American Alternative music reviews

Day-OM! This rekkid ought to be thought of as a classic, it has Laundromat Song, Bitchin' Camaro, Violent School, Nutrition, Dean's Dream, almost every track is freaking awesome and its 23 tracks long! If you don't have this album, well, you suck.

This is the best crappy little punk band ever... This record is just one that you can't get sick of. Great music for anything! "I don't wanna go on the beach, NO FUN!!" Haha!

i first bought this album on tape. i am now on my 3rd copy on cd and also have it on vinyl. every song is amazing, however "serrated edge" shines above every other song on the album, as well as every song ever recorded by any artist EVER!!

all the other reviews here, describing the milkmen as "funny" make them sound like they are a novelty act, but their so much more.

I really do not understand these reviews. How can this record be considered stellar? HA! What a joke. The production is way too polished, the songs are simply dull. The hidden track is really the only decent track on the cd. I guess they are just trying to make some spending money (i would imagine it will sell millions...probably even win a grammy!) and sacrifice the creativity. I heard their first album and thought it was great....the second one was better.....and now this! C'mon guys! Jacob needs a little tutoring from his pop. This record, coming from a band with potential, simply sucks.

I have to confess that I bought "Breach" after I read some interviews with Jakob Dylan and was impressed by how articulate and down to earth he seemed (I bought "Bringing Down the Horse" after I bought this album). I am a huge Bob Dylan fan but have tried my hardest to not let that influence my opinion of his youngest son's band. And it wasn't hard at all. Jakob Dylan is not his father and shouldn't be as harshly compared as he is sometimes; after all, NO ONE writes like Bob Dylan. His son, however, has proven himself to be pretty darn talented in his own right. Jakob's skill as a songwriter is amazing; he lyrics are solid and intelligent all throughout this album, and besides that, the Wallflowers are a genuinely talented band. Their instrumentals are first-rate and fit perfectly with Jakob's smooth voice. Favorite tracks here are "Letters From the Wasteland," "Hand Me Down," "Sleepwalker," and "Birdcage." All of the songs seem to be deeply personal, and there isn't one on here I don't like. This is an album from a group who worked hard to get where they are today, and the result is a refreshingly candid work from a genuinely talented singer-songwriter and his band. If you like good music, buy "Breach." It has a key place in my CD collection, an honor considering that I am a huge "Classic Rock" fan and The Wallflowers are one of the only modern bands I like. This is an album that would make Bob proud. Way to go Jakob, Rami, Gregg, Michael and Mario! You guys rock!

At first listen, Breach doesn't sound as good as Bringing Down the Horse. Breach is much more introspective, so therefore it may not have as much mass appeal. However, give it a few more spins, and soon you won't want to take it out of your CD player! Breach is actually a better, more consistent album than BDTH. All the tracks are excellent, from the hard-rocking Letters From the Wasteland to the beautiful hidden track Babybird. The smart, melodic folk-rock is perfect for every mood. The lyrics are deep and poetic, although it takes a few listens to fully grasp Dylan's shades of meaning. He has also grown as a singer since 1996, showing off a range and expression that I didn't know he possessed. With all that in place, Jakob Dylan once again proves that he is perfectly capable of stepping out of his father's immense shadow (in my opinion, he is just as talented--his singing voice is much better, at any rate). The question is whether or not this top-notch collection will find an audience in the era of TRL.

So if you are sick of the boy bands and Britneys, buy this album! Breach is the work of a singer-songwriter and a talented band, as opposed to a lip-synching teen idol working on automatic pilot. It is the perfect antidote to the materialistic and shallow landscape that defines the majority of today's pop music. It's just a shame that the public wasn't more receptive to it.

As many others have said, this is just so intense it's ridiculous. I remember when I used to think things like Soundgarden was heavy. What a young teenage fool I was.

This is perfect essentially. It doesn't resort to melody at any point, unlike Swans later material, which I don't like as much, but I understand you can't carry on playing stuff like this forever.

The thing I love about these early records is that no one type of music fan seems to get it. Every metaller I know hates it and obviously people into pop think you're mad for listening to it. It only seems to be the most open minded of people that like swans.

I still remember the first time I heard Raping A Slave. I had never heard ANYTHING like that before. I was quite stoned. It was terrifying.

So to anyone listening to what KERRANG!!!! etc claim is heavy, buy this and learn the truth. Just don't play it to a girl in the early stages of your relationship (unless she's a fan, well done you) as she will be convinced you're a rapist.

By the way, if you can pick up the 'A Long Slow Screw' VHS anywhere, buy it and see just how truly nihilistic they were live at this point.

