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Superchunk (Matador Records, 1990) |
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At this stage of their career, Superchunk are a wall
of guitar noise and screamed college boy angst. This first album
is very punk and quite raw. However, it is Punk in the sense
of the original New York Punk Scene (Television, Patti Smith)
as opposed to that Southern California Punk (Bad Religion, Social
Distortion) that seems to dominate today. That is, the angst
is not working class, but more intellectual.
Standout Tracks: Slack Motherfucker, My Noise,
Sick To Move
Verdict:
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Tossing Seeds (Matador,
1991) |
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A collection of early singles. As a compilation, it captures
some great and not-so-great moments. Slack Motherfucker
and My Noise are repeated from the Superchunk
album. The few other noteworthy tracks have become live standards
for the group.
Standout Tracks: Cool, Fishing, Train From
Kansas City
Verdict:
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No Pocky For Kitty (Matador,
1991) |
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Mr. Wilbur joins the band, completing the guitar-oriented dynamic
that becomes their staple. Many consider this to be their finest
album, and it contains many great tunes. It is a good album
to listen to in the car: the songs are singable and fun.
Standour Tracks: Skip Steps 1 & 3, Punch Me Harder,
Throwing Things
Verdict:
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On The Mouth (Matador,
1992) |
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Mr. Wurster joins up, thus completing the band. Not their best
work, but still full of good, energetic songs.
Standout Tracks: Precision Auto, I Guess I Remembered
It Wrong
Verdict:
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Foolish (Merge, 1994) |
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A long hiatus for the band during which their sound changed
somewhat. This album has quite a few good rocking tunes, and
some slower ones with mournful lyrics and beautfiul guitar interplay.
This was my introduction to the band. The production (Steve
Albini) is perfect -- all of the elements flow together seamlessly.
I rate this as their best release. It is a MUST HAVE.
Standout Tracks: Driveway to Driveway, Water Wings,
Why Do You Have To Put A Date On Everything, Like
A Fool
Verdict:
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Incidental Music (Merge,
1995) |
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Another collection of singles and rarities. This is sort of
hit or miss: some of these songs were best left as b-sides.
However, there are some good moments, including a spirited cover
of The Magnetic Fields tune 100,000 Fireflies, and an
amazing acoustic version of Throwing Things off of No
Pocky For Kitty.
Standout Tracks: 100,000 Fireflies, Throwing Things
(acoustic)
Verdict:
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Here's Where The Strings Come
In (Merge, 1995) |
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Another masterful record full of great, energetic songs. I
let a co-worker borrow this once and i think his response sums
it up perfectly: "Every song was better than the one before
it, and that first song was one of the best i have ever heard!"
Indeed. This album flows together really well, and the production
still favors the guitars over the voice. This album is probably
their most rocking!
Standout Tracks: Detroit Has A Skyline, Hyper Enough,
Yeah, It's Beautiful Here Too
Verdict:
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The Laughter Guns ep (Merge,
1996) |
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This was a limited edition ep release that doesn't really contain
any amazing tracks. However, after the four songs are done,
the rest of the CD is taken up with "The Laughter Guns
Incident" (not labelled on the CD), wherein some college
students at UNC Chapel Hill attempt to deconstruct the album
Here's Where The Strings Come In. In the 40 minutes
or so that are on the CD, the deconstructionists never get past
Hyper Enough. This segment contains some hilarious discussion
of Superchunk's music, and contains one of the best lines ever:
when they are attempting to figure out the time signature of
the song, they play a snippet and the announcer states "Pogo
in your head, everyone". This has high humor value, and
is a must have for any serious fans.
Verdict:
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Indoor Living (Merge,
1997) |
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The guitars might be a little less powerful on this album,
and there are even some spots with keyboards(!), but the songwriting
is still equisite. Now that you can hear Mac, you can see that
he truly does have a way with words. This is a good introduction
to people who may not be as excited about "Superchunk as
a Punk Band".
Standout Tracks: Burn Last Sunday, Song For Marion
Brown, Martinis On The Roof
Verdict:
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Come Pick Me Up (Merge,
1999) |
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I personally consider this to be their weakest album. For some
reason they chose to work with Jim O'Rourke, and i feel that
he ruined this disc. Sure, there are some great songs, but the
production really is not flattering. O'Rourke put Mac's voice
way up front in the mix, and urged Mac to sing (almost in falsetto)
rather than his typical howl. Also, with the production favoring
the voice you don't hear the guitarplay as well, and that is
a real tragedy. Another thing i hate about it -- O'Rourke put
all sorts of keyboards and horns and whacky little sounds all
over the place. It's too distracting. Others, specifically Mr.
O'Rourke's fans, might enjoy this disc, but out of all of Superchunk's
releases i listen to this one the least.
When i saw them on the first leg of the tour for this album,
they were struggling to play the new songs live. Having seen
them many times, i felt that this was a new phenomenon. Usually,
their albums capture the live sound fairly well, but the production
on Come Pick Me Up was so far out there, that
they had trouble putting these songs on stage. After a few months,
when they came back to Atlanta, they had the songs figured out.
The struggle really annoyed me though...
Standout Tracks: Good Dreams, Honey Bee
Verdict:
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Here's To Shutting Up (Merge,
2001) |
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There is a long full review of this album available
here.
To sum up: This is a definite improvement over Come Pick Me
Up. The production is clearer, and the band seem more confident
in their new direction of more pop, less punk.
Standout Tracks: Late Century Dream, The Animal Has
Left It's Shell, Art Class (song for Yayoi Kusama)
Verdict:
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