Tinfed - Synaptic Hardware~, Hypersonic Hyperphonic*, Tried+True^

Name: Tinfed
Album: Synaptic Hardware~, Hypersonic Hyperphonic*, Tried+True^
Year: 1993~, 1996*, 2000^
Style: Industrial, Electronic, Nu Metal
Similar Bands: NIN, Fuel, System of a Down, Smashing Pumpkins, God Lives Underwater, Filter, Gravity Kills, Stabbing Westward, Cop Shoot Cop, Bush^, OK Go^
"One-Word" Review: Electro-Clash Industrial Dentistry~* Snotty Alt-Rock^
Based Out Of: Sacramento, Ca
Label: Primitech Releases~, Cargo Music*, Re-Construction*, Hollywood Records^, Third Rail Records^

Cover & Fold out~

Liner Notes & Lyrics, CD, CD Case Back~

Cover & Back*

Liner Notes, CD & CD Tray*

Cover & CD Back^

CD, CD Tray, Lyrics and Liner Notes^

Center Photo^

Synaptic Hardware (1993)~

1. Blood 4:39 (single)
2. Burning 4:01
3. Dominion 4:39
4. Turned Off 4:41
5. Interjector 5:51
6. Reverse Encryption 4:15
7. Cleansed 5:03
8. Mannerism Project 4:55

Hypersonic Hyperphonic (1996)*

1. Thinwall Turmoil 4:27
2. Whatever 4:13
3. Wait Suspension 4:26
4. Dis-jointed 4:20
5. Insulin 5:16
6. Elliv Noir Am 4:09
7. Doubtless 3:10
8. Unfamiliar 5:06
9. Dis-jungle 4:32

Tried + True (2000)^

1. Arrange 3:04
2. Way Thru 3:14
3. Immune 3:48
4. Drop 3:58
5. Never Was Sure 4:17
6. Always/Never 2:45
7. Halo 3:22
8. Mouth As Sharp 3:41
9. Idol 3:44
10. Overrated 3:02
11. Dangergirl 3:50
12. It's Late 4:16

Album Rating (1-10):
~ 5.5

* 5.0

^ 6.0

Members & Other Bands:

• Eric Stenman - Guitar, Bass, Programming, Engineer, Construction~*Writer^ (Elegy, Bureau of the Glorious, Skinny Puppy, Death Valley High)
• Victor Krag - Mixing~
• Paul Stubblebine - Mastering~
• Trevor Henthorn*
• Rey Osburn - Vox, Guitar, Programming Construction~*Writer^ (Elegy, Ghostride, Death Valley High, Platypus Scourge, Deathline International, Vampire Rodents, Deftones, Slave Unit 
• Giovanni Mercado - Construction, Drums~ (Exhale)
• Chino Moreno - Vox^ (Deftones, Palms, Saudade, Team Sleep, Korn, Strife, Far, Soulfly, Skinny Puppy, Hersher, Cypress Hill, Tommy Lee, Handsome Boy Modeling School, Dead Poetic, Norma Jean, Dance Gavin Dance, Zach Hill, Methods of Mayhem, Whitechapel, Lamb of God, Como Asesinar A Felipes, +++, Ray Ramos Y La Sonora)
• Chandler Broggs - Electronic Art & Graphic Production~
• Matt Bassett - Artwork*
• Angi Kelly Lewis - Photography~*
• Scott Torguson - Photography~
• Nick Dickerson Frederick - Bass* (Bureau of the Glorious, Exhale, Pitchfork, Thornucopia, Wet the Rope)
• Rick Verrett - Bass^ (Team Sleep)
• Matthew McCord- Beats, Deprogramming*^ (Elegy, Death Valley High, Bureau of the Glorious, Drop Acid, Platypus Scourge, Cake, Fleeting Joys)
• Ed Buller - Mixing Producer, Engineer^
• Enrique Gonzales - Producer, Mixing, Engineer^
• Howie Weinburg - Mastering^
• Jeff Gros - Photography^
• P.R. Brown - Design^
• Tom Osborn - PR Direction^
• Seth Lichtenstein - Legal^
• Demetre Arges - Web Design^

Unknown-ness: I've never heard of Tinfed, but somehow, probably through a friend ridding himself of some unwanted CDs, I got 3 of their discography. It shows growth from album to album in design and procedure of liner notes, but i still don't know what they sound like, except they apparently all program instruments, on top of the basic guitar drums and bass. From the design, i get the impression that they are sorta like Fuel, with a more tech-centric approach. Nu Metal and pop is my guess based on the last album's band photo.

Album Review: The first album takes a page of NIN's playbook with emotive, screaming vocals in parts and an electro-techno-industrial rock sound with dialogue snippets imbedded in the music. It would be easy to imagine this being on the Crow soundtrack. Hypersonic continues the seemingly experimental industrial-via-electro-clash style and adds to it with dentistry noise. even with a creepy, cavernous ambient instrumental "Unfamiliar," followed by a remix of Disjointed called "Dis-Jungle." which doubles down on the clanging and industrial Stomp. Throw in a song titled Insulin- an unrepresented subject within pop music, and "Wait Suspension," which has a similar base line to Bjork's "Army of Me," and you have a building, dark-techno-wave follow-up.

The third album, from the first note is more straight forward radio alternative produced. The vocals are melodic, not shouty, and the guitars are more prevalent, and the industrial tek is missing. It sounds a bit like Bush with a whiny, Jamiroquai vocal set. Although there is the song Halo, which employs a very NIN style synth and similar vocals. It seems to be an homage/tribute/ripoff of them.

Their height came right before their 2000 major label debut, as they got their single "Immune" on the Mission Impossible 2 soundtrack. Many critics at the time felt they may have had their best years in front of them when they were at the end of their career. 

