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

Superette - Tiger

Name: Superette
Album: Tiger
Year: 1996
Style: Brit-Pop, Shoegaze, Alternative
Similar Bands: Oasis, Love & Rockets, Sonic Youth, Flick, Pixies, Birdland, Mudhoney, Garbage
"One-Word" Review: Grimy Floor Rock with Dimension.
Based Out Of: Auckland, NZ
Label: Flying Nun

Cover, Liner Notes

Liner Notes, CD Back, CD

Supetette - Tiger (1996)

1. Kiss Someone 3:11 (single)
2. Touch Me 2:50 (Single)
3. Ugly Things 3:56
4. Saskatchewan 5:31
5. Bye Bye 3:41
6. Felo De Se 4:20
7. Cannibal 2:58
8. I Got Clean 3:26
9. Taiwan 3:17
10. Funny Weather 1:46
11. Killer Clown 3:48 (single)
12. Waves 3:22

Album Rating (1-10): 8.5

Members & Other Bands:

• Greta Anderson - Drums, Vox (Jean-Paul Sartre Experience, Ben+Greta, Blue Marbles, The Pencils )
• Dave Mulcahy - Guitar, Vox, Piano, Photos (Jean-Paul Sartre Experience, MEDal, Mulchzoid, Kimo, Sexy Animals, Snakedog, Spider, Eskimo)
• Ben Howe - Bass, Vox, Guitar, Photos (Fang, Kimo,Ben+Greta, Blue Marbles, White Swan Black Swan, Smoothy, The Flinch, Every Person Must Unite)
• Nick Roughan - Engineer, Producer
• Rex Visible - Mastering
• Becky Nunes - Band Portrait

Unknown-ness: Never heard of this band. Another unknown CD I picked up in a London Oxfam. Looks like they are a female drummer fronted band from New Zealand. I enjoy the jarring collection of styles on the cover with the dueling fonts of band name and album and a tiger in leaping action against a teal background. Seems like it will have a fun energy. The photos of the band in their recording/practice space gives the impression that they worked hard on the album, so I also assume it to be a high quality product.

Album Review: The music is heavy, fuzzy shoegazing brit pop, and vocal duties are shared, with the guys singing more than Greta. "Taiwan" has a definite Pixies feel. And "I Got Clean" oozes Sonic Youth. A couple of slower tracks also give them a depth as more than just a fuzzy alt band.

Seeing as I got this the same time I got the Stereobus album in a thrift store, it makes sense that they were donated together, as the previous owner must have been a fan of Jean-Paul Sartre Experience, since both bands formed after. They only had this album and an earlier EP (aside from numerous compilation appearances). They have gotten back together in the aughts to play again, and the album was reissued and expanded in 2018

Stand Out Track: Touch Me

Links:
Wiki

Discogs

Allmusic

Music Net NZ
Elsewhere NZ - reissue
Flying Nun
Flying Out

Bombpop - The Day I Had to Explode

Name: Bombpop
Album: The Day I Had to Explode
Year: 1996
Style: Rock, Power Pop
Similar Bands: Replacements, REM, The Jam, Gin Blossoms
"One-Word" Review: Fun Tidy Rock
Based Out Of: Charlottesville, VA
Label: Snap!

Cover & Back

Liner Notes & CD

The Day I Had to Explode (1996)

1. Gun in the Apartment 1:53
2. World Around Me 2:32
3. ...ing 2:35
4. Don't You Know What to Say 2:49
5. Don't be Afraid 2:55
6. After the Fade 2:38
7. Anita Hill 2:01
8. Horrible Things 2:14
9. Mirror 3:09
10. Floormats 3:03
11. High 3:21
12. We're Just Different 5:00
13. Bob, Pt 2. - Not a Rebel Song 2:57 (Hidden Track)

Album Rating (1-10): 8.5

Members & Other Bands:

• Evan Bowers - Guitars, Vox, Bass, Producer (I Like Dinner)
• Maynard Sipe - Guitars, Vox, Bass, Producer (The Maynards, Operation: Love, Norman and the Plate of Shrimp)
• Tom Vest - Drums Vox (Norman and the Plate of Shrimp)
• Hank "the Kid" Wells - Bass
• Jim Ralston - Drums (Baaba Seth, Big Circle, Mark Roebuck)
• Wayne Gordon - Bass (Monkeywrench)
• Fred Hamilton - Guitar
• Marco Delmar - Vox, Engineer, Tracking, Mixing, Producer (Elektrics, Basshead, Light in the Garden, Ted Garber, Lynn Hollyfield, BYOB, Lisa Moscatiello, Steven Gellman, Morgan Rowe, Janine Wilson, Carey Colvin, David A Alberding, Rachel Cross, Eric Maring, Ben Dixon, Andrew McKnight, Oddbox, Jennifer Cutting, Soulpajamas, Arun, Drew Gibson, Margot MacDonald, These Days, Billy Coulter, Enid)
• Bob DeWald - Engineer
• Eddie Jentsch - Engineer

Unknown-ness: Never heard of this band, but i like the name. The artwork doesn't really give them away to any set style, and the pict of the band set up gives an indie-garage feel...so i'm going to guess this is power pop fed through a grunge lens, perhaps leaning toward pop-punk.

Album Review: They channel jangley college rock with a little faster pace, like a focused, power poppy REM. With two vocalists sharing duties, the songs vary between a Paul Weller Jam-like vocalist and a nasally slacker vocalist which leans toward alt-country and sounds like comedian Michael Showalter. Overall this is a really enjoyable element with some off key moments that drive, like the Cows, and other times sounding downright British like the Rifles (who were/are a very Jam-influenced band).

Not much out there about this surprisingly decent band, perhaps because there is a more popular band called The Bombpops. A decently updated afacebook page and on Spotify, they have a couple other albums out there & for sale on Bandcamp, with the last single made as recently as 2019. Here's the quote from their bandcamp page "After releasing the Anita Hill/What Can I Do 45, Bombpop's debut collected the songs from their live set into a rip-roaring set of guitar, bass and drums. Bittersweet, raging missives about their time and place in the world."

