Headwarmer - LOST & FOUND

                                          LOST & FOUND

                       Headwarmer re-affirms the classics and dusts
                                    down the buried treasure

'Junk Puppets' - AN EMOTIONAL FISH


'Above' - MAD SEASON
There is an argument that the many close-season recordings, the 'off the cuff jams' or Seattle side projects - call them what you will - had the welcome habit of actually turning out better than albums by the main line ups. Following on from the superbly fraught and disturbed Temple of the Dog, Mad Season's sole release 'Above', was and is no exception. Featuring the late Layne Staley and Pearl Jam's Mike McCready, this is an album played with total honesty and proves a triumph of talent, over excessive addiction. It's clear that the self confessed 'addict and alcoholic' were at their best here, laying down trippy lead guitar lines over personal confessionals, you could say this was the product of a state of chaos and because of that, its an absolute classic. From the opening passions of 'Wake Up' to the haunting progressions on 'X-Ray Mind' and 'Lifeless Dead', this is the work of people who've been way over to the wrong side of things. It's long and full of sonic blues style riffs that are uniquely hammered out on the epic instrumental 'November Hotel', then shifted effortlessy off-kilter for the morose 'Long Gone Day', featuring Mark Lanegan's own liquor store growl. Classic and heartfelt, the very best any album can be.

'Space In Your Face' - GALACTIC COWBOYS
This bunch of Texan outlaws exceeded all expectations on their second LP. Where the debut displayed an incredible and truly original metal diversity, 'Space...' appeared more streamlined and mixed power-crazed mutilations with just about every conceivable rock style in the book. The result...an album that reduced us to a jibbering wreck on first listen, with more layers than a king sized onion.  There are more ideas in the 11 tracks on offer here than most outfits come up with in an entire career; fusing monstrous riffs and seemingly incompatible sub-structures with velvety Beatles-esque tones and choruses that sprout goosebumps.  It's unpredictability is a rare strength that deserves your full attention. The astute opening cascade of 'You Make Me Smile' and 'I Do What I Do' twist intelligently into the monstrous 'Circles In The Fields' and 'If I Were A Killer' which has a hookline and riff big enough to land a whale. In amongst the matt black excellence of 'Space...' sits 'Blind', a merciful acoustic release that shifts into the neck snapping riffery of 'Where Are You Now?', and then reveals a wry sense of humour on 'About Mrs. Leslie'. In contrast to the many tragic bands that exhume the metal corpse, 16 years young this still beats seven shades of shit out of most of todays US releases.



'Need for Not' LEVITATION
Levitation were a London based outfit formed by ex-House of Love guitarist Terry Bickers and drummer Dave Francolini from Something Pretty Beautiful; who teamed up with like minded individuals Christian Hayes on guitar and for this LP, Lawrence O'Keefe on bass. Their sound was a wonderfully hallucinagenic mix of early '90's indie and rock pyschedelia that pissed all over the shoegaze and madchester scenes that were dominating at the time. Their influences were progressive and diverse, yet ultimately rehabilitated through a magnificent melange of swirling guitars , melodic subterfuge and expansive lyrical eulogies. There are 9 tracks on offer here, each layered in remarkable breadth and beauty; from the opening bluster of 'Against Nature' to the reflective 'Resist' and ethereal charm of 'Pieces of Mary' and 'Smile'.  It's an album tfull of ambition and confidence; a glowing piece of alternative power that sounds as irresistable today as it did on its release, 17 years ago.  No more so than on the deliciously progressive closer 'Coterie' which is staggeringly introspective, yet perfectly conclusive. To stand that test of time is remarkable so if you're looking for the 'real-indie' deal, look no further....this is how it's done.

'Mind Funk' - MIND FUNK
If this was re-released today it would likely be a sure fire hit. Mind Funk were not so much about funk as a straight ahead hard rock assault. They threw all their punches at once creating blistering whirlpools of desperate and tremendous noise; diving in immediately with themes of harsh reality and urban lifestyle on 'Sugar Ain't So Sweet' and 'Bring It On'. They appear frustrated and complex; irresistably so, operating under a code of relentless hard line aggression on 'Big House Burning' and the brooding wasteland that builds and builds on 'Fire'. Their methods were ruthless, so much so they were dropped by major label Epic before being scooped up by the excellent Music for Nations for an equally superb yet distinctly different second LP, 'Dropped'. Sadly this US force are no more but on it's release back in 1991, 'Mind Funk' required caution and courage; so if you're not afraid to take a few risks this was a potent debut indeed and still remains, well worthy of your attention.


