Rocka's Hot 00s Albums

[Tha1ChiefRocka]

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Violet by The Birthday Massacre

Year: 2004

Genre(s): Industrial Rock, Darkwave

Synthpop, Gothic Rock

First question: How was this band not a bigger success?

The Birthday Massacre is a band from London, Ontario. They've been consistently making music since the early 2000s to the present day. They have not achieved a great deal of mainstream success, but they seem to have enjoyed a steady cult following. They also seem to have cultivated a very particular aesthetic and symbology surrounding their own music, which is cool.

This 2004 album from the band which, Hey!, is now 20 years ago, is a great entry into the faux-80s worship subgenre.

Second question: How has this band's music not been on 'Stranger Things'?

The Birthday Massacre (keep wanting to type 'The Birthday Party') take a lot from their obvious influences in The Cure, Depeche Mode, etc. but the production and vibe of this album is, almost to a fault, 00s. It would work great on that show. This album can go from hooks to heaviness and intimacy all in the same track. All while maintaining a cohesive theme and feeling. It never feels too derivative especially when you think of what was going on in the alternative rock space at the time.

And, knowing how successful certain emo groups were in this time period, I'm finding it hard to grasp how this band was not a larger part of that scene. They really would only be on the fringe of that scene anyway, because what they are doing on this album (and the great 2007 followup 'Walking With Strangers') is frankly quite a bit better than what was being released at the time. They sound more fully realized stylistically than a lot of the other groups working in the Emo/Goth space in the 00s. (I know they aren't the same, but emo kind of converted a lot of Goths during this time if I'm not mistaken).

Most of those more successful bands had a male lead though. Generally some kind of easily-posterable heart throb. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. However, here we have a female vocalist, that is probably one of the strongest points of the band. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. Anyways, she's great. Theatrical at times and dynamic. She goes from a kind of spoken word growl-whisper on occasion to clean mainstream alternative vocals in a few tracks. It's a fun juxtaposition. With the spooky synth melodies going over some tracks, it creates a great atmosphere. Lyrically the album has some fun turns of phrase, but it definitely is an album with lyrics for teenagers on it. Nothing wrong with that.

I've had a great time listening to this album and the followup, which is why this spot is reserved for both, as they're remarkably consistent. Take a listen and have some fun.

[Tha1ChiefRocka]

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Brainwashed by George Harrison

Year: 2002

Genre(s): Pop Rock
Singer-Songwriter, Folk Rock, Soft Rock (according to RYM)

It's never fun when I have to admit that I'm a poser. "George Harrison is my favorite Beatle," I've been heard to say on numerous occasion. And, while it's true I've listened to the bulk of his 70s output, this album somehow eluded me. I've honestly never heard anyone bring this album up in conversation about George, so it was never anywhere on my radar. I feel like I may have heard "Any Road" at some point though, because it sounds super familiar, but that may just be the latent George Harrison/Jeff Lynne songwriting hallmarks. I am ashamed to have never listened to this until a few months ago.

Released nearly 1 year after his passing, Brainwashed is very clearly a great musician's last will and testament. It reflects the quiet Beatle's best qualities, musically, spiritually, or otherwise. There's an urgency in the lyricism on Brainwashed that only comes from a man that has accepted the most difficult of all things to accept. It could also be serving as a clearing of conscience in a final moment.

The songs are typical George, and probably the closest he ever came to replicating the brilliance of All Things Must Pass. I'm most impressed by the consistency from track to track on this album. I don't feel that any of these songs really miss the mark at all. Especially the slide guitar-heavy middle suite of "Rising Sun", "Marwa Blues", and "Stuck Inside A Cloud". George is playing his ass off on that slide guitar on those tracks. Beautiful & emotional. The closing title track is George giving the world one last warning before he goes. His off-kilter nasal delivery and politicized lyrics sound like a Dylan tribute in his final song. The last few minutes of the track though is reserved for George's Krishna chanting along with his son and others. George understood that spirituality and God were the keys to happiness and satisfaction in a modern world that offers nothing but artifice and consumerism. It's a fitting end for his career, and a great treatise on living a life not controlled by the will of material possession.

Don't make the mistake I did. Go out and listen to this one if you haven't.

[LedZep]

Damn that's some hot shit Chief. Great diary, will be following. So is The Birthday Massacre something like the 00s version of Lebanon Hanover? Female singer, throwback darkwave sound done pretty well, a bit derivative but fun?
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Finally updated the overall chart

2020s
90s

[Tha1ChiefRocka]

[Tha1ChiefRocka]

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Exterminator (XTRMNTR) by Primal Scream

Year: 2000

Genre (s): Alternative Dance, Electronic
Electro-Industrial, Big Beat, Neo-Psychedelia, Noise Rock, Grebo, Experimental Rock

Yeah man. This is the shit. Over the past year or so, I've been listening to a few cuts off of this regularly. What a gnarly, energetic, and intense album. Really gets the blood pumping. Unlike any other album by the band as far as the consistency and overall vibes are concerned. Screamadelica is fine. Vanishing Point is good. But XTRMNTR is a powerhouse. On this album, you add Mani, from The Stone Roses on bass, and Kevin Shields on guitar/ production; you can feel their contributions all over.

Some artists that end up being pigeon-holed attempt to shed their initial images at some point in their careers with varying successes. It would seem from the firs track "Kill All Hippies" that Primal Scream (Bobby Gillespie, really) are attempting to distance themselves from their Screamdelica roots. This album blends everything great about eh drugged-out formula that worked for them in the past, but it adds a depraved and nihilistic edge to everything that makes a huge difference.

Sorry, before I gloss over it, I just want to make it clear that THE Kevin Shields is present on this album. Like, you know, the Kevin Shields from My Bloody Valentine. Those guitars on "Accelerator" Shieldsian I'd have to imagine. That song is LOUD. Although, I wouldn't say the album is a complete victim of the loudness wars. More a casualty. I think most of the loudness on this album is purposeful and to great effect. Anyway, there's also the song "MBV Arkestra". I can't tell what it has to do with MBV exactly, but it does feature some Kevin Shields/Phil Spector "wall of sound" guitars.

I don't attach certain feelings to albums that often, but this album certainly hits a feeling of rampant drug-bender better than almost any other. The title track, "Swastika Girls", "Pills", etc. could all be the soundtrack for a night (or day) of debauchery. There's also an underlying noir/spy music kind of feeling with some of the samples on here. "Kill All Hippies" and "Blood Money" being the two prime tracks for that vibe.

"Keep your Dreams" is really the only track in which you can kind of calm down on. Although it's a nice track, the vibe actually feels out of place considering how urgent the rest of the album sounds.

One nitpick would be the two different versions of "Swastika Girls" on the album. I'm fine with remixes, but I don't care for remixes to be featured in the tracklist for one album. Good thing is that both versions have their stregths and weaknesses, so it doesn't mess up the flow too much. It just seems like you're repeating a bad trip from earlier in your awful night out. That being said, I think the Jagz Coomer is better than The Chemical Brothers. (By a small margin.)

Yeah, I think this is great. Long story short. It goes real fucking hard, man.

[CharlieBarley]