Written by Scott Swinford
October 30, 2005
Ah the 90's. Do you remember them? I don't. Lets keep it that way. Minus the music of course. This was my youth. Sure I was alive in the 80's, but for the most part i don't remember them either. The 90's, I was a more concious being, and I remember things happening. I remember Kurt Cobain dying, I remember Buddy Holly, I remember the birth of the computer age. So what was playing in my stereo in this decade? Well it doesn't matter, because for the most part I don't listen to the same music. Well some of it, but not all. A lot of the great 90's music I discovered in the 90's, but didn't get into until the current decade. We first saw technology being used in music in the 80's, but we really saw it take off in the 90's, and its interesting to see it advance through the decade. Anywho, enjoy the list. I did one a few years ago, and this list is actually quite different, so if you think you know exactly what I'm going to list, watch out! I'll upload 5 a day for 10 days.
Enjoy!
#50: Smashing Pumpkins - Siamese Dream (1993)
The Smashing Pumpkins second album was their best, and most popular. It was a little easier to listen to than their debut, Gish, and made a little more sense than their follow up, Mellon Collie and the Infinite Sadness. This was one of my favorite albums when I was in junior high. Typically, it was affiliated with sad and angry people, but I was a happy kid, and I just liked the music. The album opens up with "Cherub Rock," which still remains one of my favorite opening guitar pieces. The second track, "Today" is probably the most famous Pumpkins song, maybe behind the 6th track, "Disarm." However, the album really gets going for me with "Soma" and "Mayonaise," two classics near the end of the album.
#49: Sonic Youth - Dirty (1992)
This is Sonic Youth's most popular "grunge" album. By the time of the release of Dirty in 1992, the Seattle grunge bands had taken over the entire rock scene. Long guitar tangents were no longer the thing (As if they ever were the "thing") and now a shorter more classic rock influenced sound (See: Pearl Jam) and punk driven (See: Nirvana) sounds were the way to go. Sonic Youth had forgotten their noisey feed back roots, and they wouldn't reclaim them until the release of Murray Street in 2003. They did however, pull off the Seattle sound quite well. Flannel shirts and all.
#48: Sunny Day Real Estate - Diary (1994)
This is the album that represented the death of the Seattle scene. Sure there were other albums released by bands from this scene, but they didn't matter. Nobody cared about them, and they still don't. People care about Diary though. Kurt Cobain had been dead just over a month when Diary was released on Sub-Pop records, and he was close with Sunny Day Real Estate, and helped with the recording of this album along with Nirvana touring guitarist Pat Smear. There is a sound of desperation in this album, that can be easily heard in "Song About an Angel." The music backs up the general feel of this album though, with Jeremy Engiks wonderful vocals. At this time in popular music though, people needed something more upbeat. Something they could singalong to. And on the same day as Diary was released, they got it. Which may explain why this album did not get much popular attention, yet critical acclaim.
#47: The Prodigy - The Fat of the Land (1997)
Want to destroy some shit? Want to raise some hell? Want to invade Poland? Want a killer soundtrack to play while raveging the world, yet don't want to sacrifice musical substance? Well, look no further than the Prodigy. I always played this album before hockey games in the locker rooms to fire up our team, and it worked. Loud, pounding guitars, over thunderous beats that make you both want to dance and smash something with a hammer. Though I don't listen to this album often anymore, it still packs a punch. I just love the beats and atmospheres of "Smack My Bitch Up," then the climax at the end with the creepy female vocals is enough to send anyone into a frenzy. Follow it up with the ripping guitars of "Breathe" and the Tacoma Junior Rockets will be scared to death. Then bring it all home with "Climbatize." I need some riddilin.
#46: The Flaming Lips - Trasmission From the Satelite Heart (1992)
Were you as confused as I was after listening to this album for the first time? Vaseline? Are you serious? This album poses alot more questions than it answers. Though to answer all of those question, you just need to know that this is the Flaming Lips. Suddenely everything makes sense. The album kicks off with the noisey "Turn it On," which almost sounds like a shoegaze in there, with the whole breakdown in the middle a-la "Realise" by you know who. But it's really the vocals that send this song, and the whole album for that matter, off into another universe. Songs like "She Don't Use Jelly" are undeniably simple, yet catchy with the ever changing chorus about god knows what, really. Hell, I think if god sat down and really tried to understand this album, he wouldn't. Maybe its albums like this that proove there is no god? Or that I'm god? Or that Jesus in the corner there is pointing to a flaming butterfly that is actually god? I'll catch it with my ambulance!
