Cobra Verde, “Viva La Muerte” (Scat/Matador, 1994)Essentially, this is Death of Samatha after a slight line-up reshuffle and a major attitude re-vamp. Roxy Music/Pere Ubu glam-art-punk fused with fluently Stonesy rock classicism is still the working model here, but the former whimsy has been replaced by a chain-mail-fisted, powerfully dynamic hard-rock attack in pursuit (and […]
Codeine, “The White Birch” (SubPop, 1994)Second album from these pioneers of the loud/soft and always . . .very . . . slow . . . school of indie-rock minimalism. This is even more sparse, majestic and beautiful than its predecessor, and may make you want to lie on a desolate beach in midwinter.Try 1,211/10/16
Come On, “New York City 1976-1980” (Heliocentric, 1999; original recordings 1978-1980)From the look to the sound, these guys were just what you’d expect from their time and place, but since that time and place was one of wild invention, they are as good as you’d hope. Hard-edged, elliptical minimalist guitar-pop that simultaneously plays up the […]
Company Flow, “Little Johnny From The Hospital” (Rawkus, 2001)Alternative-rap crew (featuring El-P), but minus the raps, equals some really spooky, unnerving, off-kilter hip-hoppish instrumentals. This has been compared to Endtroducing for its late-night-in-the-city vibe, and actually if you picture DJ Shadow putting that one together under the influence of bales of K2 that made him […]
Alec R. Costadinos, “The Hunchback of Notre Dame” (Casablanca, 1978).Mind-boggling disco “adaptation” of the Victor Hugo chestnut; mostly instrumental aside from thrillingly hammed-up, mystifyingly out-of-context occasional dialogue, but the audaciously melodramatic, wildly baroque music, driven by an elegant yet relentless pulse, imposes a peculiar narrative force of its own.Start with 1/1.11/12/12/
Elvis Costello and the Attractions, “Live At The El Mocambo” (Rykodisc, 1993; original release Demon, 1978)Recorded a few months before “This Year’s Model” came out, this is the first Costello I’ve heard that fully bears out his association with punk, and then some. Basic organ-driven ‘60s garage-rock, modernized through post-Roxy Music angularity, is the m. […]
Elvis Costello, “Trust” (Columbia, 1981)This might represent the pinnacle of Costello’s work. The songs have the structural complexity and stylistic eclecticism that sometimes elsewhere overwhelmed him, but here they have the clear presentation and rock’n’roll fire of his early blasters.Try 1, 8, 9, 144/30/12
The Cramps, “Smell of Female” (Vengeance, 2001; original release 1983)Bryan Gregory having gone off to worship Lucifer and/or fail to become the next Robert Smith, this features Ivy shouldering full guitar duty, and the sound is actually bigger/louder/ruder than before, the punk side of their garage/surf/rockabilly Frankenstein-fusion starting to dominate.Try 1/1, 2/ 410/2/18
The Creamers, “This Stuff’ll Kill Ya” (Triplex, 1994; original release 1988-91)Late ‘80s punk from L.A. – pure ’77-style Pistols/Ramones hook-a-rama rush/roar, but with a stripped-down propulsion that lets you know hardcore had made its mark on them as well. And instead of the revolutionary conviction/expectation of the late ‘70s, there’s a hard-nosed engagement with the […]
Creatures, “A Bestiary of” (Polydor, 1997; original releases 1981, 1983)So, whaddya get when the regal mistress of the moody, mind-benging end of Brit postpunk goes Hawaiian?!? The answer essential is, a Siouxsie record with no guitar and more/wilder/weirder percussion. The Hawaiianisms (it was recorded there) are played for atmosphere rather than festive fun (surprise), so […]