Stand Out Track:~ Turned Off

* Dis-Jointed

^Halo

Links:

Youtube Tried + True Full album
Wiki

Discogs

Allmusic

Rate Your Music
Bay Area Punk
Sacramento News & Review

Treepeople - Just Kidding

Name: Treepeople
Album: Just Kidding
Year: 1993
Style: Alternative, Grunge, Punk
Similar Bands: Fretblanket, Superchunk, Built to Spill, Poster Children, Archers of Loaf
"One-Word" Review: vague-fuzz-covered-speedy-melodies
Based Out Of: Boise, Idaho / Seattle, WA
Label: C/Z Records

Cover, Record

Back, Record

Just Kidding (1993)

1. Today 4:33
2. In C 3:13
3. Cartoon Brew 1:40
4. Ballard Bitter 3:07
5. Clouds and Faces 3:19
6. House of Pain 3:42/
7. Fishblanket 2:25
8. Nod & Blink 4:06
9. Anything's Impossible 2:09
10. Neil's Down 3:29
11. Outside In 6:42

Album Rating (1-10): 7.5

Members & Other Bands:

• Scott Schmaljohn - Guitar, Vox (State of Confusion, Stuntman, The Hand, The Treatment, Built to Spill, Kill Sybil)
• Dug Martsch - Guitar, Vox (Farm Days, Built to Spill, Halo Benders, The Hand, All Smiles, Boise Cover Band, Caustic Resin, Butterfly Train, The Prids, Electronic Anthology Project, Clarke and the Himselfs)
• Tony Dallas Reed - Bass, Guitar (Constance Tomb, Goodbye Harry, Green13, Heavypink, Hot Spring Water, Mos Generatory, Stone Axe, Twelve Thirty Dreamtime, Woodrot, Seedy Jeezus, Big Scenic Nowhere, Kane Hodder, Rotten Apples, Doublestone, Witch Charmer, Black Road, 
• Eric Akre - Drums, Vox (Christ on a Crutch, Citizens' Utilities, Diddly Squat, Galleons Lap, Juno, Kill Sybil, Built to Spill, Goodness, Stuntmen, Heather Duby, Minus the Bear, Old Friendly, Carrie Akre)
• John Goodmanson - Producer
• Todd Dunnigan - Engineer
• Stuart Hallerman - Engineer
• Michael Scheer - Artwork
• Lisa Johnson - Band Photo

Unknown-ness: Never heard of them, and honestly don't know how i came across this in my collection...perhaps gifted to me when a friend moved away, and it sat on my shelf until i started this project. The plastic intact on the cover says pre- Built to Spill, so i imagine that, combined with the artwork and year, and Seattle base for the record label, this will be some alt-grunge

Album Review: The album straddles that jangly-grunge boarder, where the guitars ring out, but there are driving beats and lots of feedback fuzz layered on top. The vocals are often harmonized but layered down behind the sound, occasionally surfacing when becoming shouty. I like the Martsch's whiny vocals on "Neil's Down" & "Clouds & Faces" as they remind me of Kyle Gilbride's voice from Swearin' (so maybe i should listen to more Built to Spill).

The band started in Boise, ID as State of Confusion, and moved to Seattle to join the underground scene there. Martsch was a fan of the band, and ended up joining them en route, so they became Treepeople. The band lasted 2 eps and 4 albums, this being the third, and final one with Martsch, who left to return to Boise due to a number of reasons: touring burn out, a girl, wanting to leave the Seattle scene, where he started Built to Spill. After playing some Treepeople songs with Schmaljohn's band The Hand as an opener for Built to Spill, they decided to reunite the old lineup and did a set of reunion shows in 2018 out west. Tony Reed Founded Music Abuse Records and run Temple & Heavy Head Sound.

Stand Out Track: Neil's Down, Clouds and Faces

Links:
Wiki

Discogs

Allmusic
Facebook
K Recs
Trouser Press
Bandcamp
Seattle Times 2018 Reunion
Phoenix Times 2018 reunion
Westword 2018 Reunion

Sisters of Mercy - A Slight Case of Overbombing: Greatest Hits Volume One

Name: Sisters of Mercy

Album: A Slight Case of Overbombing: Greatest Hits Volume One

Year: 1993

Style: Goth, Dark Wave, Industrial

Similar Bands: Fad Gadget, KMFDM, Jesus & Mary Chain, Iggy Pop, Depeche Mode, Nitzer Ebb, Borghesia

"One-Word" Review: Bleak Factory Rhetoric

Based Out Of: Leeds, UK

Label: Elektra, Warner Music UK

 A Slight Case of Overbombing: Greatest Hits Volume 1 - Tape & Cover & Notes

 A Slight Case of Overbombing: Greatest Hits Volume 1 - Tape, Lyrics

A Slight Case of Overbombing: Greatest Hits Volume 1 (1993)

1. Under The Gun
2. Temple of Love (1992)
3. Vision Thing
4. Detonation Boulevard
5. Doctor Jeep
6. More
7. Lucretia My Reflection
8. Dominion / Mother Russia
9. This Corrosion
10. No Time to Cry
11. Walk Away
12. Body & Soul

Album Rating (1-10): 6.0

Members & Other Bands:
Andrew Eldritch (Andy Taylor) - Vox (Sisterhood, Sarah Brightman)
Gary Marx (Mark Pearman) - Guitar (Ghost Dance)
Doktor Avalanche - drum machine
Craig Adams - Bass (Sisterhood, The Mission, Colorsound, Expelaries, Spear of Destiny, The Alarm, The Cult, The Vaynes, Theater of Hate)
Ben Gunn (Ben Matthews) - Guitar
Wayne Hussey - Guitar (Dead or Alive, The Sisterhood, The Mission, Hambi & The Dance, Quadra, Walkie Talkies)
Patricia Morrison - Bass (Gun Club)
Jim Steinman - Producer
Larry Alexander - Producer
Tony James - Bass (Sique Sique Sputnik)
Tim Bricheno - Guitar (All About Eve, XC-NN)
Andreas Bruhn - Guitar (Doc Cheng, Earthbound, Favola, Fourth INC, MCV, MLB Project, Max Melvin, Miller & Floyd, Newman & Reece, Shadow Queens, Low Riders, Upserver)
Adam Pearson - Guitar
Boyd Steemson - Manager
John Perry - Guitars
Maggie Reilly - Vox
Ofra Haza - Vox
Terri Nunn - Vox (Berlin)
Andrea White - Illustration
Billie Hughes - Producer
Ian Stanley - Producer
Roxanne Seeman - Writer
Dave Allen - Mixing & Producer

Unknown-ness: I might have heard of them in passing before, but I've definitely heard of them since picking up this tape. Don't really even have to guess to know this is dark wave with gothic tones.