#45: The Cure - Wish (1992)
In 1992 the Cure had quite task ahead of them. They had to follow up one of the best albums of the 1980's, their epic Disintegration. Their follow, Wish, though not nearly as good (Not that we expected anything bigger or better than Disintegration) was still really good, and contained probably their biggest hit since 1987's "Just Like Heaven," the catchy "Friday I'm in Love." Though sounding generally happier and more upbeat than Disintegration, it really wasn't, and was the typical "emo" Cure album. Sadly, this was the Cure's last good album. 2001's Bloodflowers had a couple of nice tracks, but for the Cure as we know them, this was it. Perhaps they'll release something new that'll catch out attention, but probably not. If not, its OK, they've given us loads of great music from the 80s.
#44: Sunny Day Real Estate - How it Feels to be Something on (1998)
Sunny Day Real Estate will go down as one of the dramatic bands of all time. Maybe behing Oasis. And the Libertines. OK, so they'll go down as the most dramatic American band. Still, thats saying a lot. After the band dissolved, and reformed, with like, most of the band members, but not all, and some additional friends, and their frontman runs off to join a Christian cult or something. I don't know. What I do know though, is drama can often create incredible music, and after all this business, it led to Sunny Day Real Estate's best album. Most will disagree with me, and claim their 1994 debut Diary is better. But to me, this album is just a little more thought out, and generally more refined. No, it doesn't have that raw energy Diary has, but I feel the more heavily refined route fits Sunny Day Real Estate better.
#43: The Boredoms - Vision Creation Newsun (1999)
Vision Creation Newsun is post-rock meets Japanese noise-core. The results are still baffling music lovers world wide. This was technically their last album. At least under the moniker Boredoms. They released a couple of other albums, which were kinda earlier recordings, and also released a 2 song 45 minute freakout in 2004 under the name Vr00d0mes, though it wasn't the entire band. At least I don't think it was. But yes, for Vision Creation Newsun, the Boredomes combined their older pure noise sound with some of the post-rock vibes that game around earlier in the decade, along with a sound bands today have still yet to get around to. And boy, do those kids love their Flanger.
#42: Jeff Buckley - Grace (1994)
Jeff Buckley's story is tragic. But we all know this. What this is about, is his music. What's truly tragic about his music, is we only got one album out of this guy. But that one album was fantastic. Jeff Buckley will always be known for having one of the most sincerest voices of all time, but we should also realize that the music itself on this album is great. Simple, perhaps, but great nonetheless. But hey, who is going to deny it, this album is all about the voice. Though he did die early, and we only got one album, what more could we really ask for? OK, so we could ask for 4 more albums, a few tours and a comprehensive b-side collection.
#41: The Pixies - Bossanova (1990)
This is probably the worst Pixies album. And it still makes my list of the best albums of the decade. Sounds like they had a pretty damn good career, yeah? I'd say so. Though I probably prefer the other 3 Pixies albums, this album has one of my all-time favorite Pixies songs; "Velouria." Following this album the band toured with U2, which started the rise of the Pixies to stardom. Bossanova is often considered the final Pixies album, and it was really hthe last collaboration between Frank Black and Kim Deal. Their follow up, Trompe le Monde, was more of a Frank Black solo project, only tagged with the Pixies name. The band soon exploded, and that was the death of the Pixies.
#40: Oasis - (What's the Story) Morning Glory? (1995)
This album was huge. And mean like, fucking enourmous. But mostly in Europe. And quite a bit in Japan. Sure they were popular in the US, but nowhere near as big as they were in other parts of the world. They were pop sensations, and people honestly though they were going to be bigger than the Beatles. For better or worse, the Gallagher brothers rivalry destroyed whatever they could have been. It was this album that blasted this band into stardom though. Songs like "Wonderwall" and "Don't Look Back in Anger" were some of the biggest singles of the decade, and the album closes with my favorite song of theirs, "Champagne Supernova," which the band performed a smoking version of on the MTV VMAs.
