Red Hot Chili Peppers - By The Way (2002)
The eighth album from the legendary rock band, marking a stylistic change in their sound. It has since sold over 8 million copies worldwide.
Californication had brought the band back from a mid-90s lull in fortunes, establishing them as one of the biggest acts in the world. A significant factor was the return of guitarist John Frusciante, a key creative force in the band. Whilst they worked very closely as a group in creating this record, the development of By The Way took a different approach, shifting their sound away from their funk-infused rock style, embracing a much more melodic, gentle sound.
It is an album that is perhaps a little divisive amongst the fan base. Old-school fans may have been turned off by the lack of aggressive attitude, absent on the vast majority of the songs. Aside from the pacy introductory title track, the urgent funk bass of Can't Stop or the ska-tinged On Mercury, it is a much more sedate affair.
This did cause friction between Frusciante and Flea, who had previously worked very closely to develop the majority of the music. The more subdued basslines, with additional guitar sounds giving depth and texture to the songs, maybe reflect the more prominent solo role that Frusciante had on the record. For me, it has a quite bright, summery feel to the album; clean guitar sounds and layered effects help to build a more subtle emotive palette, contrasting with the intensity of previous albums.
The lyrics are also less oblique and far more personal from Anthony Kiedis, reflecting on sobriety and the multi-faceted relationship with drugs. This Is The Place and Venice Queen, the excellent closer, are particularly poignant.
The poppy singles Universally Speaking and The Zephyr Song were radio and video channel staples in the early 00s, the band cementing their cross-over to commercial acceptance. Overall it is perhaps their most diverse album to this point, a really quite brilliant effort, even if it doesn't satisfy everyone.
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The Distillers - Coral Fang (2003)
The third album from the American punk rock band, their most recent release before their initial break-up in 2006 and reformation on 2018.
Its cover is infamous and iconic in its imagery, but they weren't necessarily a band out to offend and shock. Fronted by Brody Dalle, the band's edgy grunge punk sound brought them plenty of attention, unfortunately not just for their music. Sadly they were unfairly characterised by Dalle's relationship with Tim Armstrong, frontman of Rancid and a significant party within the LA scene they came up in.
It is certainly not right to define her just by her relationship with a man, particularly as combustive fallout of its demise resulted in significant harm to the band's prospects. This album is a reaction to the breakdown of their marriage, the myriad feelings that come from a very difficult situation, channelled into an incredible cathartic release of furied words and exceptional rock music.
That is the important thing to focus on really. For all of the noise and attention that accompanied the band (through little fault of their own), the music is superb. Energetic and fierce punk rock, burnished with nihilistic grunge rhythms, it is a tour de force in manifesting passionate rage. Dalle's gravel-tinged voice seems perfect for their sound, charismatic, frustrated, tormented and weary, shades of Courtney Love would be a lazy comparison.
There are some quite excellent songs here. The imagery of the titles shows her wearing her heart on her sleeve, forcing you to bear witness to the pain and suffering inflicted on her by so many. Die On A Rope, The Gallow Is God and the superb opener Drain The Blood might be painful to hear, if they weren't executed with such brilliant venom.
It isn't an album full of hatred, but that qas certainly a catalyst. It is a shame that they broke up, although Dalle did form Spinerette shortly after, who I really need to check out. This is a quality album, inciting you to rail against the pain and injustice.
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