Album Review: From 1977 – 1990, the band, basically a project of co-creator & hard-to-deal-with Andrew Eldritch, his drum machine named Doktor Avalanche, and a revolving door of musicians, produced three albums before rebelling against  their management and record label and never produced another album. He still tours under the name, and they have written new material, but they have not release any official follow up albums. There have been a bunch of breakaway bands form ex-members, most famously perhaps, the Mission UK (UK added here in the states). And as much as their music is attributed as goth, the band is adamantly against that classification, preferring “rock band.”

“Under The Gun” was recorded for this 1993 release, the final label released track for Sisters of Mercy. It has dark, deep vocals and ominous, droning atmospheric effects. Powerful guitars and female vocals supplied by Ofra Haza add to the stark, barren soundscape. Eldritch’s chanting vocals are layered underneath.

“Temple of Love (1992)” chugging guitar and soaring female siren vocals. Male vocals pick up with a dark, steady mechanical tone, reminding me of German industrial or KMFDM. Once it kicks in, it becomes dark and danceable. Could see this used in a stereotypical film set trying to show a vampire dance club or a gothic audience.

“Vision Thing” starts with a heavy metal guitar, where screeching vocals are expected, we have the continued authoritarian vocals chanted like demands and laws brought down from a restricted society. Supposedly this, the title of the album it came from, was a quote from VP George HW Bush, so the mood and theme probably are derived from US politics.

“Detonation Boulevard” carries on the theme of buzzy metal guitar chords played over a dark, angular, mechanical backdrop. Vocals parody Iggy Pop and other deep, steady, rhetoric-fueled sounds. 

“Doctor Jeep” is motivational song with a training montage musical pace. Crystal synth creates a bleak landscape under the driving tempos. And as the male vocals are steady and monotone, the female vocals have a nice melody and complement well.

“More” builds up in pieces for the first minute and breaks back down after the drum brake hits. Quiet vocals and Running Man atmospheric keyboards add until it really kicks in at 1:50 with some power chords and a chorus of energetic female vocals to clash with the drab, bleak lead vocals.

“Lucretia My Reflection” kicks off with a solid bass line and simple bass/kick drum mechanical rhythm. The vocals explode with the guitars (as much as monotone vocals can) about 1:30 in and the propaganda-chanting echos imagery of dark and cold communist USSR. This is another solid darkwave dance track. The instrumental section seems to go on a lot longer than necessary, not covering any new ground as it proceeds.

“Dominion / Mother Russia” starts with an industrial bass & metal sheet-drum beat, and features a watery guitar loop overlaid. The shuttering monotone lead vocals brood and follow a melody bolstered by angelic female vocals in the chorus. Once the song transitions to the Mother Russia part, with the same basic elements as Dominion, it begins to sound like a dark wave Talking Heads song.

“This Corrosion” has more of an Iggy Pop / Richard Butler vocal style with more melody than previous songs. The female chorus still echoes darkly, but at its heart, the song is actually upbeat and quite catchy – at least comparatively – with its Hank Kingsly-ish Hey Now Now chorus. Of course, this version is over 10 minutes long, so I could have dealt with the radio edit.

“No Time to Cry” cryptically begins with a few simple instruments then picks up like a dark New Order song. The vocals are deep and dark. There is a Devo-ish pogoing vocal in the background of the chorus. The lead vocals feel a little forced at being creepy.

“Walk Away” leans a little more toward arena rock, but on top of the cold, jangly guitars is that steady drum machine loop that makes it feel like industrial music underlying Dracula vocals.

“Body & Soul” almost has an oriental feel to it at the outset. The power guitar comes in, followed by the dark vocals. The song is pulled in the three ways, and it carries an overall mystical tone. 

Stand Out Track: This Corrosion (radio edit)

Links:
offical site
Wiki
AV Club: This Corrosion
Sisters-Wiki
Discogs
FB Community page

Nub - Hopper

Name: Nub

Album: Hopper

Year: 1993

Style: Indie Alternative

Similar Bands: Skeleton Key, Tomahawk, Dismemberment Plan, Ned's Atomic Dustbin

"One-Word" Review: Off-Timed Sludge

Based Out Of: UK

Label: Planet Records

 Hopper - Cover & Record

Hopper - Back & Record

Hopper (1993)

1. Touchsmoke 3:21
2. Cabin 4:03 /
3. Rodan 4:12
4. D.Q. 4:41

Album Rating (1-10): 7.0

Members & Other Bands:

Martin Nichols - Recording

Rachel Hughes - Sleeve Design

Tim Ineson - Vox, Guitar (Lake Situation, Seals)

Adam Ineson - Guitar

Nat Saunders - Bass

Jeff Gerhardt - Drums

Unknown-ness: I’ve never heard of this band. But while on vacation to the UK, stopping at an OxFam thrift store, I was on the hunt for anything that looked vaguely interesting and was local to the UK. So this, especially with a nice “alternative” year 1993, made the perfect specimen.  I liked the black and white artwork, and it was priced right @ 0.49 pounds. Assuming it is some sort of folksy, lo-fi indie project, since it does not have that shiny early 90’s brit-pop look to it.

Album Review: “Touchsmoke” starts off with a rocking, disjointed bass and guitar section, that sounds like calculated math rock or maybe a little like a sedated Primus. It reminds me of Skeleton Key, and a perhaps little of Tomahawk. The lyrics are spoken over the music, almost as an apologic afterthought. I like the rhythm it follows. It ends on an off-key guitar chord

“Cabin” also follows suit with a calculated stuttering rhythm that is unnatural, yet enticing. The vocals have a little more melody to them, and the song builds in the chorus with equal parts low end bass and chugging, fuzzy guitars.

