Is there anything much better than a good alternative rock song from the '90s? In my opinion, not really. Archers of Loaf play some bastardized version of Pavement and Leatherface. They wear their heart on their sleeve, but why is never really addressed. The lyrics on this record are nonsensical and in general lack substance. The guitar playing on this album is amazing and some of the best '90s indie rock songs are found on 'Icky Mettle'.
archers of loaf's 'icky mettle'
Archers of Loaf had a weird career. Their first couple albums seemed very punk based and extremely one track. As they grew older their music morphed into very polished, but still very different alternative rock. 'White Class Heroes' saw the band experimenting with almost Brian Enoesque synths. Their first two records really sound the best for me, but their entire discography is very underrated. Very few indie rock bands grasp the idea that while music can be hook oriented it should also retain a certain amount of "rock". Archers of Loaf's first two records seem to be released in the heyday of '90s indie rock and easily two of the best from that period as well. Grungey, but poppy the group made sonic experiments with clear cut anthems. Its rare you get an indie rock band that possesses the ability to capture both perfectly. Usually a band is either very tame or very aggressive, the key to creating memorable pop music is messing with dynamics. Many groups in the '90s as experimental as they got always retained the poppy hooks and general structure of pop tunes. This is why in my mind the music of this period is the best in terms of 'indie rock'.
Who knows why I haven't been inspired to post anything lately. My girlfriend moved away for a couple of months. She moved back a couple months ago. I've been taking the final classes for my degree and spending a summer relaxing with friends. I guess that is why blogs tend to die is because people find things they find more important.
Bedhead is a mid '90s alternative group (surprise!). Most people who like the genre of slowcore probably know them. It is autumn in Southern California and I've been looking for records that revolve around the colder weather. Mainly focusing on post-hardcore and ambient music. Bedhead has some kind of combination of both of those types of sound. They play pop music much like the Duster record I posted a few months back. It is extremely melodic and extremely easy to listen to, but it also has these weird dissonant moments along with the more traditional ones. The textural aspects of this record are ones that are very subtle, but at the same time what makes the entire record. Good for cold nights, which I imagine I'll be having a lot more lately. Hopefully I can keep up with the posts.
Idaho is a slowcore group from Los Angeles. In reality the group acts a vessel for Jeff Martin's compositions. Idaho originally started off in the early '90s mimicking groups like American Music Club and Red House Painters. Their earlier records are pretty good attempts at slowcore, but they seem to want to break into rock and roll moments far too much. As Idaho progressed they become noticeably more reserved. 'Levitate' is extremely distant from Idaho's early work and in general is a pretty overwrought record. My best friend moved 9 hours away and I'm not doing anything about it. Maybe that is why this one is particularly touching right now. Jeff Martin certainly has a swagger about him that all the great artists in this style of music carry and perhaps that is why I love most of this guys work. 'I wish you'd go away / I've gotta grow up someday'
nat baldwin has some loose connection to The Dirty Projectors, i believe he was the bassist at some point. this record is pretty interesting somewhat evoking Grizzly Bear with just a stand-up bass. definitely poppy, but very beautiful and technical in the same glance. sort of missed when it came out as well.
The sound that Virginia's Brainworms have become notorious for is definitely different. Early material was notable for short, explosive post-hardcore tracks that were marked by their extremely melodic guitars. 'Swear To Me' marks a distinct change for the band though, as the material here seems to be diving into much more eclectic territories. Brainworms have always embraced the style of hardcore that was made popular by groups like Split Lip and Grade. All of the group's discography bleeds of a melodic hardcore influence, but the fact is they hardly ever sound that clean or restrained. Whether it is punk, hardcore, or even indie rock, Brainworms are able to spew a dissonant yet catchy mix of numerous genres.
Brainworms' Brainworms II: Swear to Me
'Swear To Me' improves on Brainworms' former material by taking a more progressive approach. Blues style solos, group vocals, and various studio techniques are taken to make the sound more layered and diverse. For reference, think Bear vs. Shark's evolution from debut to sophomore release. The guitar attack of the group has been stepped up a notch and the addition of Josh Small layers the sound nicely. The odd fit in Brainworms has always been lead vocalist Greg Butler who physically resembles Tim Harrington of Les Savy Fav fame. Butler's voice has a distinct distorted sound to it whether it is synthetic or natural. This really helps his voice contrast with very high frequency guitar and bass parts that the group likes to employ. Butler's lyrics also show themselves to be just as sophisticated as the song structures. His penchant for illustrating hardcore concepts in a personal way echoes other Virginia groups like Haram or Malady. His lyrics on 'Swear To Me' seem to be focusing on the various realities that accompany the term home, whether it is a person or place. Butler seems to be aching to find and define his own "home" and these thoughts seem to be a basis in the lyrical side of 'Swear To Me'. Of course the material strays into other realms whether it be the political 'Whatever, That's How You Get Famous' or the two instrumental tracks 'Vulgar Display of Flowers' and 'The Pinnacle of Story Telling.'