#39: Portishead - Portishead (1997)
It took me a while to get into Portishead. I first heard them in the mid-90's, but it just wasn't my thing. I heard them again shortly after this album came out, and still wasn't happening. Whatever it was, I don't know, but when I entered college, Portishead clicked. Something about their sound is just, more mature. And sexy. For some time now, I have considered Portishead to be the sexiest band on the face of the planet (They share this honor with AIR...but Serge Gainsbourg is the sexiest musician ever) It was this album that really caught my attention, with its atsmospheres and emotions. And Beth Gibbors lovely voice. Sadly, this was Portisheads final album. Technically they are still together, and rumor has it they are working on another album, but its been 7 years, so I don't see anything happening.
#38: DJ Shadow - Entroducing (1996)
DJ Shadow is one of the most exciting DJ's/Producers in the world. Usually I'm not really into this style of music, but there is just something about the way he puts together his music that is just so damn good. He has that sorta hip-hop scratchng sound going on, but he also adds a lot of other elements. Since its basically instrumental, and there is no MC, he has to focus on a melody and atmospheres. And he does this better than anyone. The last thing you'd expect from a suburban California kid. I wouldn't say its dance music, but it's really good party music. That is if I was hosting the party.
#37: Sonic Youth - Goo (1990)
If Dirty was their grunge allbum, Goo was Sonic Youths glam-rock album. It's amazing how they could switch their image so fast. Goo does however still hold onto some of their noisier roots, but they are compacted to 4 minute pop-songs. This album also contains their biggest radio hit, the catchy "Kool Thing," with it's weird little talkalong by Kim Gordon, and of course, the infamnous "woooord up," which inspired a catch phrase between me and some friends that lasted years, and still gets the occaisonal toss. Another one of my favorite Sonic Youth songs is on this album, "Tunic (Song for Karen)" The guitars remain loud on this song, and Kim Gordon provides her best vocals. She seems have the lead of the vocals on this album, which is good, except Thurston Moore and Lee Ranadlo's vocals are really good. I don't think there are any Lee vocals on this album, which is a tad dissapointing.
#36: The Manic Street Preachers - The Holy Bible (1994)
The Manic Street Preachers have an interesting story. This was the final album with Ritchey James, who vanished out of thin air shortly after the release of this album. It is commonly believed that he took his own life, but his body was never found. But we did have this album, which is often considered one of the darkest of all time, exploring politics, drugs and suicide. The Manic's were known for being rather out going. Before he disappeared, James carved "4-real" into his forearm on national TV. Their anger and aggression is heard in the music on this album. It is loud, and fast. But it is not without it's catchy melodies. Of the British invasion of the mid-90's, the Manics were the most intense. They were not into the pop atmospheres and harmonies of bands like Oasis, or catchy beats like Blur. The Manics did return, but without Ritchey James. They were good, but never the same.
#35: Pavement - Crooked Rain, Crooked Rain (1994)
Pavement defined "indie" in the 90's. They released many solid albums in the 90's, but it was their second, Crooked Rain, Crooked Rain that really set the bar for straight indie guitar rock. There really isn't anything special about Pavement. They play a pretty standard form of lo-fi rock. Couple of guitars, bass, drums and a vocalists. The vocals are good, but far from the best. So what makes this album so damn good? Well, it's just plain catchy as hell. The hooks are infectious, and you just get in the mood to listen to them sometimes. Songs like "Cut Your Hair" are undeniably simple (and with great videos) and you just smile the whole time listening to them. I have a certain album that is the feel-good album of the 90's, but Pavement is the feel-good band of the decaded. I want to lay out on the deck in the sun and eat some tacos.
#34: Portishead - Dummy (1994)
Portishead's debut album is fantastic. It is often considered to be the premier trip-hop album. It was the single, "Sour Times" that broke Portishead out of obscurity, with it's chorus repeating "Nobody loves me, it's true." The album, like the single, is dark and moody. There is a general atmosphere and feel to the album that is both warm and chilling at the same time. The only problem with the album is that is impossible to listen to in the day. I just can't do it. It's strictly a night time album. Songs like "Numb" and "Roads" really don't sound good in the day, and the closer, same with one of my favorites "Glory Box." And not like, not as good, but just plain not good.
#33: Slowdive - Souvlaki (1993)
Of all the shoegazers to emmerge in the early 90's, Slowdive is the most easy going. And Souvlaki is their premier album. The album opens up with the soaring "Allison," and this is the sound that carries the album. It's loud, yet lush and relaxing. In other words, it's a typical shoegazer. But no, it isn't. There is just something about the album that is more, relaxing. Maybe it's the Eno touch, as Brian Eno did produce a handful of tracks, and he is known for giving bands that ambient touch. Souvlaki is one of the sleepiest albums I've ever heard, yet it is so good.
#32: The Boredoms - Super AE (1998)
You....AAAAAAAAAAARE................What is noise? What is rock? Where do these two meet? I'm not really sure if the two ever do properly meet, but if they do, it's in Tokyo Japan where the Boredoms recorded Super AE. I have no idea what this album means, if it means anything, but what I can tell you is it's one of the most intense 74 minute pieces of music ever recorded. If Loveless is sex for the ears, Super AE is being gang raped anally by a pack of large prisoners for the ears. "Super You" opens the album album wiuth 7 minutes of sporatic noise, very traditional Boredoms. But then the album goes off in this epic build up with "Super Are" and "Super Going." By end of the album you just want a cigarette. Or to cry in your cell alone.
#31: Muse - Showbiz (1999)
This was one of the last albums released of the decade, finding itself in stores in October of 1999. I got it for Christmas that year. When I listened, I thought Muse was the sound of the future. They had this energy, and volume that I hadn't seen put together before. They had loud guitars, and borderline classical sounding pianos, along with some of the most solid drum and bass parts I'd heard in years. The end of the album trails off a bit, but man, the first 6 sick tracks will kick your ass. Matt Belamy was considered to be the next Thom Yorke, until late 2000 when we found out the next Thom Yorke was, well, Thom Yorke. This album did point Muse in the right direction though, as they proceeded to release 2 more great albums and are working on their 4th studio effort.
#30: REM - Automatic for the People
REM had some great albums in the 80's, but they only had one really good album in the 90's, Automatic for the People. Their 80's albums were a lot more off beat than their 90's albums. Automatic for the People is REM's pop masterpiece. Sure, "Losing my Religion" threw them into the spotlight, but it was this album that locked them in as one of the premier alternative rockers of the decade. And how can you deny this? Have you seen the songs on this album? It's fill from top to bottom with pop gems like "Everybody Hurts," "Man on the Moon," and the lovely "Nightswimming." Is Automatic for the People as good as their older albums? I don't know. Though I did enjoy UP, this album was truly their last great.
#29: Primal Scream - Screamadelica
Screamadelica was released in the height of the British acid-rock rave scene in the early 90's. The scene was born in the late 80's out of Manchester, but by 90's it had taken over all of Great Britain. Screamadelica is one of the albums that helped this scene take over. Layered with hypnotic beats, smooth bass lines, guitars, samples and vocals, the album is extremely busy. But damn, does it make you want to move. But when listening to it, I feel like I'm missing something. Something like...I don't know. Can someone give me an E? Ah yes, thats it! Or something to set me off. But yes, this is neo-psychedlica at it's finest in the early 90's. This was Primal Scream's 3rd album, and one would think it would be their best. However, nearly a decade later in 2000, Primal Scream, along with the help of shoegaze God/Jesus/Buddha/Allah/Whatever Kevin Shields, would release their best album, XTRMNTR. By then they had completely lost their acid sound, and replaced it with a more shoegaze/noise-rock sound.
#28: Grandaddy - Under the Western Freeway
I didn't discover Grandaddy until 2000, when the Sophtware Slump was released. Soon after though, I exlored their back catalog and found this album. Now, it's one of my favorites of the 90's. Grandaddy has a very unique sound. It's like, rural synth-pop. That's kinda like, an oxy-moron, eh? Well it works out. This album is a wonderful blend of turned up distorted country guitars with new-wave esque synths lined up an down. Some of the songs like "AM 180" are catchy as hell. Grandaddy's lyrics are very off beat, about living in the country, and how city life can be too overwhelming and what not. Also there are a lot of strange abstract ideas on the album, most of which have something to do with rural life.
#27: Cibo Matto - Viva! La Woman
Question: Is there truly anything better in this world of ours than Japanese girls singing/yelling/rapping about food over some straight up underground NYC electronica? Answer: Of course not. Well thats what Cibo Matto's debut album, Viva! La Woman is all about. the killer combo of Yuka Honda's samples and beats with Miho Hattori's guitar and spacey vocals about some of her favorite dishes. This was one of my favorite albums when I was in high school. I always had a little off music tastes from my friends, but when I plugged this album in I always got a bunch of akward stares. The opener, "Apple," is quite normal sounding, just not about the usual stuff. But then "Beef Jerky" kicks in. Oh man, just thinking about that song makes me smile! MY WEIGHT IS 300 POUNDS. MY FAVORITE IS BEEF JERKY. "Sugar Water" is quite normal sounding again, very lush and lovely. Mmm...that bass with the background vocals. Then there is "Birthday Cake." Well, if you know this album, you know what I mean. If you don't, then check it out, then everything will make sense.
#26: Happy Mondays - Pills 'n' Thrills and Bellyaches
DRUG MUSIC. That's what the Happy Mondays are. They released a lot of crap in their days, probably due to being on too many drugs. Or not enough, because in 1990 the Happy Mondays released their best album, an ecstasy filled trip through drug culture in Manchester in the late 80's and 90's. Some of the songs on this album, like "Kinky Afro" and "Loose Fit," are the best representation of the entire scene, as Shaun Ryder's commentary explores the lifestyle. The Stone Roses kicked off the scene transforming the new-wave scene that dominated Manchester into something a little more funky, but it was the Happy Monday's that took the sound, drugged it up in the Manchester underground, and along with Primal Scream, took over the British Isles. The new-wave sound had taken over the world, but the neo-psychedelica world never really crossed the pond. For better or worse.
#25: Sigur Ros - Von (1997)
Probably the most obscure album on my list. Just recently this album was released in the US. Prior to 2005, this album was only available on a limited Icedlandic pressing. Von doesn't sound like it was released in 1997. It really doesn't belong to any time era in general though. Sometimes it sounds behind the times, others it sounds ahead of the times. Most of it howver, sounds like something no other band in the history of time will ever come close to. This is Sigur Ros's darkest, most inaccessible able. The other Sigur Ros albums are not exactly accessible, but definitely moreso than Von. It starts out with the self titled song, which may be the scarriest piece of music ever composed. Though filled with great songs, there are two songs that really make this album one of the best of the 90's; "Hun Joro," with those chilling vocals, the build up and break down, and "Myrkur," one of the decades most unique shoegazers. Also this album has the downright most creepiest cover art ever.
#24: Ride - Nowhere (1990)
Oxford's golden-boys before you know who came around, Ride is one of many shoegaze bands to emmerge from the British Isles in the early 90's. And like most of these bands, they only had one solid album, and that one solid album was killer. So what is it that makes Ride's debut, Nowhere, really stick out? Well, compared to most of its competitors, Nowhere is much louder, yet still lush. The vocals are more comprehensible, they are still mysterious at the same time. They use all the distortion, but still maintain hooks. There are really just more diverse. Songs like "Seagull" and "Dreams Burn Down" have these incredible atmospheres that make you just want to drift off, but not to fall asleep. Then there is "Polar Bear," started off with a nasty tremelo and some feedback. Then those drums thunder in, and take off the song. And with perfect timing at the end, an acoustic guitar chimes in to complete the song. Beautiful.
#23: Olivia Tremor Control - Dusk at Cubist Castle (1996)
Had this album been released in 2003 the Olivia Tremor Control would have been indie-pop gods. This album is filled with pop-hooks from top to bottom and everywhere inbetween. Well, not completely. This album could have been a pop-gem.the first ten or so tracks are beautiful catchy songs that you want to singalong with upon first listening to. Tracks like "Jumping Fences" and "Define a Transparent Dream" are fantastic. But then the album journeys into another world. To be specific, the world of green typewriters. I think this part of the album is fantastic, but it's where most people lose attention. The album contains itself some 9 tracks later, but it never really gains it's full composure again, ending the album off with some more experimental pop songs. This album is a journey, and if you are willing to take it, it's well worth it.
#22: Oasis - Definitely Maybe (1994)
They're the next Beatles. OK, so we learned quickly that was not going to happen. But before then, Oasis gave us a couple of great albums, including Definitely Maybe, which I believe is their best. This album was their debut, but not the one that made them the biggest rock stars in Britain. Their follow up would take care of that. This album however, saved Creation Records. Creation Records was just about to fold, as they put all of their resources into completing an album that wasn't paying off (we'll get to that album later) when they decided to take one last chance with an up and coming band from Manchester called Oasis. This record kept the label up and running, but it was their follow up that made the label their millions. But this album is more than a label saver, it's a wonderful Brit-pop album, one of the premier of the decade. Some of my favorite Oasis songs are on this album, like "Rock n Roll Star" and "Live Forever." It was these singles that started to build Oasis's enormous following later in the decade.
