No, it's not the soundtrack to the Michel Houllebecq book, nor do they use the more attractive (in this correspondant's opinion) British spelling of Atomiser, but this isn't a record for being attractive. It's pure brutality, or at least pure misanthropy, or, at least, to use some more commas, as pure as misanthrophy in music can be that still adheres to pop/rock song structures and 4/4 rhythms. I think 'Jordan, Minnesota' is still my favorite Big Black song (and this is my favoite Big Black record, by a mile) perhaps because the topic is so heavy. Albini obviously felt strongly enough that he designated a full 50% of the liner notes to this tune. And it has a strong moral agenda whereas the hits like 'Kerosene' are more situational. But they're all great. So here's a question- do you think if you were a sports team, but say a really fucked up sociopathic sports team like the Oakland Raiders or something, then you would play the ending of 'Strange Things' through the PA at your games to get the crowd worked into a frenzied meléé? Cause when I listen to this song, even though the liner notes say it's bad, it's like a reworking of 'Rock and Roll part 2' by Gary Glitter. A bit of circular logic here cause don't Mr. Glitter's problems make you want to crank up 'Jordan, Minnesota'? This will stay with you until you die, and Atomizer is a fucking intense fist of industrial-indie-punk-metal fury, the sound of 1986 as I imagine it because, let's be honest, Big Black were before my time. I love that the liner notes (which I've already mentioned twice) are not merely lyrics but instead "about" the songs. I love that a song like 'Passing Complexion' has such a catchy, octave-pedal pop hook in it yet it's still angry and punchy and about something. Maybe it's my loss, but I don't really listen to anything else Albini's done anymore. That first Shellac record is great (though I don't own it) and I don't dislike any of his output, but whenever I get that urge to listen to music that recalls the misplaced emotions I had in high school (and suggests a grimy, Midwest city of industry) then I just go back to this one, even though it's as familiar as apple pie now. It all musta been so different on 5 October 1985 when this was recorded. And what a thanks list! Sonic (fucking) Youth, Squirrel Bait, Byron and Jimmy (still quite the partnership in those days), Jack Rabid, the Butthole Surfers, Killdozer and the entire city of Minneapolis (including Prince, I guess). And "anybody who likes the bishops" -- meaning Alan and Rick? It's not really a thanks list, but a list of "hellos to" -- yet, does anyone really think 'hello' is the right sentiment for this band? Such pleasantries seem beyond Albini and co., as they seem more likely to greet you by stabbing you in the stomach with a Phillips screwdriver. This will stay with you until you die, and Atomizer will too.
HEY! Get updates to this and the CD and 7" blogs via Twitter: @VinylUnderbite
5 December 2009
Big Black - 'Atomizer' (Homestead)
No, it's not the soundtrack to the Michel Houllebecq book, nor do they use the more attractive (in this correspondant's opinion) British spelling of Atomiser, but this isn't a record for being attractive. It's pure brutality, or at least pure misanthropy, or, at least, to use some more commas, as pure as misanthrophy in music can be that still adheres to pop/rock song structures and 4/4 rhythms. I think 'Jordan, Minnesota' is still my favorite Big Black song (and this is my favoite Big Black record, by a mile) perhaps because the topic is so heavy. Albini obviously felt strongly enough that he designated a full 50% of the liner notes to this tune. And it has a strong moral agenda whereas the hits like 'Kerosene' are more situational. But they're all great. So here's a question- do you think if you were a sports team, but say a really fucked up sociopathic sports team like the Oakland Raiders or something, then you would play the ending of 'Strange Things' through the PA at your games to get the crowd worked into a frenzied meléé? Cause when I listen to this song, even though the liner notes say it's bad, it's like a reworking of 'Rock and Roll part 2' by Gary Glitter. A bit of circular logic here cause don't Mr. Glitter's problems make you want to crank up 'Jordan, Minnesota'? This will stay with you until you die, and Atomizer is a fucking intense fist of industrial-indie-punk-metal fury, the sound of 1986 as I imagine it because, let's be honest, Big Black were before my time. I love that the liner notes (which I've already mentioned twice) are not merely lyrics but instead "about" the songs. I love that a song like 'Passing Complexion' has such a catchy, octave-pedal pop hook in it yet it's still angry and punchy and about something. Maybe it's my loss, but I don't really listen to anything else Albini's done anymore. That first Shellac record is great (though I don't own it) and I don't dislike any of his output, but whenever I get that urge to listen to music that recalls the misplaced emotions I had in high school (and suggests a grimy, Midwest city of industry) then I just go back to this one, even though it's as familiar as apple pie now. It all musta been so different on 5 October 1985 when this was recorded. And what a thanks list! Sonic (fucking) Youth, Squirrel Bait, Byron and Jimmy (still quite the partnership in those days), Jack Rabid, the Butthole Surfers, Killdozer and the entire city of Minneapolis (including Prince, I guess). And "anybody who likes the bishops" -- meaning Alan and Rick? It's not really a thanks list, but a list of "hellos to" -- yet, does anyone really think 'hello' is the right sentiment for this band? Such pleasantries seem beyond Albini and co., as they seem more likely to greet you by stabbing you in the stomach with a Phillips screwdriver. This will stay with you until you die, and Atomizer will too.
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment