1990: DANZIG - II: LUCIFUGE. The best attempt Glenn Danzig made to made a classic album following his departure from the Misfits. Glenn always had a great voice, but while he was the Misfits be singer, it wasn't the greatest outlet to unleash his Elvis meets Jim Morrison wail. On "Lucifuge" he manages to mix his hard rock, gothic rock with blues seamlessly making this his most diverse outing. Really though, how good do his vocals sound on "777" or "I'm the One"? Even the cheese-fest slow blues rocker "Killer Wolf" is a beauty. "Snakes Of Christ" is pretty much a blatant rip-off of "Twist Of Cain" from the first album, but still works since there isn't that many heavy songs on the record so it doesn't come off as a rehash, just a reminder that this is the same band that did the first record. After this, Danzig turned his attention to more electronic, industrial-like material that… I just don't dig. Danzig's debut solo album was good, but this is great.
Honourable Mention: Fugazi - Repeater. The band's proper debut is almost as amazing as "13 Songs" (the bands first two EPs compiled) and is an essential post-hardcore document.
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1991: NIRVANA - NEVERMIND. What can be said that hasn't? I listened to this album so many times I had to re-buy it. By the time "Smells Like Teen Spirit" exploded in late 91-early 92 I was just about that right age to get into my own music, and I listened to it so my times my parents knew the songs (still didn't like them which I think was the point). Most people who listened to this album a lot probably don't care if they ever hear "Smells Like Teen Spirit" again, which is fair, because if I didn't I'd be fine with that. But the rest of the album can stand alone without the single that made the band a household name. "In Bloom," "Lithium" and "Come As You Are" are equally catchy pieces that would have made fine debut singles. For the folks more inclined to the angrier songs from their 1989 debut album "Bleach" were treated to "Breed," "Territorial Pissings" and "Stay Away." The second half, because it is less single heavy, is a far better. "Drain You" and "On a Plain" are absolute pop masterpieces, while "Something In the Way" is a hauntingly quiet song where Kurt's voice is pretty much perfect. I now prefer their next (proper) full length "In Utero" but there is no denying that this album changed everything we thought we knew about rock and roll.
Honourable Mention: Pennywise - Pennywise. Hermosa Beach's favorite punks' debut. Energetic, youthful skate punk.
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1992: HELMET - MEANTIME. New York based groove-metal, alt-rockers were dubbed the East Coast's answer to Soundgarden. I always found that to be about the most ridiculous comparison I have ever heard. Must have been some kind of marketing tool used by the label. There is no Seattle style vocals. The only West coast comparison that was even close was Austin, Texas based (then later Chicago) Jesus Lizard, but Helmet had their own sound. Guitarist/vocalist Page Hamilton loved those staccato, stop-start rhythms that littered the record and his growl was at it most angry after we saw it soften with subsequent albums "Betty" and "Aftertaste." The record was the band's major label debut, second album overall, peaked at number 68 on the Billboard charts. Page Hamilton wrote all ten tracks, stand out include "In the Meantime," "Give It," "You Borrowed," "Better," and "Unsung," the only single released from the album, and the name of their greatest hits album. Apt description for the band. This disc and "Betty" are essential, while "Aftertaste" is worth some spins. Be cautious after that.
Honourable Mention: Social Distortion - Somewhere Between Heaven & Hell. Social D's fourth album, and second major label effort is the best balance of country, rockabilly and punk rock they ever did. On par with their debut.
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1993: TOOL - UNDERTOW. "Opiate," Tool's debut EP was pretty uneven. There were a couple great songs on there, particularly "Part Of Me" but overall I thought it was just OK. "Sober," the albums first single was in heavy rotation on Much Music (back when they used to play music videos) and this was one of my early Columbia House Music Club CDs. I hadn't really listened to too much heavy metal at that point, other than what my dad had which was limited to Black Sabbath and Deep Purple. Or when I swore Guns N Roses was a metal band. Anyways, pretty incredible how far a band can come in a short time. "Prison Sex" is an great song. Maynard James Keenan vocals are incredible on the track and serves as a perfect lead in to "Sober." The song had been played live by the band as early as 1987, with different lyrics and instrumental chorus, but they fine tuned it into one of the best singles and videos of the year. The video was completely stop motion, done by Tool guitarist Adam Jones who has worked on makeup and set design in films such a Jurassic Park, Ghostbusters 2 and Terminator 2, as well as two entries in the Nightmare On Elm St series. "Bottom" features a spoken word passage featuring Black Flag and Rollins Band vocalist Henry Rollins, as is also a highlight of the album. I do love me some Rollins! Every bit as good as their second album "Aenima," if not better.
