Generator
Boy are we political! Well, political for
1992, and dated for even then. Like a lot of "hardcore" stuff
that is making its way to the mainstream, this album suffers
from a little too much homogeny both in content and sound. The
drumming seems to sound very similar from track to track, with
the same pounding beat and fills, but what the hell do I know?
It's certainly not a bad album, but there are better Bad
Religion records out there. |
Recipe for Hate
I actually had a crappy advance tape version
of this album before buying the CD used from Moby Disc.
*Name drop alert* Brett Gurewitz was my friend's sorta
brother-in-law for a while, so this tape came from his personal
stash, so the lack of quality was kind of surprising, but... *Alert
over* Anyway, this album marks the height of the band's pop
sensibilities. Their punk sound has been smoothed out, and the
song structures are more radio friendly. I can't but think this
was the influence of labelmates The
Offspring's success, but that's just conjecture. The
songs are memorable, yet still politically charged. The interesting
thing is listening to how the songs, all of which are somehow
politically motivated, swing between describing it in terms
of religion in one song and science in another. That dichotomy
is what makes the band so interesting, as the approach
between Gurewitz and Graffin's science vs. religion writing
styles keeps things fresh and flowing. |
Stranger than Fiction
[Amazon]
The fist thing I noticed about this album
is the production quality--it doesn't sound like it was
recorded in a closet for $25. Must be them Sony dollars at work.
Yeah, yeah, they're sellouts. Whatever. There are a couple good
tunes on this album, but too many of them are attempts to recreate
some of the old anger, but with weaker convictions. Maybe people
get too old to be punks. Maybe a 30-year-old talking about his
fucked up middle-class parents just doesn't matter anymore.
Whatever the case, these guys sound kinda tired and well fed--the
beginning of the end. |
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