Album of the Week: Radiohead - "The Bends"

Rating: 9.6/10

In case it wasn't already clear,  Radiohead are my favorite band. From the overly-maligned Pablo Honey to the band's most recent output The King of Limbs, I love it all. Today marks twenty years since the 1995 release of The Bends, Radiohead's first truly Radiohead-y album, the record that began to display their brilliance and which proved that the band's legacy wouldn't be limited to "Creep." The Bends does this by abandoning the grunge approach of their debut for a more agitated and unusual brand of guitar rock. While I still consider OK Computer to be my favorite Radiohead album, I find myself listening to The Bends more often than any other selection from the group's discography. The more straightforward nature of the songs, which still maintain a pop quality to them despite their weirdness, combined with a generally happier tone ("Street Spirit" notwithstanding) make it the perfect combination of Radiohead's eccentricities and listen-ability. 

The two best examples of Radiohead's pop side on The Bends are, fittingly, the album's two biggest hits - "High and Dry" and "Fake Plastic Trees." Both lean on acoustic guitar riffs before exploding into something greater, and both show off Thom Yorke's impressive singing ability. "High and Dry," later revealed to be unliked by Radiohead themselves, centers around a simple two-phrase chorus that works its way into your brain immediately, and boasts a guitar solo that pops out of your speakers every time. "Fake Plastic Trees" focuses on Yorke's vocals and acoustic guitar and a lonely Hammond organ (played by guitarist Jonny Greenwood) for the first half of the track. Once Yorke snarls "it wears him," the song erupts for a few brief yet soaring moments, before dying back down, leaving Yorke to wish he "could be who you wanted."

But where The Bends thrives where Pablo Honey came up short is that this record is incredibly diverse, and not directly derivative of any one genre or band. It's hard to believe album opener "Planet Telex" and closer "Street Spirit (Fade Out)" were written by the same artist, let alone included on the same album. The former is a distorted mess of guitars and drums, in the best way possible. "Street Spirit" is a beautifully morose labyrinth of "cracked eggs, dead birds" and death's "beady eyes," telling a tale of absolute despair only Thom Yorke knows how to deliver. In between the album's bookends, "My Iron Lung" features two separate beserk guitar freak=outs, "Sulk" is a subtly harrowing song about the Hungerford massacre, and "Just" showcases Radiohead at their most strum-happy.



While not as paranoid as OK Computer or Hail to the Thief, jarring as Kid A or Amnesiac, or jaw-droppingly gorgeous as In Rainbows, The Bends remains probably the greatest guitar-rock record of the period between Kurt Cobain's death (and grunge's along with it) and OK Computer's tech-rock revolution. Each and every song is vintage Radiohead, and the album as a whole serves as the perfect bridge between the quintet's grunge phase and their highly-celebrated era of oddity. It may not be the most complex output of Radiohead's career, but it just may be the easiest to just pick up and listen to.

Key tracks: "The Bends," "Fake Plastic Trees," "Just," "Street Spirit (Fade Out)"

Teenage Angst Has Paid Off Well: Grunge and Social Revolution

Note: This is my US history term paper, and is thus significantly lengthier than my other posts, just as a heads up.

Teenage Angst Has Paid Off Well:

Grunge and Social Revolution

Michael O’Neill

4/14/2014

            People sometimes define periods of American history by the music that was popular at the time. The 1920’s are to this day referred to as the “Jazz Age;” the 1970’s are remembered for disco. Perhaps most notably, the early 1990’s are recognized by many as the glory days of grunge, as a new and exciting brand of alternative music that shook the mainstream. During this time, youth were growing more and more agitated with the older generations as the government floundered under President George H.W. Bush, falling deeper and deeper into a recession between 1990 and 1992. [1] Americans showed their desire for change as Democratic candidate Bill Clinton defeated Bush in the 1992 election, with third-party candidate Ross Perot managing to grab nineteen percent of the popular vote. [2] Clearly, the American public wanted something different. Simultaneously, the plastic music of the 1980’s had grown stale, making the time ripe for a new genre of music to come along. These factors combined to set the stage for the rise of grunge music, which used apathetic lyrics and an organic sound to connect with disillusioned young people across the nation.

            Starting in late 1991, grunge music began to explode in popularity, growing out of a Seattle-based scene and eventually sustaining a presence in pop culture for a few brief yet substantial years.[3] Not only did it change music, however, it also created a youth-based social movement, the effects of which helped reshape various aspects of American society. Most tangibly, grunge re-shaped rock music, movies, and fashion. Besides this, the grunge era generated a new youth counter-culture, provided an outlet for new political ideals to be broadcast to a large audience, and increased the gap between Generation X and the Baby Boomers.