Stand Out Track: World Around Me

Links:

Spotify

Discogs

Allmusic
Bandcamp
Band to Band

Facebook

Shotmaker - Mouse Ear (Forget-Me-Not)

Name: Shotmaker
Album: Mouse Ear (Forget-Me-Not)
Year: 1996
Style: Hard Core, Scream-o, Math Rock
Similar Bands: Drive Like Jehu, Shellac, Helmet, Dillinger Escape Plan
"One-Word" Review: Melodic Driving Shout-Core
Based Out Of: Ottowa & Belleville, Ontario, Canada
Label: Troubleman Unlimited

Record - A-side

Cover, Back Lyrics (taken from Perte & Fracas)

Record Side B

Mouse Ear (Forget-Me-Not) (1996)

1. Sky 3:09
2. Short Wave Radio 4:54
3. Uninhibited 5:25
4. Untitled 2:41
5. Bailer 4:17 /
6. Now and Then 4:14
7. Failure 6:22
8. Reconstructing Barriers 3:04
9. Controller.Controler 3:52
10. Driver 3:17

Album Rating (1-10): 8.0

Members & Other Bands:

• Matt Deline - Drums (30 Second Motion Picture, Dark Plains, The Grey, Three Penny Opera, Herbal Scream, )
• Nick Pye - Bass, Vox (2 Line Filler)
• Tim McKeough - Guitar, Vox, Design (Herbal Scream, Fiction Dog)
• Rachel - Artwork
• Daryl Smith - Recording

Unknown-ness: Never heard of this band. In fact, all i found of it was the record, without a cover or sleeve. So all the info i cobble together will be from the internets. From the record label that lacks the actual label's name, just comes the band name in lowercase, an illustration of a fencer, and the side determinate: prime & seconde. Not much to go on, but i gather the album is from the 1990's or 2000's

Album Review: The album is fool of melodic hardcore, sometimes driving, sometimes grooving with a math rock precision. The vocals pick and choose their battles becoming shouty or scream-o as the music gets heavier and more intense, and then relax into casual speech patterns to match musically. It is quite calculated, complex and purposeful, reminding me of the Patton./Dillinger Escape Plan recordings at times (I don't have a huge knowledge of this genre). Other than drummer Deline, the members have not previously, or gone on to do many other things, at least as recorded by the interwebs, but they did release a retrospective with all album, single, and compilation tracks records (minus their demos, apparently) back in 2000 as a double CD.

Stand Out Track: Driver 

Links:

Youtube full album
Wiki

Discogs

Allmusic

open mind saturated brain

Sophie's floorboard

Rate Your Music

Perte & Fracas

Hyenas in the Desert - Die Laughing

Name: Hyenas in the Desert

Album: Die Laughing

Year: 1996

Style: Hip/Trip Hop

Similar Bands: Mobb Deep, Jedi Mind Tricks, Boo-Ya Tribe, Coolio, Eminem

One Word Review: Sinister Lurking Eerie Poetry

Based Out Of: Long Island, NYC

Label: SLAM Jamz, Columbia, 

 Die Laughing - Cover, Sleeve, Record

Die Laughing Back, Sleeve, Record

Die Laughing (1996)

1. Elephant Graveyard 1:30
2. Can You Feel It 4:13
3. Wild Dogs 3:39
4. The Longest Night (Journal #1) 1:49
5. Concubinez 2:35 /
6. Why Me 4:32
7. Fresh Meat :20
8. Hyenas in the Desert 2:27
9. Other Side of Midnight 3:54

Album Rating (1-10): (now this is not in my typical wheelhouse) 7.0

Members & Other Bands:
Kendo - Vox (Chuck D)
Sean Evans - Art Direction, Design
Studdah Man - Engineering, Mixing
Chuck D - Executive Producer (Public Enemy)
Gary G-Whiz - Exec. Producer, Mixer, Engineering
Tom Coyne - Mastering
Exum - Photography
Bob Fudjinski - Mixing
Vinny Nicoletti - Asst Mixing

Unknown-ness: I've never heard of this band. From the look of it, font of the band name, Jason hockey mask, and song titles, I'd assume they are some sort of horror/death metal band.

Album Review: This was the first record to be released under Chuck D’s imprint. The duo of Kendo and Gary G-Whiz worked with Chuck D in different capacities, and teamed up to make this record, but never followed up with anything further, perhaps due to lack of promotion of this product. There is a steady concept throughout the entire album, basically placing Hyenas in the Desert as the villain of a typical horror movie: which works, knowing how hyenas stalk their prey and mercilessly attack and kill, all the while cackling with their jarring laughter.

“Elephant Graveyard” echos with cymbals, cynical laughter and bird calls. A slow trip-hop beat starts, with vocals spoken over top. Even the vocals repeat like an echo in a cave.
“Can You Feel It” begins with hi-hat, and an eerie keyboard/piano melody. The pounding bass distorts when it blasts out in tempo. The rhyming starts with a mellow head nodding rhythm. The chorus is a little more melodic, but is still mostly spoken word rhyming in a style Eminem uses. Musically, it is not just a simple backing beat, there are female vocals underlaid and strings like Gangster’s Paradise.
“Wild Dogs” begins with a smooth, echoing bass line hook and steady drum beat. The rhyming is fast but not quite furious. There are support vocals echoing certain words and phrases or commenting uh-huh which bolsters the confidence and emphasis of the lead. The song ends with hyena type laughs, and the spoken album title completes the track.
“The Longest Night (Journal #1)” has more slow, trip hop drum and bass, along with some crystal-like keyboard notes. Lyrics are quiet, and spoken under the sinister beat.
“Concubinez” begins with spoken samples dialogue, and a three note honking synth effect sets the tempo. The crashing drum rhythm pushes the song forward with an array of rhyming lyrics. Twitters and tweaks on a electro/synth devise are use like record scratching.

“Why Me” is introduced with a bit of dialogue, and then a disco era tone rings through. The poetic rapping tells a story, and again is emphasized by a supporting vocal, but it does not rush through; instead, it is a calculated on tempo reflection. A second set of vocals picks up the second story/verse. The chorus is a repetition of why me, expressing the guilt and circumstances that have lead the singers to this point.
“Fresh Meat” is just a pack of laughing hyenas, which acts like a bookend between the last song and this song.
“Hyenas in the Desert” The tempo is quicker, more rushed, and the bass line is dense, reminding me of Bjork’s “Human Behavior.” The vocals rhyme and interchange with each other in a sort of spiral of who’s attention is in the foreground.
“Other Side of Midnight” comes in with a cackling laugh. This is like an eerie, X-Files type version of the previous song. It has a straight forward mid-tempo drum beat, with the rapid fire rhyming overtop. And the horror movie tense-inducing keyboard ends the album.

