Author: Nathaniel FitzGerald

Record #809: Boris – Feedbacker (2003)

/ Nathaniel FitzGerald

The famed Japanese outfit Boris is a bit of a chimera; a many-faced beast that defies easy understanding. Throughout their career, they have explored hundreds of different directions, exploring doom metal, drone, post hardcore, shoegaze, psychedelic, punk, post rock, rockabilly, and even synthpop.

But if there is a single signature to Boris’ sound, it is a devotion to extended song structures and guitar feedback. And thus, Feedbacker, an album comprised of a single 44-minute, largely instrumental song, showcases Boris at their most pure.

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Record #808: At the Drive-In – Vaya (1999)

/ Nathaniel FitzGerald

Conversations about At the Drive-In’s best release usually dance around a gridlock between In/Casino/Out and Relationship of Command. 

However, that conversation simply cannot be complete without taking their incredible EP Vaya into consideration. While it contains absolutely no shortage of ATDI’s signature angular fury, it also sees the group adding experimental elements into their sonic palate. While it’s often described as a bridge between the two legendary full lengths, it even points to Omar and Cedric’s future in the Mars Volta with astonishing prescience.

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Record #807: At the Drive-In – In/Casino/Out (1998)

/ Nathaniel FitzGerald / 1 Comment

Many years ago, I said that Relationship of Command was undisputedly the best record At the Drive-In had ever released. And while it remains my favorite, I can’t deny the fact that my 2013 claim wasn’t influenced by the astronomical price that vinyl copies of In/Casino/Out were commanding.

As fortune would have it though, I recently acquired a large lot of records from a friend that included an unreal number of classics for a more-than-agreeable price (thanks, Stephen), which included this record that, historical revisionism aside, means a great deal to me (and a whole lot more that will be reviewed in the coming days and weeks).

While the band had been active for four years before this with two EPs and a full length to their name, In/Casino/Out is really the album where they became the At the Drive-In that would become post hardcore legends.

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Record #806: Mogwai – As the Love Continues (2021)

/ Nathaniel FitzGerald

At this point, Mogwai has had a long and illustrious career. They were pioneers of guitar-based post rock, laying the groundwork for hundreds of other bands. As the Love Continues, their tenth album (not including numerous soundtracks and EPs), was released on the 25th anniversary of their very first single.

But even with such an iconic tenure, there’s one thing that’s eluded them: mainstream commercial success. And while they’re not going to be headlining TRL any time soon, that changed this year when a Mogwai fans (including Elijah Wood) started a viral campaign to get their new album to the number one spot of the UK charts.

It worked, but not just because of celebrity endorsement. If ever there was a Mogwai album to peak the charts, it was this one, perfectly encapsulating everything the Glaswegian post rockers do best.

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Record #805: Mogwai – Atomic (2016)

/ Nathaniel FitzGerald

Across their prolific and celebrated career, Mogwai has managed to use their ability to twist music and mood to conjure up narratives that don’t need words to be understood. So naturally, a few filmmakers have come to the Scottish post rock godfathers to help them tell their own stories.

One of these was Mark Cousins, who brought the group on for his documentary Atomic, Living In Dread and Promise, which examined the enormous possibility for both prosperity and destruction that nuclear power brings.

I haven’t seen this documentary. I’m not sure I need to. What I do know is that this album manages to capture the awe and dread of the topic with such clarity that the film might be unnecessary.

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Record #803: Melvins – Hostile Ambient Takeover (2002)

/ Nathaniel FitzGerald

A couple posts ago, I made a vague parenthetical statement about whether there has ever been an album that has encapsulated the full essence of Melvins. I suggested that The Trilogy—the three-album run of The Maggot’s sludge-doom, The Bootlicker’s avant-pop, and The Crybaby’s covers and collaborations—might have been the closest they’ve ever gotten to offering up a concise CV.

But I must confess: I said that knowing full well that it was a lie. Because there is one album that—in my opinion at least—perfectly captures exactly who the band is and what they do.

That album is Hostile Ambient Takeover, a title that serves to describe both the eight tracks on this disc and the Melvins as a whole. They are hostile. They are ambient. And they are taking over.

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Record #802: Melvins – The Bootlicker (1999)

/ Nathaniel FitzGerald

While it’s difficult to distill the whole of  Melvins’ eclectic essence into a single release, the Trilogy, released between 1999 and 2000, came pretty close to doing so between three records.

While The Maggot saw them indulging their most volcanic heavy metal instincts, The Bootlicker was almost a complete rejection of their metal influences, exploring elements of jazz, funk, and psychedelic. In fact, many refer to The Bootlicker as one of the band’s most “pop-oriented” albums. But given that we’re talking about Melvins, there’s still plenty of wonderful weirdness here.

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Record #801: Melvins – The Maggot (1999)

/ Nathaniel FitzGerald / 1 Comment

By 1999, Melvins were already a band of legendary repute. Their uncompromising adherence to noisy rock and roll experimentation that blurred the line between grunge and sludge metal had already landed them—and lost them—a major label deal. The late Kurt Cobain had already called them one of his favorite bands, and they had already influenced scores of similarly noisy and experimental acts, such as Japan’s Boris, who are themselves named after a Melvins song.

And in 1999, Melvins released one of the most ambitious projects of their career: a trilogy of albums that each leaned into a pocket of their sound. The Maggot is the first and most aggressive of these albums, and even in a catalog as harsh and abrasive as Melvins’, it is a challenging album. But that challenge brings a great reward, because it might also be one of their best.

Read more at ayearofvinyl.com #melvins #sludgemetal #grunge #avantgarde #noiserock #vinyl

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Record #800 – Elliott Smith – Elliott Smith (1995)

/ Nathaniel FitzGerald

There have been hundreds of singer/songwriters that have put out stripped-down songs armed primarily with an acoustic guitar and their own voice. But even among such a crowded throng, Elliott Smith is celebrated as a truly unique voice.

And while Either/Or may be the album most people point to as his opus, the self-titled album that preceded it showcases a raw aesthetic, free of the baroque and powerpop leanings of later albums. And stripped down as it is, it maybe hits a little closer to the heart of Smith’s legacy.

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