            Before analyzing grunge as a musical proclamation, it is necessary to briefly examine the rock music popular in the years preceding its peak, to which it was largely a response of. For the most part, rock music in the 1980’s was dominated by a more accessible form of heavy metal known as ‘pop metal.’[4] The genre was characterized by melodic hooks, quick tempos, flashy guitar playing, and clean production values. Notable artists who fell under this genre included Bon Jovi, Def Leppard, and perhaps most prominently, Van Halen.[5] The other sub-genre of rock to see mainstream success during this time was arena rock, pushed forward by the likes of Bruce Springsteen and U2.[6] By the beginning of the decade, punk music had experienced a decline in popularity, with the leaders of the movement branching out into different varieties of rock.[7] Soon, alternative-leaning ‘post-punk’ groups such as The Smiths and The Cure began to receive both critical and commercial acclaim in the UK, while only seeing minor success stateside.[8]

            Even before the eighties wrapped up, many music listeners were craving a new sound, one drastically different from the over-the-top glam metal and arena rock scenes that were still extremely popular. Into this role stepped grunge, a combination of several different genres that would take hold of a generation of exasperated youth. Britannica identifies grunge music as a distinguishable sub-genre of rock “combining guitar distortion, anguished vocals, and heartfelt, angst-ridden lyrics.”[9] Though debate over usage of the term exists, grunge is somewhat of a catch-all term for most of the alternative rock bands to gain popularity during the early 1990’s, though most shared at least a few musical characteristics. Due to this broad definition, a considerable amount of variation exists among the various grunge artists, each drawing different degrees of influence from the assorted sub-genres of rock that came before them. Typically, grunge bands employed a combination of punk rock and heavy metal, utilizing punk’s rebellious spirit and heavy metal’s tendency for catchy hooks and powerful guitar riffs.[10] Some groups, most notably Soundgarden, also drew inspiration from the hard rock of the seventies.[11] Nirvana front man and grunge kingpin Kurt Cobain was influenced by everybody from rock trailblazers The Beatles, to college rock giants like The Pixies and R.E.M., to more conventional classic rockers such as Aerosmith and Cheap Trick.[12] Based on this extensive variety, grunge was a wide-ranging genre that took ideas from numerous types of rock music and pooled them into a refreshing sound that would soon spark a social revolution.

Album of the Week: Belly - "Star"

Rating: 7.4/10

Recently, NME published a list of their top 500 albums of all time, which was met with heavy criticism from some and mixed reactions by many. One of the more scrutinized choices was ranking Belly's 1993 record Star at all, though to be fair it was #499. I, for one, have no problem with NME putting this solid effort from the Boston group on such an expansive countdown. It's a good snapshot of early '90's alternative, and one of the most underrated releases of the era.

Star is filled with fast-paced guitar rock gems, including "Angel" and "Dusted." Both have cynical, sinister undertones. Tanya Donelly's dreamy vocals calmly caress each track, in contrast to the apprehensive instrumentals. Her contributions to Belly may be the best work of her career, surpassing her music with Throwing Muses and The Breeders.

The album's two strongest tracks are the jumpy "Gepetto" and the chart-topping "Feed the Tree." I already spoke about the latter in an earlier review, so you can head here for more info on that track. "Gepetto" starts with a delightful guitar riff and rides an equally pleasant drum beat to the chorus. The interplay between the drums & guitars are the most striking component of the song.

Other notable songs off Star include the opening "Someone to Die For," "Sad Dress," and "Slow Dog." "Someone to Die For" follows a curious guitar part as Donnelly asks, "don't you have someone you'd die for?" "Sad Dress" takes a more experimental route, using echoed vocals in the bridge. Lastly, "Slow Dog" leans heavily on its superb guitar riff.

Many consider Belly to be a one-hit wonder, since "Feed the Tree" was the group's only major radio hit. Despite this, Star proves the band had more to them than just one catchy tune. True, the record drags on a little too long at fifteen tracks, but that doesn't take away from the quality of much of the music Belly created for their debut album.

Key Tracks: "Dusted," "Gepetto," "Feed the Tree"

Song of the Week: My Bloody Valentine - "Only Shallow"

Rating: 7.9/10

Shoegaze was the alternative rock movement of the '90's that remained underground while grunge and later post-grunge stole the spotlight. Kick-starting the decade with 1991's Loveless, My Bloody Valentine soon found themselves atop the shoegaze pyramid, a position they can they can still claim today over counterparts like Lush and Catherine Wheel. Though started in the middle-to-late 1980's, it wasn't until the nineties that the genre tapped it's full potential. Loveless remains the benchmark for today's shoegaze-tinged bands like Yuck, The Big Sleep, and Whirr to measure up against, and is a truly timeless record. For those who don't understand what shoegaze is, it's relatively simple. Shoegaze bands, as they were often dubbed, were characterized by "wall-of-sound" production styles with loud, distorted guitars and droning melodies. The vocals were often lowered in the mix so as not to overshadow the instrumentals, resulting in a bigger sound overall. Loveless is widely accepted as the pinnacle of the genre, and the album opener "Only Shallow" is perhaps the most famous track on it.