Stand Out Track: Hyenas in the Desert

Links:
Discogs
Amazon
Lost Tapes
90's Hip Hop
Allmusic
Rate You Music
CD Universe
Youtube full album

Red Five - Flash

Name: Red Five

Album: Flash

Year: 1996

Style: Pop-Punk

Similar Bands: Veruca Salt, Garbage, Co-Ed, Breeders, L7, Tilt, Flick, Belly

One Word Review: Polite Grunge in Limbo

Based Out Of: LA, CA

Label: Interscope, Revelation Sistribution

 Flash - Cover, Band Photo, Record

Flash - Back, Lyrics, Record

Flash (1996)

1. Space 2:36 [*]
2. Gasoline 2:40
3. Turn it On 2:21
4. Lenses 2:47 [*]
5. Low 3:49
6. Seven 3:12/
7. Hold Me Down 2:08
8. Flash 2:17
9. In Spite of Me 2:39
10. Shuffle 1:57
11. Your Creation 2:02
12. Making Waves on Future Ocean 3:23
13. Mr Universe (Hidden track) 

Album Rating (1-10): 8.0

Members & Other Bands:
Matt Wallace - Producer
Tony Phillips - Engineering
David Bianco - Mixing
Mike Bosley - Mixing
Jeff Sheenhan Asst Engineer
Billy Bowers - Asst Engineer
Jamie Seyberth - Asst Mixing Engineer
Betti Carmelini - Vox, Guitar
Jenni McElrath - Vox, Guitar (Mostly Sunny)
Adam Zuckert - Drums (Final Conflict, F-Minus, Matt Costa, Drunk on Crutches)
Mitchell Townsend - Bass (Matt Costa, Killingtons, Dave Hause, Drunk On Crutches, Chuck Ragan)
Hedge Jones - Bass (Coleen Rider)
Stephen Marcussen - Mastering
Sellout! - Management
Anna Statman - A&R
Glen Golden - A&R Coordinator
Priscila Klein - Art Direction
Marina Chavez - Photography

Unknown-ness: I've never heard of this band, but from the cover and band name font, i assume this is power-pop-punk. They just look like the definition of a 1996 band. And red vinyl was a huge plus when looking at this record.

Album Review: 1996 was a rough year for this style of music, as it was being phased out, and not promoted as much anymore as the swing revival began and grungy pop-punk was nearly history. Produced by Faith No More producer Matt Wallace, the fuzzy hooks and catchy melodies would have done pretty well had this been released even a year earlier. Red Five (a Star Wars Reference) even made a second album that sits on a shelf somewhere. But it may have been mostly included in their CD Baby discography release.

“Space” was their single with a bonafide music video on youtube. It begins with a ring and a typical bouncy bass line. The electric guitar chords kick in and the vocals harmonize in polite shouts. The song is dated to 1996, with an angsty “Hey! Get Out Of My Space” as the repeated chorus.

 “Gasoline” motors forth with aggressive guitars and vibrating bass line. The lyrics are slight punctuations along the tempo. The vocals lack the power to sustain the music, and almost seem like an afterthought. This driving song might have been fun to play live, though. And feedback takes the song out after the title-sung-chorus echos in a fade.

“Turn it On” is a fun Nirvana-y-three-chord song in the start, and the energy and straightforwardness evolves the song into a fuzzy Ramones song. The instrumental breakdown comes early, and resets the verse. The harmonies are used as accents, and the dual vocals playfully interchange with each other. It is a well- constructed song, with multiple melody alterations for the catchy three word chorus. It has speed, structure, diversity and hooks galore to make a true pop-punk song.

“Lenses” was also a single, with a music video on youtube as well. It leads off with a dark, driving tone, and monotone vocals. This song tries to capture the time period of grungy alternative style, while trying to bridge what was next: a cleaner, catchier production. It reminds me a little of the band also trapped in the same time period, Flick.

“Low” starts out low and quiet, with a droning one note bass, and slow kick drum. The vocals quietly harmonize, reminding me a little of Belly mixed with the Indigo Girls. The grungy, fuzzy wall of music cascades down for the chorus, but is damned back up for the quieter verse. The song drones on, but gives a platform for the delicate voices of the two lead female vocalists/guitarists.

“Seven” is a driving grunge-pop song. The heavy fuzz is laid on thick, and is peeled back at segmented times to reveal the more basic elements of driving bass and drums. The harmonies fade in and out in short head banging sections. The moments start and stop with a somewhat chaotic flow, making it never really catch a constant groove.

“Hold Me Down” begins with a ringing guitar hook that is then paralleled with a thick sludgy guitar. The song stumbles into a teaser circle pit section that feels like it is about to really pick up, but it quits before it has a chance to get going. Luckily it was just a tease. The second chorus section carries the speed through and repeats the energy until the song ends.

“Flash” starts with Op Ivy/Rancid ringing like guitars. But they are replaced with thicker sounding guitars and the different sections of the song fight for space, and are all given an equal chance, but because of this, the song has a bit of an identity crisis. Again, I bet it was fun live to follow along with the start and stopping of the tempo.

“In Spite of Me” begins with a light, upbeat electrified acoustic guitar. The drums and heavier guitar crash in, but continue the pleasant, empowered atmosphere, reminding me a little of Belly’s “Seal My Fate.” In fact, I bet that is exactly where this song owes its inspiration

“Shuffle” is a pop-punk stomper, sounding appropriate for a Green Day album. The vocals are sung in an angry drunk inspired manner.

“Your Creation” is the first words whispered as the song sneaks into the speakers. It then launches into a speedy onslaught of power drumming and aggressively energetic vocals and fast played fuzzy chords. The melody is a little shouty, but for good measure. It slows down at the end, almost coming to a realization that “on shit, this needs to be over.”

“Making Waves on Future Ocean” slowly (only by comparison) gathers itself with a stomping bass line, and as the vocals cruise up octaves, the tempo picks up. It feels like it will become a straight forward three chord grunge-pop song, but it dips back into the slow, bubbling, stomping verse, building up anticipation, and finishing into the Joan Jett (or more recently, Bleached)-like chorus of the title. It ends the album on a very competent groove, that seems like the band has a lot of potential.