'Flood' - HEADSWIM
Headswim were formed in 1992 and with this debut, instantly became a monsterous hard rock band; elevating themselves from local pubs to support slots for Rage Against the Machine and Tool. Signed to Epic there was such an all-out exuberance to the vocals and guitar swinging, the flailing drums that cracked like a whip behind a measured bass guitar throb; 'Flood' was the sound of a band in love with the music they made. Coming down like a jack hammer, opener 'Gone to Pot' is a stunning piece of super symphonic rock that wanders down a hallucinatory back alley before shape shifting in the shadows into 'Try Disappointed' and 'Dead'. As expected the simmering production lends a polished zeal to the proceedings, no more so than on the full blown hard rock party of 'Stinkhorn' and the extra zest of 'Safe Harvest'. The bands second LP 'Despite Yourself' was a more sombre affair following personal tragedy.  It yields some potent moments of songwriting and interpretation but there is enough barbed wire surrounding 'Flood' to leave you aching all over.

'Dig' - DIG
Dig were from San Diego and blasted on to the scene as a new name in 1993 through signifacant gig circuit rotation alongside the Rollins Band. They had the ability to turn an established formula and make it their own; shifting through moments akin to Jane's Addiction, Smashing Pumpkins and Nirvana. Each track on offer here recalls the most trippy aspects of garage psychedelia, employing a three pronged axe attack, scowling riffs and intricate melodies that concoct a viscious yet delicate aural assault. The dust they kicked up is most prevelant on opener 'Let me Know' and 'I'll Stay High', gliding gracefully through 'Unlucky Friend' and 'Anymore'.   'Believe' is instantly accessible while 'Ride the Wave' is a low slung spurt of urban punk with an incendiary chorus that surges without interruption. Forgotten and criminally overlooked this was an assertive debut and a real hidden gem that sounds exquisite today and tight as a monkeys nuts.

'Dirt' - ALICE IN CHAINS
If you're looking for a definition of early nineties grunge then look no further. In 1992 AIC recorded an album that still today, simply blows away the adolescent bluster of todays most literary and multi platinum talents. Where their debut 'Facelift' created momentary shafts of light this album is a beacon, a tightly honed beast full of bleak landscapes and sinister walls of sound that leave you breathless and begging for more. The opening fury of 'Them Bones' and the title track both blend metal with melody so well you hardly have time to think before 'Angry Chair', 'Down In A Hole' and the awesome bookend 'Would?' have dragged you through the mind of the habitual drug user. The highlight is 'Rooster', a track dedicated by lead singer Layne Staley (RIP) to his serving father, a personal message that highlights the sheer scale and weight of this album; it's impossible to ignore. Be warned this is an intense and uneasy journey but with it, AIC covered themselves in the grime of nightmares and delivered an album that still cuts to the bone.

'Chasm' - THE BEYOND
The early nineties was a magical time for rock music. Some truly inspirational albums that were a million times more genuine, more honest and ultimately more daring than todays second rate aspirants came to the fore. Is there anything better than Superunknown, The Holy Bible, Gish, Bossanova or Ritual de lo Habitual - all albums of colossal quality and influence; of loss and remorse, mirrored with a positivity that still has you coming back for more? No! To that list, add relative unknowns The Beyond; a prickly crew of four that pushed the boundaries of rock into a whole new category, creating something quite unique in the process. Their debut 'Crawl' (See High 5's) was riddled with invention and exuded a creative edge that had their peers reeling, but 'Chasm' is so difficult to pigeonhole that it remains untouched and unrecognised as a true beacon of 90's musical originality. Cypress Era kicks things off; a wonderful rock opera that sets the pace and tone for the rest of the album - sweeping menacingly through Sentimental Vultures, Onion and the superb Grey, before slowing the pace with Mother My Lover, a poignant shock and an appropriate finale to the opening bluster of Stagnant and Melt. If you can track it down listening to 'Chasm' isn't just an unparalleled pleasure it's an artistic duty, so if you don't want to part of the crowd but still need somewhere to belong, this just might be the best album you've heard in years.

'Sweet Oblivion' - THE SCREAMING TREES
From the substantial Seattle scene of the early 90s only a handful of bands would actually cut the mustard commercially; Nirvana obviously, Alice in Chains, Pearl Jam, Soundgarden - all remembered as the forefathers and leading lights. There were others however, the forgotten if you will, who deserved much more than they would eventually enjoy; ultimately influential rather than hitmakers. One such outfit, The Screaming Trees, were a 'sizeable' four piece in every sense of the word. Fronted by the most 'velvet' of voices, Mark Lanegan's liquor store growl was the Trees' signature, their identity and the key to differentiation. Many will hail 'Dust' as their masterpiece but with 'Sweet Oblivion' the 'Trees delivered a fantastically raw and cohesive collection of charms, an altogether more edgy and uplifting experience than anything they had written before or after. Opener 'Shadow of the Season' has an ethereal quality, an earthy edge so beautifully produced that it takes you to a warm place before tucking you in for night. Singles 'Nearly Lost You' and 'Dollar Bill' keep you in dreamland before 'Celebrations Past' and 'Troubled Times' swing the door open again, exposing a wintery wonderland full of atmosphere and intrigue. There's a quiet sophistication to this album that makes you feel part of its nature and all in all, it's an understated masterpiece that stands alone.