"Only Shallow" is a track that is simultaneously abrasive and spacey, letting your mind drift without interruption despite the high volume of the mix. The band's female vocalist, Bilinda Butcher, takes the mic on this one. However, like much of the genre's greatest songs, the focus is not on her vocals but the backing track. The erratic guitar-keyboard riff that pollutes the lyric-free chorus serves as the song's hook while Butcher lets the instruments do most of the work. The song pushes on and on without rest, repeating the verse-chorus format several times, before cutting out abruptly. A true classic, "Only Shallow" both gains and suffers from the genre under which it falls; yes, shoegaze's emphasis on trippy production and distorted guitars, but it also grants little leeway in terms of the song's structure and creativity. Still, this track is not one to be missed, as it helped popularize a genre that been growing underground for years and still holds up well to this day. Listen to it below.

Album of the Week: Nirvana - "In Utero"

Rating: 9.0/10

September 13th, 1993, was a momentous day in alternative rock's history. Exactly twenty years ago from today, grunge gods and cultural icons Nirvana released their third and final studio album, In Utero. The album was one of the most highly-anticipated releases of all time, following the staggering success of 1991's Nevermind. The impact of songs like "Smells Like Teen Spirit," "Lithium," and "Come As You Are" is legendary and well-documented; Nevermind turned radio and MTV on their heels and set the stage for alternative rock's takeover of the mainstream for the first half of the 1990's. Kurt Cobain's apathy and disaffection with the celebrity lifestyle connected with such a large portion of the American youth at the time that he became known as the John Lennon of Generation X.

So, needless to say, there was a lot of hype surrounding the follow-up album to Nevermind, to say the least. What In Utero turned out to be was something only a handful of bands have ever been able to do: a somewhat substantial change in musical direction while maintaining the artist's trademark sound. Angrier, heavier, and more raw than its predecessor, In Utero ended up just as good (if not better) a record as Nevermind. Few bands before or since have been able to make such a drastic change musically following an immensely popular album, as Nevermind was, without the end result being a major disappointment. Nevermind's rough yet clear production was tossed away in favor of a muddier sound, with Cobain electing for a more distorted guitar sound while drummer Dave Grohl made his drum beats trashier and more aggressive. So abrasive and unsettling was the album's sound that Nirvana's record label tried to force Cobain into re-writing the album, but (thankfully) he refused, and released the record as he intended to. Nirvana was giving a huge middle finger to the music industry, but instead of shying away, as so often is the case, the group's fans embraced their new sound. During the two years between Nevermind and In Utero, the 20-somethings of the country had, like Cobain, grown more and more exhausted of American pop culture and the way we treat celebrities. Cobain was the antithesis of everything a rock star was perceived to be; he was sloppy, brutally honest, outspoken, and most of all, himself. Throughout the '80's the rock scene was dominated by hair metal bands. Sick of long hair, flashy costumes, and fake public images that seemed to have more effort put into them than the actual music, Generation X gravitated towards a man who came along at the perfect moment. Finally, someone had come into the public eye with whom they could really connect. Thus, when In Utero showcased Kurt's strong disdain for the fame he'd found post-Nevermind, critics and fans alike passionately sang their praises of the record.

Never before had Cobain's resentment of pop culture been more apparent than on In Utero. Three tracks standout as the most violent and thus most indicative on the record; "Very Ape," "Milk It," and "Tourette's" were all straight-up punk-onslaughts as Kurt's growl morphed into a visceral scream over some of the heaviest instrumental work Nirvana ever did. While the entire album follows this sentiment, these particular songs are the most extreme of the bunch. Still, hidden somewhere under the muck and mire is Kurt's ear for delectable melodies, although it may be hard to hear behind all of his anger. This trio of tracks emphasizes the difference between Cobain's personality and his music is striking. For someone who was typically very calm and low-key in interviews and at public events, Cobain sure knew how to be loud on a cassette tape.

"Scentless Apprentice" is another of In Utero's more difficult tracks, though more structured than the aforementioned ones. Sure, the chorus (if you can call it that) of "go away, get away" is utter chaos, but somehow the song feels more structured than some of the other "heavy" songs. The same goes for "Radio Friendly Unit Shifter," which cheekily mocks mainstream radio for hardly ever taking risks and instead playing what some would consider "safe" music.