“Mr Universe (Hidden track)” begins on the vinyl a good couple of minutes after the final track. It whispers in saying hey mr universe, and then launches into a perfect definition of aggressive pop-punk. Featuring a quick, fun, catchy melody, with harmonic shouting segments spackled in appropriately. It fully captures the groove and taps that angsty, righteous sentiment that taps any aggression in a fun, energetic positive way.

Stand Out Track: Mr Universe
Turn It On

Links:
Amazon
Discogs
Youtube full album
CD Baby
Allmusic
Rate Your Music
Forgotten Treasures
Mostly Sunny Myspace
CMJ review

Salt - Auscultate

Name: Salt

Album: Auscultate

Year: 1996

Style: Alt Rock, Metal

Similar Bands: Jennifer Trynin, PJ Harvey, Garbage, Spinanes, Screaming Females

One-Word Review: Cascading Heartfelt Metal

Based Out Of: Sweden

Label: Island, PolyGram, MVG Records

 Ausculate - Cover & Back Liner

 Ausculate - Liner Lyrics 1-2

  Ausculate - Liner Lyrics 3-4

  Ausculate - Liner Lyrics 5-6, CD

  Ausculate - Liner Lyrics 7-8, Back

  Ausculate - Liner Lyrics 9-10, CD Tray

  Ausculate - Liner Lyrics 11-12

 Ausculate - Liner Notes

Ausculate (1996)

1. Impro 0:57
2. Honour Me 3:53
3. Beauty 2:06
4. God Damn Carneval 3:58
5. Obsession 2:54
6. Bluster 3:10
7. Lids 3:59
8. So 3:33
9. Witty 4:04
10. So I Aches 2:43
11. Flutter 3:11
12. Sense 2:12
13. Undressed 5:02

Album Rating (1-10): 7.0

Members & Other Bands:
Dag Lundquist - Producer, Mixing, Recording
Nina Ramsby - Vox, Guitars (Baxter, Ace Leaf, Grand Tone Music, Jimbob, Shredhead, Marin Hederos, )
Daniel Ewerman - Bass (Dewer)
Jim Tegman - Drims (Grand Tone Music)
Stefan Glaumann - Mixing
Jorgen Svensson - Additional Engineering
Bjorn Engelmann - Mastering
Lotta Johansson - Violin (Elvira, Staffan Hellstrand, Cinnamon, Lars Winnerback, Steffan Sunstrom,
Fredrik Black - Guitar (Staffan Hellstrand, Lolita Pop, Kajsa Grytt, Di Leva,
Leonida Simba - A&R
Per Kviman - A&R
Ricky - Cover
Bisse - Photo
Jeff Eyrich/GreenTeam - US Management

Unknown-ness: I'm not sure why I purchased this CD or when I picked it up. I must have heard a song or read a review about it back in the 90's and then bought it when I found it used at some point, because it does not have any of the original packaging with it, and I compulsively kept the advert stickers and the spine label stickers. I have no expectations to this record, except being a general, 90's sounding fuzzy indie alt band. Maybe it will have a childish tint, since the back uses letter magnets to spell out the album title, plus doll house miniatures.

Album Review: With Bluster being their biggest hit, and also the title of their first EP, they were poised and touted to be the next great thing (Nirvana 2.0?). But they didn’t capitalize, which might be blamed by the changing music scene in 1997. Their second album is just a footnote, “Delay Me Down and Make Me Wah Wah!.”
“Impro” fades in as if the song has been playing for 20 minutes. The female vocals are deep, and the guitars pound and thrash. But as if a tease, the whole song fades out before you can get a good grasp of the song.
“Honour Me” rings in with harmonized guitars promoting the alternative genre. The vocals are deep, but more delicate than the music. The chorus finds a happy medium with layered, harmonic vocals and power-rock guitars. It really reminds me of a heavier Jennifer Trynin.
“Beauty” features a muffled guitar playing a siren pattern, and then the song kicks in, with a stumbling tempo. The vocals are aggressively sung, and remain catchy. The instrumental powers through to a stop and start chorus, and the song ends abruptly following repetition of four progressive riffs.
“God Damn Carneval” begins similarly with a muted intro that crashes in with power guitars. The song slows town to a sluggish hobble that feels like it is just reserving and building power. The bridge lets out some of the power, and the Metal/prog chorus reminds me of Screaming Females. It shifts back and forth from silent to rocking.
“Obsession” starts with powerful female vocals. The guitars are driving and metal-like. The song only shifts gears, and never lets up, as if to mimic the continuing excitement of an obsession. About the 2 minute mark, things slow down, but threaten to restart with force. The song comes back for one more chorus, before sprinting to the finish with the vocals.
|“Bluster” was their single and most famous track. One note starts it off, and expands. The song tumbles forward, and settles on a chugging, marching tempo. Vocals are clearly sung over top, and are punctuated by bursts of energy in vocals and guitars. The melody of the chorus reminds me of Fuel’s Shimmer. This is not a complex song: it is two sections blended together. The punctuation bursts are strung together to finish out the song.
“Lids” begins so quietly that I had to turn the volume up to hear the “Lightning Crashes” like chords, and delicate vocals hum overtop. The song is a slowly, and barely building song of reflection. At 2:15, the drums count down and the song kicks in with chugging power chords and aggressive singing.

