore and Perfect. The most upbeat track Appels + Oranjes
stand out like sore thumbs next which ruin the seamless and sombre
flow. If only approx 20 minutes was edited from the excessive
running time, we would have an album to rival Alice In Chains'
Jar Of Flies. What's left is a deeply flawed but fascinating
document of a band in personal disarray (deaths, sackings and
exhaustion). |
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5 |
Beastie Boys
- 'Hello Nasty' (Grand
Royal/Capitol) |
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 The
Brooklyn rap collective who never take themselves too seriously
pulled off a fine assortment of old-school rap on their fifth
album, best illustrated on the entertaining 'Three MC's And One
DJ', Latin beats on the surprisingly retained 'Song For Junior'
and flat-out fun throughout 'Super Disco Breakin'' that it's
hard to believe the trio were a crude bunch of snotty hardcore
playing punks over a decade earlier. DJ Mixmaster Mike was on
board, adding his deft turn-tabling skills, layering sonic collages
over the raps. There's so much diversity, it's a challenge to
digest in one sitting, especially at 22 tracks long. Obvious
highlight 'Intergalactic' remains one the Beastie Boys finest
singles, using irrelevant pop culture references and easy flowing
rhymes whilst 'Body Movin' and 'The Negotiation Limerick File'
are just as good in quality. There's even a dedication to black
metallers Venon on yes you guessed it, 'Dedication'. Maybe the
vast range of styles covered is too ambitious at time, but the
Beastie's are one of the few recent groups to pull it off with
relative ease. |
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6 |
Pearl Jam -
'Yield' (Epic) |
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 Pearl
Jam reached their fifth album with 'Yield', settling into a comfortable
lifestyle of making records for themselves and their dedicated
audience. 'Yield' differs from other later-day PJ album with
grander sounding songs, providing less breathing space for indulgent
experimentation of 'Vitalogy' and 'No Code' moments (Bugs springs
to mind). When the lo-fi sounds of 'Brain Of J' crank into life,
it shows a band playing for the sheer fun of it, 'No Way', 'In
Hiding', 'Given To Fly' and 'Faithfull' (sic) were admirable
stabs at life-affirming hard rock. It was such a welcome return
to the big rock songs of 'Ten' era that I immediately pronounced
(to about 3 people) 'Yield' the best PJ album since 'Ten'. The
initial hyperbole was helped by 'Yield' being easily digestible
compared to surrounding PJ studio albums. Cutting to the chase,
'Yield' is not the best PJ album since 'Ten', more like another
consistent recording that ranks higher than 'Binaural' and 'Riot
Act', about the same quality as 'Vitalogy' and 'No Code'. |
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7 |
Slayer - 'Diabolus
In Musica' |
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 Probably
the only time Slayer "followed" a current musical trend,
incorporating down-tuned guitars not too dissimilar to late nineties
Soulfly or 'Far Beyond Driven' era Pantera. Having said that,
it's still unmistakeably Slayer loaded with fury, trademark solos
and dozens of shredding riffs from Kerry King. Up-tempo 'Death's
Head' and 'Love To Hate' still intense compositions. Compared
to classic era Slayer circa 1986-1990, 'Diabolus In Musica' lacks
the thrash titan's drive and focus, and not revered as much as
other Slayer albums by fans. Taken as individual segments and
there are some fine songs in 'Perversions of Pain' and 'In the
Name of God' which shows raw aggression. Unlike contemporaries
Metallica, the modern day Slayer retains their bite with lyrical
subject touching the usual serial killer and religious themes. |
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8 |
PJ Harvey -
'Is This Desire?' (Island) |
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 The
electronic textures and low-key character of 'Is This Desire?'
takes a while to digest, but listener patience is duly rewarded
with 'A Perfect Day Elise' and 'The Garden', displaying all the
attributes that made PJ Harvey previous works such intelligent
works. In relation to PJ Harvey's back catalogue, 'Is This Desire?'
would be the album purchased by fans last after absorbing the
rest of her music. 'Is This Desire?' seems less interested in
melody and song craft, more intent on using all the studio trickery
to create industrial-lite textures and disjointed sounds. Stick
with the album mind, and the beauty underneath the production
starts to seep out, little fragments of inspiration appears fleetingly
in the before mentioned 'A Perfect Day Elise' and elsewhere.
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8 |
Placebo - 'Without
You I'm Nothing' |
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 An
impressive, grown-up sophomore effort containing a few slow burning
dirges ('My Sweet Prince', 'Burger Queen') and energetic fare
in 'Brick Shithouse' and 'You Don't Care About Us'. One of the
most underrated tracks, the stirring 'Allergic (To All Thoughts
Of Mother Earth)' added some substance to Placebo's repertoire,
which caught the band at the peak of their popularity with creative
juices running at optimum. Placebo's most memorable facet is
frontman Brian Molko's androgynous look and distinctive vocals,
adding some glamour and star attraction to an otherwise unremarkable
band. That's not to discredit bassist Stefan Olsdal and drummer
Steve Hewitt's contribution, but "without Molko, Placebo
is nothing". |
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10 |
Pitchshifter
- 'www.pitchshifter.com' (Geffen) |
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 Mixing
rock guitars with electronic beats was not an innovative idea
for Nottingham based Pitchshifter, combined punk attitude with
thoroughly modern beats, which makes 'www.pitchshifter.com' come
across as 'Fat Of The Land' minus the menacing atmosphere. Even
guitarist Pitchshifter Jim Davis joined the Prodigy touring band
at the time to boost the connection. More drum n'bass heavy and
commercial than previous Pitchshifter releases, the cunningly
website promoting titled album was jam packed with well-thought
out songs, the most notable being ironic call-to-arms 'Genius',
a statement of intent whose main hook was "if dysfunction
is a function, then I must be some kind of geeennnniiiussss".
Social commentary dominated the lyrics from mindless consumerism
(Disposable) to national apathy (Second Hand) which summed up
the mood of the nation. Offering free samples on the final track
to aspiring musicians, Pitchshifter embraced the technological
age to create a contemporary sounding rock album for the electronic
generation. |
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ALBUMS OF 1998
(# 11 - 40) |
11.
Refused - The Shape Of Punk To Come
12. System Of A Down - System Of A Down
13. Monster Magnet - Powertrip
14. Fat Boy Slim - You've Come A Long Way Baby
15. Air - Moon Safari
16. Korn - Follow The Leader
17. Garbage - Version 2.0
18. Scott Weiland - 12 Bar Blues
19. Manic Street Preachers - This Is My Truth, Tell Me Yours
20. Sonic Youth - A Thousand Leaves
21. Jeff Buckley - Sketches For (My Sweetheart The Drunk)
22. Everlast - Whitey Ford Sings The Blues
23. Semisonic - Feeling Strangely Fine
24. R.E.M. - Up
25. Therapy? - Semi-Detached
26. Drugstore - White Magic For Lovers
27. Beck - Mutations
28. Air - Moon Safari
29. Outkast - Aquemini
30. Ash - Nu-Clear Sounds
31. Propellerheads - Decksandrumsandrockandroll
32. Opeth - My Arms, Your Hearse
33. Pulp - This Is Hardcore
34. Sunny Day Real Estate - How It Feels To Be Something On
35. Jon Spencer Blues Explosion - Acme
36. Afghan Whigs - 1965
37. UNKLE - Psyance Fiction
38. Backyard Babies - Total 13
39. Eels - Electro-Shock Blues
40. Phish - The Story Of The Ghost
More
Reviews:
Faith
No More - Who Cares A Lot?
The farewell 'Who Cares A Lot?', contains all the greatest and
most known songs from the very early funk of We Care A Lot to
the straight Bee Gees cover version of I Started A Joke. In between
are the seminal tracks off 'The Real Thing', namely 'Epic', 'Falling
To Pieces' and 'From Out Of Nowhere'. The smooth and spacey 'Stripsearch'
sits uncomfortably next to the menacing 'Digging The Grave' displaying
the full versatility and warped genius of Faith No More. However,
the real motivation for fans is the snazzy bonus CD highlighting
the even weirder side. Cover versions are in abundance the classic
'Midnight Cowboy' and 'This Guys In Love With You' makes an appearance,
as does an unreleased demo of 'Introduce Yourself'.
Hole
- 'Celebrity Skin'
It wasn't until 1998 when the contrived Celebrity Skin came out,
that anticipation levels reached its peak as the music industry
was preparing for a huge selling Hole record. Even though the
commercial songs including the poppy Malibu single, were geared
towards the sophisticated pop market, Celebrity Skin still under
performed with disappointing sale figures. The music itself was
fine enough, in the same vein as Smashing Pumpkin's Adore or
Marilyn Manson's Mechanical Animals (also sharing the same producer)
albums; the slick sheen disguised the lack of actual songs. The
title track came across as a brilliant take on Hollywood lifestyle
from Love's perspective, Awful sounded like a modern update of
a new-wave style Go-Go's track and the delicate Dying showed
that Hole can still come up with the goods. Sadly these are essentially
the high points on the album with only Use Once And Destroy and
Hit So Hard maintaining the interest levels. It's during the
second half that Celebrity Skin suffers in the filler department,
as Heaven Tonight and Playing Your Song are enjoyable yet bland
radio songs that are no different to something The Corrs or Belinda
Carlisle could knock out in their sleep which disturbs me as
The Corrs are one of the most infuriating bands in existence.
Ultimately this is a good polished rock album that lacks the
oomph and durability of Live Through This and the jagged rage
and pure emotion of Pretty On The Inside that made Hole special
in the first place. An album that tries too hard to please everyone
by sinking into uninspired territory.
Feedback:
cbb1122@aol.com
- 27 Mar 2003
How
can you have a list of 1998's best rock albums without Phish's
"The Story of the Ghost"? I realize the name Phish
scares most mainstream rock fans, with images of the Grateful
Dead, free-spirited concerts and widespread drug use in mind,
but this album is truly spectacular. Trey Anastasio established
himself as a legitimate force in the guitar world, and the band
itself combined countless genres of music in one short, but sweet
album. And the ongoing theme of the album's namesake throughout
the work is intriguing and keeps the listener wanting more. "The
Story of the Ghost" by Phish is easily one of the top rock
albums of 1998.
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