Swans are just brutal and relentless. It's just audio insanity at a monolithic pace. Like one reviewer here said, there is absolutely no middle ground when listening to Swans. You will either love it or loathe it. It demands that you play it loud.

This was music I listened to when I was an alcoholic, drinking alone at night. It has an extremely disturbing aura to it, particularly when listened to at maximum volume (as suggested on the the album covers of the original releases).

If you are a fan of the new "doom" stuff out there like Sunn O))), Khanate or Boris, you absolutely have to listen to this. This is "music" that is so heavy and devasting, words really fail to do it justice.

I still listen to these old records, even though I don't drink anymore.

this is real underground music, harsh, heavy, sludgy, pure sonic pleasure.

Fresh Aire II Is just Fantastic!! Mannheim Steamroller Just Keeps Amazing me.

Chorale- A Lovely 16th Century Flute Peice. However, It is Only 36 Seconds Long.

The First Door- I Don't Really Care for this song very much. When I listen to it I Feel like it's blurred. The Sounds blend in too much.

The Second Door- One of my favourites, The Synthesizers and Drums blend so nicely. And the Horn part is great. The Chant at the end is nice too, but I Wish it lasted longer.

The Third Door- This is my Favourite because it is so lively and fun to listen to.

The Fourth Door- Nice And Peaceful, Rests your Ears.

The Fifth Door- This is another one of my favourites because of the sound. Theres a Really Cool String/Harpsichord part in it that I Love!!

The Sixth Door- Another Slow Peaceful Peice.

Door Seven- Another good one!! It is energetic and Also Fun to listen to.

Fantasy- Ahhhh.....A Weird song in my opinion. It really is just a cool sounding Expiremental Peice.

Interlude V- Nice piano Peice. From this point on the songs are mostly Slow and lovely with a couple of acceptions.....

Velvet Tear- Piano over Strings......Wonderful!!

A Shade Tree- If you like Guitar youll like this song. This song reminded me of Fall...Hence the Album!!!

Toota Lute- One Of those acceptions!! Wonderful 16th Century peice. Exciting at points!

Going to Another Place- A Great finale!!! It is a tune used several times in this album but this song shows how wonderful it is.

I Highly recommend this CD......Highly!!!!!!!!!!!

The central piece on the album is a Fantasia composed of a instrumental chorale in Renaissance style, which serves as the inspiration for a series of seven 'doors' which are sometimes variations of the chorale's them and sometimes true flights of fancy. The style of the doors ranges from Baroque to modern pop rock with plenty of variety in between. Each of the doors is intended to express an emotion, or so the liner notes explain. I found it a very enjoyable essay, but the emotional content is more intellectual in nature than visceral.

The remaining five pieces stand very well on their own. A combination of acoustic and electronic that can't help but appeal to the ear. This a a more introspective set, starting out with Interlude V, which is a ostensible a melody over arpeggios with some interesting effects in the bass line.

Velvet Tear is piano over strings. A lush and romantic performance that suits its title. There's a bit of a touch of music to it, but one doesn't mind. It brings up all those classic romantic images of Victorian parlours and staring at the rain.

I found shade Tree interesting because of the use of a heavily plucked steel guitar to strike a contrast with what is otherwise a very contemplative and melodic piece.

Toota Lute is a return to the rhythmic dance music of the Renaissance. It used the interplay between two very distinct instruments (I suspect lute and classic guitar), strings, and recorder.

Going to another place is a classic finale, starting out on dulcimer and then setting up a groove and wandering all over in a style that's hard to describe, other than eclectic, toe-tapping and good.

I think this is probably my favorite of the various efforts by Mannheim Steamroller - a perfect expression of their crossover styling of ancient and modern music. Don Sears, Jackson Berkey, Eric Hansen, Chip Davis (and a vast cast of supporting musicians) manage the kind of creativity that makes the album both easy to listen to and memorable at the same time. The kind of album you keep near the CD player.

Some 30 years ago, my parents were buying a new stereo system, which at the time was cutting edge, complete with 4ft tall stand-alone speakers and a turntable to play Records. The guy at the stereo store used this album to demonstrate the power and depth of the system, and my parents liked it so much they bought a copy for themselves.

So when I hear this album, it takes me back to my childhood, and my parents with their "rock" music.

Fresh Aire 2 is also,in my opinion, the best of the Fresh Aire series, but again, I may be a little biased...

Fresh Aire II Is just Fantastic!! Mannheim Steamroller Just Keeps Amazing me.

Chorale- A Lovely 16th Century Flute Peice. However, It is Only 36 Seconds Long.

