Day 0917 - Felt Mountain

Goldfrapp "Felt Mountain" (2000)

This one was a bit of a surprise.   I'd thought of Goldfrapp as being more electro-pop (actually I'm pretty sure their later work is), and Alison Goldfrapp had done some work with Orbital, and on Tricky's trip-hop magnum opus "Maxinquaye", but this definitely doesn't sound like electronica.

Alison was introduced to Will Gregory and the two hit it off and started collaborating, deciding to form a band under Goldfrapp's distinctive surname.

As above, the album does not really sound electronic, it's more of a theatrical record with lush strings and a definite cinematic feel.   The opening track "Lovely Head" is interesting, sound effects and a lonesome whistle backed with strings the combination of which just screams Ennio Morricone, then it gives way to what sounds like a John Barry James Bond orchestration.   The title track has a definite Bond/Barry vibe to it too, this impression is heightened by Golfrapp's (the person) occasionally Shirley Bassey-esque tone such as on track "Human".   Her voice moves from hushed whispers to low croons to big belting notes.

I definitely dug this one and should probably seek out a bit more Goldfrapp (hopefully there'll be some more on the list).

Day 0896 - HMS Fable

Shack "HMS Fable" (1999)

I'd initially put this one on while I was cooking dinner.  I  was listening to the first track thinking "oh yeah I think I know what this one is about - sounds like a bit of 90s brit rock, like Oasis but with a touch of Suede.   But then that first track "Natalie's Party" breaks from its rowdy-yet-melodic rock to drop in a nice little string section.   I decided I needed to give the album a bit more of my attention rather than having it as background music.    

I've listened to it a couple of times through now and there are certainly some swirly rock tracks that have more than a hint of the 'Madchester' sound but this album is all over the place in an interesting way.

There's bouncy melodic "Lend's Some Dough" with its beautiful layered vocals.  "Captains Table" has a dreamy, folky vocal-heavy sound not unlike the last Tripping Daisy albums before they transitioned into Polyphonic Spree.   "The Streets of Kenny" somehow manages to build a mellow, vocal laden track into what feels like a crescendo before suddenly cutting out and dropping you into "Re-instated" which, with its strings and mellow trumpet parts almost seems to hint at Burt Bacharach.  After a couple of more guitar-heavy tracks, the album closes out with the delicate acoustic "Daniella".

Day 0876 - Follow the Leader

Korn "Follow the Leader" (1998) - got it

 

When I was in high school, Korn were a big deal.  They, along with a number of angry, shouty, down-tuned rock bands that made up the nu-metal scene seemed to be everywhere in the late 90s and early 00s.   

Even though it was supposed to be a movement of outsiders pushing against conformity by mashing up genres and kicking against 'the popular kids', the genre became trite, commercialised and obsessed with its own image.  Korn in particular made a thing of wearing ADIDAS and, when offered a shit-ton of money by Puma to wear their stuff instead, jumped ship.

After two albums of their growly, low-end focussed metal, Korn injected this album with a bit of variety in the shape of more of a lean into  the hip-hop side of their sound.  Guest spots by Ice Cube, the Pharcyde's Tre Hardson and (meh) Limp Bizkit's Fred Durst are featured.   This last collaboration is on the now definitely dated battle track where Jonathan Davis and Durst throw homophobic slurs at each other.

The album opens with a minute's silence made up of 12x 5 second tracks.   When I was at school there was a story going around that it was Korn demanding a minute's silence for themselves as the progenitors of the nu-metal genre, but apparently it's more humble and less cringeworthy than that.  The minute of silence was dedicated to a fan who died of cancer.  He had been able to meet the band as a dying wish.

The album is a tad overlong as are many of the songs, though "Children of the Korn" (with Ice Cube); single "Got the Life" with its disco beat and slap bass; and closer "My Gift to You" with it's slow, epic, bagpipe backed groove are still good, even now.

I enjoyed Korn at the time, haven't really revisited them much in the last few years.  It's not that I don't still like aggressive, loud rock, I just think that their particular brand of it sits best with you when you're adolescent, angry, and not thinking too hard.   

Day 0864 - Apocalypse Dudes

Turbonegro "Apocalypse Dudes" (1998)

Turbonegro had started off with noise-rock, moved through their own 'death-punk' sound and here adopt a style that is straight out of the 70s rock, punk and glam play-books.   By all accounts their line-up was as changeable as their choice of genre.

"Selfdestructo Bust" sounds like a slightly updated take on the Stooges.  "Prince of the Rodeo" throws in some congas to glam up the mix, and album closer "Good Head" leads out with enough excessive guitar soloing to make Slash blush.

The song titles nod to the Norwegian group's tongue-in-cheek approach too, with pearlers like "Rock Against Ass", "Don't Say Motherfucker, Motherfucker" and "Rendezvous with Anus".

I probably won't rush to revisit it, but it was fun enough.

Day 0810 - Better Living Through Chemistry

Fatboy Slim "Better Living Through Chemistry" (1996)

Norman Cook was the bass player for an indie rock band called the Housemartins.  Following the breakup of that band he formed the electronic group Beats International, Cook already had a few years of clubbing and DJing under his belt by then.

Cook then adopted the moniker Fatboy Slim to begin his solo career proper.    

This first Fatboy Slim album features tracks already recorded and released by Cook at different times throughout his career, but, despite this and the mix and match of sounds, it's a fairly cohesive collection of fun and funky big-beat tracks.   It already has that Fatboy Slim feeling of mixing a little bit of old with a bit of new to create something fun enough to dance to, but universal enough it its appeal that non-dance fans can get in on it too.   

Pretty sure I recognised "Going out of my head" from different tv shows and/or commercials.   I'm guessing that that commercialism may have earned Cook some criticism.   Accusations of 'selling out' and all that.  Who cares though, when the music is good.

Day 0807 - Jagged Little Pill

Alanis Morissette "Jagged Little Pill" (1995)

Another of those albums that was EVERYWHERE while I was in high school.

I remember being vaguely aware even at the time that Alanis had had albums before this.   Reading up on it, her self-titled album and "Now is the Time" were Canada-only releases in more of a dancey pop vein.  The release of those two records completed the two-album deal she was signed to and she was free to move to Toronto, get together with producer/writer Glen Ballard to put together "Jagged Little Pill".

A lot of people view it as her debut, and certainly it is her first international release and her first album in the more raw, alt-rock vibe.

Morissette seemed to be up for trying different things.  The single "You Oughta Know" was given to Dave Navarro and Flea (at the time both in Red Hot Chili Peppers) to essentially jam out a new arrangement over the existing beat and vocal.    

My favourite track "Head Over Feet" has fuzzy and acoustic guitars blending over a drum-machine beat that gives it almost a hint of the UK's 'baggy' scene.   Lyrically, Morissette covers topics from sexual guilt, predatory music industry types, hope, a little humour, and that lyrical stalwart: the ex-relationship. 

Yep, let's not even talk about "Ironic" and whether it's actually ironic (don't ya think?)

Day 0715 - Rage Against the Machine

Rage Against the Machine "Rage Against the Machine" (1992) - got it

Many bands are described as "exploding onto the music scene", but I'd say that RATM are actually deserving of that phrase.   Of all the bands branded with the often maligned label 'rap-metal', RATM managed to tap into the anger and aggression of both genres without really de-clawing either of them.

Rhythm section Brad Wilk and Tim Commerford lay down a funky and hardhitting base for vocalist Zack de la Rocha (once described, not inaccurately, by Tom Morello as the "punk-rock James Brown") to belt his raw-throated screams, raps and political protests over.  But the band-member name-checked most frequently is guitarist Tom Morello.  His guitar spits out thrash riffs, fiddly solos rhythmic grooves, and riffs... oh so many riffs.  Beyond that though, he engages in musical experimentation that sees him all but make his guitar moo like a cow.  His collection of squeals, stutters and scratches borrows from both metal and rap and elevates the band, giving them that point of difference.

