Monday, July 28, 2014

Living Colour - Stain (90's Era)

Living Colour - Stain  03/15/1993 Epic Records (updated 3/28/2020)

A punishing, deeply reflective third release. Vernon's guitar tone is angrier and much more experimental. The bass tone has a different vibe. As a listener its a record filled with disgust, sorrow, loneliness, paranoia and a sense of claustrophobia to the stereotypes and expectation of culture.

My first inclinations after first listen: is its an uncomfortable, confrontational, examination of culture in the United States in the early 90's. Many of the songs examine daily minutia of living with internal demons, and maneuvering around many broken social structures, sexual identity, mind-altering exposure, along with trying to come to terms with disappointment and anger at the status quo or apathetic attitudes.

The album punches the listener in the face with the first track Go Away. There is no way to turn back when Corey's belts out his proclamation: "I paid my $20 now go away". Economic status and social service with helping the less fortunate has this ominous "what did they do for me" mindset. Corey is yelling pretty clearly here that there is nativism going on, and it was a wake up to my then young ears. Its the perception of trying to do something beneficial which can become weighted in its own hubris. The very ethnic reality and the out of sight out of mind thinking speaks largely to the disconnect of humanity itself.

Corey's poetry is covered in a visceral palate of perpetual disgust, distrust, and disassociation as a direct result. There is no fitting into a corruptible industry which is hell bent on further exploitation, and these are interwoven themes with the alienation and stereotypes that have informed the social consciousness. Other songs evoke loss, experimenting with love, breaking down personal biases. There is more to uncover in the themes presented to the listener, this album was my window to a world spoken from this different perspective.

This opened up the reality of an ugliness of humanity, where I was keenly aware of hip-hop artists of the time, Ice-T, Boogie Down Productions, Public Enemy, and many others, this record was another side of the informative exposition in a different palate of colors in which exposing social class and its breakdown. The cover is provocative, using a piece of Replica Of Inquisition Period Headpiece by David Weeks, and Marty Sarandria conjures up two ugly eras of humanity.
 

Music wise its a different record. Newcomer Doug Wimbush takes over where Muzz Skillings once held the bass position, and he adds a new layering to Living Colour's sound. The punch is quick, jerky, pulsating, and rhythmic. Many of the songs are paintings of soul and groove.

Stain is painful. Stain is ugly. I believe this record was a venting of frustration, and it is one I come back to quite a bit. Thanks for reading.

B.


Shores Of Null - Quiescence

Shores of Null - Quiescence 03/13/14 Candlelight Records

Thus far I like this record. Reminds me vocally of Alice In Chains with a twist of modern doom.

The record definitely has a doom vibe, but is evoking very familiar pastures.

Quiescence could fit anywhere in the Swedish style, or American style, it is that mutable.

The power that comes out of this album is melodic progression. There isn't a lot of blatant speed going forth, nor the obnoxious bravado, there seems to be a very calculated intent with this record.

This is my seventh unknown artist from Candlelight, and I'm pleasantly happy to continue to support this label. I await new frontiers of sound Shores of Null will bestow on me in the future, thanks for reading.

B.