Honourable Mention: Nirvana - In Utero. Favourite Nirvana record. Drums sounds like thunder and Kurt sounds really angry. Originally titled "I Hate Myself & I Want To Die" but label execs felt it was a little too touchy feely.
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1994: NOFX - PUNK IN DRUBLIC. The NOFX record. Their best selling on too I believe. After noodling around with metal tinged punk on their first two full lengths "Liberal Animation" and "S&M Airlines," 1990's "Ribbed" was the first record that sounds like the NOFX we know and love today. 1992's "White Trash, Two Heebs & a Bean" and "The Longest Line" EP further solidified NOFX as one of the US's best punk bands. "Punk In Drublic" had the distinction of being the NOFX record that came out when Offspring's "Smash" and Green Day's "Dookie" were exploding, igniting interest in punk rock in the mainstream for the first time since the late 70's. The album itself contains such NOFX classics as "Linoleum," "Leave It Alone," "Don't Call Me White," "Perfect Government," "Lori Meyers," and "Punk Guy," most of which will be played at any given NOFX show. The band should get some love for the quirky "Jeff Wears Birkenstocks" and the closing time stylings of "Reeko." One of the albums that made me love punk rock.
Honourable Mention: Failure - Magnified. Los Angeles space rockers second of three records is nothing short of out of this world! (space pun.. I'm so sorry)
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1995: DON CABALLERO - II. Don Caballero's mad instrumental genius is most evident on their second album, II. Their debut "For Respect" was really good, but not even close in the degree of scope and musicianship on "II." The band gets off to as good a foot as any band ever has, with my all time favourite Don Cab song "Stupid Puma" kicking everything off. It is following by the sprawling 11 minute epic "please tokio, please THIS IS TOKIO." And, there is no heavier track in the entire Don Cab catalog than "Repeat Defender." Drummer and mastermind Damon Che has more stamina than [insert inappropriate joke here] and guitarist Ian Williams baffles. One of those albums where I just don't get how you can write this stuff. The band recorded two more album with the Che-Williams lineup before breaking up, Williams forming the outfit Battles while Che tours with a reformed Don Cab and have released two albums with the new lineup, 2006's "World Class Listening Problem" and 2008's "Punkgasm."
Honourable Mention: Lifetime - Hello Bastards. How are they so good? 23 or so minutes of pure emotion, all the while barely understanding a word because of the thick Jersey accent.
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1996: FACE TO FACE - FACE TO FACE. Just picking up the CD case you can't help but smile at the Black Flag "Damaged" homage of a young man looking in the mirror (this time Rollins isn't punching it out). Face To Face's self titled album came out during the last wave of major label punk signings before ska took over the airwaves in 1996ish. Vocalist Trevor Keith sounds better than he ever did, but his real strength is the songs he writes. The melodies are tighter than ever, the background vocals are sharps and the choruses are soaring. Opener "Resignation" is blisteringly fast but remains remarkably melodic throughout. "Blind" is my personal favourite on the record, and for good reason; it might be the best song Trevor Keith ever wrote. "Can't Change the World" shows band playing faster than they ever have, while "Complicated" and "Take It Back" are fairly mid-tempo. The only real misstep is the "I Won't Lie Down" which was featured on the Mortal Kombat II soundtrack. I guess that's something.
Honourable Mention: Weezer - Pinkerton. Their second album is much darker and much better than their first, however, wish the label would have let them release the proposed double album "Songs From the Blackhole" instead.
