Underrated Album

UNDERRATED ALBUMS: MUSHROOMHEAD- XIII

It happens all the time. You come across a band that on the surface doesn’t really peak your interest for whatever reason. It could be a song, the band name, their style and more. The fun part of it all is over time, your previous expectations begin to dissipate and you give that band a chance and the end result is quite surprising.

Only a few weeks back I was out driving and put on one of those similar artists stations on Apple Music. While winding through canyon roads, a song came on that struck me. I didn’t have the who’s playing screen on so I didn’t know who it was. But this song was quite the heavy melodic treat. When I got to a place to stop, I went back to check who it was and to my absolute surprise it was a band I was not expecting. The song was “Sun Doesn’t Rise” by Mushroomhead. Yes, I was that surprised too. It’s been years since I heard this song and probably the same amount of time since I actually last listened to Mushroomhead. Needless to say, what came next was listening to the album XIII which the song is from. The end result led to…

“Wait?! This is Mushroomhead?!! Oh damn, maybe it’s time to give them a second look.” Before I went into this album, I made sure to put aside any pre conceived notions I had about the band and went in with fresh ears. The end result is that XIII is a really really good melodic heavy album. There are elements of the time with some “nu-metal” styles but, there is way more to take away from this album and band. Throughout the album, piano is a vital and prominent instrument that propels certain songs and moments in a delicate but menacing nature. The down-tuned riffs, while they do have some nu-metal flair, you’d be surprised to hear that it’s actually more in line with Meshuggah style djent-y guitar riffs and rhythms. The album itself is hyper-focused and you hear the amount of effort being poured into XIII. As this is the bands “major label debut” the need to go full on here paid off quite well.

The way the album plays out feels very cohesive with each part being there on purpose. The 13 tracks on this album bring about a variety of styles fused together, different moods and interesting arrangements and structures. Without giving the albums away, this track by track rundown will guide you to listen to the album!

Starting XIII is “Kill Tomorrow” which out of the gate kicks things off in a great way. Then “Sun Doesn’t Rise” really takes it to another level. Really this is one of those songs that makes this an underrated record. “Mother Machine Gun” is one of the standout songs on here. The intro blends so well into how the songs continues. The melding of styles on this song is a good idea of the progressive nature of where things are headed. “Nowhere To Go” has a ballad sensibility and a great push and pull aspect. “Becoming Cold” is a track that feels like a throwback to some of the bands earlier material in the M3 era.

“One More Day” is another treat of a piano driven song. “The Dream Is Over” is a heavy stellar track that has a very deep sludgy style. “The War Inside” is the companion of the previous. Rght in the middle of the record is a left and right hook to the head. “Almost Gone” goes further into the sludge territory and gives the album a song that is a true deep cut. The last three songs “Eternal,” “Our Own Way,” and “Destroy The World Around Me” play out like three chapters of a book that you are eager to get to so you know how things are going to end and what possible direction will come next. Closing out the album is “Thirteen” an instrumental track continues on that leads to a secret song, a cover of “Crazy” by Seal.

The band themselves have chops and write good songs. The vocal combination of Jason “J Mann” Popson and Jeffrey “Nothing” Hatrix sounds stellar. Each have their own style and character in their voice which makes their back and forth and chemistry really be present. Drummer Steve “Skinny” Felton propels the songs with an ignited spirit. As the bands main producer too, Skinny knows the band inside and out. Jack Kilcoyne aka Pig Benis, has a mighty bass tone that feels like it could have been a part of Crowbar. Dave Felton aka Gravy, like Benis, has a great sludge style of guitar playing as does other guitarist Bronson. And Stitch on turntables/samples giving the songs an added texture.

At the end of the day, when you take away the gimmick aspect, the band name, the stage names, you have a really quite good band. Mushroomhead really are a solid band. To be an entity back from 1993 till now, shows there is something here. Each of their albums has it’s own moment. XIII just had something else to it that makes it what it is. This is a really great example of an underrated album that got the brush off just because of some silly media crap. Listen to what you want and like. And while you are at it, give Mushroomhead’s XIII a spin!

By: Brian Lacy

MUSHROOMHEAD- XIII:

