33 rebellions per minute
BEST MUSIC OF 1997
1. Rheostatics, THE BLUE HYSTERIA
In declaring this the best album of 1997, I seem to be declaring that the true measure of an album is simply the brilliance of its songs and ideas, even if jangly folk-pop is undercut by dark, twisted, near-subliminal guitar experiments, and even if impenetrably complex epics are sat next to achingly confessional country songs, and even if densely layered, obliquely beautiful instrumentals are the set-up for boyish man-with-acoustic guitar singalongs, and even if the song structures reach levels of involution such that I wouldn't recommend the album very highly to people who didn't know the band's other work. Or maybe I'm just declaring that the Rheostatics rule. They do, you know.
2. dEUS, IN A BAR, UNDER THE SEA
dEUS's album is also a mixture of folk with noir with heady rush, of noise experiments with naked emotionalism, but the structure makes an odd sense (for example, the final two songs are indeed the climax), and every song, no matter the style, is ingrained with a level of modest murk that is constant, exacting, and ultimately helpful.
3. Dar Williams, END OF THE SUMMER
As clear, open-eyed, open-hearted a set of lyrics as has ever deserved to be called "poetry", set to music that has all of folk's direct melodic loveliness and very little of its terrified conservatism.
4. Lazer Boy, FORGET NOTHING
-- Boo Radleys, C'MON KIDS!
Intricate and dense music that hardly ever forgets to be pop. Lazer Boy are more naive and plaintive, where the Boos are studio-bound pros, but both bands make the details as inventive and likeable as the surfaces.
5. Thought Industry, BLACK UMBRELLA
-- Radiohead, OK COMPUTER
Unexpectedly atmospheric and impressively textured albums, one by a thrash band depressed by the singer's ex-girlfriend, one by a grunge band depressed by its singer's (ex-?)planet. Both would be easy to feel for, if only one didn't sense a forthcoming revenge sufficient to transfer one's sympathies to to original aggressors.
6. Veda Hille, SPINE
-- Lauren Hoffman, MEGIDDO
I didn't used to have much use for quiet, subtle eccentricity, but Veda and Lauren, by hooking me with thoughtful novelty songs, persuaded me of my error.
7. Veruca Salt, EIGHT ARMS TO HOLD YOU
Still, given that quiet subtlety is a woman-dominated field, it's nice to see two female songwriters make the year's best _rock_ record. The giddy but intricate melodic style of Game Theory (of whom Nina Gordon is an enthusiastic fan) set to roaring near-metal, and this time without such fey singing.
8. Tim Walters et all, LATEST FITS
Except for the bizarre-electronics-with-theatre segments, this is your typical renaissance They Might Be Avant-Garde album. But with remarkably good singing. Well, where appropriate anyway.
9. Space, SPIDERS
I suppose there's something annoying about a band thoroughly convinced (wrongly) of its own immense funniness. But as long as Space keep setting their jokes to endessly inventive arrangements and catchy tunes, I won't attempt to figure out what.
10.Kenickie, AT THE CLUB
-- Papas Fritas, HELIOSELF
AT THE CLUB is the sound of adolescent brashness, making things from dust so they can tear them up. HELIOSELF is the sound of 8-year-old brashness, unwilling to learn the difference between toy instruments and stun-gun guitars. Both albums, on close inspection, reveal eloquently expressed insecurity and unsettling mantras. You can notice them and say "Very impressive! I'm so glad this isn't shallow". Then you can nod and return to shouting joyously along.
Best songs of 1997
1. Rheostatics, "Four Little Songs"
It' actually one rather big song, with fifteen-or-so seamlessly integrated segments depending how you count. The only song ever to defeat "Bohemian Rhapsody" on its ridiculous home turf, and perhaps the most wonderful six minutes of music ever recorded.
2. Cheer-Accident, "Dismantling The Berlin Waltz"
-- Lazer Boy, "Forget Nothing"
These are to my knowledge the two most brilliant song-length (6 to 7 minute) highlights in unabashed progressive rock since the late '70's. The only problem with Cheer-Accident is that such a gifted song band seems to generally feel that songs are an art form beneath them. The only problem with Lazer Boy is that they didn't otherwise match this peak of guitar excitement. Then again, so few bands do.
3. Nine Inch Nails, "The Perfect Drug"
-- Radiohead, Paranoid Android"
The most _popular_ highlights in unabashed progressive rock since even earlier. Thom Yorke's song is a death threat, Trent Reznor's is a love song, and it's a close call which one's scarier.
4. Dar Williams, "Teenagers, Kick Our Butts"
-- Lauren Hoffman, "Hope You Don't Mind"
Dar's is a passing of the generational torch to the next group of rebels, may they be smarter and nicer and more determined than the one before; it should be a national anthem. Lauren's is about making a life even in the full belief that "the world's fucked up and we're all gonna die". Four chords and the truth, even if the truths partly contradict.
5. Veda Hille, "Instructions"
Some truths, on the other hand, make no absolutely sense when you try to summarize them. Assume they were expressed with maximum efficiency the first time, then. This and a shifting cast of other SPINE tracks has been on the last six mixtapes I've made; five of the recipients proceeded to buy the album. Someone understands.
6. Space, "Me And You Vs The World"
For one song, Space achieve wit by playing things almost straight. Great pseudo-cockney accent, though, and the best tune of the year.
7. Smash Mouth, "Walking On The Sun"
-- Chumbawamba, "Tubthumping"
-- Mighty Mighty Bosstones, "The Impression That I Get"
Yes, you're absolutely right. Once upon a time, when hit songs like "Unbelievable" and "I Melt With You" and "Judy In Disguise (With Glasses)" and "the Monster Mash" appeared, it was an expression of the radio stations' sincere investment in the long-term potential of EMF or Modern English or John Fred or, you know, whoever did "Monster Mash". Nowadays it doesn't matter if a band's been around 15 years or 10 days, all they see is one hit. Here's what I still don't get: how is that bad?
8. Boo Radleys, "What's In The Box?"
-- Papas Fritas, "Words To Sing"
Of course, if hit singles exist to spread happiness and confident spendthrift moods, it must be admitted that radio misses a few.
9. Chrysanthemums, "The Things Around The Picture"
In which it demonstrated by example that with enough "Doot doot doot"s and enough cheery Brit accents and enough hot guitar licks, Nine Inch Nails' PRETTY HATE MACHINE could have been good fun.
10.Veda Hille, "26 Years"
-- People From Earth, "Kamikaze Babies"
-- Mia Sheard, "Marjorie"
I loved the Rheostatics even when I was, to my knowledge, their only fan, but it makes me immensely happy that so many of Canada's best young songwirters cite their controlled lurches and empathetic character studies as a prime, evident influence. To me, "26 Years" honestly sounds more like the year's missing Tori Amos single, but why be picky?
Links to other sites on the Web
© 1997 bokonin@hotmail.com
Get your own Free Home Page