Nut Suite. Mini reviews of albums old and new. Minimum words. No fuss. No spoilers [?]. Occasional smugs.
Showing posts with label 1997. Show all posts
Showing posts with label 1997. Show all posts

Friday, January 20, 2017

OUR LADY PEACE / Clumsy (1997)


If you’ve heard Superman’s Dead, you may hate Raine Maida’s voice. If you’re not a native Canadian, it’s very possible that you’ve only ever heard Somewhere Out There. Either way, I pity you. While Raine’s lyrics ultimately became more accessible, they’re still deliciously obtuse here and remained so for some time to come. Don’t bother with OLP if you’re looking for an easy listen, on any level. If you step onto this carousel, you’d better be ready to both ferret out and self-interpret the meaning buried herein. Raine’s voice is titillating (especially on Car Crash) and his cryptic missives mingle with the boys’ chunky riff-rock to deliver some absolutely stellar songs. The simultaneously spine-chilling and eye-moistening variety.

Songs of Note: Carnival; 4am

5 Lonely, But Strangely Comforting Laundromat Visits out of 5

Friday, March 27, 2015

ARCTURUS / La Masquerade Infernale (1997)

Listening to La Masquerade Infernale conjures images of a theatrical, costumed ball taking place during a lunar eclipse, populated with people in grotesque animal masks who indulge in all kinds of icky vices at the drop of a hat. It's an almost vaudevillian exploration of what 'metal' can be. In plainer terms, the words 'avant-garde' and 'Norway' will tell you some of what you need to know.
The dissonance and daring semi-operatic vocal style will alienate many hardcore fans, but those that connect to the madness will likely still love it even after they see through the veil and become more familiar with its inner workings.

Songs of Note: Master of Disguise; La Masquerade Infernale

4 painted horrors out of 5

Tuesday, March 17, 2015

EVERCLEAR / So Much For the Afterglow (1997)


To less discerning minds, Art Alexakis could be seen as a forebear of Max Bemis. While it is true that he’s more than adept at letting you know that everything’s not alright, he’s also infinitely more inclined to offering the type of optimism Max rarely affords himself. Tempered optimism. Everything’ll still be fucked up, but less so, and that’s the best we can ever expect. His lyrics are hyper specific to his own experiences but the moments when his voice catches and takes on that strange resonance reveal how universally affecting they truly are.

Songs of Note: Father of Mine; Sunflowers

5 Reasons Not to Let it All Go out of 5

Sunday, March 30, 2014

SMASH MOUTH / Fush Yu Mang (1997)


My fashion sense derives almost entirely from 90s Steve Harwell. No, no, don’t walk away. It’s relevant. As hard driving and 4th-wave ska as this debut album can get in places, there’s ultimately a well-practiced, laid-back swagger running throughout. It’s a touch of the Rat Pack, a dash of self-admitted influence Louis Prima, and a lot of their own unique ability to make you think without dragging you too far down. The flavor of reckless abandon they preach is strangely responsible and there’s always something bigger on their minds that they aren’t afraid to share. A balancing act this classy never goes out of style. Neither will khakis and black shirts.


3½ Hawaiian Shirts Also Welcome out of 5

Monday, December 16, 2013

BJÖRK / Homogenic (1997)

Homogenic is difficult to describe in words. It's composed of many typically opposing elements but somehow manages to exude a lot of warmth; but not in the traditional sense, because it's an often frightening and chaotic fervour. Then, like the seasons, it'll change, becoming chilly and distant. There are parts of it I despise, but I can't deduct points for that because the sheer power of the electronic beats, the soaring intensity of the strings from the Icelandic String Octet, and the unique vocals that drill through your ears are so radically different from anything else I've ever heard that I'm in awe of the end result.

Songs of Note: Jóga; Bachelorette

4 states of emergency out of 5

Tuesday, October 8, 2013

PIGFACE / A New High in Low (1997)

ANHiL is a double album. Given its extra length (easy, tiger), it would be natural to assume that it contains even more collaborations than usual, but the opposite is true, it has very few contributors. It almost seems more like a Martin Atkins solo work (with a handful of guests) than a typical Pigface release.
The first disc has twelve tracks spread over fifty+ minutes. There are some half-decent efforts, but overall it's not up to the usual standard.
The second disc is either more interesting or less bearable, depending on your opinion of professional boundary-breaker Genesis P-Orridge, because it's the work of just s/he and Atkins. It's seventy+ minutes of meandering musical self-indulgence that's split over just three tracks.