“Rodan” has a slow start with watery bass and kind of Joy Division-like spoken vocals. The music becomes aggressive and heavy around the minute mark, and quickly backs off for a return to the shoe-gazing atmospheric mood of the start. There is an overall mystic, light versus dark atmosphere to the song.

“D.Q.” has another slow, slightly off timed, side to side droning, building make up to the song. The vocals are started off as spoken, but for the chorus, they transition to a fuzzed out Ned’s Atomic Dustbin cousin. The chorus is very catchy and brings a wall of distorted guitar power.

Stand Out Track: D.Q.

Links:
Discogs

Band Site

Facebook

Lake Situation article

Music to Blow

Low Pop Suicide - On The Cross of Commerce

Name: Low Pop Suicide
Album: On the Cross of Commerce
Year: 1993
Style: Alternative, Gothic New Wave,
Similar Bands: Nine Inch Nails, Gene Loves Jezebel, Lucy Show, Tool, Filter, Alice in Chains
"One-Word" Review: Droning Heavy Alternative
Based Out Of: Los Angeles
Label: World Domination, Capitol Records

On The Cross of Commerce - Cover, Album Art, CD Tray

On The Cross of Commerce - Liner Notes, CD, CD Back

On The Cross of Commerce (1993)

1. Here We Go 4:29
2. Kiss Your Lips 3:00
3. My Way 4:07
4. Disengaged 3:10
5. It's Easy 2:12
6. Your God Can't Feel My Pain 4:22
7. Crush 4:30
8. Ride 4:42
9. Gimme Gimme 4:01
10. Imagine My Love 4:24
11. All In Death Is Sweet 4:42

Album Rating (1-10): 4.0

Members & Other Bands:

Dave Allen - Producer, Bass, Art Direction (Gang Of Four, Shriekback, The Elastic Purejoy, King Swamp)

Rick Boston - Producer, Guitars, Vox, Art Direction (Rickie Lee Jones, The Januaries)
Dave Ogilvie - Reproducer, reconstructor

Ken Marshall- Engineering

Jeff Ward - Drums

Michael Vail Blum - Recoding & Mixing

Brian Gardner - Mastering, Vocals

Chrissie Scheft - Vox

Cynthia Coulter - Bass

Steven R Gilmore - Sleeve and Art Direction

Ron Stone - MGMT
Susie McKinley - MGMT

Allison Hamamura - Agent

Fred Ansis - Laywer

Melle Steagal - Drums

Unknown-ness: I kind of remember knowing these guys, but I cannot recall what this album is like. I got this in a bottom shelf dollar bin in a California record shop in 99, but I don’t remember why. From the gothic artwork, and religious / angry at religion wording, I imagine that this will sound like depressing goth rock or industrial, or some sort of blend spurred on from Nine Inch Nails fame. I imagine it might be like the band Stabbing Westward or, just from the name probably, Pop Will Eat Itself.

Album Review: “Here We Go” starts with a grinding metal guitar, but with an echo, it feels very dream pop distant. The vocals are smoothly gliding over the melody, almost like it is played backwards. It feels very much like 80’s gothic new wave, updated a bit for the 90’s with a deep alternative bass lines in the background. But the foreground displays the ringing guitars and it sounds very ethereal.
“Kiss Your Lips” rocks out much heavier and darker from the start. This sounds a little like Tool (music and vox) or mid-career Metallica (heavy guitar breakdown in chorus).
“My Way” is heavy again, but there is a melody underneath the heavy guitar that is much catchier, and a fun bouncy baseline. But the rest of the song is a little empty. It is very vocals centered, which are not that interesting or catchy. But they do sound like Filter or any heavy alternative band.
“Disengaged” has a muted jangly guitar in the outset, but then a heavier bass line comes in, and the rest of the song stomps to a darker beat. The nervous, fluttering vocals remind me of NIN in this song, but the music is not nearly as unique or groundbreaking. There is anger in the vocals during the chorus, but it feels like an act.
“It's Easy” fades into with a heavy, metal guitar playing a jangly hook. The vocals almost have a country feel to them, the way they sing over the loud, muddled guitar. No percussion or bass, just fuzzed metal guitar and a very sing-song melody.

“Your God Can't Feel My Pain” starts with a humming, Middle Eastern tinged intro, and then comes crashing in with a heavy guitar hook and Alice in Chains style vocals, but the hum remains, amplified if anything. The hum seems to grow, promising to overtake the entire song. The song itself is somewhat one dimensional, as it is just a growing buzz, not changing too much or offering much diversity in its 4+ minute length.
“Crush” takes us back into the gothic new wave & jangly, soaring, guitar pop. Full on instrumental for the first minute and a half, we are joined with deep vocals, chant-spoken over the music, like Fad Gadget or Bay of Pigs. But the majority of the song is just the ringing guitars and drone rock.
“Ride” continues the dark new wave, with a slight update of electronic alteration of the guitars to make them sound like they are skipping. The vocals are strained but emotional. It has a bit of a programmed, mechanical edge to it, with some of the percussion sounding a little industrial.
“Gimme Gimme” begins with a drum beat only. And then the bass is added. Next are shrill power drill guitars followed by a Duran Duran style rhythm guitar. He instruments are added one at a time like many Nitzer Ebb songs. The vocals are overly strained, and they sound like they are ready to explode like a bottle of shaken soda.
“Imagine My Love” starts right off with a Middle Eastern feel again. But it starts with an intensity and speed that remains constantly driving. The chorus repeats at random times it feels, but it is one of those annoyingly catchy hooks that resonates and burns itself into your memory. The song ends with the guitar hook from 2 Live Crew’s My Seven Bizzos, which was stolen from Jimi Hendix’s “Voodoo Child.”
“All In Death Is Sweet” has a slow gradual start with random guitar and drum fills. Then a liquidy guitar begins playing lovingly, reminding me of Ween jam songs. There is finally cohesion of the drums and guitar, but it is a slow, wispy ballad. As a complete instrumental, the song tries to capture a Jimi Hendrix Jam Band vibe, with the instruments slipping in and out of structure, and never really sticking together long enough to catch a beat.

