Posts Tagged ‘Silverchair’

Bootleg City: The Mayoral Race Is Heating Up!

It’s hard not to get paranoid when you’re an elected official.

First there was the August catnapping that turned out not to be a catnapping. (Cats who take naps don’t make me paranoid, hence the use of the compound word. Nevertheless, they’re always watching. Don’t forget that.) But then came September’s disastrous outdoor screening of The Wizard of Oz and those particularly potent poppies planted purposely in front of the screen.

You could chalk that one up to garden-variety stupidity on my part since I’m the one who ordered the poppies, but let the records and tapes and whatnot show that I’ve never tried to hide that stupidity from my constituents, nor have I ever been smart enough to know where to hide it in the first place. But what if the poppies were switched out by one of my opponents in the upcoming mayoral race to make me look bad?

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Pop Goes the World: The Dissociatives

Whatever you may think of Frogstomp (1995), the oh-so-timely slice of grunge lite that turned three Australian teenagers into superstars, you might be surprised to discover that Silverchair has evolved into a damn good little pop band since then. They shed the grunge thing for a more orchestral pop approach, and even recruited Van Dyke Parks for a couple projects. Singer Daniel Johns eventually gave up the Vedderisms of his youth and embraced his true voice, which turns out to be a butterfly tenor not unlike our last PGTW subject, Green Gartside of Scritti Politti.

The weirdest part for me is that Johns just turned 30 this year. How much had I accomplished by the time I turned 30? Less than Johns, let’s put it that way.

When Silverchair went on hiatus after their 2002 Diorama album, Johns teamed up with Paul Mac, a keyboardist and remixer that has served for years as Silverchair’s unofficial fourth member, to make The Dissociatives, an electronic pop album that sifts Radiohead’s Kid A/Amnesiac weirdness through a decidedly brighter color scheme. Johns lets it all hang out here on a number of levels; the songs are some of the chirpiest things he’s ever done – Silverchair would never record something as lightweight as the whistle-happy instrumental “Lifting the Veil from the Braille” – and good Lord, look at those song titles. “Horror with Eyeballs”? “Aaangry Megaphone Man”? No wonder no one bought this album. It sounds like the soundtrack to an amusement park ride that kills its customers, rather than the art work with a capital ‘A’ that it is. Ten bucks says the members of 10cc like this record.

This album went out of print in what seemed like weeks after its release, which is a pity, because I thought they were a good fit for Astralwerks, but oh well. Here is The Dissociatives. Listen, enjoy, tell your friends. And go look up their videos on YouTube (embedding is disabled) if you want to see some freaky animation. That’s it. Short write-up this week, kids. The day job beckons.

1. We’re Much Preferred Customers
2. Somewhere Down the Barrel
3. Horror with Eyeballs
4. Lifting the Veil from the Braille
5. Forever and a Day
6. Thinking in Reverse
7. Paris Circa 2007 Slash 08
8. Young Man Old Man (You Ain’t Better Than the Rest)
9. Aaangry Megaphone Man
10. Sleep Well Tonight

Chartburn: 4/25/08

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Mainstream Rock: Silverchair, “Tomorrow” (1995)

John: It’s Jim Henson’s Kurt Cobain Babies!

Zack: Everybody made such a big deal out of this band because the members were so young. Just because they’re young doesn’t mean their music doesn’t suck. It kind of feels like the record company played the role of the doting parents whose six-year-old brought home a laughably bad drawing of the beach cottage the family rented last summer and hung it up on the fridge, all the while snickering behind their hands. And the public, not getting the joke, all agreed that it was pretty terrific.

Will: How far they’ve come. I didn’t give a flying flip about these guys when they first came around selling their wares, and this song reminds me why. (Granted, the video’s a little creepy.) Since they dumped the Nirvana wannabe sound and embraced the glory of the pop hook, their stock has risen considerably. The turning point for me was “Across the Night” and they’ve remained on my “can’t wait to hear the next record” list ever since.

David: What Will said. I love their last record, Young Modern, and also liked the Dissociatives, that electronic project that Daniel Johns did. But this song still bugs me. So derivative, so void of any personality.

Jeff: It should surprise none of you that I got bored with grunge sometime in the fall of 1991 right around the time “Even Flow” or “Alive” was reaching its 10,000th spin on our local rock stations and by the time Silverchair came around, anything that sounded the least bit like flannel was switched off immediately. I know this was just one aspect of Silverchair’s sound, but I’ve never bothered to check up on their later recordings, despite Will’s evangelism.

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