Day 0970 - Whatever People Say I Am, That’s What I’m Not

Arctic Monkeys “Whatever People Say I Am, That’s What I’m Not” (2006)

I remember first encountering Arctic Monkeys via their video for “I Bet You Look Good on the Dancefloor” and not being impressed.  From vocalists Alex Turner’s intro “Arctic Monkeys... don’t believe the hype” (it just seemed like a humble brag, like ‘yeah there’s hype around us, but we’re like whatever’) to the throwback 1970s garage-rock style they were playing and the accompanying lo-fi late 70s/early-80s retro look to their Strokes-esque performance video.  It all smacked of effort masquerading as ‘we don’t care’.  

The songs worked their way under my skin though, and the song “Teddy Picker” from their second album really turned my opinion of them around, and I eventually embraced this album.

While it is less diverse than their later releases, and is definitely in that retro, garage-revival vein, with guitar ranging from trebly-and-jangly to distorted-and-raucous; there’s lots to recommend the album.   Whether it’s the propulsive punky energy of “I Bet You Look Good on the Dancefloor”, the lazy funky groove of “Fake Tales of San Francisco” or the speedy, tight arrangement and zingy lyrics of “You Probably Couldn’t See for the Lights but You Were Staring Straight at Me”.   Alex Turner would improve in leaps and bounds as a lyricist but "When the Sun Goes Down" was already a great narrative and some good word-smithing.

Day 0769 - Superunknown

Soundgarden "Superunknown" (1994) - got it

This album feels like: if the Beatles were the result of a really good acid trip; this is the flip side.  The bad trip that takes you to dark places... but still in a melodic, imaginative way.

Soundgarden had always had a pretty good mix of Black Sabbath (big fuzzy, sludgey riffs) and Led Zeppelin (skilled, virtuosic musicians, and of course Cornell's Plant-esque wail) but with this album they added a heavy dose of the Beatles.  The title track sounds musically like something that could fit on a modernised version of "Revolver" until the chorus riff kicks in and things get dark and heavy.  "Black Hole Sun" is the most obvious link, with its slightly trippy guitar, drawling drugged vocal and lyrics that are obscure but paint a disturbing picture.  

There's middle-eastern and Indian elements on songs "Half" and "Head Down", and plenty of Soundgarden heavy-riffing on songs like "My Wave", "Spoonman" (featuring a spoon solo, don't cha know) and "Fourth of July" that, with its slow, inexorable riff, sounds like the audio equivalent of the end of the world!

This is a favourite album of mine, and has been since high school.   At its base it is just a great collection of songs that sits together coherently (even its 73 minute running time doesn't really put me off).  This was a band ready to try everything: they'd have different tunings, their songs would be in time signatures ranging from 6/4 to 15/8, they experimented with different overdubs and recording techniques, and all 4 members contributed compositions.

Some people will view the band as being mostly about singer/guitarist Chris Cornell, but that is not fair on any level.  Yes he is a phenomenal singer and a great songwriter, but Soundgarden wouldn't be Soundgarden without Ben Shephard's sludgey, ugly bass; Kim Thayil's riffs and wild and colourful lead guitar, and Matt Cameron on drums.   

I'll chuck a little gush here about Matt because I truly love his drumming.  Like Jimmy Chamberlain from the Smashing Pumpkins, or Mitch Mitchell from Jimi Hendrix's band, Matt is a jazz-influenced drummer who can put some rock power into his playing.  He plays parts that fit the song like a glove without being too showy, and it's only when you listen closely that you realise he's constantly evolving those parts throughout the song and playing quite tricky little bits and pieces.  

Day 0695 - Every Good Boy Deserves Fudge

Mudhoney "Every Good Boy Deserves Fudge" (1991)

I'll be frank - Mudhoney don't really do it for me.  They have a lot of the hallmarks of other bands that I like from this era/movement; the loud guitars, the loud vocals.  It's just that, although there are moments on this album that I enjoyed well enough, none of it really stands out or sticks in my memory after 3 runs through.  There are moments where I think "oh that sounded kind of interesting" but no "oh wow!".

The album title comes from a memory device for teaching students the line notes on the treble clef (EGBDF... the gaps 'FACE' are easier to remember), though usually it's "Every Good Boy Deserves Fruit/Favour.

Day 0653 - What’s That Noise?

Coldcut "What's That Noise?" (1989)

"What do you get when you combine an art teacher and a computer programmer?"  Sounds like the setup to a bad joke, but the answer is actually 'Coldcut'.   The two had started off DJing individually and eventually made contact and started working together.

Much like the previous entry from 808 State, this is an interesting electronic album, built mainly from samples.  Unlike the 808 State album though, this one does have a few featured vocal turns including Mark E Smith from the Fall (“I’m in deep”), and Lisa Stansfield (“People hold on”).

Day 0617 - Superfuzz Bigmuff

Mudhoney "Superfuzz Bigmuff" (1988)

One of the earlier grunge albums, and featuring a decent cross section of the talent/incest involved in the Seattle scene.  The drummer was in Nirvana (for all of one song), the bass-player was in the Melvins, and the other two members were in bands with future Pearl Jam Members.

This EP is named after two guitar effects pedals favoured by the band: the Univox Super-Fuzz and the Electro-Harmonix Big Muff.  The record was produced by Jack Endino, who also produced SubPop releases for bands such as Soundgarden, L7 and Nirvana.  Really just adds to the grunge pedigree of it.

The music was indicative of where some of those Seattle bands were heading at the time: Punk rock rawness and energy but with a touch more melody, embracing swirling walls of psychedelic noise guitar and with more than just a touch of Black Sabbath to the whole thing.

Day 0569 - Infected

The The "Infected" (1986)

I enjoyed this much more than the previous The The album in this list (Soul Mining).  It has a strong pop base with some great beats and nice funky bass.   Some of it is upbeat and pulsing, other tracks are slinky and moody, one track even features an early appearance from Neneh Cherry ("Slow train to dawn").  Good solid 80s pop, with angry, socially conscious lyrics.

Day 0519 - Soul Mining

The The "Soul Mining" (1983)

The The was set up by Matt Johnson and went on to feature a rotating cast of musicians with Johnson as the only constant, essentially making it more of a collaborative solo project (if that makes sense).

This music has the some of the drama and glitz of the new-romantic movement to it.  There are some squiggly little synth sounds, a little 'world music' percussion, but you can also hear the hints of Johnston's musical upbringing, growing up around his dad's East London pub in his vaguely misanthropic snarl and hints of 60s rock in places, maybe even a touch of the Velvet Underground adding a little New York to the mix.