Best of the worst

Bright spots few and far between in generally disappointing
year for music

By Judy Bandstra
The Metropolitan

How disappointing.

Shiny and promising at its beginning, 1997 ÷ as least as far as music is concerned ÷  instead turned out to be as dull and dreary as someoneâs worst home movie.

Lots of records came out this year, and most of them were only half-good, at best. Occasional flashes of brilliance could be found here and there, but nothing amazing enough to tell your friends, your enemies or even your mom about.

The music press tried its best to create excitement where there wasnât a lot to be found, pummeling readers with the twin fists of electronica (a fine movement, but itâs been around long enough to make the ăshiny new thingä hype look silly) and the incessant ăYear of the Womanä talk (proof that popular musicâs idea of gender equity is
that itâs OK for women to suck just as much as men do now).

Recapping such a year is difficult, because so much of what happened is fairly uninteresting. Instead of qualifying this year-end list with words such as ăbestä and ămost amazing,ä it might be more honest to title this list:

The Least Disappointing Records of 1997 (in alphabetical order):

đ The Apples in Stereo ÷ Tone Soul Evolution
(Elephant 6/spinART)

Denverâs Official Indie Rock Bandú poked out its best, most consistent album to date with this collection of 14 breezy, catchy tunes. The album starts out strong with ăSeems So,ä one of the better songs of the year.
Guitarist/singer Robert Schneider sings about a man lit alive by some sort of vision ÷ ăWhen I called last night I wasnât high / No, I had not been drinking / When I saw a sight, I canât deny / Now made me do some thinkingä ÷  while the rest of the band backs him up with neat harmonies and a precise, pulsating bass line. Unlike  their previous efforts, The Apples manage to keep this momentum going throughout the entire record.

đ Blonde Redhead ÷ Fake Can Be Just As Good
 (Touch And Go)

The no wave movement of the late 1970s has influenced scores of bands, and Blonde Redhead is this yearâs example. Its music features enough atonal guitar noise and jerky, uneven rhythms to show that this trio has been carefully studying the works of classic no wave bands, such as James Chance and The Contortions and DNA (a song of whose they took their name from), as well as more current bands like Polvo and current critical favorites Unwound. Fake Can Be Just As Good shows all the tricks the band can pull: interesting time changes, odd song structures and lyrics that read like scary high school girl poetry ÷ ăA place in a world an expression no salt no tears. . .I submit and you smileä (from ăPier Paoloä). While not brilliant, this album is easily one of the yearâs more interesting efforts.

đ Built To Spill ÷ Perfect From Now On
 (Warner Brothers)

This Boise, Idaho, bandâs first major-label release showed no signs of compromise. Instead, singer/songwriter Doug Martsch expanded his vision. Previous Built to Spill releases have featured lots of short, sweet songs about love and kids and growing up in small towns. The subject matter hasnât changed on Perfect From Now On, but the songs have increased in length and intensity. Thereâs plenty of guitar noodling to be found here, and Martsch proves to be a master at coaxing waves of sound and feedback from his instrument. This album is, more or less, classic rock for those listeners who have denounced the idea of classic rock.

đ Pavement ÷ Brighten The Corners (Matador)

This oneâs a given. Pretty much everything Pavement does is brilliant. While this album isnât as startlingly new and refreshing as some of their previous efforts, itâs a worthy addition to their rather illustrious catalogue. This is one band that has earned any word of praise that comes its way. The songs on Brighten The Corners arenât as chock full of fuzzy guitar noise and odd production values as could be expected, but the band makes up for that by writing some of its most beautiful songs ever. Stephen Malkmusâ lyrics ÷ always a bit worldweary and disdainful ÷ this time show a preoccupation with maturing and growing older. This is about as good as it got this year.

đ Silkworm ÷ Developer (Matador)

1997 saw the release of many records that werenât likable on first, or even second, listen. While most of these records didnât turn out to be worthwhile with many repeated tries, Developer got better and better with each listen. Overall, the record is pretty bleak-sounding. With a few exceptions (such as ăI Never Met A Man I Didnât Like,ä which is as close as this album has to a Big Rock Song), the songs here are almost painfully slow, with the space between notes just as important as the notes themselves. Vocalist Tim Midgettâs voice croaks along and is a perfect match to the lyrics, which are mainly concerned with isolation and loss. Not a pleasant listen, but worth it.

đ Sleater-Kinney ÷ Dig Me Out

 (Kill Rock Stars)
Dig Me Out is the closest thing to  an unanimous critical favorite as came out in 1997. And with good reason: it made guitar rock sound new and exciting at a time when the genre seems exhausted. While Sleater-Kinney spring from the mid-90s riot grrl movement, they differentiate themselves from others in the same bunch by backing up their ideals with good songwriting and playing. Vocalist/guitarist Corin Tucker has one of the best rock singing voices to come along in ages, and she makes every song sound like what sheâs saying matters more than anything in the world. Alone, this would be an achievement in an age where everyone sings like theyâre bored, but combined with the energy of the songs on this album, the effect is pretty damn impressive.

đ Spiritualized ÷ Ladies And Gentlemen We Are Floating In Space (Dedicated)

Spiritualized frontman Jason Pierce was a member of the influential trance-rock band Spacemen 3 during the â80s, and heâs spent his career ever since exploring further the possibilities suggested by Spaceman 3âs blend of psychedelic rock, blues and various pharmaceuticals. Ladies and Gentlemen We Are Floating In Space sounds a lot like what the title suggests: this is music to float around and get lost in. It starts out fairly concise ÷ the title track and the vaguely anthemic ăCome Togetherä come as close as this album gets to actual songs ÷ but as the record progresses, it slips deeper and deeper into the realm of pure sound. A must for times when youâre ... impaired.

đ Yo La Tengo ÷ I Can Hear The Heart Beating As One (Matador)

This is, hands down, the best record to come out this year. While Yo La Tengo has yet to release a bad album, this one manages to show off every strength the band has at once. The bandâs ongoing attempt to explore all of rock history through its music continues here, with a cover of the Beach Boysâ ăLittle Hondaä that manages to surpass the original,  scattered references to other works, and a few hidden music geek in-jokes. But the bandâs much more than the sum of their influences. This record has some of the best songwriting to date, from the plaintive ballad ăAutumn Sweaterä to the rhythmic near-funk of ăMoby Octopad.ä The best song on this album is the most surprising: ăStockholm Syndrome,ä the first song on a Yo La Tengo album sung by bassist James McNew. Simple and short, this song is almost heartbreaking in its sincerity.

Other highlights: Cornershop ÷ When I Was Born Again For The Seventh Time (a well-crafted record that manages to mix ethnic music, slick studio pop and electronic beats into one beast); Jessamine ÷ Another Fictionalized History (a collection of rare tracks by the best semi-rock band youâve never heard of); Sonic Youth ÷ SYR1 and SYR2 (a great band gets its act back together again); and Stereolab ÷ Dots and Loops (all Stereolab is good).