“So” was another single, and is the song I most remember of theirs. It has a bit of Mazzy Star’s Fade Into You sultriness and awareness built in, thanks to the vocals and acoustic guitar. The vocals are mixed right up front, like they are being sung quite personally. The chorus is the catchiest hook on the record, and slowly rolls along, despite the energy behind the guitars. It is a perfectly constructed song, not too long, and wraps up with the catchiest hook at the perfect time.
“Witty” fades up with a spacey echoing note, and continues with metal guitars over top a tinny drum beat and steady three tiered base line. The guitars kick in at the chorus, and the song furthers the alt-metal vibe. To finish out the song, the guitars play a cascading thrash of notes, and the title is sung repetitively.
“So I Aches” comes in with a barrage of bass and guitars. The deep vocals transition to emotional, Veruca Salt like vocals, back and forth. The Vocals toward the end are double layered, and sung in-the-round
“Flutter” begins with a standard alt-guitar riff, which gives pause for the bass-lead verse. The chorus seems like a predictable burst of afterthought. Like, “it’s about time we put some kind of chorus change here, so here we go.” There are some definite Nirvana-utilized chords, but it just comes out feeling like generic alt-grunge.
“Sense” begins quietly with a drum palpitation, and a need to turn up the volume to hear the hushed vocals. The short song never gets louder, if you were not paying attention, it might have seemed like 2 minutes of dead space on the album. It is very minimal and delicate, relying strictly on the vocal melody.
"Undressed” begins with a fun disjointed, somewhat bouncy hook. The song then takes off for the bridge. But rather than hit the chorus running, it returns to the fun hook. The second time offers the anticipated delivery into a chorus, which acts like a come-down from the bridge’s burst of energy. Then, for a second or two, the energy is ramped up, but quickly returns to the verse stanza. The sections of the song are rearranged and combined and separated, forming a naturally rolling song where any section could come next. The song is never dull, and can be seen as a summary of the album, as all parts are represented. Even the end of the song, reverts to the quiet, hushed vocals only that require a volume change to hear and appreciate. My best comparison would be a combo of Jennifer Trynin covering and playing with Screaming Females. It is good, but ultimately forgettable.

Stand Out Track: So

Links:
Amazon
Wiki
Random Reviews
Discogs
West Net archived review
If It's Too Loud
Blamonet

Lolita No. 18 - Sister Run Naked

Name: Lolita No. 18

Album: Sister Run Naked

Year: 1996

Style: Punk, Metal

Similar Bands: Die Kreuzen, Black Flag, Germs

"One Word" Review: Heavy Witch Punk

Based Out Of: Japan

Label: Benten 

 Sister Run Naked - Cover, Liner Art, CD Tray

Sister Run Naked - Back, CD, Liner Notes & Lyrics

Sister Run Naked (1996)

1. N.H.B.1:03
2. Saloone 2:57
3. Fortune Cards in Tibet 1:58
4. Fool's Children 2:01
5. I Am a King 2:16
6. Shakin' All Over 2:22
7. Chimney 2:40
8. Snoopy (Hang On Sloopy) 3:31
9. The First Gale in the Spring 2:25
10. A Song Of a Girl Can't Wait 4:06
11. Onodera-san 2:47
12. hidden track 1:52

Album Rating (1-10): 6.5

Members & Other Bands:
Masay Ishizanka - Vox

Ena Arai - Guitar, Illustration

Mina Kimura - Bass

Aya Togawa - Drums

Sheri Lane - Organ , Accordian (The Horsies)

Bryan - T-12 MC

Elly Vasquez - Opening MC

Mike Vasquez - Recording, Mixing

Paul Stautinger - Recording

Wataru Ishii - Mastering @ Onkio Haus

Martin Ogisawa - Design

Shisaka Kimura - Photo

Unknown-ness: I've never heard of this band. Looks like cutsey girl pop from Japan, seeing as the CD spine and lyrics are all written in Japanese, I imagine high energy music, with three chord changes and catchy Ramones-like song structure. The artwork is very busy, possibly seizure inducing, but it fits the image.

Album Review: So they are the self-proclaimed biggest Japanese all girl Punk band (second to Shonen Knife?). They released albums from 1995 through 2001, with a reboot of the band with new performers in 2002, and are still performing today (2015). Their 4^th album was produced by Joey Ramone, and was reportedly, the only Japanese band he produced. The cartoonishly high voices oscillate between annoying and percussive. I really wanted to like this more, but it definitely is more metal than punk.

“N.H.B.” starts with a child-like voice, and then pounding guitars are quickly introduced, breaking down briefly into a heavy dark metal head bang, and picking back up with a driving two-pitch wall of sound. And it ended with the childish Buh-Bye
“Saloone” is chanted by the cartoonish, raspy vocal in harmonized echo over and over until it hits the three chord power pop-punk hook. It’s basic, repetitive and drives home the melody. There was a brief breakdown before it returns to the initial chanting / harmonic chorus repetition. And they change it up slightly by singing the saloon chant in the round. The song slowly fades out, and leaves the singer alone, whose vocals flicker out. It’s a good song, but way way way too repetitive. This is the one track that should be a minute and a half long.
“Fortune Cards in Tibet” launches right into a very short speed punk song. It feels like the song is about to end, but it just switched gears, grinding in a heavy looping chord progression, and the vocals come in even faster than before. Another tempo change takes effect to slow the song down to a jog briefly, only to return to the speed section. This trading off back and forth, creates an interesting, ever changing experience.
“Fool's Children” begins as a heavy and slow, murky, oscillating stomp. Part dark metal as well, the guitars drone along in the sing-song, changing melody.
“I Am a King” is a good driving punk song that transitions between two notes, in a mocking na-na-na-na style. The chorus switches gears to something of a heavy guitar waltz. These two styles switch back and forth a couple of times, and a guitar drones on at the end quietly to close out the track.
“Shakin' All Over” starts with a psychedelic organ added to the heavy guitars, straying the furthest from punk into garage psych-rock for one song. The nasally harsh vocals are enhanced with a bit of a distorting echo, which adds further to the lo-fi garage sound.

“Chimney” has its melody introduced with the vocals only, and it is already a droning metal song. After 45 seconds or so, the heavy guitars add in the bass melody that you were expecting all along. The vocals grow more intense as the song progresses, and ends with the vocals taking back over the song.
“Snoopy (Hang On Sloopy)” starts with heavy guitar chords, playing out a sloppy version of the familiar melody. The whiny, raspy vocals add in their own lyrics to the popular tune, and the very stripped down version slumps along, with a harmonized Ah-Ah-Ahs in the chorus. I think the lyrics here include “I Want A Cookie.”
“The First Gale in the Spring” starts with a driving two chord backbone and once the vocals are added, the angular chords and slightly off notes make up the main melody of the song. A slow messy chaos of a breakdown, with feeding back guitars and crashing cymbals slows the song down. It then jumps right back into the off-kilter metal melody.
“A Song Of a Girl Can't Wait” features of a swaying drinking melody played by an accordion and oompa metal guitar. This is a very interesting choice of instrumentation, but it somehow makes sense in the grand scheme of the album. The main chorus is the sea-shanty melody singing La-La-LaLa’s. The quiet accordion finished out the track
“Onodera-san” sounds like a poor quality live recording at first, making use of noisy feedback and speed-punk tempo shouting. The song winds down quickly, and finds new life as a sludgy syrupy crawl, only to lead back to the burst of speed punk energy. This transition between energy and relaxing feet dragging is shrouded under what sounds like all the noises bouncing around the room, providing the lo-fi feedback, and live-sound appeal.
“hidden track” counts up to about 20 seconds before even starting with spoken dialogue. Then at 33, the guitar provides a nice stomping beat. Pauses in the music allow the vocals spoken quietly, and the guitars and heavy drumming pick back up. These two parts make up the whole song, which only lasts about a minute and 10 seconds. 

