various artists - Particle Theory (A Compendium Of Lightspeed Incursions And Semiotic Weapons From Warner/Reprise)

Ah, yes; the rare place to find Elvis Costello, Boredoms, Sven Väth, and Julee Cruise all in one place.

The Warner family of labels, circa 1993, was a pretty rad assembleage. There was big daddy Warner Bros. Records, who released "The Juliet Papers" that year, a weird concept for 16-year-old me to wrap my brain around. Elvis Costello with a string quartet? Don't worry; I get it now. They'd also put out records from the Flaming Lips and Goo Goo Dolls, which actually got daytime airplay on the one rock station in town. Then there was Ms. Cruise, who, at the time, I wasn't actually aware had worked with David Lynch on the Twin Peaks soundtrack.

Reprise was still flogging Mudhoney's first major label record, put out a Boredoms record in the States, which tickles me to no end, and were still trying to break Babes In Toyland big. Their release slate in 1993 was a bit mixed in quality, but I like how weird a mix it is. You just don't see folks throwing around major label advances on odd shit anymore.

There were also co-releases from Sire, 4AD, Giant, Blanco Y Negro, and American Recordings, all bearing either the WB shield or lower-case R. "Alternative" was a pretty big tent back in 1993, and the majors hadn't had a chance to cock it all up yet. For me and many other future college radio DJs, it was a good time to catch a shotgun's blast worth of genre music and absorb it all, even if you weren't totally into it right away. And, hey, this one could have turned out worse. Candlebox put out a record on Sire in 1993 that sold a metric fuckton and very well could have been represented here. The compilers got it right on this one.

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various artists - Masters Of Misery - Black Sabbath: An Earache Tribute

I've been saving this for a special occasion. But my brain gets sidetracked all the time by so many things, not to mention the correct spelling of "occasion", which never looks right to me, although the dictionary and spell check tell it is, indeed, correct. And, thus, this has been hanging out on various file sharing platforms for at least a couple of years.

The time for action is now. ADHD be damned.

I was all of 15, and not much of a metal fan, when this came out as a Japan-exclusive release in 1992. Curated by the extreme metal label Earache, and released by their Japanese distributor Toy's Factory, this collects the bleeding edge of what metal was in the last decade of the millenium, all performing songs by the sainted Black Sabbath. Sabbath was on a bit of an uptick, having released "Dehumanizer" earlier that year, having reunited the "Mob Rules" lineup. But at the time to most, Black Sabbath was the band Ozzy used to front, a group that was better known for inspiring bits in This Is Spinal Tap than any music they'd made in the past 10 years.

I guess my point is that Black Sabbath, a band never known as cool up to that point, was decidedly at their most uncool. And to have so many leading lights of the underground acknowledge a key influence that was at its ebb was a very awesome thing. There aren't any duds here, a testament not only to the lineup, but also to the songwriting chops of Iommi, Butler, Ward and Osbourne/Gillan.

This has been reissued and resequenced a number of time over the years, the first time in 1995. Cadaver's cover of "Sweet Leaf" got dropped, and contributions from Anal Cunt, Ultraviolence, and Iron Monkey added, reflecting Earache's contemporary roster more accurately. It wasn't for the best, in my humble opinion. This remains the definitive version of what is still my favorite Sabbath tribute.

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various artists - Sub Pop: Patient Zero

It's been twenty years since the release of this particular Sub Pop sampler, and if you don't think the gravity of the fact that it's been twenty years since "Our Endless Numbered Days" and "Burned Days" came out isn't weighing on me like so many dozens of boxes full of vinyl being moved from apartment to house to apartment to storage unit then homey you're clearly a boomer or a Zedder.

The fun part is admitting that, at least where this spotlight on Sub Pop's discography is concerned, my taste remains pretty fossilized. Still love the Thermals, iron and Wine, and the Catheters, hate the Shins, feel ambivalent about the rest. But, hey, you might be really into Rogue Wave or the Helio Sequence. And there is a Postal Service remix on this that I didn't previously own, so I guess it was worth the buck plus shipping I paid a few weeks ago.

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various artists - Supersonic Sounds from the "Fuck You" Movement

When I was a wee slip of a youth, full of piss and vinegar but still discovering myself and what my taste was, I picked up a comp tape from the counter of the local Record & Tape Exchange. I think I snagged it because one of my classmates' bands had a pair of songs on it. Very heady stuff at the age of 16...I knew people who made records!

It was all Roanoke bands, circa 1992-94, and while I've misplaced the tape, and no one's every listed it on Discogs, it was the first time I'd heard Swank, a ska-punk band of some renown who'd eventually put out a pair of recordings on the pre-Fall Out Boy version of Fueled By Ramen. It was also the first time I'd encounter Suppression, local audio terrorists who broke my brain more than just a little bit. How the hell was I supposed to get anything out of the Dave Matthews Band or Metallica or the goddamned Red Hot Chili Peppers when I'd just gotten my first sip of grindcore?

I wasn't aware of it immediately, but Suppression had a label they self-released on called Chaotic Noise Productions (C.N.P., as the literature goes). And while I never targeted their records, I ended up with more than a few over the years. From early cassette releases like the Cripple Bastards comp and the Agoraphobic Nosebleed demo to something more recent like the "Eardrill" comp tape, I'd cop something because I heard it'd be strong and extreme, I'd open it up, get my mind melted, then see that mailing address of Roanoke, then late Richmond, VA.

This one came out in 2001, during what might be called "the middle period" of C.N.P. The only release from the label that year, it's a goddamned cacophonous comp, featuring a bunch of noisy motherfuckers just going for it. When the most conventional track comes from Charm City Suicides ("covering" Reagan Youth), you know you're in for something nearly opposite a Def Jam street sampler or the current NOW! comp. There's a pair of Kojak tracks, a quartet of Suppression cuts, a little something from Bastard Noise that clocks in at (checks track length) 9 minutes?!? There's a monkey man making a man monkey suck his banana on the cover. This isn't for kids, ya know?

One last anecdote: P.C.P. Roadblock contribute three songs here, just one of a handful of appearances they made on aluminum, wax, or magnetic tape during their existence. I don't recall the other bands on the show, or even the instigating circumstances, but I remember them playing the most antagonistic set I've ever seen in my life at the old Ottobar, ending with at least two band members getting kicked to the floor during their set, and a Rubbermaid trash can getting lobbed at them. There's nothing really to take away from that, other than to note that's what you're getting yourself into here.

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various artists - Manifestation VII

A lot of people will tell you that you need to have experienced Manifestations 1 through 6 to truly understand Manifestation VII.

I say, just dive right in. You'll still get plenty out of this regardless of context or history.

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