While all five of the songs discussed above certainly hold significance, In Utero's strongest tracks are slightly more subdued and more of a cross between Nevermind's pop sensibilities and In Utero's abrasiveness. One of these songs is the album's opener, "Serve the Servants." After a noisy opening verse, Cobain pulls back and delivers a hook more gloom than doom. The reverse occurs on "Frances Farmer Will Have Her Revenge on Seattle," as the verse's slithering bass line gives way to harsh guitar feedback and a raucous chorus. What follows it is without a doubt the lightest song on the record, and possibly also the most emotionally honest one. "Dumb," with its downtrodden lyrics and subtle string section, is a truly astoundingly composed piece. Cobain has always been a highly revered songwriter, but "Dumb" was the first time he didn't mask his emotion behind a wall of noise. Sure, "Polly" (from Nevermind) was acoustic enough, but that song didn't feel nearly as personally as "Dumb" does. "Dumb" also presented listeners with a hint of what Kurt could do without an amplifier or distortion effect, something the world would see during Nirvana's legendary MTV Unplugged show two months after In Utero's release.

Another highlight from the record is the lead single "Heart-Shaped Box," allegedly about Cobain's relationship with his soon-to-be-widowed wife and Hole lead singer, Courtney Love. A quiet-quieter form to the verse draws you in with its plucked guitar riff and soft drum pattern before the chorus takes a 180. Grohl pounds on his kit, delivering his best performance on the record, and Kurt's howled "Hey! Wait!" refrain never gets old.

The fourth and also probably the darkest song on the record is "Rape Me." The ambitious, defiant, and risky tune is a great example stellar quiet-loud sound Nirvana adopted from the Pixies. The guitar riff is one of Kurt's best, and that chorus is pure power. Though Kurt's intended meaning for the song is the most obvious one of speaking out against sexual assaults, but many have also viewed the track as describing Kurt's being uncomfortable with the constant invasion of his privacy by the press.

"Pennyroyal Tea" is a song that showcases Kurt at his lowest and is the most glaringly obvious hint of Cobain's depression and impending suicide. Lyrics such as "Distill the life that's inside of me" display Kurt at his lowest point. Coincidentally, the release of the song as a single was cancelled as Cobain's suicide took place just before the intended release in April, 1994. Nirvana songs like this one take on a much sadder meaning knowing what would become of Kurt Cobain, and resonate more with listeners.

The album closer, "All Apologies," rounds up In Utero in an odd way. For such a loud album, In Utero closes not with a bang but a simmer. One of the softer tracks on the record, "All Apologies" rings true to Kurt's emotions in a similar way to "Dumb," by putting away the screams for a bit and focusing on the orchestration. Since Kurt was not a violent individual, it makes sense he would say goodbye with a subdued, cynical track. It would turn out to be the last song on Nirvana's final studio release, and what a way to bow out. The rush of emotion after the second chorus of "married, buried" never fails to amaze, and the repetition of the final line is just perfect.

Who knows what would've become of Nirvana had Kurt Cobain lived past the age of 27? Maybe they would've burned out as the new era of pop-punk groups took over in the late '90's. More likely is the possibility that Nirvana would have continued to make fine record after fine record, possibly even shifting the future of the music industry for the better. "Alternative" would fail to live up to its name as the loosely-named genre would be the more common form of music. However, what really happened to Nirvana was probably and unfortunately how it was destined to be. The group relied so much on youth angst that it's hard to imagine a 35+ year old Cobain singing in the same way he did on these iconic records. Eventually, the band would've been a parody of itself as a new generation of young people took over, the group losing touch with the same target audience it once so sincerely connected with. The surviving members of the band, probably realizing the angst-y path was no longer the best option, steered clear of apathy in their later endeavors; Dave Grohl's post-Nirvana band Foo Fighters sing triumphantly and proudly, and Novoselic became a state senator in Washington, joining the authority his group so eagerly rebelled against some twenty years ago. They say an untimely death makes any kind of artist more appreciated, but in Cobain's case, Nirvana were icons as soon as "Smells Like Teen Spirit"  was put on tape. So, on this day, twenty years after the release of one of the most iconic and well-crafted pieces of music ever recorded, I'll leave you with the last words off the last Nirvana album. Make sure to check out In Utero if you somehow haven't already, and never forget, "all in all is all we are."

