Fame is a difficult thing to manage. Done wrong, you’re on top of the world and at the bottom of a trench at the exact same time. And a lot of artists did it wrong from the 70s to the 90s. Disillusionment with the rockstar lifestyle, alienation from fans and loved ones, substance abuse, all common stories that we have heard a million times over. And, in many cases, that dissatisfaction has been poured into music. The Wall, In Utero, even Radiohead’s Kid A, to an extent, are all shining examples of that strife turned into art. But there’s one album that stands above them all in terms of its anger and jaded outlook. An album so abrasive, that when its mastermind sent it in, he apologized.
Welcome back to The Look Back, a look at the classic albums of old through modern ears. Today, we’re covering the sophomore album from industrial act Nine Inch Nails, 1994’s The Downward Spiral.
WHY IS THIS A CLASSIC?
Nine Inch Nails, in general, have always flirted with fame throughout their career. Their debut, Pretty Hate Machine, was a breakout hit that seriously helped to bring industrial into the mainstream eye. However, that album was far lighter in tone and sound, more dance-y and poppy, almost like an industrial successor to Depeche Mode. Downward Spiral, on the other hand, was unthinkably abrasive, making heavy use of…
It’s incredible how the most groundbreaking movements can be started from the smallest sparks. Take, for instance, a young guitar player who lost his fingertips in an accident at a sheet metal factory. Despite being told he would never play again, he found a way, melting down plastic bottles to create homemade thimbles, and tuning down his guitar to make the strings easier to hold down. I’m sure you can guess where this is going: that guitarist was none other than Tony Iommi, and that one accident would inevitably lead to the birth of a whole new genre of rock music: heavy metal.
Welcome to The Look Back (title still somewhat in progress), a look at the classic albums of old through modern ears. This is a little project I’m embarking on to see how albums that are held up as classics in their genres fare in the modern day, when so much has built on their foundations, all through the ears of a Gen Z kid who listened to plenty of these newer albums before checking out the classics. And for the inaugural installment, I felt it was only right to look at the album that indirectly inspired so many of Sputnik’s favorite albums, the progenitor of heavy metal, Black Sabbath’s self-titled debut album.
WHY IS THIS A CLASSIC?
I mean… do I really even have to ask this? While other bands such as Led Zeppelin are sometimes…
For any Sputnik regulars that have interacted with me in the thirteen years I’ve been on this site, you may already know that I play the bass and have done for nearly twenty years. So with that context in mind, for no reason at all, I woke up this morning and decided I wanted to pick out a bunch of tracks I think have awesome basslines. The criteria for the chosen ten songs on this list is rather arbitrary, but essentially the main purpose is to highlight some subtle (and not-so-subtle) basslines that aren’t immediate if you’re not a bass player yourself, maybe prompting you to listen to these songs and hearing the magic unfold within them from that perspective. Maybe you’ll even listen to them and never again be able to look at them the same way. After all, that is the beauty of the bass guitar – an instrument that has been treated rather thanklessly throughout history, but is nevertheless an essential ingredient needed to make a good song even better. With that, I hope you enjoy the playlist I’ve created and my thoughts on these fantastic songs.
Jennifer Paige
Let me tell you, as a guy riding hard in his 30s, basslines in pop tracks tend to have some of the best grooves you’ll ever hear. Of course, when you’re an impressionable teenage contrarian, or a knuckle-dragger in your early 20s like I was, looking for edgy NU-metal angst, putting-the-world-to-rights…
With the recent announcement of Linkin Park’s return, there has been heated debate on whether Mike Shinoda should have brought the band back after Chester Bennington’s untimely death in 2017. I fall on the side of fervently abhorring the decision, and as the weeks have trickled past since their proclamation of return, it’s got me thinking about a few things, most prominently: what makes a band? So folks, not a single person has asked for it, but this is something that has been passionately eating away at me since it was announced, so you’re getting pinned down like Alex from A Clockwork Orange and having my two-cents shovelled into your mouth, whether you agree with it or not.
What is a band?
Before I talk about The Linkin Park Conundrum, I want to take it back a bit and define what a band is. The most elemental description of a band is a group of like-minded individuals – typically friends starting out – who want to make music they enjoy listening to. It’s a collection of individuals who come together with the common interest of creating music; each member picks a role, be it singing or playing one or more instruments, and they set out to make music. Outside of this simple materialistic description, there are two other important factors I think define a band. This is the value an individual brings, and the band’s chemistry.
Welcome back to Neek’s 1st Listen, where I listen to an album for the very first time while my fingers fly across the keyboard, generating near-thoughtless spur-of-the-moment takes. It’s messy, stream-of-conscious, and only very lightly edited. You’ve been warned!