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1997: REFUSED - THE SHAPE OF PUNK TO COME. Swedish hardcore legends really went all out on their final full length. After releasing "This Just Might Be… The Truth" in their native Sweden, Chicago based Victory Records released the bands second album "Songs To Fan the Flames Of Discontent," the groups most "hardcore" offering. "The Shape Of Punk To Come" delved into post-hardcore, experimental rock, and art-rock. Despite their new found leanings, vocalist Dennis Lyxzen first words are "I've got a bone to pick with capitalism.. and a few to break!" knowing full well the Refused aren't joking around. "Worms Of the Senses/Faculties of the Skull" starts off with street noise, then some eerie electronic noise before the band explodes, layers on top of layers of guitar, before an amazing breakdown brimming with huge riffs and crazy drum fills. Stellar start to an album. "Summerholidays vs Punkroutine" would fit on the first couple International Noise Conspiracy's records, the band Dennis Lyxzen would form after the Refused parted ways. "New Noise" is now played at most football stadiums and arenas in North America. The albums title track is driven by a furious drum beat and Lyxzen's distorted vocals. A band that broke up way before their time, despite sporadic reunions the last couple years.
Honourable Mention: Boy Sets Fire - The Day the Sun Went Out. Best thing to come out of Delaware since… the ONLY thing come out of Delaware. Seriously though, awesome post-hardcore album, leaning a little to the hardcore side.
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1998: 88 FINGERS LOUIE - BACK ON THE STREETS. One of Chicago's best bands re-united for as it turned out, one more album. The band released one album in 1995 called "Behind Bars" before breaking up due to constant fighting amongst band members. They reunited in 1997 and started writing material for their second album. They put out a record that was so far ahead of their debut, in almost every way. The production is exponentially better, as is the song writing. The biggest improvement for me was the drumming of John Carroll. While Glenn Porter's drumming was fine on the debut (and I couldn't stand Dom, who always played the exact same beat) the drumming is noticeably the biggest improvement on the record. "Tomorrow Starts Today" is a fitting opener, with a blisteringly fast beat and Dennis Buckley's (much improved) vocals owning the song. "State" starts off pretty heavy before turning into a raga, and one of Carroll's best moments. "Stupid Love Song," "Joyboy," were songs that were clearly penned by Buckley who, at the time of recording, had a new born and was going through a divorce. "Worst Man Won" uses a quote from the highly quotable film Casino and serves up its hardest song of the album. "Well Done" is great, starting off innocently enough, but the bridge to close out the song is great. Amazing bass line, Joe Principe, who went on to be a founding member of Rise Against, plays so well. Throw a Bad Brains cover (Fearless Vampire Killers) and you have yourself a modern (or is it semi-modern now) punk rock classic!
Honourable Mention: Botch - American Nervoso. Tacoma Washington's mathcore legends debut sounds just as furious as it did in 98. Dig it!
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1999: DILLINGER ESCAPE PLAN - CALCULATING INFINITY. Dimitri Minakakis is one angry dude. Unfortunately, this is the only Dillinger album he recorded with the band as vocalist before hiring Greg Puciato, who is good and all, but he isn't Dimitri. Case in point: "Sugar Coated Sour" starts off more frenzied that a song has ever started off, blasting your in the face with intricate riffing and pummelling drumming by legendary drummer Chris Pennie. "43% Burnt" calms the chaos down but only slightly, favouring a more groove metal riff to carry the song. "Clip the Apex.. Accept Instruction" is about as frenetic of a breakdown as you will hear, and you will have to play it on repeat a couple of times. One of those bands where you either love them or hate them, but I have nothing but love for this record. The follow-up, and Puciato's debut 2003's "Miss Machine" was a good record, but too much about his singing makes me cringe. But maybe it's the style, and I just don't like the Dillinger who write songs more geared towards his style (what else can you do if he is your vocalist?). Sometimes new Dillinger literally sound like Nine Inch Nails. "Calculating Infinity" is a great record and the band's best album. Chaos, refined.
Honourable Mention: 7 Seconds - Good To Go. Return to form for classic Reno, Nevada punks, who put out their best record since "New Wind" thirteen years prior.
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End of Part 2
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