'Swear To Me' is a great record both because it is extremely enjoyable to listen to, while at the same time it helps carve out its own niche in post-hardcore. Fans of Bear vs. Shark, Hot Water Music, or a Dischord association would be wise to check out 'Swear To Me' - it really is a great and new sounding example of that sound.
'Mama, I'm Swollen' is an anomaly, presenting Cursive simultaneously succeeding at their new sound while falling into pitfalls of being redundant. Most of the criticism is easily lodged at lyricist Tim Kasher. The head lyricist attempts for grandiose themes to go along with the grandiose instrumentals of 'Mama, I'm Swollen'. The problem with this approach is as witty and sarcastic as Kasher attempts to make himself his true attraction lyrically has always been his bare honesty. Oddly 'Mama's' strongest tracks in lyrical terms are ones that regurgitate the romantic narcissism that made the group rivals to their Saddle Creek peers. 'What Have I Done?' and 'I Couldn't Love You' are lyrical concepts that have been present throughout both Cursive and The Good Life's discographies. The truth is somewhere along the line Cursive musically matured and that maturity is what remains attractive about this record.
Praising Cursive for their innovation on this record is definitely easy. The mix of Cursive's post-hardcore heritage and influences from new wave groups like The Cure makes many of the tracks here succeed. 'Donkeys' is as ominous as it is catchy. The aforementioned 'I Couldn't Love You' seems like an easy follow up for 'From The Hips' for the group's next single. On that note the more accessible tracks on this album may spurn curiosity of Cursive's bid for mainstream attention. Not to say it is intentional at all, throughout the record Kasher remains even darker and unforgiving than fellow label mate Conor Oberst. Though through the new set of industry rules that groups like The Shins and even Bright Eyes have achieved for indie groups one wonders when Cursive will wedge itself in the public conscious. Perhaps the arrangements on this record are to out there for the average indie rock fan and the attention towards being orchestrated while accessible is what truly makes tracks like 'Mama, I'm Satan' and 'We're Going To Hell' succeed.
Where does 'Mama, I'm Swollen' not succeed? First off, the identity crisis that Cursive seems to be going through makes it seem like The Good Life should have no reason to exist. While 'The Ugly Organ' was bombastic to the point of annoyance Cursive's new record stutters due to its inability to settle on any likeness at all. 'Let Me Up' and 'Caveman' may not be bad tracks, but their quirkiness and stoic arrangements make them feel like complete mistakes in terms of the track listing. When Cursive first revealed many of these tracks signs pointed toward the group moving back into a more stripped down electric group. What has resulted is something much different instead 'Mama, I'm Swollen' seems to be Cursive's most studio produced record yet. Sadly, that isn't a positive as Cursive's main strength has always been the power behind Kasher's voice and this record seems to be doing everything it can to not rely on that.
cursive
'What Have I Done?' is different. 'What Have I Done?' gives Cursive fans what they want when they hear Cursive. Not to say that artists must satisfy their fans, but if Kasher wanted to fully make up for those that hated 'Happy Hollow' one would think 'What Have I Done?' would be the answer. Breaking the track down it simply relies on the overused soft to loud dynamic that Cursive has been implementing since their beginning. Kasher mumbles a tale of futile realization over the track and when the guitars finally crash at the end you feel like for once on this record you can fully relate to its composer. He's much older than he was on the embarrassingly public 'Domestica' and much more concise than on the sprawling 'Ugly Organ', but as he is attempting to say throughout 'Mama, I'm Swollen' he is still the same. Kasher still embraces his flaws and while that may not work to the record's advantage when it does Cursive hits hard as ever.
A man and a woman embraced. A variety of scenes to the couple’s right. Two catalysts for one heart broken musician to use as his own representation of the despair he has found in relationships. “Domestica” is the essential break up album for me; a beautifully aggressive look at both the male and female pathos when it comes to the end of a relationship. It is a dark, seemingly depressing record that deals with the most embarrassing and painful parts of someone’s life and turns them into sort of jilted pop songs that seem almost dirty in their bareness. Maybe, it isn’t the most original sounding record or perhaps Kasher is being just a little desperate in his lyrics, but “Domestica” is clearly a unique experience and in my opinion one of the best when it comes to conceptual records.
