00’s

All posts tagged 00’s

No AlternativeBy Jennifer Elizabeth Rose (Social/Cultural Writer and Music/Arts Historian)

During the early 90’s, many music fans in both England and America felt at a for loss words for identifying what was coming out of their post-punk and/or underground rock music scenes. That music eventually became known as the Alternative genre. College Rock Radio seemed to gather the remnants of music that American kids liked, but it was not very cohesive scene-wise/sound-wise.

Inevitably, a movement was bound to take place. In England, the Northern movement, “Madchester,” developed due to the Joy Division-influenced aftermath with journalist Tony Wilson at the helm.

Similar mass communication mediums such as radio, TV and magazines started to again coin genre names in America shortly thereafter. What was going to be the new “thing?” During the very fevered formation of this new genre, the compilation album, No Alternative, was released in 1993 with a whole host of acts that before didn’t seem related, yet conceptually, they came together on this album and it made sense. Alternative, in the broadest sense, was born out of various sounds of rock and folk (song-writer) genres and on the whole seemed to encompass more thought-provoking lyrics than what was on the radio at the time; similar to their post-punk and folk-punk predecessors.

The most popular offshoot of the genre became Grunge (especially in Seattle), but Art Rock artists from other parts of the country were at first often overlooked in this more broad Alternative genre due to media and playlist regularity. Artists such as Sonic Youth, Smashing Pumpkins and Pavement were on the peripheries in the early 90’s, probably due to their more obvious Classic Rock influences, but eventually they enjoyed a steady fan base growth which was more correlated to the aforementioned Northern English music movements such as the “Madchester” movement and of course the ever repeating Brit Rock revivals.

English music show host, Jools Holland, became more influential in a way of picking up where Tony Wilson left off and connected the dots between the American and English scenes throughout the 90’s and the 00’s, reminding us of what and how the term Alternative really came about. An alternative type of music to what was typically played on top 40 rock radio. This is how and when the term became full circle. And now fans expect such artists to almost transcend the induced sub-genres and be beyond a genre, to be something different yet each having THEIR OWN cohesive sounds. Ironically it is NOT about a scene.

Observe.

As well as the aforementioned artists and Picks of the Week leading to this article I know present some wonderful examples that have been often overlooked after the initial Alternative heyday was over. These artists have also really have gone beyond genre and in a way back to what “Alternative” meant, what rock and roll means and what songwriting is. And many of these are from their founding scene giants were from. (Northern England, Seattle.) Just goes to show.

England:

Ocean Colour Scene – The Day We Caught the Train

The Unbelievable Truth – Solved

America:

Jets to Brazil – Chinatown

Pedro the Lion – Live on KEXP

Shoegaze act Catherine Wheel circa 1993. Photo courtesy of MTV.com.

Shoegaze act Catherine Wheel circa 1993. Photo courtesy of MTV.com.

By Jennifer Elizabeth Rose (Social/Cultural Writer and Music/Arts Historian)

The early development of the Shoegaze genre lies somewhere in the post-punk haze of the 80’s. Gothic/Ethereal artists such as Cocteau Twins and The Jesus and Mary Chain began to fuse elements from uncategorized and/or “art” rock acts like Sonic Youth and Dinosaur, Jr. The name itself evolved because artists, namely guitarists, where using a lot of effects on their guitars through the use of various pedals and stomp boxes and they seemed to be “gazing at their shoes” during performances.

Though many of the genre’s predecessors often used a lot of layering or effects in their music via multi-tracking, in live situations they were more sparse. Live performances from Shoegaze artists differed in many instances because they rarely changed the arrangement or the effects, although the layering was done in a more ethereal or blurred out way to begin with on the records, it was a bit easier to cope with live. Moreover, live versions were even more exaggerated because of this. Shoegaze greats Ride and Catherine Wheel are prime examples of this practice.

By the 90’s, a sister sub-genre called Dreampop surfaced with artists such as Slowdive and Lush. Their music featured the noise of Shoegaze, however was a bit more poppy and melodic. Even Brit Rock/Pop bands like The Stone Roses also experimented with many of the budding trademark sounds with their single, “I Wanna Be Adored” in 1991.

However, 1991 was the year that the first significant stride was made in Shoegaze. One of the first acts to be described as both Dreampop and Shoegaze, the influential My Bloody Valentine, combined airy female vocals and guitarist Kevin Shields’ distinctive sonic wall of guitar noise. In fact, My Bloody Valentine’s Loveless had a great impact on many guitarists in the 90’s, not just in Shoegaze, but Alternative in its broadest sense. Billy Corgan and James Iha of Smashing Pumpkins are notable followers.

The torch was in a way, carried most authentically to British band, Catherine Wheel. Shoegaze became full circle and the trademark sound was “nailed” by them in 1993 with their second record, Chrome. This is arguably the cornerstone record in this genre with its dreamy and catchy melodies sung with Gilmour-esque soothing ethereal vocals and sonically lush (but often still aggressive) guitars and concepts which vary throughout. This record is also one of the most unsung and overlooked recordings of the 90’s in general due to the quick shift in focus to the rise (and fall) of Grunge.

However, not all was forgotten. Catherine Wheel went on throughout the 00’s, inspiring new fans of other genres to not only go back and listen to their old records, but discover My Bloody Valentine’s, Loveless too, and draw from a perhaps small collection of Shoegaze records. Even more so, the quality that spanned Smashing Pumpkins’ range of influences, as well as successful English Alternative/Rock acts such as Radiohead and Pulp, had therefore inspired yet another Brit Rock Revival.

In the Shoegaze lineage, little known but amazing American artists such as Starflyer 59 (often referred to as a Space Rock band) and Hum plugged away through the 90’s. In more recent years, the independent two-piece act, Have a Nice Life, emerged with one of the greatest Shoegaze mixtures ever, especially on their debut album, Deathconsciousness. The presence of Dreampop-y melodic hooks, spacey textures and even darker undertones, hark back to the beginning of this genre’s early Post-Punk/Goth influences. (Refer to some of the artists mentioned in last month’s Gothic Rock article).

In addition to the previous Picks of the Week, which I used introduce this origins of this genre I now include for your enjoyment:

Catherine Wheel – Black Metallic. From recommended album, Ferment. 1993

Starflyer 59 – Hazel Would. from recommended album, Silver. 1994

Hum – Stars. From recommended album, You’d Prefer an Astronaut. 1995

Have a Nice Life – Bloodhail. From recommended album, Deathconsciousness. 2008