Staff Reports
Arizona Daily Wildcat
October 9, 1997

Music Meltdown

The Murmurs, Pristine Smut (MCA)

The Murmurs are two girls who play guitar. They don't do anything all that interesting with their guitars, but that's pop music for you. So, it's fun to listen to the professional drumming and distortion and bass on the album because it sounds just like it's supposed to sound. That's production for you. Six songs were produced by k.d. lang. That's only interesting because the good songs on this CD are very un-k.d. lang.

Most people know the Murmurs from their single "You Suck," which was a cute little angst glimmer whose charm wore off after a while, like all cute little radio singles do. Pristine Smut has its counterpart with "Sucker Upper." "She's a an asexual, far from intellectual, / fashion stealer, free-wheeler," Leisha Hailey and Heather Grody sing in harmony, slamming those annoying girls we all wish would spontaneously combust. This song is one of those pop gems that will undoubtedly be on numerous mix tapes and never get further than that, much like "You Suck."

Grody said that their first record on MCA was "overproduced and really poppy. It didn't represent us well." That's sad because they write great pop songs. The 11-song CD has a country song aptly titled "Country Song" that just sounds like a country song and, well, you get the point. "Squeeze Box Days" is a drawn-out, dramatic, obsessive love song that grates along monotonously. Given these examples, one can assess that they write much better songs when they're happy. The Murmurs should give up on the two-guitar line-up, get a full band and write more songs like "Sucker Upper."

- Annie Holub

Stereolab, Dots and Loops (Elektra)

"Experimental retro-pop songs" may very well be an oxymoron, but that's a perfect way to describe Stereolab. Imagine you're in a room. The walls are fluorescently painted, with a '70s-discotheque theme. Against one wall is a lounge orchestra, complete with horns, piano, xylophone and organ. By another wall is a guy with a synthesizer. In one corner is a French pop singer, female, circa 1965. Somebody's playing an easy-listening tape in another corner. This is not your worst nightmare. It actually sounds cohesive; it's actually working and coming together and it sounds good. That's Stereolab's ninth full-length LP, Dots and Loops.

Put this album on and you're instantly transported to a different era. The feeling is relaxed, the vibes are cool. But, underneath all that, there's a modern aspect to the way that all these different influences come together. Call it creative musical recycling. The composition is the most fascinating aspect - the songs are inclined to instantly reinvent themselves, sometimes more than once.

Dots and Loops sounds at times like it should be a soundtrack for a '60s movie; songs like "Ticker Tape for the Unconscious" would be perfect for a scene where the two main characters are poolside in a hotel in Paris having margaritas with little umbrellas in them, and "Rainbo Conversation" perfect for the scene when they're strolling though the streets upon arriving in the city after a crazy plane ride. The whole album is a groovy bossanova/Muzak/electronic trip, laced with polyester and flowers and a '90s fractal image twist.

-Annie Holub

Born Jamericans, Yardcore (Delicious Vinyl)

Born Jamericans (Mr. Notch and Edley Shine - both American Jamaicans, or Jamericans) are a shining example of a decent dancehall group turned shitty when attempting to break the international hip-hop market. Their latest release, Yardcore, is one of those 'so-so' albums, with a few all right tunes, but comprised mainly of mediocre melodies, with a strong undertone of unoriginality.

The second track, "Yardcore", is the best track on offer, although it sounds a lot like Ini Kamoze on the Jazzmatazz 2 LP. The track itself flows well, but the monotonous chorus hinders its chances of becoming a dancehall hit.

One gem, however, is a cover of Take That's "Back for Good," in which Mr. Notch and Edley Shine proceed to ooze soppy love, in the true spirit of Robbie Williams and company. This track was totally out of place, and will provide me with many a hilarious moment, when played to friends as an example of the state of pop-music in America.

"Gotta Get Mine," the last track on the album, is similar to "Yardcore," although it has a rather impressive vocal lineup, with Shinehead and Mad Lion of Boogie Down Productions fame. This injection of dancehall's finest is unfortunately wasted, though, as yet again the monotony of the track spoils the shining of the stars.

Perhaps a better title for this CD would have been Party Songs for Frat Boys, since this is the kind of lame music that comes blaring from frat houses every Friday and Saturday night.

-James Casey

Retro Review - 1988

Soundgarden, Ultramega OK (SST)

By the time Soundgarden split up, it seemed almost appropriate. They had strayed so far from their indie rock roots into mainstream territory that their original fanbase was pretty much gone. True, they had new fans, and there were the old die-hards, but the music wasn't what it used to be.

Back in the day, though, there was an album called Ultramega OK. Soundgarden's first full-length release, this CD is anything but radio-friendly. But everything that made this once-great band once-great is all here.

For starters, there are the driving, dissonant guitars. Clashing notes. High-pitched squeals. Bone-crunching riffs.

There's lots of experimentation, including backwards recordings, muted vocals and completely unconventional song structures - even a cover of John Lennon's "One Minute Of Silence," which is, well, one minute of silence.

And there's Chris Cornell's voice. The boy could sing. Still can, of course, but he doesn't sing like this anymore. Showing off a range so impressive it's almost shocking, he goes from deep-throated demon to wailing banshee within the space of one song. Check out "Beyond The Wheel," perhaps the greatest showcase for this phenomenal talent.

"All Your Lies," with its reeling groove, is arguably the band's best song ever, but first you'll need to admit that this is their best album.

If you haven't heard it, pick it up. If you think Superunknown or Badmotorfinger are neat albums, you won't believe what you've been missing. And what these guys left behind.

-Doug Levy