#21: Aphex Twin - Richard D. James Album (1996)
This is the most accessible Aphex Twin album. That's not really saying much. But prior to this album, Mr. James had released mostly ambient music, without beats or melodies. Not that they were bad, they were fantastic, but this was his first album that one could listen to often. In the car, at home, it didn't matter. Like all previous Aphex Twin albums, there are no vocals other than a few sampled pieces used here and there. There is still a pretty big ambient feel to the album, but there are beats, and usually a melody, then random noises spotted about. All together, they come together to make one of the premier electronic album, behind a handful of albums by a German quartet I'm sure you can name.
#20: Elastica - Elastica (1995)
There was nothing really special about Elastica. They were Brit-punk in the 90's. Good female vocals, but nothing super amazing. They wrote good catchy songs. They did a lot of drugs. They had one fantastic album, then a sub-par second, and destroyed themsevles. Pretty standard for a modern British band, eh? So what makes this album stick out? What makes it the #20 album of teh decade? Well, I don't know. It's just that damn good. The songs are catchy, short and to the point. The vocals compliment them wonderfully, with a mixture of quite normal lyrics and quite odd lyrics. There is a general punk feel to this album. You can tell they listened to a lot of Buzzcocks back in the day, which is a very good thing. I swear anyh song on this album could have been a hit single, and in fact, a few of them were.
#19: Pixies - Trompe Le Monde (1991)
This is essentially a Frank Black solo album. His Pixies partner in crime, Kim Deal, had very little say in the composing of this album, mostly because Frank was disappointed with a lot of the songs on their previous album, Bossanova. In fact, Kim didn't write any of the songs on this album. There is a generaly different feel to this album from previous Pixies albums. Frank went with the whole sci-fi theme lyrically, and it can also be heard in the music. They started working with synths like on the catchy as hell "Alec Eiffel," which is the first we ever heard from the band. Two of my favorite songs on the album are "U-Mass," and "Motorway to Roswell." A funny little track on the album is "Head On," which to many peoples surprise, is actually a cover of a Jesus and Mary Chain song.
#18: Bjork - Homogenic (1997)
Maybe the most unique voice in music. Ever. At least the most unique female vocalist. This is one of Bjork's many gems. At this point, she is still exploring electronic music, but there is also a lot of piano and strings on this album, unlike her previous album, Post. The opener, "Hunter," may be the most bass heavy song in the history of time. I remember pluggin this album in on a friends car stereo which had obsessive bass, and we thought the windows were literally going to shake out. Then there is the thunderous intensity of "Bachelorette," which is accompanied by one of my favorite videos of all time. Hell, all of Bjorks videos are incredible. The music and videos may be incredible, but we all know what makes this album so great. It's that voice! I'm so happy that someone with a voice like that is also so creative. This creativity and voice have made Bjork one of the premier musicians on the planet.
#17: Depeche Mode - Violator (1990)
Depeche Mode is typically thought of as an 80's band. They were one of the premier new-wave bands in the 80's, and this leaked over into the 90's. Sort of. This album was released in early 1990, and it was Depeche Mode's only album in the 90's on the calibur of their 80's album. It is probably their second best album thouhg (Most people say it's their best, but I still prefer their 1984 industrial classic Some Great Reward) This is their most popular album though, with huge singles like "Personal Jesus," "Enjoy the Silence" and "Policy of Truth." "Enjoy the Silence" and "Policy of Truth" are two of my favorite Depeche Mode songs, but I never really understood what was so great about "Personal Jesus." The album finishes with "Clean," in which David Gahan tells about coming clean with all his drug issues and now it is in his past. We all know this was a lie.
#16: Bjork - Post (1995)
My personal favorite Bjork album, and as you can tell, it just edges out Homogenic. This was her second solo album, and is a definite step up from Debut. Bjork progesses to a mostly electronic sound, opening up with the hypnotic "Army of Me," then onto the beautiful "Hyper-Ballad." The album takes a quick turn with "It's Oh So Quiet." With a little brass section and Bjork shhing...then it breaks into a Broadway freakout. My favorite Bjork song resides on this album, in "Isobel." With it's jungle beats and loops, and the cinematic strings. Beautiful. I really don't know what makes this album stnad out more than Homogenic. I just like it more, and sometimes I don't need an explanation.