The First Door- I Don't Really Care for this song very much. When I listen to it I Feel like it's blurred. The Sounds blend in too much.

The Second Door- One of my favourites, The Synthesizers and Drums blend so nicely. And the Horn part is great. The Chant at the end is nice too, but I Wish it lasted longer.

The Third Door- This is my Favourite because it is so lively and fun to listen to.

The Fourth Door- Nice And Peaceful, Rests your Ears.

The Fifth Door- This is another one of my favourites because of the sound. Theres a Really Cool String/Harpsichord part in it that I Love!!

The Sixth Door- Another Slow Peaceful Peice.

Door Seven- Another good one!! It is energetic and Also Fun to listen to.

Fantasy- Ahhhh.....A Weird song in my opinion. It really is just a cool sounding Expiremental Peice.

Interlude V- Nice piano Peice. From this point on the songs are mostly Slow and lovely with a couple of acceptions.....

Velvet Tear- Piano over Strings......Wonderful!!

A Shade Tree- If you like Guitar youll like this song. This song reminded me of Fall...Hence the Album!!!

Toota Lute- One Of those acceptions!! Wonderful 16th Century peice. Exciting at points!

Going to Another Place- A Great finale!!! It is a tune used several times in this album but this song shows how wonderful it is.

I Highly recommend this CD......Highly!!!!!!!!!!!

The central piece on the album is a Fantasia composed of a instrumental chorale in Renaissance style, which serves as the inspiration for a series of seven 'doors' which are sometimes variations of the chorale's them and sometimes true flights of fancy. The style of the doors ranges from Baroque to modern pop rock with plenty of variety in between. Each of the doors is intended to express an emotion, or so the liner notes explain. I found it a very enjoyable essay, but the emotional content is more intellectual in nature than visceral.

The remaining five pieces stand very well on their own. A combination of acoustic and electronic that can't help but appeal to the ear. This a a more introspective set, starting out with Interlude V, which is a ostensible a melody over arpeggios with some interesting effects in the bass line.

Velvet Tear is piano over strings. A lush and romantic performance that suits its title. There's a bit of a touch of music to it, but one doesn't mind. It brings up all those classic romantic images of Victorian parlours and staring at the rain.

I found shade Tree interesting because of the use of a heavily plucked steel guitar to strike a contrast with what is otherwise a very contemplative and melodic piece.

Toota Lute is a return to the rhythmic dance music of the Renaissance. It used the interplay between two very distinct instruments (I suspect lute and classic guitar), strings, and recorder.

Going to another place is a classic finale, starting out on dulcimer and then setting up a groove and wandering all over in a style that's hard to describe, other than eclectic, toe-tapping and good.

I think this is probably my favorite of the various efforts by Mannheim Steamroller - a perfect expression of their crossover styling of ancient and modern music. Don Sears, Jackson Berkey, Eric Hansen, Chip Davis (and a vast cast of supporting musicians) manage the kind of creativity that makes the album both easy to listen to and memorable at the same time. The kind of album you keep near the CD player.

Some 30 years ago, my parents were buying a new stereo system, which at the time was cutting edge, complete with 4ft tall stand-alone speakers and a turntable to play Records. The guy at the stereo store used this album to demonstrate the power and depth of the system, and my parents liked it so much they bought a copy for themselves.

So when I hear this album, it takes me back to my childhood, and my parents with their "rock" music.

Fresh Aire 2 is also,in my opinion, the best of the Fresh Aire series, but again, I may be a little biased...

The two stars I give to this collection is solely for the Mekons excellent song "Ghosts of American Astronauts". Although the rest of the selections may be interesting rock history they are for the most part uninspired and forgettable as songs. If you like collecting obscurities for obscurity's sake then be my guest but if you are looking for well crafted memorable songs then this collection contains only one-the aforementioned "Ghosts of American Astronauts".

I didn't care for most of the stuff here because I really only wanted "Ghosts Of American Astronauts" by The Mekons, a sublime, haunting tune that was otherwise out of print. However, I did discover another gem, "Pink Turns To Blue" by Husker Du-Awesome!I already knew about (and love) "My Favorite Dress" by The Wedding Present and "She's Fetching" by Big Dipper. So, this 2-CD set is worth it if only for these songs mentioned. Who knows, you may discover other songs on the collection that didn't quite do it for me.

WLUW in chicago played this album all the time when it came out. H?sker D?, Dino Jr and the rest are the only redeeming part of the Eighties. This makes you realize that there was good music during that decade. You just had to go underground.