Underrated Albums: Depeche Mode- Songs of Faith and Devotion

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Depeche Mode is one of the most intriguing bands of the last 30 plus years. They have never been a band to keep making the same album. They’ve experimented and evolved in a way that is truly astounding. Each album stands out on it’s own. Some are better than others but the true essence of Depeche Mode is in each of their releases. Which brings me to their 1993 album Songs of Faith and Devotion. Following up an album like Violator is never easy but, this is Depeche Mode we are talking about. They followed up their breakthrough album with a record that took chances and showed just how really diverse Depeche Mode is.
Songs of Faith and Devotion is the eighth studio album in the bands catalog and it’s one of their more darker and aggressive albums. This album would be produced by Flood again and was recorded in a rented home which the band built a studio and live and worked in. This album saw the band become very interested in the alternative music that was taking over. Bands like Jane’s Addiction and Soundgarden have been mentioned as key inspirations for the albums sound and style. The making of the album was quite difficult. Growing tensions among band members and drug addiction had caused some very trying times for Depeche Mode. Despite all this, Songs of Faith and Devotion is one of the best pieces of work the band has ever put out. Songs like “Walking In My Shoes,” “I Feel You,” “Condemnation,” In Your Room,” “Rush,” and “Higher Love,” just further prove that this album is truly remarkable. Even with the addiction issues, Dave Gahan’s vocal performances on this album are beyond stellar. Martin Gore, in my opinion, outdid himself with the songs he wrote on this album. Perhaps the growing tensions within the group especially the most strained between drummer Alan Wilder and Gore, helped to make some of the bands best songs. The following promotional tour for the album, The Devotional Tour, would be regarded in the bands history as their most “debauched” rock tour ever. This tour would also be the catalyst for the long break the band took afterwards before they would begin work on their album, Ultra.

Depeche Mode’s catalog is full of so many great albums. Violator is always going to be the one that the “masses” reach for but, the deep fans know there is more than just “Personal Jesus” and “Enjoy The Silence.” Personally for me Songs of Faith and Devotion is in my top 3 favorite Depeche Mode albums (the other two are Music For The Masses and Exciter). There is something truly beautiful about how all the negativity that surrounded the making of this album created a record that surpassed an expectations that people would have. For almost 40 years now, Depeche Mode has proven you don’t need to make the same record twice. Taking chances and evolving in a way that still keeps the essence of the band in tact, has always been key to the bands success, and Songs of Faith and Devotion cements that fact.

Depeche Mode- Songs of Faith and Devotion:

Songs of Faith and Devotion Documentary:

Underrated Albums: Sparta- Threes

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One of my favorite things to do is take a day and listen through a bands entire catalog. Yesterday, I was looking for something to listen to and out of the corner of my eye I saw my Sparta collection. So naturally I grabbed all three albums loaded them up in the stereo and proceeded to emerse myself in Sparta’s catalog. Their first album Wiretap Scars has already been established here on Audioeclectica as an unsung masterpiece. Their second album Porcelain is a somber album that takes a little while to really get into. But the album that really wound up striking a chord with me was Threes.

All the songs on this album present a refreshing sense of the band. Vocalist Jim Ward admits he was heavily influenced by Radiohead recording Threes. In the softer parts of the songs you can hear Thom Yorke in the vocals. Whatever it is he is singing, it’s always very passionate. One thing I noticed about Threes is the atmosphere of the album. It’s not the ambience that made Wiretap Scars special, but instead it brings out a new kind of ambience full of gloominess, suffering and other emotional pain. Songs like “Untreatable Disease,” “Crawl,” “Unstitch Your Mouth,” “Erase It Again,” and “The Most Vicious Crime,” all fall into that solemn category.  The first single “Taking Back Control,” is a classic heavy song for Sparta. Other stand out tracks include “Atlas,” “False Start,” “Red.Right.Return,” and closing track “Translations.”

If there is one critique about the album as a whole is that the production is a little too slick. In a way you can tell that the producer tried to expand upon the production sound that helped to make Wiretap Scars sound so good, but used too much compression. Sparta would go on to take a very long break after Threes. They reunited in 2012 for a short tour and also released a new song called “Chemical Feel,” which is equal parts Wiretap era and Threes. Sparta, while only having three albums, really left a quiet mark on the times of the early 2000’s expansion of post-hardcore. I really feel like they still have enough in them for one more solid album. Granted that will all have to come after this current At The Drive-In reunion. So take a listen to Sparta’s Threes and you’ll hear what I’m talking about.

 

Sparta-Threes:

 

Sparta- Chemical Feel:

 

 

 

 

Unsung Masterpiece: Poison The Well- You Come Before You
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There comes a time for every band to take the next step with their music. When that time comes, the final product is often times misunderstood and takes a while for the fans to come around. Then there are the new fans that come aboard and really take a liking to the change. In the early 2000’s following the success of their album Tear From The Red, Poison The Well found themselves signing to Atlantic Records and from that point started putting together what would become their third album You Come Before You. They enlisted Swedish producers Pelle Henricsson and Eskil Lövström who worked on Refused’s monumental album  The Shape Of Punk To Come. Recording for the album started at the legendary Sound City Studio and then moved to Sweden. The end result of these sessions brought out the absolute best in the band. You Come Before You is the album that breaks the mold of post hardcore and allows the bands other influences to shine through. The use of melody throughout really helped to sharpen the bands edge without taking away from their hardcore roots. Opening song “Ghostchant” shows just that. Other stellar songs include “For A Bandaged Iris,” “A) The View From Here Is…B) A Brick Wall,” “Zombies Are Good For Your Health,” “Apathy Is A Cold Body,” “Sounds Like The End Of The World,” and closer “Crystal Lake.” The entire album is sensational if you are into this genre of music. It has even been talked about as one of the most influential albums of the “metalcore” genre. The band really stepped up on this album. Singer Jeff Moreira really developed an identity on this album by taking chances vocally and lyrically. The riffs, tones and all around playing from guitarists Derek Miller and Ryan Primack are crisp and heavy, allowing all the notes to come through. The rhythm section of Chris Hornbrook on drums and Geoff Bergman on bass, are one of the most in the pocket in this genre. After the record was complete, the band started a year and a half tour cycle that took them to around the world. Towards the end though, many of the band members were worn out and unsure if they wanted to continue with Poison the Well. Sadly, guitarist Derek Miller did part ways at this time.