#15: Cibo Matto - Stereotype A (1999)
Their follow up to the epic weirdness of Viva! La Woman. Most people don't rate it as high, but I prefer it. Obviously, I ranked it #15 of the entire friggin decade. A lot of the same vibes are there, the NYC electro sound, with the hi-hop kinda sound, but also a more jazzy sound and more European electro-sound. There are also a couple of additions to the band, and Sean Lennon plays bass on the album. Once again Cibo Matto blesses us with those off the wall vocals. There is also more just plain singing this time around, as opposed to rapping and squealing. I think this is one of the main advantages of Stereotype A, as the girls have absolutely wonderful singing voices. See; Moon Child. Gorgeous. Also there is less singing about food. I mean, there is still a few songs about food, like "Spoon" and "Sci-Fi Wasabi." All of this comes together for a truly excellent album. It's a shame that this was their last album. Though I still believe the two girls will come back together and give us another quirkly little album to jump around to.
#14: AIR - Moon Safari (1998)
Smooth. That's what this album is. And sexy. Laced with smooth drums and bass, analog synths and samples this album comes together to be one of the sexiest albums of all time. OK, maybe behind Histoire de Melody Nelson by Sege Gainesbourg. It's so stereotypical (No A this time) that they are French. Most stereotypes (Still no A) are true though. So be it. The album starts off with a killer instrumental, "La Femme d'Argent," and progresses right to the bass heavy "Sexy Boy." Another one of my favorite tracks on the album is "Kelly Watch the Stars," with its synthetic bass and keys. The album never lets up, as "Talisman" slows down the pace a bit, with it's smoth bass and off-key synth lead, and the short but effective "Remember" with the vocoder. So Eurotrash. The album ends with the busy "Le Voyage de Penelope." This is Air's essential album.
#13: Mogwai - Young Team (1997)
Young Team is a story in itself. A story with no lyrics. Sure there are a couple of sampled lyrics here and there, but there are no real vocals. It is truly one of the epic post-rock albums of our generation, and it sets the pace for a load of followers like Explosions in the Sky and Mono. The opening song, "Yes! I am a Long Ways From Home" sets the pace for the rest of the album: Slow and mellow, followed by loud and abrassive. Then Mogwai turns up the volume for the second track, "Like Herod." The song is so quiet in parts you question whether the stereo is still playing, but damn, when it gets loud, it gets loud. The first two songs are fantastic, but then the album slows down a bit, like it is preparing you for something. An epic ending. The songs in the middle are great, but just generally slower. That is until you get to the closer, "Mogwai Fear Satan." This song is the album. The opening guitar piece grabs your attention immedietly. Then the drums and bass and second guitar come in. And it builds. And builds. This is what Mogwai was preparing you for. Whether or not you are ready for it, it's coming. The song slowly gets louder. And louder. And louder. Then louder yet before it erupts into an orgasm of pure sound. Ladies and gentlemen, welcome to flavor country.
#12: Blur - Parklife (1994)
Blur is a one-hit-wonder in the US. But they are huge in the UK. In fact, numberwise, I do believe they are the 3rd biggest Brit-pop band to come out of the decade. Maybe the 2nd. But it still stands, they are a one-hit-wonder in the US. "Song 2" was not on this album, it was on their self-titled follow up. It was funny when people bought this album, expecting to hear more songs like "Song 2." Instead, they got some pompous Brit-pop. Not what they wanted, but vastly supperior. Opening up the album with the dancey "Girls and Boys," and onto the pretty standard yet pretty catchy "Tracy Jacks." The lyrics are fantastic on this album, usually pretty goofy, but generally fun. The whole album is just plain fun. Especially the title track, "Parklife." "I get up when I like, except on Wednesdays when I get rudely awaken by the dustman." Amazing.
#11: Weezer - Pinkerton (1996)
In 1996, Rolling Stone declared Pinkerton to be the worst album of the year. I haven't touched a Rolling Stone since. Warning: Hella emo. OK, so not HELLA emo, but on a romantic level, I connect with no other album better than Pinkerton. For ovbious reason. If you've ever LURRRRVED someone "Across the Sea," you know what I mean. I have not however, dated a girl who turned into a lesbian, but I am still young. It also helps that the music is great. Fun, catchy songs. I just love singing along with "The Good Life" and "El Scorcho." And who can forget "Pink Triangle?" Then yes, the very touching songs like "Across the Sea" and "Butterfly." The album is very short, just over 34 minutes long, but it is pretty powerful to me. It's fun. It's sad. It's catchy. It makes me think.