Key tracks: "Heart-Shaped Box," "Rape Me," "Dumb," "Pennyroyal Tea," "All Apologies"

Song of the Week: Belly - "Feed the Tree"

Rating: 8.3/10

I've been on a bit of a '90's binge lately, and the trend continues with the song of the week, Belly's 1993 single "Feed the Tree." The standout track from what is generally recognized as their best album, Star, "Feed the Tree" was the band's highest-charting song, climbing all the way to #1 on Billboard's modern rock chart. Some may consider Belly a one-hit wonder, and there's some truth to that. This is the Boston-based group's only well-known song, and none of their other videos received heavy rotation on MTV. But in truth, Star is jam-packed with great guitar-driven tracks like "Gepetto" and "Angel," and the band probably deserved more attention than they received.

Still, "Feed the Tree" is clearly cream of the crop. Former Breeders/Throwing Muses member Tanya Donelly delivers an excellent, sincere vocal performance as brothers Chris and Thomas Gorman set the tone in the background. Surreal, cheery lyrics ("this little squirrel I used to be slammed her bike down the stairs") only play into the sunny, feel-good attitude of the song. Perhaps there's more to the lyrics, as Donelly has mentioned in the past it has to do with respect, making lines such as :take your hat off, boy, when you're talking to me" a little more understandable. The song relies heavily on it's guitar work when Donelly isn't singing, and that's perfectly fine. "Feed the Tree" is a song that shouldn't be over thought, just enjoyed for what it is. Listen below.

Album Review of the Week: Pavement - "Crooked Rain, Crooked Rain"

Rating: 9.4/10

Pavement's first and last foray into the world of alternative radio, 1994's stellar Crooked Rain, Crooked Rain, is one of those records that has stood the test of time thanks to impeccable songwriting and magnificent production. In a year when Soundgarden, Weezer, Oasis, Pearl Jam, Nine Inch Nails, and Nirvana all released legendary albums, Pavement's sophomore effort may standalone as the best of the bunch. While decidedly more accessible than their critically-acclaimed debut Slanted & Enchanted, the 1994 release sticks to the band's signature sound, including overlaying guitars and Stephen Malkmus' half-spoken vocals. Crooked Rain also shows off the band's laid-back, carefree attitude, without becoming sloppy or unfocused in a manner similar to the great Pixies album Surfer Rosa. In fact, Crooked Rain is more similar to Surfer Rosa than one would notice at first glance; seemingly simple tracks that are more complicated than they sound, strong songwriting, complementary production, and unique vocal styles mark just a few.

The songs of Crooked Rain, Crooked Rain are open to a wide range of interpretations, due to puzzling, somewhat abstract lyrics. What someone may think is a happy song, another may find it sad, while a third still might think the lyrics mean nothing at all. Admittedly, it is very valid to interpret Malkmus' word as random, as is a common criticism of him. But while I disagree with this view, it's not crucial to the enjoyment of this masterpiece. The strength of this record doesn't lie in its lyrics, but in the emotions it exuberates, mainly happiness. Joyful guitars and jumpy drum patterns go perfectly with Malkmus' vocal stylings. You won't see him winning American Idol anytime soon, but that's not due to a lack of talent. No, instead Malkmus elects for a more minimalist approach; instead of belting out high notes, he breezily sings in a fashion that can simultaneously sound gleeful and hopeless. It's one of the most unique and recognizable voices in all of indie rock, and can only really be understood by hearing it, rather than reading a description of it.

Perhaps no song better summarizes Pavement's sound in three minutes than album opener "Silence Kit." The short piece (which incidentally is actually called "Silence Kid," as the song title was easily misread on the album artwork) fits multiple parts into 181 seconds, and yet does not feel too brief. Beginning with twenty seconds of instrumental warm-ups and jamming, two more instrumental sections are introduced before the vocals begin. Two verses and a chorus later, the tempo slows down into a blues-y outro. "Elevate Me Later" immediately kicks in with some surprising power chords in the chorus and a superb four-bar riff. Said riffs are prevalent on Crooked Rain, Crooked Rain, and many of the album's hooks are actually guitar melodies rather than the usual vocal attention-grabber.

"Stop Breathin'" starts as a typical Pavement slow jam, but eventually the vocals and bass drop out, leaving the guitars to creep up on you while the drums maintain a steady, simple beat. By the time the bass hops back in, the anticipation has already built up, and before you know the instrumentals have picked up again. They fade away just as quickly as they arrived, before popping back in for one last measure.

The fourth track, "Cut Your Hair," is arguably Pavement's best, and certainly their most recognizable. Reaching #10 on the Billboard Modern Rock Charts, the song has remained one of indie's greatest anthems, and it's easy to see why. One of many earworm-inducing tracks on the album, "Cut Your Hair" benefits from the addictive hooks and memorable guitar parts that Pavement are so well known for. The guitar solo is not one to be overlooked, and Malkmus' performance here is one his most impressive. It's a song that slowly but surely builds up to subtly yet cathartic release, making it on the most beloved songs of the 1990's.