FOXING Foxing
Full disclosure: I love Foxing. Well, for brevity’s sake, I love Nearer My God, and most of their other stuff with the occaisional asterisk. Perhaps I shouldn’t have heard “Hell 99” first but it left just a bad taste in my mouth that ran through “Greyhound” and it never left. Still, I don’t expect this to be the first Foxing album I’m not into, I’m just worried that their scattershot freneticism might be more frustrating than captivating this time around.
Without further ado…
“Secret History”:
The scratchy record vocal sample playing under Conor’s voice suddenly makes me realize why Sowing cites “Vices” in his opening paragraph, but I wonder if it’ll have the same “surprise explosion.” And there we go. Ok and it’s already gone! So like, I’m not sure that counts as a surprise after “Hell 99.” Alternating between two very disparate sounds and genres and melodies on the same track is an interesting opening statement for sure, but I fail to see this having the same lasting impact as, say, “737” did for both me and its parent album. 6/10
It’s been years since I’ve last done one of these, and it’s certainly the first since I’ve been a staffer, so welcome to the first official blog post for “Neek’s 1st Listen”!
As a reminder for those new to this long-dormant series, this closer to a stream-of-consciousness series of rants that flow from my very very tired brain edit-free onto the page the very first time I hear the album in question. So please forgive my ridiculous comparisons and questionable turns of phrase.
THE SMASHING PUMPKINS Aghori Mhori Mei
Full disclosure:
The Smashing Pumpkins are one of my favorite bands, and while I was an apologist for their post-breakup era a good long while, the most recent run of albums left me completely cold. I didn’t even bother checking ATUM: Act III, and this is someone who ranked all 200-something of their songs in 2018. But after skimming Johnny’s excellent review and peeping the opening track, Edin I decided it was about time to finally break out this blog feature (and all the formatting fun that comes with it).
Without further ado…
“Edin”:
Johnny’s line about Tool and Kyuss is spot on; these fuckin riffs are buttery but sharply wielded. Corgan’s vocals kinda shatter the fun—even on his better moments in these late albums his performance sounds AI-generated. You could predict his cadence by…
Chelsea Wolfe- She Reaches Out To She Reaches Out To She
“You only know the one I’ve been
I’ve shed a thousand skins since then”
Not many artists are quite so familiar with re-invention as Chelsea Wolfe; on She Reaches Out to She…, she wanes away the pagan-folk of her prior LP and welcomes electronics back under her shroud. Expounding on the darkwave of Pain Is Beauty, her latest churns through nocturnal scenery while flipping familiar gothic, industrial, and trip-hop influences around on their heads. Dave Sitek (of TV on the Radio fame) contributes razor-sharp production that provides clarity to each element without losing the shadowy murk the album inhabits so naturally. But perhaps the most notable progression Wolfe has made is personal—as nightmarish as her soundscapes are, her lyrics expound optimism. As each track twists toward its uniquely devastating climax, Wolfe’s vocals soar with the fire of someone bursting from their internal void to fight for the light in their life—and coming from Queen of Darkness, that means something. Her latest displays an artist fully aware of themselves and their brand, who knows just how to throw their audience for a loop. By combining that knowledge with a willingness to turn inward and face her demons, Chelsea Wolfe has crafted a proper goth album for the ages.
Here’s a list of major new releases for the week of March 1, 2024. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 1, 2024 –
Bruce Dickinson: The Mandrake Project
Genre: Heavy Metal/Hard Rock Label: BMG
Daniel Herskedal: A Single Sunbeam
Genre: Jazz Label: Edition Records
Devastator (UK): Conjurers of Cruelty
Genre: Black Metal/Thrash Metal Label: Listenable Records
“The General” is, in every conceivable way, a disaster of epic proportions. Yet, if there’s one thing this relic is exceptional at, it’s brazenly highlighting everything wrong with Guns N’ Roses in 2023. For those who forgot, didn’t know, or are simply caught up in the moment while the years pass them by, Slash and Duff rejoined Guns N’ Roses way back in 2016. At the time, for any long-serving Guns N’ Roses fan, I can imagine the reunion being a joyous occasion for them – having daydreams of the band writing new music together and playing solid shows with a formidable greatest hits setlist – but in the seven years gone by, the band have only managed to produce a “reworked” version of “Shadow of Your Love” (a B-side from 1987, made into a single to promote the 2018 Appetite for Destruction boxset), and four Chinese Democracy-era archive tracks, all of which feel as though they hit the cutting room floor for a reason. On top of the poor creative output – or lack thereof – the band’s live shows have suffered immeasurably in recent years, with a gasping, overweight Axl Rose now sounding like Mickey Mouse on his death bed. Nevertheless, to drive the point home, by going back to the meagre amount of recorded slop served thus far from this current line-up, while “Hard Skool” and “Absurd” retain subtle aspects of the classic GNR sound – albeit not enough to make the tracks any…
someone walks into a bar. It’s someone. I am johnnyoftheWell. It was a slow afternoon, and there we were. KILL or KEEP? Aye, why not – which record? Several meaningful opuses were teased, all of them beyond the space of our timeslot. Where does gravity default to on a slow afternoon? Well… has anyone ever listened to Phoebe Bridgers on a fast afternoon? Is such a thing even possible? Please do contact us immediately if you have pulled this off. We signed our rights away. It was time: time to get punished! Has her downer norm-magnet SowingSeason “5.0 Classic” passport to all of social media all the bloody time throughout the whole pandemic aged well? Time to find out…
Rules
The team is johnnyoftheWell, and someone.