Cursive circa 2000
Cursive formed in Omaha in 1995 releasing a variety of post-hardcore influenced material that was bottomed out by its incorporation of the intensely personal Saddle Creek sound. In 1998 Cursive lost a variety of members and as result declared the band over but only a year and half later they came back with a new guitarist and with what in my opinion is their best album, “Domestica". "Domestica's" overlying concept is the exploration of a couple’s relationship as it slowly dissolves. Perhaps what really strengthens the lyrical content is how Tim Kasher is perfectly able to represent his flaws and anger. The constant tussle between admittance and complete denial makes the record breathe real in its pure reflection of the dissolution of relationships. One could say this is because the story of "Domestica" carries an odd familiarity to the real life experiences of the lyricist. Whether Kasher is just a master of storytelling or baring his heart is regardless as he is convincing in his role of speaker for the two vicious characters he has created in "Domestica". Kasher can step into the shoes of a work drained passionless shell as he does on “The Martyr";
"He claims he's the victim Strangled by the nine-to-five And a pattern of stillness That haunted this still life"
And then stream the same self lamenting into free conscious imagery that visually puts the listener into the variety of situations that are being presented in “Domestica”. '"There's still a hole where the phone was thrown" in "The Casualty" is a great image that Kasher half stutters his way through. "Shallow Means, Deep Ends" spits in metaphoric imagery with Kasher examining the impact of gossip on relationships while sounding is made more legitimate with the songs beautiful wording;
"But still I can hear those dirty birds chirp away It's a song I know by heart Sometimes I resent making friends and acquaintances It's a thin veil between us"
'Domestica' musically is just as beautiful as it is lyrically. The rhythmic section has clearly taken a page from the book of Unwound and Fugazi creating a powerfully heavy bottom-end that allows Kasher and fellow guitarist Ted Stevens to craft beautifully atmospheric intertwining guitar lines that are far more beautiful than anything the band has done since. "The Lament of Pretty Baby" seems to be the climax of the guitars ability to perfectly fit together. The song is a dizzying combination of heavily palm muted sections with a variety of picked harmonics. The way Kasher and Stevens guitars tonally sound is fantastic and the way they both work off each other so simply yet so intelligently is extremely impressive. The most obvious strength on this record though is Kasher's vocals himself. His voice quivers and barrels into all out screams in a matter of moments but never does he lose the melody. Call it abrasive catchiness Kasher is clearly Cursive's secret component that lyrically and vocally takes the group a level above simply being another post-hardcore band.
"Dinner's getting cold You haven't touched a thing So what's it going to be?"
"The Radiator Hums" clearly hints that "Domestica" is moving into a different direction and the closure of the album is much less anthematic than the beginning and instead feels a little disillusioned. The sound is still heavy but instead of falling back on easily chantible choruses the three closing tracks of "Domestica" are very sullen and dynamic. It is a brilliant evolution from the more pop leaning introduction of the album. "The Radiator Hums" tosses its way between clean toned melodies and heavily distorted riffs with Kasher soulfully whispering in a way Greg Dulli only wishes he could. As some have suggested "Domestica" bares a clear relation to the Afghan Whigs' own self depreciating masterpiece "Gentlemen" but I've always heard ideas of that dealing more with Dulli's alcoholism than his actually lack of effectively communicating with the one he loves. Kasher while certainly well versed in his way with alcohol doesn't seem to travel down that road much on "Domestica". Here we find the songs focus solely on the action of the two lovers and their slow fall from grace.
tim kasher
Cursive released what will probably be their best album with "Domestica". Lyrically, musically, vocally, everything is on a point that hardly any post-hardcore band has ever reached. This is a masterpiece of a record and the praise written here is simply not even close to how much it deserves.
"One February night, we screamed our agonies And I swear I tried to care I tried, I tried"
on Cursive's latest tour they've been playing a variety of new songs. these new songs seem less complex in terms of amount of instruments in comparison to 'Happy Hollow' and 'The Ugly Organ' in other words.. it seems as if Cursive may be trying to make the successor to Domestica. here is a sample titled 'Race With'
hated / moss icon show flyer. (amazing line-up for a show.)
in terms of 'emo' history, The Hated essentially bridge the gap between the Rites of Spring sound and the Jawbreaker / Sunny Day Real Estate sound. in my mind, that would technically make them not 'emo' as they represent the beginning of the scene that is often mislabeled in popular culture as 'emo'. The Hated are kind of a combination of Husker Du's more serious arty side and the brand of indie rock that was coming out of Minneapolis at the time (R.E.M., The Replacements, etc.). with a variety of acoustic instruments as well as some of the most raw sounding vocals put to tape The Hated brought a more pristine compressed version of post-hardcore. while Fugazi was tampering in very raw noise around the time The Hated was around, the Annapolis group was paving out the start of a extremely melodic and musically eclectic genre that would rule the charts in a few years time. the intro to this record is so powerful and youthful. 'promises' is a surprisingly poppy vocal piece. all of the tracks on here are just great, sincere lyrics, tearful yearning from teenagers and lastly The Hated really succeed at pulling off a very original sound that incorporates all of the great trends of the late '80s college rock scene.
the hated's 'every song'
'Every Song's'' reputation kind of precedes itself. Lets just say distribution wise The Hated really didn't have their ducks in a row. While the sound was certainly progressive it obviously would not catch on for a few more years, kind of like a Green River of the more emo shaded side of indie rock. Arguments of whether the material should be rereleased and other such issues have been seemingly going on for years, The Hated certainly have a fan base.. the main problem is that a percentage of those fans are just hopeful ones that haven't even heard or seen the record. hopefully this post helps a few people get into one of the most inventive, melodic, groups of the '80s as well as one of the most unknown.