The following duo of songs, "Newark Wilder" and "Unfair," show off opposite sides of Pavement. The former is a slow-paced, melancholy tune, whereas the latter is a frantic rush of snares and electrifying guitar riffs, with Malkmus screaming some of the lyrics. Unfortunately, these two songs are often overlooked, due to being bookended by two of the great tracks of the 1990's.

The second of said bookends (the first being "Cut Your Hair') is the wonderfully blissful "Gold Soundz." A song as amazing as this one is virtually impossible to describe, so I'll let its legacy do the talking. Pitchfork named it their #1 song of the 1990's, a decade that many consider the golden age of Pitchfork-type of music, and mentions of the song in public forums are universally in praise it. The song even earned a twitter shout out from Real Madrid star midfielder Xabi Alonso, prompting many of his fans to discover a newfound love for the band. Those who love it zero in on the gorgeous melody and the outstanding multi-layered guitar solo in which three different guitar parts share the limelight, with the one in focus making way for another repeatedly. It really is best just to listen to the song, let it seep into you, get stuck in your head, and make you smile.

After the cleverly-titled jazzy instrumental "5 - 4 = Unity,"  "Range Life" tells the tale of an aging hippie with no sense of direction in 1990's America. You feel sympathetic for the protagonist, who clearly is lost in life and struggles to fill his simplest desires. It's the most folky track on the album, as well as the most controversial. The lyrics to the third verse, which appear to mock fellow 90's alt-rockers Smashing Pumpkins and Stone Temple Pilots, caused band rivalries and resulted in Pavement's being dropped from Lollapalooza's 1994 lineup after Pumpkins singer Billy Corgan threatened to leave the bill if Pavement weren't removed from the tour. Why this irked Corgan so much, probably, is that Malkmus is spot on. Smashing Pumpkins, while a great band in their own right, take themselves too seriously, Corgan especially. They're this extremely technical, egotistical group, and here's this lazy-sounding, simplistic newcomer mocking them.

The final quarter of the twelve tracks round out Crooked Rain well. "Heaven's a Truck" recalls the same sounds "Newark Wilder" employed earlier on the album, but in a more subdued and cynical manner. "Hit the Plane Down" is the oddest song on the record (aside from the instrumental track) and doesn't it with the rest of the album's vibe. Distorted vocals and abrasive guitars, along with a heavy tom-tom beat and dark lyrics ("there's no survivors"), drive the song forward. It's a more aggressive version of Pavement's "lazy" sound, and is the least enjoyable on the album. Still, it serves a purpose in the flow of the album, in that it mixes it up and displays a new side of Pavement. "Fillmore Jive," the album closer, is over six minutes of jamming, and truly feels like a goodbye, as all album closers should. There's a feeling of resolution here, but not necessarily a happy one; lyrics such as "goodnight to the rock and roll era" suggest the speaker is not satisfied with the way life has turned out, and it's not until now you realize the grander concept of Crooked Rain, Crooked Rain. What at first felt like a vibe album with the tracks being somewhat unrelated to each other now becomes a story of mid-life crisis, of realizing you've done nothing and have nowhere to go. We see glimpses of it throughout the record, most notably on "Range Life," but it's "Fillmore Jive" that really hits it home. The abstract instrumentals play in with this theme of insubstantiality, of a lack of importance to one's life. Now you can understand why the lyrics were somewhat random, because the protagonist's life has been aimless up to this point. Now lyrics such as "go back to those gold sounds" help you realize that the singer is reflecting on the "good old days" of music, music being a metaphor for life. The era the singer talks about is most likely the late '60's & early 70's, as the carefree attitude and down-to-earth values of the singer are typical of the Woodstock crowd. Also worth noting is that Malkmus was a Hendrix fan, and even taught himself to play guitar by listening to his music, further confirming that he most likely thinks of this time period as the pinnacle of "the rock and roll era."

The lyric I mentioned earlier, "goodnight to the rock and roll era"" is particularly fitting to the time period of the album's release; in just over two months, Kurt Cobain would be dead, and the grunge movement would die down. The mid-to-late 90's would be litter by bottom-feeding post-grunge & nu-metal groups like Candlebox, Creed, Limp Bizkit, and others, leading to the downfall of rock as king of the radio.