Stand Out Track: Fortune Cards In Tibet

Links:
Wiki

website

Sister Records (English)

Discogs

Sputnik Music

Reverb Nation

Lifter - Melinda

Band: Lifter
Album: Melinda
Year: 1996
Style: Alternative / Grunge
Similar Bands: Foo Fighters, Nirvana, Gwen Mars, Stone Temple Pilots, Soul Asylum, Imperial Teen, Toadies, Fig Dish
"One-Word" Review: Staggering Grunge-rage
Based Out Of: LA, Cali
Label: Interscope Records, UNI Distribution

Melinda - Cover & Liner Photos

Melinda - Lyrics & Tape

Melinda (1996)

1. Yardcow 4:06
2. Headshot 3:13
3. Something Borrowed 4:32
4. 402 4:08
5. Big & Tall 3:08
6. Hector (For Winnie) 4:11/
7. The Rich, Dark, Sultry Red of Hate 4:19
8. Beach 3:37
9. Monkee 4:03
10. Shutout 3:42
11. Shine 5:05

Album Rating (1-10): 8.0

Members & Other Bands:Mike Coulter - Art Direction, Guitar, Vocals

Jeff Sebelia - Bass, Art Direction (american fashion designer)

John Rozas - Drums
Paul Q. Kolderie - Producer
Michael Lavine - Photography
Steve Sisco - Mixing Assistant
Sean Slade - Producer, Keyboards
Andy Wallace - Mixing
Howie Weinberg - Mastering
Bryan Huttenhower - A&R
Scott Cymbala - Management
Jake Ottman - Management
Brian McPherson - Legal Representation
Frank Riley - Booking
Edward Louderback - Art Direction, Photography
Mark LeRoy - Design
Michael Lavine - Photo
Carl Plaster - Drum Tech

Unknown-ness: I bought this tape when I was in high school, but have no recollection of why I bought it, or what the music is like. I’d instinctively assume it is grunge or alternative, just by the date, and knowing what I was into back then, but who knows…it could be a bit punk, it could be a bit indie-pop. And based upon the pictures in the liner notes, I’d think it to be ironic indie-pop.

Album Review: “Yardcow” starts with a chugging guitar and snotty slacker vocals. Then the song explodes with a bass and fuzzed guitar wall of sound in intervals. For me, this feels like high school, even though I have no memory of this album. This reminds me of the Toadies “Possum Kingdom,” with less overproduced catchiness and more guitar solos.
“Headshot” storms right out with buzzing, distorted guitars which quickly quiet down to a bass driven sing song (but fun) vocal melody. The chorus is a little embarrassing, as it feels like it is trying to be too hardcore or metal or something, kinda like Soundgarden. Later on, the verse and buzzing guitars join teams in a very balanced array of music.
“Something Borrowed” gives me the feeling of a Live song as it begins. It is slow and methodic, as it sulks along, head down. Bass announces that the song will pick up, and it does slightly, it has the same methodic trudging, but it is shinier with a louder and catchy guitar section. The sections switch back and forth from loud to soft like a bipolar personality. It reminds me of Imperial Teen’s song “Eternity.” “402” is the supposed “hit” of the album, and it begins as a tired and naggy slow whine, that is perfect pace of a zombie sway. Heavy guitars enter the scene, and the vocals carry the same pace, just louder. The lyrical complaints are that life it too much, and the singer wants to return to a simpler life. The angst is in full swing, and this is a perfect capsule of music of the mid 90’s.
“Big & Tall” has a bouncy bass line to begin itself, with a nice, interesting vocal melody overlapping. The vocal melody is simplified when it gets to the chorus, but it still remains fun. The end repeats a few too many times, and the song ends with increasing feed back, which abruptly cuts off.

“Hector (For Winnie)” comes back like a ballad, with a slow time signature, and plodding tempo. The tempo is constant, but the noise increases as the song moves along. It’s a bit more straightforward version of Alice In Chains’ “Rooster.”
“The Rich, Dark, Sultry Red of Hate” continues the dragging tempo to on side two. Then, suddenly, the guitars kick in and a Nirvana-ish melody and tempo take over. As the song ends, the melody and tempo slowly spiral down the drain. “Beach” has an acoustic, mumbling campfire feel to it initially. There are both unsurity, and confidence juxtaposed in the slow composition. And violins too.
“Monkee” reminds me of “Counting Blue Cars” in the beginning. It gains a hard edge in the chorus, back to the Toadies style, but the rest is a calm Deep Blue Something. It changes gears about 2:30 to fuzz and distortion guitars with a bit of a violin in the background.
“Shutout” is driving, and bass driven with slacker vocals strewn overtop, as it approaches the chorus, which is where the song picks up volume and energy by uttering the title in repetitive-echo with louder guitars for support.
“Shine” returns to the sad ballad format, with a mournful, fluid guitar sound and wavering Dave Pirner-esq vocals. The guitars pick up for a fuzzy instrumental section, and return to the anti-lilting ballad.