This is a great collection, everything Scratch Acid did is on this one CD. I call that a bargain. Scratch Acid are the band that bassist David Wm. Sims and vocalist David Yow were in from 1982-1987 before their tenure in the amazing Jesus Lizard. Musically SA aren't that far from Jesus Lizard, perhaps a tad bluesier, and much looser, not as mathematically intense, recalling Capt. Beefheart and The Birthday Party. Lyrically and vocally SA mine much the same territory as Yow would explore with the Lizard ie insanity. He developed his entirely unique style that relies on an agonized moaning and sometimes incomprehensible but always intense vocalizations, in other words howling, in Scratch Acid. This is punk when punk wasn't cool, 4 intense young men creating some of the more unique music of the eighties without hope of commercial success. God bless 'em. If you like Jesus Lizard, you'll probably like Scratch Acid.

These guys had shovelfuls of stinking soul. What a band. It's too bad Yow isn't singing with the mike stuck in his throat like he did with the Lizard, but the upside is that you can understand all the evil things he's saying. Rey Washam's drumming is, I think, along with George Hurley's (Minutemen) some of the best in indie music in the eighties. The bassist Dave Sims is excellent as well; he and Washam would be in Rapeman with Steve Albini a bit later (a true indie supergroup, although their album wasn't that incredible).

Song 4 is extremely powerful.

First, let me say I am uplifted that so many previous reviews have stolen most my thunder. Never the less, here's mine. I didn't see Scratch Acid live in their sweaty heyday. But, for some reason, I feel like I was there. I have met most the of the band and they are great guys. You would never know that they were a driving force of American punk in the eighties, before "Alt-" prefaced any type of music, especially punk. Scratch Acid is so much more than David Yow's intoxicating howling vocals, which is enough in itself to own this CD. It's just great punk plowing music. If the first two songs don't pull you in, then you should have deep look into your punk soul. At points the songs slide from bashing hard rock to smooth and melodic, yet somehow they all stay completely true and crazy. Scratch Acid can make me go from screaming and fighting to gliding without a care like no other band. This CD is packed with real gut-Texas-punk and honest music. The opening chords of Greatest Gift gets my blood flowing because I know what follows.

Honestly, each ep contained on this cd should be reviewed seperately but taken as a whole, as Big Black's early material, it is pretty impressive and an interesting diversion from the typical "loud, fast and sloppy" punk and hardcore sound a like bands that were the competition. Songs like "Cables", "Pigeon Kill", "Dead Billy" and "Seth" up the ante to the later brilliance that would be Big Black. Since each song was deliberately constructed, Big Black got labelled as "math rock" (a meaningless rock critic term if you ask me). Many bands at the time were dealing with politically incorrect subjects but Big Black is actually good music (though not something you'd sing to yourself). Industrial/metal/noise bands would "borrow" some of the ideas contained here. And yes, Albini is not nearly as scary as he sounds but if you are into Big Black, you've probably guessed that already.

Whether or not you believed Albini's rants or whether or not you despised him is really secondary to one thing---he and Big Black affected you one way or another. You could not listen to a Big Black record and not come away thinking "what the hell was that?" And to some degree that was the point. Big Black was a machine of distruction with one goal in mind---piss people off. If you liked it then great--if you didn't then who the expletive cares. Albini and co. were probably more punk than 99% of the bands of their time who claimed they were punk and lets face facts--most punks probably did'nt get Big Black anyhow. Sure at times they sounded like an audio parody of a John Waters movie but most of the time Albini's twisted version of middle America sounded very disturbing and to this day no one has equaled it.

That's not to say that this album is bad at all. I guess if you are buying a Big Black album in the first place, you are not looking to be uplifted by the message of the songs.

You are probably in or were in a band to enjoy this, and probably made your own tape with a Roland, cheap guitar and amp and a 4-track tascam.

I get the biggest kick out of the "Top Gun" and "Flashdance" drum samples being used for nefarious purposes (Racer X ep content.)

"Texas" is by far the most intense and mean spirited, spiteful song I have ever heard. I love it.

I had just became a Bob Mould/Husker Du fanatic in the early-1990s and was buying up their back catalogue of stuff when this CD came out in 1994. Anything "new" from Husker Du was a BIG thing, so I snagged it as soon as it hit the record stores. This live CD was compiled from shows from 1987 when they were promoting Warehouse: Songs and Stories, their last studio release, so many of the tracks come from that album. That's OK by me, as I love that album.

