“The song part of Total Trash is cool enough, but part two is what makes it essential – the noise part, what happens when the various rules of music break down and pure escape velocity takes over. I remember seeing Sonic Youth perform this live in maybe 1991 and having one of those profound and prolonged WOW moments that I can’t help calling religious. I remember thinking, they aren’t really playing this music, they’re just channeling it, deflecting it, aiming it, wrestling with it. It’s like they’d punched a hole in a cosmic dike and suddenly it was all just about containment. But not even that. Because this kind of flood can’t be contained. All you can really do is ride it, keep moving, keep playing, because if you don’t, you’ll get dragged under, and where’s the glory in that?” (Philip Random)
“Gary Clail gets the credit here but there are all kinds of folks involved in this coolly groovy yet grimly apocalyptic few minutes from 1991, with On-U Sound at the heart of it all. I’d say the 1980s were more their time, when their fusion of dub, punk, politics, NOISE mattered most. It manifested in various bands, singers, poets, players, but it was pretty much always Adrian Sherwood working the final mix. With a track like False Leader pulling it all together, throwing down a gauntlet that the future’s still trying to figure out. And yes, they are still at it.” (Philip Random)
“The 12-inch single version of Big City is the one for me, Spacemen 3 locking things into extended and ethereal trance mode for many long and hypnotic minutes. A driving song, I figure, ideal for being alone in a great big city. Nothing to do but cruise your solitude, bright lights, lots of shadow.” (Philip Random)
“You’ve probably noticed there’s not much stuff from the 1990s on this list even though the cut-off date is officially summertime 2000. That’s because I generally didn’t buy new vinyl past about 1989. Is this fair to the 1990s? No. And I’m sorry about that. This list is not fair. This list is not definitive. Yet it would be incomplete without some Orb, from 1991’s The Orb’s Adventures Beyond The Ultraworld, because I had to have that one on vinyl, all four sides of it, something I could look at BIG and spread out, while it played BIG and spread out, not unlike the entirety of the universe, known and otherwise.” (Philip Random)
“Evol (the name of the album in question) is love spelled backward, which is pretty much what was going on in 1991, Vancouver’s Pacific Coliseum, as Sonic Youth warmed up Neil Young + Crazy Horse, choosing not to pander even slightly to all the aging hippies in the house, but rather to deliver unto them a profound and beautiful and sustained NOISE. The climax came with Expressway to Yr Skull, which actually starts out kind of nice, but then ‘We’re Gonna Kill – The California Girls – We’re gonna fire the exploding load in the milkmaid maidenhead.’ The hippies were very confused, angry even, but I just laughed. The times, they just kept a-changing.” (Philip Random)
By the time When Tomorrow Hits hit, Spacemen 3 had already broken up for all the regular reasons that drug addled, pioneering psychedelic outfits break up, and then some. A cover of a Mudhoney original, it was supposed to be part of a double-A split single which would also feature Mudhoney’s version of Spacemen 3’s Revolution, but for whatever hazy reason, that didn’t happen. What does happen is Spacemen 3’s equal parts smoother and sharper take on When Tomorrow Hits, particularly that part toward the end, when it hits!
“Strong sense of groove and melody, lots of cool, modern dub tricks – The Strange Parcels seemed to have it all when I first heard them back in 1991 care of On-U Sound‘s Pay It All Back Vol.3 (which remains one of the great compilation albums of any era, as do pretty much all the others in the series). But then, that was about it. An album would eventually show up a few years later, but I was onto other things by then, as was the world, I guess. But I did keep going back to Pay It All Back Vol.3 in general, To Be Free in particular, key ingredient in many a mixtape, dragged to many a house party, bonfire, mountaintop. Soundtrack for this slow apocalypse, still ongoing.” (Philip Random)
“The problem with any My Bloody Valentine record is, however brilliant it may be, it can’t exist in same sonic universe of that same song performed live. Case in point, When You Sleep from Loveless. On record, it’s a superbly textured experimental pop song with a pronounced dreamy edge. Whereas live, in the Commodore, 1992, it was a gauntlet thrown down by the gods. Swoon in our psychedelic power and complexity, it demanded. And maybe half the crowd did. The other half were gone by shows end, complaining about the noise.” (Philip Random)
The Boo Radleys being one of those bands that never got the attention they deserved when they deserved to get it, which is to say, their early records when they were recklessly, beautifully fusing the weapons grade sonics of My Bloody Valentine and Dinosaur Jr with the sweet pop epiphanies of the Beach Boys, Love, The Beatles, Jimmy Webb even — The Finest Kiss (found on their second EP) being a fine an example of all that.