Songs of Note: Nutopia (w/ Meg Lee Chin); Methylated (w/ The Girl Bros)

3 grotesque attenuations out of 5

Thursday, August 15, 2013

QUORTHON / When Our Day is Through E.P. (1997)

Quorthon had the good sense to not release it under the Bathory name.
If only he'd had the good sense to not release it at all.~

Songs of Note: There aren't any.

0 out of 5

Monday, July 8, 2013

CURRENT 93 / Horsey (1997)

An album that brings together many of the facets that C93 have explored over the years since their conception: the experimental, the acoustic, the abrasive industrial guitar drone, the neo-folk pastoralism, beauty and horror, and Tibet's unique, esoteric poetics that are delivered like some kind of informed, unconscious voice that guides the listener through a chaotic dream state. If you've ever had a dream spiral out of control, you'll understand what I mean.

Note: four of the six tracks on offer were originally released on a triple album (split release with Sol Invictus and NWW) that was limited to just 2000 copies. The two additional tracks are live recordings.

Songs of Note: The Death of the Corn; The Tree

4 breaking sounds out of 5

Monday, June 10, 2013

CARTER U.S.M / A World Without Dave (1997)

AWWD is a sombre mini-album from USM that lacks the anarchic spark of their early albums and the Pop assault of their middle years. The trio sound worn out by this stage, but oddly at peace with a resigned attitude. Their record label may not have wanted them (they wanted more rubbish Britpop) but the fans did, so if you're one of them, then it's worth tracking down. It can be hard to find, but if you go instead for the Brixton Mortars (2004) double album you'll get the extended version of Dave alongside its follow-up album, I Blame the Government (1998).

Songs of Note: Broken Down in Broken Town; Johnny Cash

3 community care programs out of 5

Tuesday, March 19, 2013

PRIMUS / Brown Album [1997]

Bizarro funk metal act Primus replace their original drummer Tim Alexander with a guy simply known as Brain on 1997's Brown Album.
The basic sound of Primus isn't drastically changed with the slight line-up change however it's uninspired writing and dry mix heavily detracts from the enjoyment.  The whole album sounds like Robert Crumb leading some sort of military march down Sesame Street, which should normally be great but for some reason it never gels together.  Maybe they were just tired after extensive touring and promotion after the huge success of their previous album.

2 albums not white or black out of 5

Songs Of Note: Puddin' Taine; Coddingtown

Wednesday, November 21, 2012

FAITH NO MORE / Album Of The Year [1997]

Faith No More's final album before an 18 year hiatus, 1997's Album Of The Year, is generally known as the band's weakest work with vocalist Mike Patton. 
Critics, fans and even the band members have all spoken of their displeasure with the record.  It's dragged down by a dry, dull sounding mix, lack of input from half the band and just an all around nagging feeling of repeating watered down versions of their back catalogue.  There's a few songs scattered throughout the mix that are particularly excellent but still not enough to make a great album.  Less than a year after the album's release, Faith No More called it quits for the day.

3 pravda vítězi's out of 5

Songs Of Note: StripsearchPristina


Friday, August 31, 2012

ALICE COOPER / A Fistful of Alice (1997)

A live album recorded at Cabo San Lucas, Mexico. The set-list is mostly classic Alice played very straight; some variation would've been nice because as fans we've heard these many times before. The newer material includes two of the worst things he's ever written. I'm not clear on why they were included, but they serve to highlight how much better the older tracks are.
The album ends with a studio track called 'Is Anyone Home?' that was recorded specifically for the release. I've included it in Songs of Note simply because it's new, and some folks might not have heard it before.

Songs of Note: Welcome to My Nightmare; Is Anyone Home?

3 helping hands from Slash and Zombie out of 5

Monday, August 27, 2012

MAYHEM / Wolf's Lair Abyss E.P. (1997)

The first Mayhem release without Euronymous, who died at the hands of a paranoid and stabby Varg. Maniac is back on vocals and he does well; there's nothing yet as bad as what the following album would spit at us. Against the odds, considering the damage to the band structure, it's damn good.
It's a lot more technical than what came before, the bass is louder, the guitars are crisper and Hellhammer pounds the living shit out of his kit.
The production is on a whole other level. It's the last of the essential Mayhem.

Songs of Note: I am Thy Labyrinth; Fall of Seraphs

4 Nietzschean screeches out of 5

Sunday, August 5, 2012

THE BEAUTIFUL SOUTH / Blue is the Colour (1997)

The soulful Pop music, the beauty of Jacqueline Abbott's voice and the soft lull of Paul Heaton's may make you think that you're hearing songs about sunny days on the beach; delve deeper and you'll find lyrics filled with bitter sarcasm, cynicism, and unabashed pessimism, with subject matter you can only appreciate fully if you've experienced it yourself. It's typical Beautiful South, but this time at max level. It's some of the most uplifting songs about misery you're likely to find.

Songs of Note: Don't Marry Her; Mirror

4 blonde and beautiful is dull and dutiful out of 5

Saturday, July 14, 2012

OCTOBER TIDE / Rain Without End (1997)

October Tide is a side-project of two members of Swedish metal band Katatonia, Jonas Renkse (vocals/drums) and Fred Norrman (guitar/bass). Musically it feels like it fits snugly between For Funerals to Come (1995) and Brave Murder Day (1996). It mixes the brutal power of the former with the mournful melodies of the latter and contains some of the last growls that Renkse performed before he cleaned up his vocals to become the voice of modern Gothic Doom. Production is similar to BMD but the guitars are heavier, more forceful. It's a classic of the genre that was criminally overlooked at time of release. Fans of that early Katatonia sound should definitely seek it out. (The reissue had different cover art.)

Songs of Note: Ephemeral; Blue Gallery

4½ rainy tomorrows out of 5

Thursday, May 17, 2012

NATALIE IMBRUGLIA / Left Of The Middle [1997]

With explosive success of the single "Torn", Australian actress Natalie Imbruglia cemented herself a spot in the alterna-pop music genre side by side with the likes of Garbage and Alanis Morissette.  The only problem is the rest of her 1997 debut album Left Of The Middle isn't very good.  I realize I'm not the target audience here but it's fairly easy to pick out uninspired songwriting.  There's a small handful of great tracks but for the most part it's just filler.  Imbruglia's got a bold voice complimented with beauty & brains so it's nice to hear her improve in her later albums.

2 Neighbors out of 5

Tuesday, April 3, 2012

JIM MARTIN / Milk And Blood [1997]


After getting fired from Faith No More for lack of enthusiasm, guitarist Jim Martin wandered around aimlessly for 5 years and eventually came out with his first (and last) solo record, 1997's Milk And Blood.
Judging by this record, it's pretty obvious Martin was not the songwriter in FNM. He merely brought the thrash metal flavor to the band and now he's infests his own album with it. The guitars are mixed so loudly it drowns out any sign of a bass, the drums sound like tin cans and his vocals are so atrociously bland and weak. It's pretty much watered down thrash metal crap that makes Metallica's more recent albums sound like the Mona Lisa's queefs.

1 shitty Hetfield & Newsted cameo out of 5

Songs Of Note: Disco Dust; Around The Sun

Tuesday, March 20, 2012

SUSPIRIA / Drama (1997)

A long-dead British Darkwave band with just two members. As well as being the envy of every goth band in existence for nabbing THAT name, they played dance-floor friendly gloom for shut-ins and people who prefer black velvet undies (keeps your janglies warm on winter morns). Trading guitars for programmed beats sounds dated now, but in '97 it was still interesting. It manages to stand out from the rest of the clones and isn't the worst thing to come from that scene. If you own and enjoy anything on the Nightbreed record label, you'll maybe like Drama.

Songs of Note: The Far Heavens; The Frozen Ones

3½ frozen ones out of 5

Thursday, March 15, 2012

BURZUM / Dauði Baldrs (1997)

Mr Stabby may be an asshole at times but he made some fine Black Metal in his time. The Dauði Baldrs album is different. It was the first release from his prison cell. Being denied a guitar and drums, etc, meant he had to make do with a PC and as a result it's mostly synth. It tells the story of Baldur and Loki and the rest of the gang. There are no lyrics, so you have to read the accompanying booklet or research the story elsewhere; it's not hard to find (it's kinda famous).
You'll maybe struggle to find it now, but the vinyl edition is a great release.

Songs of Note: Daudi Baldrs; Moti Ragnarokum

3 ill tidings out of 5

Saturday, February 18, 2012

JOHN LYDON / Psycho's Path (1997)

After the less than interesting final few PiL albums, I was hesitant to get a Lydon solo work. But I can happily say that it's good! It's like old PiL in places, played in a more electronic style. The groove and textures may surprise long-time Lydon fans but the level of innovation is exciting. There are some less than stellar tracks, though, and some very dance-friendly tracks that don't really go anywhere, but most of it is worth attention. Lydon was forced by Virgin to add some crappy remixes by Leftfield and The Chemical Brothers, among others. I thought Virgin would have known better after their experience with the Sex Pistols.

Songs of Note: Grave Ride; Dog

3½ it's not a real world out of 5