Every song must either be KILLed or KEEPed.
There is no minimum KILL threshold.
Every time a song is KILLed, the KILLer must name a vaguely Boygenius-adjacent artist whomst’ve the youthes should be consuming instead.
Okay.
Starting Impressions
jotW: Um, I expect little from this album and am ready for anything? It has disappointed me many times and probably aged more than anyone including me is/was prepared to admit. This is very exciting boy I can’t wait to see what someone does to it.
someone: I remember listening to the record a bunch back in the…
Who doesn’t like a good documentary? Me personally, I’m a stickler for watching anything so long as the production values are there and the editing and pacing is done well. For me, I know of Justin Pearson and his label Three One G, as well as some of his most recent projects (the excellent Deaf Club and Satanic Planet being a couple of them), but I’d only ever heard of The Locust in passing. The point I’m making here is that, Don’t Fall in Love with Yourself is one of those excellently put together documentaries where you don’t have to be a fan to enjoy the movie. For any The Locust fan or Justin Pearson follower out there however, you’re in for a real treat. Don’t Fall in Love with Yourself is a 90-minute documentary that follows Justin’s life and career – from his turbulent upbringing, right through to his bands and how he came to establish the record label Three One G. The film delves into the social landscape during his formative years in San Diego, and where he saw potential in an under-utilised music scene; the impetus for The Locust and how they came to be, following the band through Europe, Japan and the UK on their crazy shows; and all the surprising bits in between, like voice acting for cartoons and acting in movies. There’s extensive archive footage that follows all of this, but the meat of the film follows The Locust on their tours and the crazy stuff that happened…
My wife and I spent a good chunk of yesterday evening at the Crystal Ballroom, a small venue in the Boston suburb of Somerville. The main attraction was The Clientele, a cult band making their very first live appearance in the US since all the way back in 2017, with this concert marking the kickoff of a short August tour through the US before fall tour dates in the UK and continental Europe.
The crowd to witness this was pretty small, even by the standards of a rather snug (if classy) venue. My untrained eye would estimate 150 people at most, or perhaps only a 100, all clustered close to the stage to watch the British trio do their thing. If it was a touch disappointing to see a thin turnout for a veteran act with an excellent discography who are still at the top of their game (as listeners of last month’s new record I Am Not There Anymore can attest), the relative quiet and intimacy of the small venue and even smaller crowd was ultimately fitting. The Clientele are, after all, a band known for their gentle and atmospheric sense of melancholy, and if their song interpretations were a bit more rocked-up and loud presented live compared to in studio, they maintained this trademark throughout. The results were captivating.
Following a set by Baltimore-hailing openers The Smashing Times (an interesting act with an album out Oct 30th which I will be checking), The Clientele’s time on…
uhhhhhhh I made this half hour video where I talk into the camera about the Minneapolis indie rock band 12 Rods, who are releasing a NEW ALBUM, their FIRST in TWENTY-ONE YEARS, called IF WE STAYED ALIVE, this Friday!
the formatting is off, particularly in the literal like first minute of the video. I edited this on a laptop whose trackpad doesn’t work using an internet browser video editor. I used the touchscreen it’s a chromebook.
Welcome back! Those who have been following along know that I’ve already covered CDs on two other installments (Vol. 1 & Vol. 2) and apparel in the most recent publication (Vol. 3). I’m back with some more CDs that I hope you will find interesting/alluring; let me know what you think in the comments, and as always, feel free to share pictures of your own collections. Thanks for reading!
(1) The Republic of Wolves – Shrine
Aside from being one of my favorite bands, The Republic of Wolves are also a group that I feel a sense of closeness to. I’ve been reviewing their material since their 2009 debut EP when they were virtually unknown, and have conversed on a semi-regular basis with both their lead singer and drummer. They always have the coolest themes and artwork, and the above captures their essence: mysterious & ominous, yet full of purpose.
While the cover art shows people marching and wielding torches, the CD shows a building burning to ruins.
Signed by every member of the band; this is definitely a favorite keepsake.
(2) Ethereal Shroud – Trisagion
Another artist that I feel a sense of connection to. Ethereal Shroud is fronted by a fellow Sputnikmusic member, and his most recent 2021 LP, Trisagion, earned him critical accolades from several different publications. It’s…
