Bossanova.
Following a short hiatus after the release of 1989’s Doolittle, Pixies return with their third album in as many years, Bossanova. As the old mantra goes, “if it ain’t broke don’t fix it”, and Pixies combine elements of what made their first two records successful to produce what is, unsurprisingly, yet another masterpiece. My personal favourite, and probably the most accessible track, is the Doolittle-esque “Velouria”, with its catchy, layered, driving guitar riffs and Black Francis’ surreal, albeit nonsensical, lyricism; presumably he has gone quite literally insane without his beloved Velouria. Three out of three for Pixies so far, an immaculate discography of…. however you describe their music. Alternate-punk-surf-pop?
Canción Animal.
Having thoroughly enjoyed 1992’s Dynamo, I returned to Argentine rock band Soda Stereo in the form of their 1990 album, Canción Animal, Dynamo’s immediate predecessor. Fans attracted from the earlier record were alienated by the follow up, which I can understand, but don’t necessarily agree with. There are fascinating tracks, such as the easy listening pop rock of “Un Millón de Años Luz”, the groovy bass and jangly guitar indie of “1990” and the catchy rhythmic indie rock track “De Música Ligera”, though most of Canción Animal is forgettable standard rock fare. Though it’s regarded as one of the most influential albums in Latin rock and Soda Stereo’s best, I feel that Dynamo is a much more unique, interesting record that experiments with the trending genres of the time such as shoegaze and acid house. I slight disappointment, personally, but will probably appeal to the masses.
Nowhere.
Returning again to one of my newly discovered favourite genres, shoegaze, in the form of a newly discovered band, Ride, and their debut album, Nowhere. Though, at times, experimenting with grunge, as on “Dreams Burn Down”, or progressive rock, as on the depression and anxiety anthem “Paralysed”, Nowhere is a masterpiece of noisy shoegaze and psychedelic acid house, perfecting over the course of the record what The Stone Roses showed in chaotic glimpses on their debut one year previously. Stands with My Bloody Valentine’s Loveless as a landmark of the shoegaze genre, but with a certain danceability, owing much to the burgeoning Madchester scene, that gives a different dimension that warrants multiple listens.
Repeater.
Three years after the dissolution of hardcore punk pioneers Minor Threat in 1983, Ian MacKaye went and formed Fugazi and within four tour-filled years, their debut full-length LP was released. A record of noisy punk, Repeater is occasionally minimalist, as on the title-track, but is more often that not complex and expressive as on the instrumental “Brandon 1” and the opening track “Turnover”. Lyrically, Fugazi comment on the cyclical, repeating nature of humanity: condemning the consumerism of 80s America on “Merchandise” and “Greed”; and the continuing destruction of Earth, as well as the death of culture and individuality on “Styrofoam”. A seminal album that inspired just about every alternative rock group of the 1990’s.
Fear of a Black Planet.
1988’s It Takes a Nation of Millions to Hold Us Back was brilliant, Public Enemy’s follow up record, Fear of a Black Planet, is, somehow, even better. Building on the innovative production of the preceding album, The Bomb Squad weave elaborate samples, sound bites, loops and drumbeats to perfection; creating a collage of noise that would influence hip-hop (and the laws surrounding music production) for years. Layered overtop is Chuck D’s biting lyricism as he explores themes of institutional racism, white supremacy and miscegenation; the tracks “Brothers Gonna Work It Out” and “Fight the Power” focus on racial injustice and a call, not so much for revolution, but of education to fight the inequality and end discrimination; “Revolutionary Generation” questions misogyny and sexism within black communities, vowing that this generation will be the first to respect women; while “Burn Hollywood Burn” criticises the movie industry in its exploitation of black artists and the depiction of black characters as stereotypes (specifically referencing Driving Miss Daisy *shifty eyes emoji*). Flava Flav’s more humorous raps offer respite from Chuck D’s scathing social commentary, “911 is a Joke” for instance attacks the inept emergency services that fail to respond the medical crises and perform malpractices on a regular basis, giving balance to what is a one of the greatest hip-hop albums of all time.
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