Rating: 10/10 Rated as: Album Album Status: Backdoor Classic Released: 1993 Specific Genre: Alternative Rock, Jazz-Rock Main Genre: Rock Undertones: Blues Rock Label: Rykodisc
1 Dawna 2 Buena 3 I’m Free Now 4 All Wrong 5 Candy 6 A Head with Wings 7 In Spite of Me 8 Thursday 9 Cure for Pain 10 Mary Won’t You Call My Name? 11 Let’s Take a Trip Together 12 Sheila 13 Miles Davis‘ Funeral
I think it’s time for me to finally introduce you to the Buena Buena Buena Buena: Good good good!
If you missed Morphine, you missed out on a cultural branch and attitude connecting the defiantly subdued rebellion of the 1950s’ cool jazz with the brawling counterculture grandeur of rock. A fully developed band from the start, Morphine had cut out the curious niche of “low rock” with the mature jazz stylings of their debut Good, yet with their sophomore strike Cure for Pain they created an instant classic. The ingredients are the same, but compared to its subdued predecessor, Cure for Pain is a behemoth of groove and sweeping melancholia based in a jaded sort of bluesy jazz-rock with a beatnik’s cloudy fantasy of a rock cellar. Simply put, Morphine tried to make music for cool grown-ups with cool grown-up ailments like hotel bar seduction and cognac affliction, amidst a scene of anxious grunge kids, and they succeeded. This couldn’t have worked at the time other than going for a niche audience right away.
Morphine’s sound was and is unique. The potential of each element is caught at its most exciting in these tracks: With a surprisingly sharp and punchy tone, the compositions treat Sandman’s bass as a lead instrument as well as the bedrock of their groove (I’m not quite sure how), the two-string bass constantly shaking things up with its earthquake boom and its slinky underground slide. Jerome Deupree is one of the funkiest, most loosely swinging drummers in rock music (let’s not forget the equally great Billy Conway featured on some numbers here) and Dana Colley’s saxophone work is staggering – at will freewheeling (“Head with Wings”, or the upbeat roadtrip favourite “Mary”), confrontational (the aggressive stomp of “Thursday”) or ominously foggy (“Miles Davis’ Funeral”, or the trippy and hypnotizing come-down of “Let’s Take a Trip Together”). Sandman’s voice, much like his bass, has two strings and many frets: the beat sexy low-life or the gravelly soothing crooner, and he slides up and down the full emotional register of this potentially restrictive set-up.
Making the most out of a fixed set of possibilities, it is one of the few albums where practically each of the songs has been my favourite in a certain phase of my life, with „Cure for Pain“ being an ultimate anthem of anyone who’s remotely familiar with obsession. What makes this work is the mastery of a simple recipe with diversity in attitude, mood and emotivity: A record that can be equally depressing as it can be soothing, that is as hedonistic as it is mature – like a very peaty Lagavulin. It took me a few listens (even after already having been converted to the band), but once you get hooked, there’s no turning back.
Rating: 3.7/10 Rated as: Album Album Status: of Zeitgeist Interest Released: 1996 Specific Genre: Alternative Rock Main Genre: Rock, Alternative Rock Undertones: Hard Rock, Grunge, Alternative Metal Label: One Little Indian
1 Yes It’s Fucking Political 2 All I Want 3 She’s My Heroine 4 Infidelity (Only You) 5 Hedonism (Just Because You Feel Good) 6 Twisted (Everyday Hurts) 7 We Love Your Apathy 8 Brazen (Weep) 9 Pickin‘ on Me 10 Milk Is My Sugar 11 Glorious Pop Song
They do have
sweeping choruses and angry anthemic songs like „All I Want“ and „Hedonism“ (a
good, almost year-defining single of course) which are just made for big stages
and a teenage crowd to chant along, they have pop instincts and they have a
radio-friendly grungey hard-rock sound quite typical of the period – this
is the politicized phase of grunge, after having gone through the horrors of adolescent
angst, so to speak. Skin is a commanding singer with a supernova’s worth of
charisma, but listen to this if you want to know what went wrong when the
market dressed up anti-commercialism all fancy. Hard riffs and about two or
three melodic ideas aren’t enough for nearly fifty minutes of music. About
three songs stick – the rest gets washed down the drain by its own boring
arrangement and lack of hooks.
As far as the overall attitude goes, I’m all for Rage Against the Windmills, but the lyrics here do mostly tap into protest as a performance, not as a communicative, topical form. I mean, there’s a place for that, but when Skin belts out lines like „Yes it’s fucking political! / Everything’s political!“, it’s not much of a manifest – she’s right, of course, but the performance, stressing pure attitude over ideas, hasn’t really aged well. They put words like „The poorer you are, the better / that gives me more control“ into the mouth of whatever social or political entity you want to attribute this to – just make sure that entity is part of the „establishment“. Or – alas! – is it the establishment in YOURSELF!? Beware! This is self-conscious, but non-meta. If it riled up folks back then – sure, I’ll take it.
For all the
draining emotions of despair and rage here, in the very end, the band does
something quite corageous by facing their actual musical forte: the fact that
„Glorious Pop Song“ – no irony here – is exactly that.
Rating: 7.3/10 Rated as: Album Album Status: Genre Recommendation Released: 1995 Specific Genre: Indie Rock, Noise Pop Main Genre: Alternative Rock, Rock Undertones: Slacker Rock Label: L’Age d’or
1 Ich muss reden, auch wenn ich schweigen muss 2 Du bist ganz schön bedient 3 Gott sei Dank haben wir uns beide gehabt 4 Ich hab 23 Jahre mit mir verbracht 5 Ich werde nie mehr alleine sein 6 Michael Ende, du hast mein Leben zerstört 7 Ich mag dich einfach nicht mehr so 8 Ich bin neu in der Hamburger Schule 9 Es ist einfach Rockmusik 10 Hauptsache ist
Der da drüben ist jetzt DJ in Berlin
This is a very short, but all the more concise follow-up in the direct vein of their debut Digital ist besser (which was published not even five months earlier the same year): their simple, brash, riff-driven indie rock (with some noise elements) and panache for post-adolescent yearning is still fresh although they’re less eager to impress with pure force and noise experimentation. The lyrics are as clever, but take a notable shift towards a generation in their mid-twenties slowly realising they’re not automatically the youngest people anymore when entering a room.
The thematic choice and the sonic
restriction pay off: with a Marcel Proust-referencing title and a runtime of
not even thirty minutes, this could have come across as a weirdly
uncomfortable, extremely rushed sophomore effort, seemingly just throwing
leftover ideas from the debut at the wall. But it’s not! With its rigid
structure, the choice of avoiding lengthy guitar thrashing and the lyrical
quality, they manage to turn their simple formula into another melancholic but
emphatic indie rock burst that expertly thwarts collapsing beneath built-up
expectations and self-imposed ambitions.