Stand Out Track: Big & Tall

Links:

Forgotten Treasures
West Net

Allmusic
facebook
LA Times '96 article
Oldies 1150

Ho-Hum - Local

Name: Ho-Hum
Album: Local
Year: 1996
Style: Alternative Rock
Similar Bands: Lemonheads, Buffalo Tom, Jayhawks, Spoon, Counting Crows, Paul Westerberg
"One-Word" Review: honest-carefree-radio-play-naivety
Based Out Of: Little Rock, Arkansas
Label: Universal Records

Local - Cover, Back & Liner Notes
Local - Inside Liner Notes & CD

Local (1996)

1. Around the World 2:51
2. Get Down 4:10
3. Pills and Guns 3:31
4. Disappear 4:40
5. Don't Go Out With Your Friends Tonight 2:54
6. Moon Lies Beautifully 4:10
7. Wake up Call 3:27
8. One Out Of Ten 2:34
9. It's A Lie 3:53
10. Frozen 3:19
11. I Can't Swim 3:36
12. Here She Comes 3:12
13. Superhuman 3:34
14. Pure D. Wrong 3:49

Album Rating (1-10): 7.5

Members & Other Bands:

Clive Langer - Producer (Madness, Bush, Dexy's Midnight Runners, Elvis Costello, TMBG, Dogs Die In Hot Cars, Morissey, Bowie)

Alan Winstanley - Producer (Madness, Bush, Dexy's Midnight Runners, Elvis Costello, TMBG, Dogs Die In Hot Cars, Morrissey, Bowie)

Tom Lewis - Executive Producer

Stephen Marcussen - Mastering

Lynn Goldsmith - Photography

Kevin Kirby - Cover Painting , Guitar, Harmonica, Mandolin, Vox (Mulehead)

Sandie Lee Drake - Art Director

Lenny Bryan - Guitar, Piano, Keys, Vox

Rod Bryan - Bass, Piano, Screams, Vox

Dave Hoffpauir - Drum, Vox (Mulehead)

James Hooker - Organ

Luis Jardin - Percussion

James Brown Jr - Horns

Harvey Thompson - Horns

Charles Rose - Horns

Vincent Ciesielk - Horns

Unknown-ness: I never heard of these guys when I bought the CD at Streetlight records in Santa Cruz for fifty cents about 10 years ago. I liked the artwork and look of the cover: the cartoony ghosts seem happy-go-lucky mixed with the boredom band name of Ho-Hum (which is also a great onomatopoeia for the ghosts) made for a reason to buy it. The picture on the back also has a run down carney feel to it, and the band looks like a bunch of average guys, so it shows at least a bit of not-sucking promise. And it was fifty cents.

Album Review: So apparently this album was produced by the amazing duo that is responsible for many great albums of Madness, Dexy’s Midnight Runners, They Might Be Giants and Elvis Costello. How the album actually comes across is anybody’s guess, but the pedigree is there. The album begins with “Around the World” an alternative, Lemonheads-ish melody, and a lot of little musical changes that are all full of hooks and are interesting. There is an organ in the background that carries the song, and adds a psychedelic ? and the Mysterians quality to it. The vocals are not that competent, but they are good in an honest way. A buzzing fades into the next song “Get Down,” which is slower and more alt-country than the first song, feeling more like Buffalo Tom or the Jayhawks. There is a short, dark section that mimic’s the heavy guitar hook of Enter Sandman. There is a transitional bridge of repetitive note playing and it feeds right into the chorus for another verse, before ending with the “Exit Light/Enter Night” riff. A drum fill leads into “Pills and Guns” which feels like a fast pace Spoon song (“June’s Foreign Spell” to be precise). It’s not quite as catchy as Spoon, but if it were a little less produced, and more focused, it could easily be a Spoon song. But on the other hand, I can hear a little Counting Crows in his voice, the way he ends his lines, the down turn of the vocal note is similar. “Disappear” is a slow, drawn out mumbling song. Some kind of synthesized sounding horn and string sections appear here very briefly, which build the song up, but it quickly limps back into its slow groove. It sounds a little Pearl Jam-ish in his vocal delivery. “Don't Go Out With Your Friends Tonight” is an upbeat rock song, sung like a true radio-friendly alternative garbage track from that time period. I’m thinking like Everclear or something. The chorus has a little catchy part to it, and the secondary chorus is even catchier, and this does redeem the song a bit, but the verse to start off with was kinda lame. Ok, the song is good. I take it back. There are a lot of little intricate catchy parts like in the opening track that keep it interesting. “Moon Lies Beautifully” is a meandering half ballad, half fuzzy, introspective grunge song. It picks up like a Lemonheads song (or like Sugar) again. The vocals are not over-exerted, but they are meaningful and inspired all the same. “Wake up Call” features a wailing guitar played repetitively like a siren, I’m thinking Dinosaur Jr. here with more Eddie Vedder-ish vocals, but not quite as annoying. The chorus features a shifting in and out of emotional near shouting and settling back into a monotone rolling vocal. It is actually pretty catchy.

In “One Out Of Ten,” you can feel the momentum building up in the chugging guitar chords, and the stutter-stepping vocal melody. It is unleashed in the same Replacements / Paul Westerberg way of fast pace guitars, that are not threatening, and more anthemic. When it comes back after a background count off, it becomes very toe-tappingly catchy and ends at a place where you wish there was more of it. It is like a faster version of the chorus in the Shawn Colvin song “Sunny Came Home” The next song slumps down into an alt-country song with “It's A Lie.” But it picks up some fuzzed out guitars for the chorus, which is just basically a chance for the instruments to rock out rather than change up the vocal melody. The instrumentation in the chorus sound like Better Than Ezra’s “Good.” At the end it goes back and forth from lite harmonica sleepy jamming to hard, heavy fuzz-rock until it fades out on the jamming. “Frozen” starts off immediately catchy. But the chorus feels like it should be catchier than it is. It feels like there is too much noise and production that drowns the melody in guitars that don’t help the cause. This song feels like it should have been included on the Singles soundtrack. “I Can't Swim” is a slow shoe-gazing melodic ballad. The melody is slow and droning, but the music is trying to be rocking. And it does rock out with accompanying vocals in small sections, but it comes across as a little kid digging his feet in the dirt, shy and embarrassed about not being able to swim. “Here She Comes” is even slower and mopey than the previous song, but it has a positive, head held high feeling. The breakdown is a couple measures of good Elvis Costello inspired song structure. But a shouting vocal ruins any progression of the song. The catchy chorus reminds me a little of Graham Parker too. “Superhuman” begins with electric guitar and a rhythm guitar added like an oldies slow dance song. It is a lazy, care free sun hammock lemonade sipping tune. A trumpet helps push the feeling along too. And it ends in a three note song wrap-up. “Pure D. Wrong” has lots of pent up energy, and is a good recap and way to end the record. It gets going and is fun to ride along with. The vocals are an enjoyable trip along the instrument melody, full of fuzzy guitars and quick, driving drums, and guitar solo fills. The music reminds me of Richard Butler’s Love Spit Love. And with an record unplug wind down, the album is over.