Crooked Rain, Crooked Rain is a timeless piece of music, encapsulating everything great about '90's indie rock. Pavement would never again be able to recreate the magic found on their 1994 sophomore effort, leaving this as a very unique Pavement record. Never since have we seen a band with a minimalist approach and an attitude like Pavement's release anything as amazing, with the Strokes' Is This It the only do-it-yourself, who-cares type of album that even comes close. So sit back, enjoy, and be thankful that the '90's were what they were.Find the album on Spotify, and/or watch the whimsical videos for some key songs below.

Key tracks: "Silence Kit," "Cut Your Hair," "Gold Soundz," "Range Life"

Poll Results 8/02/13-8/09/13: Best 90s Album

Last weeks poll has closed and there was a three way tie for your favorite album of the 1990's, between Radiohead's "OK Computer" (which I reviewed in detail last week), "Siamese Dream" by Smashing Pumpkins" and the "other" option. This week's poll: best front-women in rock.

Album Review of the Week: Radiohead - "OK Computer"

Welcome to the first of many "Album Review of the Week" features on this blog, and man is it a big one. If you've somehow managed to never experience this masterpiece of a record, close this window, go purchase it, listen to it non-stop for a week, then come back and read this review. (Not-so-subtle attempt at increased page views notwithstanding.) For the vast majority of you, you will have listened to and read about this record dozens of times before, so little introduction is needed. Nevertheless, here's a bit of background on the album for those unfamiliar with Radiohead and/or the circumstances surrounding what many consider their finest output to date, 1997's OK Computer.

Radiohead's 1993 debut, Pablo Honey, contained the band's breakthrough hit, "Creep," and remains as one of their most polarizing releases among fans and critics alike due to it's relative musical and lyrical simplicity in comparison to their later works and other relevant albums released in the same year. The group's next album, The Bends, was decidedly weirder and at the same time better, and stands as one of the most original records of the '90's. OK Computer continued down Radiohead's experimental path, and combined unique instrumentation and composition with unforgettable hooks, beautiful melodies, and profound lyrics dealing with the ever-growing presence of technology in our society. This is extremely prescient for 16 years ago in the same way Huxley's Brave New World and Orwell's 1984 were in their time period.

OK Computer was the second real indie album I ever owned, after Arcade Fire's The Suburbs, and remains my favorite. Not only that, it marks a turning point in my musical interests. Up until that time, my most-beloved bands were Red Hot Chili Peppers, Foo Fighters, Incubus, and the like, with Arcade Fire being the only 'indie' band I listened to. But at 14 years of age I purchased this fine album for a measly $5 on sale from Amazon (which feels like a crime to me - today I can't even place a value on it), and my life was never the same. I quickly purchased the rest of their catalogue, began reading indie blogs online, and delved into historic records like Is This It, Turn on the Bright Lights, and Crooked Rain, Crooked Rain. This album did for me what getting Guitar Hero for christmas had done for me three years earlier; it revolutionized the way I viewed music, how I listened to it, how I analyzed it, and, most importantly, how I enjoyed it. I suppose the story is similar for those of my age group just as bands like The Cure and The Smiths introduced teens of the '90's to the genre.Nevertheless, this album not only holds great nostalgic value to me, but also contains some of the most celebrated music ever put onto disc.

The album opens with the jittery but steadily driving (no pun intended) "Airbag." The track is notable for its constant start-stop bass line, the fidgety and repetitive-yet-not-tiresome drum beat, and guitar soundscapes. After Hail to the Thief's "2+2=5," "Airbag" is my favorite album-opener in Radiohead's catalogue, and it's not hard to see why. At the end of the song, four short electronic beeps set the tempo for the next track, and perhaps the most well-known and beloved from the album, the colossal "Paranoid Android." Accompanied by its equally bizarre music video, "Paranoid Android" showcases Thom Yorke and the gang at their most schizophrenic. Many bands had made attempts at "their own 'Bohemian Rhapsody,'" and still more have tried since. But no song has ever utilized drastic mid-song changes in tempo, tone, and/or emotion like this one does. The first two minutes or so are comparatively tame; a sugary acoustic guitar riff drives the first two verses as Yorke calmly asks "What's that?" Then, the lyrics and guitars take a more sinister turn, as Yorke scowls, "Ambition makes you look pretty ugly." He then turns violent and calls for a metaphorical beheading before Jonny Greenwood unleashes one of the finest guitar solos known to man, which collapses in a wash of feedback and crash cymbals into the song's morose third section. After some moping on Yorke's part, Greenwood comes back for more with one more freakout before the song gives way. The song reached #3 on the charts in the United Kingdom after being released as the album's lead single, an amazing feat for such a bizarre and seemingly commercially-unfriendly song. "Paranoid Android" is an essential track to own for any fan of 90's alternative rock, and its legacy lives on.

"Subterranean Homesick Alien," a floaty, delicate piece of work, comes next. The atmospheric, space-like guitars during the verses really convey the common literal interpretation of "alien," where the lyrics reflect a more figurative take on the title by describing feelings of loneliness and feeling out-of-place. At first, Yorke describes the people around him as "uptight" and wishes to be swept away to a world as he'd "love to see it." "Exit Music" is one my personal favorites from this album, partially because I love songs that build up towards the end, and partially because it perfectly depicts the thoughts and emotions of famous lovebirds Romeo and Juliet in a way even Shakespeare couldn't do. From the start of an innocent teenage romance to the tragic deaths of two lovers, "Exit Music" does just about as good a job at representing an already legendary story as any piece of media can do."Let Down" remains a fan favorite to this day due to its beautifully contrasted guitar work between Greenwood and O'Brien, and is probably to "poppiest" song Radiohead's ever done. And yet, it achieves this commercial appeal with no observable sacrifice of complexity or beauty; the two aforementioned guitar parts mesh well and at the same time don't mesh at all, and Thom's lyrics retain their deep and dispirited themes. And, my God, that high note.The first time I heard Yorke's wail of "you know where you are" coming out of the instrumental break was also the first time a song gave me chills, and very have since. "Let Down" was the track that made me a Radiohead fan for life. It was the moment I knew this band was special, that there was something different and amazing and beautiful that these five English musicians could achieve something that no one else can or will ever be able to.

"Karma Police" is another example of Radiohead's innate ability to balance weirdness with beauty. The track exemplifies everything critics adore about the quintet, what with its creeping rhythm section, haunting vocals, and emotional transparency. Everytime Yorke croons "This is what you'll get," the lyric sounds more and more like an inescapable punishment than a threat. The piano here is gorgeous and propels the song into another realm.All the way down to the feedback-freakout outro, "Karma Police" is more proof the Radiohead does not just write songs, but meticulously and furiously works to get even the smallest of details perfect.

The album's least musical track is in some ways also its most important."Fitter Happier" is a track containing nothing but an eerie piano piece performed under a robotic computer voice calmly yet ominously delivers disturbing phrases much like those used by George Orwell in 1984. While this "song" barely qualifies as a piece of music, it serves several purposes and its presence is essential to the OK Computer experience. First of all, it is the most direct example lyrically of the album's theme; the fear of modern society's dependence on technology and how it dominates our world.The track also plainly splits the album into two halves; the first half representing paranoia towards technology and its growth in society, and the second half showcasing the results of its presence.(That's just my interpretation, though; this record is open to many different translations.)

The moment "Electioneering" kicks off with tambourine clatters and a chaotic riff, you know you're in for a wild ride. Track number eight off OK Computer is arguably its most energetic. The fast paced drum beat, along with Yorke's rugged singing and a unrelenting and surprisingly effective use of cowbell all race ahead to about two-thirds through, where Jonny Greenwood steps in with another blazing guitar solo. The song is also the most unabashedly political track on the album, calling out the way political campaigns are run in a similar way that Rage Against the Machine's music video for "Testify" would two years later. One of the strangest and most frightening songs Radiohead's ever done, "Climbing Up the Walls," provides an uneasy and startlingly accurate view into the mind of an insane person. While the keyboards loom in the dark background and Yorke's internal monologue set the stage, it's Greenwood's implementation of an orchestra that really drives the creepy factor through the roof.Throw in the desperate screams at the song's apex of intensity, and you get one terrifying, brilliant song.

"No Surprises" is similar to "Let Down" in several ways: happy-sounding music with deceptively dark lyrics ("a handshake of carbon monoxide"); similar guitar tones and arrangements; and the sheer beauty shared by both. The final two tracks, "Lucky" and "The Tourist," are equally as beautiful. "Lucky" relates back to the theme of "Airbag" with its hook, "pull me out of the aircrash," and claims one of Greenwood's most impressive guitar riffs.To finish of the record, "The Tourist" elects to utilize space as an element of song. The slow-jazz feel presented by the drums and lack of intensity are a welcome change and well-suited cooldown after the other 48 minutes of the album. Eventually, though, Yorke and company get back to what they do best with a magnificently-built-up-to outro to the record, before closing with something as simple as one hit of a triangle. This simple end to such a complex record is both out of place and fitting; out of the ordinary, yet perfectly executed.

OK Computer is the album that made Radiohead who they are. They're this generation's Pink Floyd as Nirvana was our Beatles. Their music can be and should always be classified as pre-OK Computer and post-OK Computer. Even when you step back and forget about all of the cultural significance of this record, and view merely musically, there is still no denying how incredible this album truly is.