The first song "Bombtrack" starts with a tantalising build-up before exploding all in your ears.  Single "Killing in the name" (whose riff Morello came up with while giving guitar lessons) is barely contained rock rage.   A little variety is provided by a guest spot by TOOL's Maynard James Keenan on "Know your enemy" and a moodier, more subdued approach to "Settle for Nothing" (though that also turns into a rager too on the choruses).

The band couldn't maintain this level of fire and originality, with their following two albums being a case of diminishing returns.  They rounded out their recorded career with the brilliant covers album "Renegades".  The band, freed from the requirement to come up with material, were able to just 'rage-ify' some existing songs.

Day 0689 - Peggy Suicide

Julian Cope "Peggy Suicide" (1991) 

  An album from Cope's band Teardrop Explodes features earlier in this list and I did quite enjoy it; likewise, the double-album "Peggy Suicide" is a goodie.  It does suffer from that old double-album affliction of 'track fatigue', and not every song is memorable, but the sheer breadth of musical ground covered is impressive.  

I love artists who (particularly when they go solo) take the approach of just throwing everything at the wall, rather than limiting themselves musically, particularly if they have the ability to do so.

I'll say what I said with Teardrop Explodes: if another album by Cope pops up on the list, I won't be unhappy.

Day 0559 - Rain Dogs

Tom Waits "Rain Dogs" (1985)

If "Swordfishtrombones" was a drunken left-turn down a dark alley, populated by an assortment of weird and unusual characters; "Rain Dogs" is Waits deciding that he likes the alley-way and setting himself up in his spot around the trash-can fire.

The beat poetry and drunken piano ballads are largely gone in favour of stories about the aforementioned odd characters, backed by honking horns (that occasionally drift into New Orleans jazz territory) and interesting melodic percussion.   Regular John Zorn collaborator Marc Ribot provides guitar for the album with playing that ranges from jazzy surf and twangy lead, to abrasive avant sounds, and everything between.  The music includes remnants of his bar-room piano balladry, and even some country and western, but mostly it's a whole new world.

Waits' voice ranges from his newly adopted barking shout, to a gravelly croon, occasionally even dabbling in a sort of affected nasally cabaret vocal.

Day 0550 - Songs From the Big Chair

Tears For Fears "Songs From the Big Chair" (1985)

This is something of an 80s pop power-house.  It's an album that featured the hits "Shout", "Everybody Wants to Rule the World" and "Head over Heels" and which would go on to help TfF find success in the US as well as continuing their success in their native England.

There is the bombastic power of pop anthems like "Shout", but also the moody, noirish jazz vibe of a track like "I believe" and the low-key, vaguely world-music outro "Listen".  That variety makes for an enjoyable listening experience and stops the album from being anywhere near one dimensional.

The album title came from a film called 'Sybil' about a woman with multiple-personality disorder, who only felt safe while recounting her problems to her therapist while sat in the 'big chair' in his office.

Day 0495 - The Visitors

ABBA "The Visitors" (1981)

 
I'm a bit of an ABBA fan but I don't actually own this album.  The album feels like a bit of ABBA past/present/future in that there are sounds that they'd already made famous: the catchy songs with luscious harmonies such as on "one of us", but many of the songs dip into (for the time) the 'now' sounds of modern synthesizer.  There are hints of the future too, both in songs like "I let the music speak" which hints at the musical theatre avenues that Benny and Bjorn would explore post-ABBA; and just with a track like "the Visitors" which with its swirling soundscapes and middle-eastern flavour almost sounds like the start of a Chemical Brothers' track.

The divorces of the two couples in ABBA (and subsequent breakup of the group) render this in a slightly more sombre collection of tracks than previous albums... and to be honest, I kind of feel like the darker undertone works well to offset their natural cheesiness and naivety.