Stand Out Track: Around The World

Links:

Wikipedia

Allmusic

Band's Record Label Playadel

Rob Bryan's web designer site

Myspace

yahoo music

Langer & Winstanley site

Mulehead review No Depression

Rod Bryan on Towncraft

Rod Interview on Arkansas Times

Ark Conservation Alliance Rod Bryan

Rod Bryan.com

Chester Copperpot - Poems & Short Stories

Name: Chester Copperpot
Album: Poems & Short Stories
Year: 1996
Style: Pop-Punk
Similar Bands: Weezer, Ash
"One-Word" Review: 1-D-whiny-teen-pop-punk
Based Out Of: Sweden
Label: Dolores Records, MD

Poems & Short Stories - Cover & Back
Poems & Short Stories - Inside & CD

Poems & Short Stories (1996)

1. Strawberries 2:04
2. How It Ends 4:02
3. Jinxter 1:50
4. Apathy #6 2:14
5. Full of Lard 3:40
6. Guitar Solo 1:26
7. Weekend In Bore 1:37
8. Lyrical Gangsta 2:01
9. Out Of Tune 3:25
10. Greatest Luxury 1:21
11. Derome 2:29
12. Wonderful Poem 3:04

Album Rating (1-10):

6.5

Members & Other Bands:

Fredrik Karlsson - Guitars & Vox

Christian Sjogreen - Drums, Percussion, Some Backing Vox

Niklas Alden - Bass & Backing Vocals

Paul - Synthesizers

Gorm - Cover Art

James Holm - Photos

Morgan Windle - Back Photo

Sam - Drawing

Fredrik Nordstrom - Recorded, Mixed, Produced, Some Arrangement, Hand Claps

Pieter Verdoes - Recorded, Mixed, Produced, Some Arrangement

Patrik Hellgren - Recorded, Mixed, Produced, Some Arrangement

Unknown-ness: I did not know this band at all when I bought it. I'm Assuming the name Chester Copperpot comes from the explorer who died years before the Goonies searched for their riches. And that was all it took for me to buy the album. Now, I did like the sparse album artwork, particularly the instrument drawing that I now attribute to Jazz artwork. I know that the place where I bought the album (Siren Records) had listening booths, so I can only assume I did this. But I do not recall what they sound like at all. As for what I assumed they sounded like, I was probably hoping for some kind of pop-punk that picked up obscure movie trivia and applied it to their name. I do not recall if I knew they were from Sweden, or if that had an effect on my purchase. Looking at it now, I am guessing that they were a simple indie band from Sweden, probably influenced by the Beatles, and probably very literal, since the album is called 'Poems and Short Stories.'

Album Review: Well, I was much more correct with my first guess than my newly assumed educated guess. They are a pop-punk teen band. Fuzz guitars begin "Strawberries" and the tempo and style is La-La-La pop-punk: Crashing cymbals, and three chord guitars. The vocals are that of a nasally, slightly whiny teen-angst. "How it ends" begins with a buzzing warbling guitar and Weezer style vocals. In fact it sounds just like Weezer. Even double vocal layering the last few words in each line to create harmony. It has good build, but not great delivery in the chorus, and the ending instrumental section is set off with a moog synthesized hook. "Jinxter" is more Oh-Oh-Oh pop-punk, like the first track. The vocals are mixed very loudly, and demand all the attention. Apathy #6 is a driving pop-punk song, just as dirty as the songs that precede it, but this is by far, the cachiest song yet. They take great care of spacing out the musical breaks, letting the vocals fill the holes, as well as singling out instruments to push to the front of the musical scene, like the bass at one point on this song. The end is an exhausted release of relief from the singer. "Full of Lard" takes a little break by starting slower in the beginning, as sort of a wavering ocean-bobbing song. The whiny, nasally vocals are quite obvious by now. At some points, it is nearly emo. There is a silent pause about 1:45 into the song, and it picks up again with the same melody and verse. And just as it is about to end, a chorus of voices in the backgorund pick up the melody with Ooh-Oohs. "Guitar Solo" is in fact, a vocalless display of guitar talents, where the guitar loops around a very catchy melody (aided by hand-clap styled drumming), which replaces the need for vocals. "Weekend In Bore" starts out as a planned, unpolished minimal song, with one guitar carrying the melody, along with a steady drum. After 37 seconds, the hi-fi comes in, and the song converts to a normally produced tune. The distortion of the guitar mimics Weezer's usage of loud, metal guitars. But the song lacks the creativity and diversity present in the best Weezer songs. "Lyrical Gangsta" sounds no different; where the name would seem to denote some sort of difference in song style, there is none. Still a poppy, catchy fuzzed out song, it is just more of the same recipe without deviation. "Out Of Tune" possesses an angsty, "I Can't Take This" theme. The problem is that the sentiment seems undeserved. The guitar solo at the end sounds like it could be from a Weezer album. "Greatest Luxury" starts out with a mid-tempo, catchy melody, but by now, I've become tired of the whinyness in the vocals. They seem over-pursued, and forced. But the bass and guitar in the very short song are quite good. "Derome" is typical pop-punk from start to finish. "Wonderful Poem" is a slower anthem, with a chorus of voices just repeating over and over again "this is a wonderful poem." I guess if they say it enough some people may believe it. Behind the chanting, is Rivers Cuomo style screaming of 'yeah-heah.'

The album oozes the hypocritical mantra of teen pop-punk attitude: that feeling of being owed, but in reality, not having any real experiences or reasons to back it up. The album fulfills the crying wolf syndrome that many kids who use it young carry into adulthood, and never learn differently, thus never grow up. That said, it is not a bad album. It fills the need to retreat into being young again perfectly. The pop hooks are simple, but ever-lasting, and although this album could have never been made by 25+ adults, it still holds a place in memory, and shows a great array of abilities to grow.

Stand-Out Track:

Apathy #6

Links:

C.C. - Allmusic

C.C. - Myspace

C.C. - webpage