Stand Out Track: Imagine My Love

Links:

Wiki
Fan page
Allmusic

Misfits Central
Trouser Press

Flop - Whenever You're Ready

Name: Flop
Album: Whenever You're Ready
Year: 1993
Style: Alternative
Similar Bands: Birdland, Oasis, Gene, Supergrass
"One-Word" Review: Power-Grunge-Fake-Brit-Pop
Based Out Of: Seattle, Wa
Label: Sony, 550 Music, Epic

Whenever You're Ready - Cover, Liner Pics, Back & CD

Whenever You're Ready - Liner Notes

Whenever You're Ready (1993)

1. A. Wylie 2:30
2. Regrets 3:14
3. Julie Francavilla 2:10
4. Pluto 3:04
5. En Route to the Unified Field Theory 4:20
6. A Fixed Point 2:59
7. A Popular Donkey 0:22
8. The Great Valediction 1:52
9. Mendel's White Trash Laboratory 2:31
10. Z ^2 + C 1:51
11. Sorry Henry Maartens 2:42
12. Night of the Hunter 1:45
13. Port Angeles 2:35
14. Eat 2:04
15. Woolsworth 2:38
16. Pts. 1 & 2 4:08
17. Need Retrograde Orbit 3:55

Album Rating (1-10): 7.0

Members & Other Bands:

Nate Johnson - Drums (Pure Joy, The Fastbacks, Squirrels)

Rusty Willoughby -Vox, Guitar (Pure Joy, Llama)

Paul Schurr - Bass Background Vox (The Seers of Bavaria, Best Kissers In The World)

Bill Campbell - Guitar (Chemistry Set)

Martin Rushent - Producer, Mixed, Digi Pre-Master

Chris Swenson - Managment

Laurie Soriano - Legal Rep

Stuart "Big Fat Drums" Meyer - A&R

Chris Hanzsek - Recorded, Digi Pre-Master

Tom Hall - Production Engineering Asst

Larz Nefzger - Production Engineering Asst

Stephen Marcussen - Mastering

Kim "Car Crash" Carter - Cello

Edwin Judah Fotheringham - Cover Art, Concept & Art Direction (the Thrown Ups)

Hammi Hammerschmidt - Photos

Unknown-ness: This is another one of the records I came across in my collection but have no recollection of why or when I got it. Perhaps I listened to a bit of it and then bought it, although there is no sticker from a CD store on it. It has a punched hole in the bar code, so I probably got it real cheap, perhaps after I read about them in some alternative magazine. So from the names of the songs and the imagery, they appear to be a sophisticated, intelligent alternative band from Seattle. I’ve read a bit more about them saying that they are pop punk. Sounds like fun to me, but we shall see if it stands up to the reviews, let alone time.

Album Review: The CD starts off with “A. Wylie,” a powerful alterna-pop guitar driven song featuring whiney pseudo British vocals spread out sparingly against the musical backdrop. The chorus, minus the fuzz and guitar distortion could be like something from the Monkee’s catalogue. “Regrets” is a head-banging alterna-grunge song, sounding a little like a whinier Glenn Tilbrook in the beginning, but the style of his vocal melody over he chorus (and in the first song as well) is very new-British invasion inspired. I’m thinking Birdland, Blur or Oasis, (even through Oasis came around the following year). “Julie Francavilla” is a fast, alterna-punk song that is only by musical pace, the vocals flow over the guitars as if it is a slower song. “Pluto” is a feet dragging grungy distorted waltz. I think I’ve heard this song before, or I kinda remember this song. It is very British in its delivery of the chorus. The music takes center stage in this song, as the vocals sections are sparse and short. A stray cat strut bass line and guitar hook start “En Route to the Unified Field Theory.” But that style is quickly drowned in fuzz for the chorus. And it sounds a bit like Greenday’s “Longview” or “Hitchin a Ride.” “A Fixed Point” is a loopy, vocal distorted, wobble of a pop song. This sounds like if Blur and Suede collided. It is a little more experimental, and strays from the format they have previously displayed. “A Popular Donkey” is a short jaunty instrumental carnival tune that might mimic a cartoon donkey bucking. “The Great Valediction” starts out with a true metal chugging guitar, and then the Monkees style vocals, but slightly raspy, cover over, making the pop melody displace the metal completely. The chorus sounds like a James B-side called “You Will Be Sorry.” But the vocal melody is very catch in this song. And there are bee sound effects for some reason.

“Mendel's White Trash Laboratory” is a straight forward grunge rock song, still with the accent on power guitars. “Z ^2 + C” quietly fades into whiny guitar instrumental existence, and then back out again. “Sorry Henry Maartens” is a slower groove, a standard album filler song that I, as a fan wonder what value the song brings to a live show, other than possibly it might selfishly be fun to play. “Night of the Hunter” is a description of and of going to see the movie of the same name. It is a nice power pop song, with a nice descending melodic chorus. “Port Angeles” is a little more rockabilly punk with the bass line and guitars working very well together. But as the song progresses, the vocals cruise over the music, taking away all the punk tendencies. It has a sudden ending, and progresses into the next song, “Eat,” with full punk force, similar to Social Distortion or Sugar. It builds well in the chorus, and creates anticipation for a chorus & hook that never materializes. “Woolsworth” is an “ooo-ooo-ooo” song; at least those are the first vocals. The harmonized vocals in the chorus give the song the catchiness it needs to be memorable. “Pts. 1 & 2” is a near acoustic nasally vocals slow song. And it is very oasis-like. It features strings in the background along with the acoustic guitar, and hushed drums. About 2 minutes in, part 2 kicks in, and it is rockin’ with driving guitar chords. The lyrical melody of part two’s chorus is sing-song, and very catchy. It feed backs out, and the fuzz guitar winds down. But it spills into the next track, “Need Retrograde Orbit,” which feels a bit like being stranded in space, with the slight echo placed on the vocals and its slow floating tempo. There is even astronaut like communication dialogue in the background. The synthesizer adds to the space effect with its repetitive Close Encounters sound. This composite of sounds repeats throughout the end of the song, lasting nearly 2 minutes and finishes the album in a strip down of the instruments.