Poison The Well would go on to release 2 more albums that further expanded upon what they started on this album. After the release of their final album The Tropic Rot, the band took a long hiatus, only recently returning to the stage in 2015 for a reunion show. Here’s to hoping they continue on. Poison The Well are one of the more underrated bands in heavy music and helped to make it acceptable to allow melody into the genre.

 

Poison The Well- You Come Before You:

Unsung Materpieces: Nine Inch Nails- Year Zero

Concept albums are very unique and at times take a long time to fully understand. Listening to select songs doesn’t give you the full effect. And a lot of the time the story that accompanies the album is very convoluted. Though there are many cases when the above statements don’t apply. Pink Floyd, The Who and more recently Mastodon and Nine Inch Nails  have been able to create epic concept albums that can stand on their own or as separate entities. In 2007, Nine Inch Nails released Year Zero.

“The Year Zero story takes place in the United States in the year 2022. The United States has suffered several major terrorist attacks, and in response the government has seized absolute control on the country and reverted to a Christian fundamentalist theocracy. The government maintains control of the populace through institutions such as the Bureau Of Morality as well as increased surveillance and the secret drugging of tap water with a mild sedative. In response to the increasing oppression of the government, several corporate, government, and subversive websites were transported back in time to the present by a group of scientists working clandestinely against the authoritarian government. The websites-from-the-future were sent to the year 2007 to warn the American people of the impending dystopian future and to prevent it from ever forming in the first place.”

So with that all mind one would think that this is just a mess, but in fact it’s the complete opposite. Trent never misses a step with creating this apocalyptic epic. This album was also the next step in Trent’s revitalized state of mind and musical odyssey. There are a lot of uses of noise, static, and strange yet amazing distortion. Certain songs stand out amongst the album as a whole such as “The Beginning Of The End,” “Survivalism,” “In This Twilight,” “The Great Destroyer,” and  “My Violent Heart.” Furthermore there was something else about this album, was that it opened up the visual aspect even more than before. Since Trent has described Year Zero as a soundtrack to a movie that doesn’t even exist, it’s not hard to let your imagination take you off on quite a little trip.

Year Zero is not The Downward Spiral or The Fragile, but it is one of the most artistic and well thought out releases that Nine Inch Nails have ever released. One other strange thing about this album, was that touring for this album was not very prevalent. The people at Interscope records really dropped the ball on handling the marketing and promotion for this album, hence why it never got the due it deserved. So give yourself some time and delve back into Year Zero and see for yourself what you might have missed.

 Year Zero:

By: Brian Lacy

Unsung Masterpieces: Silverchair- Neon Ballroom
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As the 90’s came to an end and the music started to evolve, plenty of bands started to add other elements to their sounds to compliment the changing climates. Radiohead is a prime example. One band that really took a sharp turn was Silverchair. Their third album Neon Ballroom, took them to the next level as far as songwriting, production, and performance. Their earlier releases especially Frogstomp were full of untamed rage, despair, and teenage angst. Frogstomp was written when the band were only 14. When Neon Ballroom was released, Daniel Johns, Ben Gillies, Chris Joannou, seemed as though they finally achieved what they wanted to do musically. Lyrically, the songs were more personal and had a feel to them that could be related to just as the early 90’s “grunge” bands. Musically it went beyond the simple drums, bass and guitar, The riffs got more intricate, rhythms more complex, and a new element of strings were used. The first track on the album “Emotion Sickness” takes that approach and mixes their blend of hard rock with a bit of orchestral sounds, thus making it epic, especially at the peak of the song where Daniel sings “get out” in such pain and despair. “Ana’s Song (Open Fire)” was written about Daniel’s bout with anorexia. The first single “Anthem For The Year 2000” has the similar vibe of their previous 2 releases but this time more grown up. Other stand outs on Neon Ballroom are “Miss You Love” “Spawn Again” (which was originally featured on the Spawn Soundtrack), “Black Tangled Heart.” There really is something about this album that allows the listener to grow with the band. Not to mention that this album was name number 25 in the top 100 best Australian albums of all time. Silverchair went on to release 2 other albums after Neon Ballroom, but they don’t compare to how great this album is. Now if only they would just get back together and tour!!

Neon Ballroom:

By: Brian Lacy