Review Summary: A fuzz drenched masterpiece from start to finish
I can’t get past “Little Fury Things” opening drum roll without being instantly brought back to my first year of college. It was a fairly dark time in my life, and most of the memories I harbor from it are pretty grey and empty. It was a time of noncompliance between my surroundings and I, and due to lack of motivation I found myself doing very little besides sitting around listening to music and playing video games. I came across many bands during this phase, however, few stand out the way Indie rockers Dinosaur Jr. do.
Perhaps that makes sense. Dinosaur Jr. might be one of the best examples of a “slacker” band around. Just look at front man J Mascis- upon first sight, his long, wispy grey hair, sleepy facial expressions, and lackadaisical posture combine to form a knee-jerk reaction of “damn dude, get a job,” and that’s before hearing his somewhat lazy, mumbled vocal style. In reality, though, the charm provided by his “slacker” persona and unconventional vocal approach is a big part of what has given Mascis his job, and it’s quite an enviable one at that. Who wouldn’t want to be the front man of one of the landmark Indie bands of the past 25 years, and perhaps the most noteworthy guitarist of their entire scene?
Throughout his career, J has created many great works, but most agree that his best stuff was created alongside his band mates, bassist Lou Barlow and drummer, Murph. Though Dinosaur Jr. would eventually evolve (devolve?) into a vehicle for J’s sometimes lackluster solo work in the 90s, that did little to stain the legacy forged by the group in the late 80s, mainly with their classic album, “You’re Living All Over Me.” This album is a fuzz-drenched masterpiece from start to finish, chock full of blazing, genre-defining solos, crunchy riffs, and melodic, ear worming choruses, save for one detour that still somehow manages to fit in and maintain the album flow. Yes, I’m going to say it now- this albums is flawless. There isn’t a thing I would change about it, and could seemingly talk about it forever… but for everyone’s sake, I’ll try and handle it with some degree of brevity.
Start with previously mentioned “Little Fury Things.” On most albums, this would be a for sure stand out, a definitive fan favorite, but in this company, it’s average. That being said, it does exactly what an opening song should do- grab it’s listener‘s attention. “Fury’s” modus operandi is a rolling drum line quickly followed whirring, fuzzed out riff. Add some unsettling, muffled screams in the background and you can have yourself instant fan, or at the very least, a hooked listener, and that's after just 7 seconds. The song continues with some of J’s trademark lazy vocals, boasting a melody so unforgettable that almost the entire song feels like a chorus. The band keeps all this stuff up and adds in an extra layer of fuzz to build a nice outro, and for that, you have a pretty good idea of what this album is going to give you.
The next song, “Kracked,” is perhaps the best song on the album, and stands out thanks to an off-kilter intro, not to mention one of the most captivating, air-guitar worthy solos ever recorded. It leaves the impression of J being some sort of legendary wizard, casting one of the most epic spells known to man. It’s not hard to imagine him playing this while standing on some mountain top, silver hair blowing in the wind, axe in hand as he shreds away, conjuring lighting bolts and naked ladies to triumphantly fill up the dark, ominous sky and illuminate the scorched earth around him. Yeah, and you thought that kind of imagery was exclusive to metal, didn’t you? Think again.
It might sound like an unlikely feat, but “Sludgefest” does the best it can to outshine it’s predecessor. At 5 minutes and 17 seconds, it’s the longest “normal” song on the album, and feels quite epic because of it. I’ve listened to this song countless times, and some of the guitar tones here still manage to leave me in awe. “The Lung” has a bit more of a rustic, laid back feel to it, but relinquishes none of the bands technical ability- the drum work here is especially noticeable, and there’s yet another awesome solo. “Raisans” is my favorite track vocally, and really manages to stand out thanks to what sounds like a quick keyboard hook and an interesting interlude with a relaxing guitar passage from one headphone, contrasted with some creepy, muffled, warbling vocals from the other. Strangely intoxicating stuff.
Five songs in, and we are half way through. Though I will say I prefer the first half to the second, it is by a very slim margin. “Tarpit” is a chilled out, somewhat melancholic song, with some long, winding feedback that starts out buried in the mix before building to a climax that ends the song with a roar. “In A Jar” is the single from the album, and it’s head-bobbing bass lines make it an example of why Lou Barlow is such an asset to the band. “Lose” is the closest the album comes to a straight-ahead punk song, and while it does nothing to detract from the album, it is probably the least interesting song here… and interesting may be the best word to describe “Poledo,” the Barlow-sung closer that gives us a taste of some acoustic guitar work and a haunting melody before things get… weird. There are lots of odd samples throughout, and tons of atmospheric noise. “Poledo” is totally unconventional and nothing else on the album sounds like it, so brace yourself for a strange, but somehow irreplaceable, ending. It’s a love it or hate it track, but undeniably an integral part of the album.
No amount of praise and no number of adjectives can do this album justice. It’s an incredible, influential, and absolute necessity for any self-respecting indie/alternative rock fan’s collection. If for some reason you haven’t heard this yet, shame on you, and what are you waiting for? Dinosaur Jr. are considered to be Indie rock icons for a reason, and nowhere is that reason displayed more prominently than on “You’re Living All Over Me.”