Stand Out Track: The Great Valedation

Links:
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False Front - Criminal Kind

Name: False Front
Album: Criminal Kind
Year: 1993
Style: Alterna-Metal
Similar Bands: Cows, Moistboyz, Motorhead, Animal Bag, Ugly Kid Joe
"One-Word"Review: Longhair-motorcross-can-smashing-jam
Based Out Of: Philadelphia Area

Label: Shimmy Disc  

Criminal Kind - Cover & Record

Criminal Kind - Back & Record

Criminal Kind (1993)

1. The Cage Of Sour Songs 4:44
2. Not Enough 3:38
3. Criminal Kind 4:05
4. Iraq & Roll 2:08
5. Home 4:11
6. X 4:29 /
7. Turn Down the Stretcher On the Swamp Key 4:33
8. Curse of Eden 3:13
9. Cakes & Beer 6:39
10. Chooglin' the Mojo Spy 3:16
11. Maniac I, pt. 2 2:33

Album Rating (1-10): 6.5

Members & Other Bands:Jeff Atkins - Art Director
Kramer - Producer, Engineer
Ron Paul - Asst Producer
Guy Heller - Vocals (Moistboyz)
Bill Fowler - Guitars (Sound Of Urchin)
Marc Carney - Drums (accd to hemisphere)
Vic Moist - Bass (accd to hemisphere)
Joanne Racciatti - Sax
Joe F. Rose - Front Cover
Matthew Luxich - Back Cover

Unknown-ness: I never heard of these guys. Apparently, these guys have ties to, are friends with, and have opened for Ween many times. So I might have actually seen these guys play back in 94. I am a fan of Ween, and I saw Ween around then a couple times, but do not remember the opening acts (except for Instant Death once). And to prove the point further, both Aaron and Mickey's names are in the liner notes. I also recognised an old friend's name on the liner notes, whom I've not talked to in a long time, but knew from my community college days and has connections to the guys in Ween. As for the record, I found it at Amoeba Records in LA (seems odd to find a Philly based artist in LA) for a dollar. I bought it mainly for the same reason I bought the Egomaniacs album: the Shimmy Disc label. I did not know about their Philly ties when I bought it. I was a bit wary of the artwork, which makes the band looks like a bunch of pot-head slacker hip-hop wanna-bes. But I was secure that the record would at least be interesting, as are most of the artists on the Shimmy label.

Album Review: “The Cage of Sour Songs” begins side 1 with a quiet, slowed down quote from “A Clockwork Orange.” Then the drums and bass kick in with a driving beat and whining & wailing metal guitars. The vocals are not as much singing as they are angry speaking. It reminds me of the Cows, but not quite as intense or fast. It feels like run-of-the-mill alternative, wall-of-sound production famous in the early 90’s. The song ends in a wind down, which gives the acoustic guitar a chance to display the melody, and it slowly comes to an end. “Not Enough” starts with a metal guitar, and more shout singing, this one is much more like the Cows, it is fast and angry. After this band the singer did join Mickey from Ween to form the Moistboyz, which I’ve heard a little of, and this reminds me of that too. Perhaps it sounds a little like Motorhead too. “Criminal Kind” is a slowed down, “unplugged,” psych-ballad. The Sax is used here, and it comes off a little like something from Half-Japanese’s Charmed Life album. The stern vocals are spoken over the music, rather than shouted. “Iraq & Roll” picks up the melodic wailing guitars and aggressive singing, with shouts of “Do you wanna get high?” It ends very abruptly with the “chorus shouted one last time. “Home” begins with a catchy watery-guitar hook. The vocals come in after 50 sec, and are sung to the melody. There is a slight country swagger to the tempo, but it is a damn fine pop song. There is a clever start/stop breakdown by the entire band, and it picks back up with one last verse. The song is a lament for a girl to come back home. “X” takes us back to the metal side of things thanks to the lead guitar, but it is blended with a “Touch My Tooter” sounding guitar in the background. After a minute, the backing guitar is dropped and the song speeds forward for another minute. The background guitar becomes a soaring metal guitar here. But it slows back down, and the singer gives praise to ecstasy. Speeding back up, the back and forth pacing is finally neutralized by a compromise middle ground. At this tempo, the backing guitar clearly displays a great hook, which makes the song pretty damn good.

“Turn Down the Stretcher on the Swamp Key” starts side 2 with a dark staggering beat, decorated with slide guitar squeals. The watery-guitar is added, giving structure and melody to the song. The vocals feel something like a poor man’s Mike Patton, also a bit like Tod A from Cop Shoot Cop / Firewater. The slide and watery guitar make give the song a strong jam-band quality. “Curse of Eden” sounds like a continuation of the song, at a slightly different structure. The vocals are layered, and the rhythm guitar that provided the beat before is fuzzed out and is looped with a similarly dark beat. The vocals chant the word “curse,” which (predates, but) reminds me of Aqua Teen Hunger Force; where the mummy from the crawlspace repeatedly “curses” the gang. The chants end the song in a fuzzy fade out. “Cakes & Beer” is the longest track, but it sure doesn’t need to be. It is a this long drawn out psych-ballady groove. It feels a little warbly, like it is in a high stupor, ready to tip over and collapse at any second. It has dreamy wailing guitars, and for some reason, reminds me of Ugly Kid Joe. “Chooglin' the Mojo Spy” has a bass line that is consistent through out the song, and has a sort of spy theme to it. The vocals are again aggressively spoken over the random guitar playing, until it just kinda drops off at the end. “Maniac I, pt. 2” is a mix of speed and head banging metal. The vocals are again a bit like Mike Patton’s fastly sung vocals. And the song ends, as does the album with a declarative “Fuckers” well done!

The album is up and down, back and forth in excellence and tedium. Only a couple songs have greatness, as most of the album seems to be forgettable. But the good songs are very good, and have some great ideas and executions in them.