I don't usually care for live records but there are a few track here that sound even better here than on the studio releases. "Girl Who Lives On Heaven Hill" is one example as Grant Hart doesn't scream it at the top of his lungs like on New Day Rising. "Keep Hanging On" (recorded on Bob Mould's birthday) is another example. This version makes me like the song even more. I also like how you can really hear Hart's backing vocals like on "Standing in the Rain" and "Ice Cold Ice." Sometimes the backing vocals sound lost on the studio albums, but Hart and Mould sound great together and it really adds to the tracks. Mould sings the chorus to "Ice Cold Ice" a little differently which I also like. "Everytime" is sung by Greg Norton, the bass player with the cool mustache. He has a rough, buzz-saw voice. The song is pretty good. I have it also on a Warehouse Interview record. Unfortunately, "She Floated Away" sounds a bit stale here as it's missing the backing vocals (Hart provided both lead and backing vocals on the studio version). "It's Not Funny anymore" also sounds great here. "Now That You Know Me" was a pleasant surprise. It was recorded on Grant Hart's Intolerance solo album. "Ain't No Water in the Well" is way too yeehaw for my tastes.

Fans can find a lot of omissions here: "Diane" comes to mind, as well as singles "Could You Be the One?", "Makes No Sense At all" (actually, I don't miss them that much), "I Don't Want to Know If you Are Lonely," "Pink Turns to Blue," "She's a Woman (And Now He is a Man)" (one of my all-time favorites), and "Charity, Chastity, Prudence and Hope," but I think it is a good mix of early stuff ("From the Gut", "Target," "Data Control" [great rendition here], "In a Free Land") and later material. It ends with an ode to the Ramones, "Sheena is a Punk Rocker." I remember Joey Ramones on MTV's 120 Minutes saying he thought Husker Du was a Ramones rip-off band. Husker Du may have been influenced by the Ramones, but they created a style all their own and developed their style with each album, and it shows here. The booklet has a history of the band and a few photos including a long colorized one from the "Could You Be the One?" music video.

This is a great introduction to Husker Du, who in a perfect world
should have been Nirvana big. Bob Mould's guitar sounds like a
chainsaw cutting through a eucalyptus tree. Beautiful. I like the
front of house mix sound too, appropriate for this band, who never sounded quite right on studio recordings in my opinion, except for Zen Arcade, what an awesome record! Anyway, this is
great pummeling rock n roll and if I could paraphrase Robert Fripp,"Albums are like a love letter, concerts are like a hot date" This is a hot date.

This band deserves so much more than they got. I really, really believe that aside from lack of big label promotion (of course!) their NAME killed 'em as a more referenced punk band. If that sounds stupid, I know from experience trying to get friends to hear them that the name is an immediate turnoff.
It's too bad.
If you like your punk rock tough and hardcore, this album can suffice - with lightning speed, but the melodies, changes, and soaring choruses will break your heart.
"Keep Hanging On", "Celebrated Summer", and the way Husker Du plays "Terms of Physic Warfare" live are testaments to the songwriting abilities of Bob Mould and to a lesser extent Grant Hart and the band's capacity for pushing the emotional, yearning, nostalgia, bittersweet buttons.
Musically, if you see Green Day's Insomniac as underrated, and emotionally if the Descendants "Hope" or "Bikeage" or "Jean is Dead" are you favorite songs from that band, and if punk anthems are your thing, just give this one a shot.

I bought this album after hearing the Feelies open for REM many years ago. Every year or so, I pull the CD out to try to remember why I bought it. It's all pleasant enough while I'm listening to it, but a moment after the CD has ended, I can't remember a thing I heard. It never leaves any impression.

Singer/songwriter Glenn Mercer is trying so hard here to sound like Lou Reed that he crosses the line from disciple to copycat. The playing is solid, but none of the songs are anything special. "Higher Ground" and "Away" are what pass for highlights here. If you want to hear someone sound like Lou Reed, why not just put on a Lou Reed CD?

This is another great album to play guitar to, but it's simpler than "Good Earth." This album celebrates the Feelies' obvious love for Velvet Underground, a musical reference perfectly obvious long before their rousing cover of "What Goes On" closes the album. There's loads of classic Feelies' chord music, with the vocals tilted into a Lou Reedesque direction, but still very understated in the genuine Feelies fashion. There's great ersatz Mo Tucker drumming (do people realize just how great she was?).

If you can find this album, expect another collection that is as cohesive as "The Good Earth" but which is musically simpler and probably not quite as good. But listen to it a number of times; you will find that it's better than you first thought.

One of the best albums of the mid to late 80's finds the Feelies in excellent form. Probably the best rendition of Lou Reed's "What Goes On" aside from the VU original that I have ever heard. Their simple chord progressions make for catchy, memorable songs. One album that I keep coming back to year after year, and it always sounds new and fresh. If you like the Feelies (or the Velvets), this is a great album for you.