Nineties without linden: seven great forgotten songs
In the summer of Moscow, the pioneers of Alice in Chains will arrive. The band recorded the first exemplary album of this style “Facelift”, and in 1992, AIC released the swan song of grunge – the album “Dirt”. In that year there were many musical breakthroughs, discoveries and upheavals. Something was forgotten, but it seems that the 90s are with us for a long time.
From the point of view of show business, the main achievement of the nineties, probably, is that they have learned how to make almost any non-commercial music commercial. “Repositioning”, in the language of marketing textbooks. So, it was in the 90s that “it turned out” that heavy music is not “stupid / choking”, but just the opposite: diverse, for all tastes, with quite pop ballagers within the style. And yes, other styles are most easily grafted onto it, from ethnics and hip-hop to electronics and jazz. From the cultural point of view, the “real nineties” began, probably, in 1991 – with the release of the Nirvana album “Nevermind”.
And 1992 is a breakthrough in the mass market of heavy hip-hop, gothic “metal” and student “alternatives”. With “metal” everything is simple. For example, it was at that time that the doom metal style appeared. Back in 1991, a group from Britain Paradise Lost released their second album with the program name “Gothic”. On this album, the quartet of the young men from Halifax played a slow and dark metal, but it was spiced up, completely out of the genre style, with classical female vocals (Sarah Marian, soprano) and synthesizers. It was a bomb. True hard rock fans, metalworkers, did not know how to treat this. Curse? Or accept? While they were thinking, the style (doom metal – “the metal of the doomed”) won new fans. Nick Holmes, Greg McIntosh and their colleagues in the group invented a new style – a sort of subculture within the subculture. In the 90s and in our time, groups of this genre began to multiply like cockroaches. Especially for some reason in Scandinavia. But this is another story. Holms and McIntosh, after many years, told us where they got the idea of doom metal: “We just decided to play metal slowly. Everyone tried to play as fast as possible, and we – as slowly as possible. ” Just like all ingenious. In 1992, another productive symbiosis was widespread: hard rock with hip-hop. Hard rock and heavy metal are styles that are mostly white, i.e. they are played, as they say in america, by “caucasians” —white people. And rap is a totally black style. That is, they were two completely different subcultures, from different planets, simply. Some of the hard rock fans again fell into confusion, not knowing how to relate to all this. Breaking your head – is it true or is it corrupt? And some – on the contrary, were delighted, admitting that no-no and yes, they listened to rap “well, for rest.” The instigators of piquant interesting in heavy music – New Yorkers Anthrax, recorded the rap metal version of the hit Joe Jackson’s Got the Time (album “Persistence of Time”). Californians Faith No More have developed even more successfully and steeper from the point of view of high art, so to speak, living in this risky business as early as 1989, sitting in the deep underground. The first serious success to the quintet came in 1991, and in the mid-90s they were considered almost the main rock band of the planet. But it is already later. And in 1992 they released the album “Angel Dust”, which then seemed just a masterpiece. Brought everything, but with a delicate taste, expertly, without seams. Very solid album. Even now, you can listen to it with great pleasure. After this, it’s hard to come up with something cooler … Faith No More, changing a couple of guitar players and releasing two more pale albums, went to different directions. Guitarist Jim Martin once produced industrial bands, drummer Mike Bordin joined the Ozzy Osbourne band, and vocalist Mike Patton hit the fierce avant-garde (like Peeping Tom). So far, Faith No More has not been revived in an almost original composition. Another unique discovery of 1992 is a quartet from Los Angeles Rage Against The Machine, whose members “trolled” with their pro-communist views and active citizenship. Their first album, eponym, is an unprecedented mix of sly guitar sound, hard rhythms and recitative. Finally, the last phenomenon of 1992 is college rock. This “student rock” appeared, of course, not in the 90s, but decades earlier. But it was in 1992 that a whole heap of conspicuous albums came out, and groups of this style began to gather stadiums, perform around the world, appear on TV and in glossy magazines. Although earlier sollege rock – it was really “rock for students”, and here, stylistically, everything was meant: from indie pop to avant-electronics. The fate of the alternative quartet Soul Asylum from Minneapolis is indicative. They were formed in 1983, the first album was released in 1984. The debut appeared simultaneously with the creations of the more famous Minneapolis groups, Husker Du and The Replacements. And although the Soul Asylum group was noticed, they were considered the “third echelon” in their hometown and the “shelter for the soul”, perhaps, only for notorious fans.