Stand-Out Track:Home

Links:Allmusic
AOL Music - :30 samples
Swap-a-CD
Amazon Listing
Rhapsody
False Front & Ween concert review 94
Last FM
Hemisphere Music
Guy Heller - Moistboyz review
Sound of Urchin Bio
Kramer Shimmy Disc Bio

Egomaniacs - s/t

Name: Egomaniacs
Album: s/t
Year: 1993
Style: Garage Psych
Similar Artists: Doors, Beatles, Flaming Lips, Squeeze, Strawberry Alarm Clock, Zombies
"One-Word" Review: Trippy-Shoegazing-Garage
Based Out Of: New Jersey?
Label: Shimmy Disc

Egomaniacs - Cover & Record
Egomaniacs - Back & Record

Egomaniacs - S/T (1993)

1. Cancerman 2:32
2. I Am Rolling 2:34
3. Your Sister 3:11
4. That Letter 1:17
5. Heavenly Bent 2:26
6. Father's Day 1:59
7. From Nebraska 2:14
8. Redline 3:16/
9. Mamma's Collection 3:00
10. Your Lips Are Nuggets 2:38
11. Indeed, this is the Creep 2:19
12. The Raven 2:50
13. The Pebbles 2:44
14. Kiss Your Wallet 3:45

Album rating (1-10): 7.5

Members & Other Bands:

Kim Fahy - Guitars, Vox (Mabuses)

Jamie Harley - Percussion, Engineer

Kramer - Bass, Vox, Produced, Mixed (Mabuses)

Ron Paul - Engineer

Macioce - Photograph

DAM - Design

Unknown-ness: I never heard of these guys. Besides the nice indie potential of the album, I picked this up primarily on the fact that it was issued by Shimmy Disc in 1993, which also issued some work of King Missile, Jad Fair, and most notably, Ween. It is a nice sarcastic title, “Egomaniacs,” since they have their backs to the camera in both the cover and back photos.

Album Review: The album starts out with a trippy, psychedelic Doors influenced song called “Cancerman.” It has a swirling organ, and tired, steady vocals. The good thing about the song is that the psychedelic feel does not hit you over the head; it is simple enough to not take over the entire song’s melody. “I am rolling” is another trippy type song, starting out with flutes and a dazed driving pace bass. The song is very simple, made up of two basic melodic parts. The ? & The Mysterians organ pops up here and there in quieter segments. “Your Sister” begins with something of a honky-tonk sounding bass. But the song abandons that style quickly with its deep droning tone, and becomes a complicated pop song. It features many changes in time, multiple melodic hooks, and layered vocals. They are so diverse and short lived, it is hard to pick out a chorus to the song, but that does not hurt it. “That Letter” features a harpsichord, sounding like renaissance music, the vocals sound like a chant, and the whole song feels like it is about to take off, launching into some great pop song, but that is exactly where the short song ends with a didgeridoo. “Heavenly Bent” is a straightforward college radio pop song. The melody is very beatle-esq. “Father’s Day” begins with feedback and echoy guitars: is basically an instrumental guitar jam with distorted, equally echoy spoken word vocals in the background. “From Nebraska” is a bouncy pop song. It warbles along; as if the record was slightly melted and warped (I think this was an effect, not the actual vinyl!). The vocals are lazy and tired, but they are covered with an energetic, organ that does not quite fit in with the tempo of the song. “Redline” is an instrumental, mixing space-pop with dark psychedelica: two very similar genres to begin with.

Side two is introduced with “Mamma’s Collection” a decided change from the end of side one. It sounds distinctly like British Psych-Garage, and has a quick, energetic tambourine pace. The middle of the track has a spoken word portion, barely audible under the music. The vocals make the song sound like a “Cool For Cats” type Squeeze song. “Your Lips are Nuggets” features layered trippy vocals. It has a driving rock and roll beat underneath the psych production. Even the lyrics are hypnotic. “Indeed, This Is the Creep” is another great example of the meandering sleepy British psych garage genre. “The Raven” begins with an MC’s introduction. And there is a rugged, British accented rendition of Poe’s poem layered just underneath a cowboyish psych pop instrumental. The music ends shortly before the spoken poem is over, so we get a clear idea of what the speaker was trying to get across. “The Pebbles” is a jazzy instrumental which is predominately two psych organs and a thick, sly bass & drum beat. Ending the album is “Kiss Your Wallet” features layered vocals sung through a distorted, mega-phone sounding effect. It has anthemic guitars, and psychedelic recorders. It comes off very Sgt Pepper-ish, with an updated indie-driving pace beat.

This is a quality record. The musician ship is top notch, they knew what they were going for, and succeeded brilliantly. This is not my favorite genre of music, but at times, it is the only thing I can and want to listen to.

Stand Out Track: Cancerman

Links:

Egomaniacs - Allmusic

Egomaniacs - #68 on Shimmy Disc/Wikipedia

Egomaniacs - Rate Your Music

Egomaniacs - Answers.Com

Kramer - Trouser Press

Mabuses - stereogum

Animal Bag - s/t & Offering

Band: Animal Bag
Albums: *S/T & ~Offering
Years: *1992 & ~1993
Style: Grunge, Alterna-Metal
Similar Bands: Alice In Chains, "Real Thing" Faith No More, Mother Love Bone
"One-Word" Review: Scuz-Dirty-Alterna-Noise-Rock*; Mollases-Drenched-Acoustic-Folk~
Based Out Of: Charlotte, North Carolina
Label: Stardog Records, Mercury, PolyGram

* Animal Bag - Cover & Back Liner Notes
*Animal Bag - Interior Liner Notes & Lyrics
* Animal Bag - Back Cover & CD
~Offering - Cover & Back Liner Notes
~Offering Interior Liner Notes
~Offering Back Cover & CD

*Animal Bag - S/t

1. Darker Days 5.39 (sample)
2. Hello Cosmo 3.41 (sample)
3. Missing Out 4.00 (sample)
4. Cheerful Mary in the Rain 5.33 (sample)
5. Moonsong 5.19 (sample)
6. Hate St. 5.36 (sample)
7. Personal Demons 6.55 (sample)
8. Mirrored Shade 3.47 (sample)
9. Everybody 4.40 (sample)
10. Another Hat 4.34 (sample)
11. Oddball 4.29 (sample)
12. City Song 2.48 (sample)
13. Last One 3.39 (sample)
    
    ~Offering-1993
    1. If I...4.02
    2. Dun Ringill 4.24
    3. Tom 3.36
    4. Wooden Ships 5.10
    5. Mother 4.11
    6. Last One 3.30
    7. Moment 2.37

Album Rating (1-10):
*S/T: 4.5
~Offering: 3.5

Members & Other Bands:Luke Edwards - Vox, Guitars, Keyboards*~(Tater)
Rich Parris - Guitars, Mandolin, Vox*~
Otis - Bass, Vox*~
Boo - Drums*~
Guy Charbonneau - Producer, Engineer, Mixer*
Charlie Bouis - Engineer, Asst. Mixer*
Eddy Schreyer - Mastered*
Annie Patton - Management*~
Bobby Carlton - A&R*~
Michael Bays - Are Direction*
Klotz - Illustration & Design*~
Caroline Greyshock - Photography*~
Ron Day - Producer, Engineer, Mixed~
Steve Heinke - Engineer, Mixed~

Unknown-ness: As I bought these albums a long long time ago, I don't even remember why I did. Now I know 'Everybody' was featured on the pilot episode of My So Called Life, and I know his voice is produced to sound a little like Mike Patton's first album with Faith No More; 'Real Thing'. But I don't remember if I knew that before or after I got the CDs. And somehow I ended up with two. From cover art design, they look like they will be jam bands. But the years of 92-93 secures the belief that they will be alterna-grunge. And the Offering Ep says it was recorded in a friend's living room in Hollywood, so perhaps it has a stripped down, "un-plugged" sound.

Album Review: A time capsule of sound, Animal Bag is the perfect sealed canister of 92-93 music. It exemplifies all the distortion, vocal style, song structure, and art design that was smiled upon in the era of "grunge" (even now, that is a hard word to say without sounding like a parent trying to understand youth and be cool). For the most part, Animal Bag's musical interpretation of that time period is the dulling down of sharp metal ideas with the fuzz and noise of alternative production. They still possess the slightly harmonic vocals of prog and the loud guitar solo wails of metal (especially in the angry fast paced, shout match that is Hate St.). But there is an underlining funky groove (the all encompassing funky "Everybody") that makes it not exactly metal. The self titled album has that filthy, unclean feel to it; a once a month shower, the same smelly clothes, like a cartoon, the slacker flannel tied around the waist, yet never worn. And somehow, fond memories are attached to this time period of music. The Offering EP is like a 45 played at 33: Slow and dragging.

"Darker Days" is the first track. Quiet, natural sound starts off the album with a whistle, chatting, and laughter. It then erupts into a loud, distorted guitar hook. Whiny Layne Staley type harmonized vocals accompany the guitar and drums. The song cruises along, fueled by guitar licks and restful chorus breaks. It is one of those impossibly long songs, with sections that could continue repeating to infinitum. "Hello Cosmos" is a jangly acoustic apology letter. The vocals are similar to the style forced upon Patton to sing on "From Out Of Nowhere." One loud guitar solo bursts to the surface right before the song slowly winds down. The quiet is quickly disrupted by a loud thick guitar played through fuzz. The guitar drowns out the drums and bass until they seem like a pathetic unnecessary bit part. The chorus is a child's playground chant "Afraid Of Missing Out." The vocals sound like a Patton-Staley cross-breed. Dirty Psychedelia guitar begins the next track. Lullaby-like melodic vocals mesmerize, saying "While She Sleeps" roll along until we are bombarded with more loud fuzz-guitar. The bass is more prevalent than before, but only in small bits. The song ends the way it began, making a pleasant dream sandwiched around a loud, fast nightmare. "Moonsong" picks up the psychedelia dream again, and sounds like a poorly warped Bowie song.

The longest song on the album is "Personal Demons." Stylistically metal-prog, the song has many distinct musical sections all soldered together with instrument changed and tempo breaks. Acoustic folk is also an element in their music, proudly displayed with a mandolin on "Mirrored Shade" & a little harder varient with "Odd Ball." "Another Hat" sounds exactly like Alice In Chains. "City Song" seems like it should to be accoustic, but the bass line is well produced and carries the song nicely. The album ends on a somewhat of an incomplete feel, as you're waiting for the "Last One" to take off, it never really gets there, and winds down instead.

On the other hand, there is Offering. Recorded in a living room, the acoustic feel is immediately evident. Slow, smoky and drudgingly dreary are the basic elements evoked by this CD. This is their Unplugged EP. "If I..." is slow and dreamy. Even half way through when the music picks up energy, the song only floats along its bobbing raft course. It ends in a overly produced rise, and fades out on a high note. Still murky in texture, the second song gently begins, like a motor boat far off downriver in an approaching mist for 2 minutes, until the acoustic guitar trickles in, accompanied by folky, sea-shanty vocals. "Tom" features a guitar hook similar to a friend of mine's old band in a track called "Paisley." It, along with "Wooden Ships" (a cover from CS&N) are slows moving track, like traveling through tar. Mother is finally more upbeat, yet still a little dark. It is quicker paced folk, infused with country lyrically and musically. A re-recording of the last track on their first album, "Last One" is slowed down a bit, but never really goes anywhere. "Moment" wraps up the album, a trippy, jingly, hippy instrumental that echoes daybreak, and the sensation of waking up in an unknown, yet comfortable surrounding.

Together these albums represent two distinct sides of one band. The all-out production of alterna-metal, and the simple pre-song structure of an hazy acoustic set. Both seem familiar and typical once you understand their basic template for song structure, and they both feel a little long as albums stand. But it preserves that era of music and what was trying to be done atristically, all without regret.

Stand-Out Track:S/T: Everybody
Offering: n/a

Links:Animal Bag fan site
Animal Bag Wikipedia
Animal Bag Allmusic
Animal Bag Amazon Review
Animal Bag IMDB
Luke Edwards Interview
Myspace Tater
Tater Official Site