The Almighty, Crank

The Almighty, Crank (1994-Chrysalis)

For any rocks fans who read this you may have well heard this band. More likely you have heard of them as in the early 90s they were very popular.

Based in Glasgow, Scotland they were one of many bands to come from Glasgow in many years. But unlike the others the music was simply and strictly in the rock category. No stranger to the studio or even the charts this is album number four, but at the time it was released rock music was not in. Britpop had taken over and every record label was signing anything with three chords and a cheeky smile.

The album came out to mixed reviews more so from the fans as it was more aggressive and louder. More akin to a punk band than the classy intros and ballads of a rock band. The cover for me was simply stunning, done by Jamie Reid simply an angel throwing a Molotov cocktail at Earth. The album backs up the cover.

First track "Ultraviolent" is the start I was expecting and thankfully it has it all. Loud and bold, the band hammer out the bass and drums big time. This is not for radio one on a Monday morning at 9am! The bands sound really is not a million miles away from before but the attitude is. Only two singles were released from the album and they are like chalk and cheese in the tempo department but both strangely sound right. "Wrench" is the slower song, big drum sound intro at the start and the song builds up, it is like a Ramones song slowed down. Anyone could play along with this a few chords and great lyrics. "Jonestown Mind" is way faster, I mean way, way faster. A breakneck start to the song and you feel like you are being piledriven by a wrestler. First line is "You're the Jesus that didn't get nailed, Everyone loves a righteous cause" So no daytime radio for this then.

The album is here as I think it deserves more attention and also cause there is no filler there at all. "The Unreal Thing" is another cracker of a song. The same big sound throughout the album and I think a great single. But were the kids ready for this after blasting Oasis? It really does not sound like it fits in 1994 at all. Even the metal world was struggling. But the production to me is not far from Nirvana and the Nevermind album. Nothing wrong with having a great sounding album.

The album keeps it going "Move Right In" and "Crank And Deceit" are all out rockers and intent on making you jump about like a loon. "United State Of Apathy" is a tribute to Bill Hicks and for me one of the highlights of the album. Great Bill inspired lyrics with "Sit up straight eat your Jesus flakes" up there as my favorite on the album. Great chorus in "Welcome To Defiance" if they took of the big drum sound and calmed it down a bit there may have been a hit. But fuck that let it rock out.

Back in 1995 I really can't remember any press on this album and I sort of fell into it by accident. The Wildhearts were to play T in the Park put pulled out. The Almighty were asked to take the place. Back then as I say all festivals were a wash with britpop and this band stood out big time. The new material for me was great, loud and for me being in my teens what I wanted.

The sound on the album may well be familiar to you as it was mixed by Chris Sheldon, who would go on to do albums by the Foo Fighters and Biffy Clyro. Who knows if britpop had not have started, if the record company pushed them more in America with a nice big promo video. But fuck it it is all done now, give it a listen and the next time you hear Monkey Wrench you can give this album a pat on the back.

Twitter: 29xthefun

Pain, Rebirth

Pain, Rebirth (Stockholm-1999)

Remember Napster? This album for quite some time was only available in Sweden and the reason I got this was due to Napster. Back then you could talk to the people you shared music with. Got chatting to a death metal fan from Sweden who recommended this to me. So downloaded it (Well it was free).

A bit of background here as it is important. Peter Tägtgren was at the time well known within metal fans as the leader of death metal band Hypocrisy he was also used many times by bands as a producer. His own studio was used for many classic metal albums, his own band were still going but his desire to make other music was so strong this album came about. Well it is his second under the name Pain. All writing/instruments are by his so it really is as solo as you can ever get. It was nothing but a side project but the album had a two hit singles in Sweden. Not sure if that was ever expected as the deal was simply kept to Sweden, this is where Napster came in to a music fans help. Import copies were very expensive back then. So I only ever had this on MP3 till a few years ago. 

The hit singles in "On and On" and "End of the Line" are so much fun and a real mix of styles. industrial and rock are mixed well but the ending sound is very surprising, strangely it feels more like pop music. Not so far away than what could be in the dance clubs. It can get you dancing much like "On and On" as the music is very repetitive but the vocals are all clean. As I say Peter was a death metal vocalist so a real change of style for him. But it all works. "End of The Line" has some nice loops and guitar samples that really show how good he is in the studio. Again the vocals help keep a tune and the ears are interested.

One of the songs I always loved was "Crashed" an all out rock track but it has keyboards as the lead tune at the intro but still feels very rocking. The guitars on this album are there but with little distortion it helps the overall sound balance out and I think that is why many fans of dance music took notice. "Suicide Machine" is another song I like, a little bit heavier again but the electronic side is obvious, more mixing of the guitars and samples. It really should not work but you find yourself singing along with it.

One track that mixes the guitars into what I could only say is a beat is "Parallel to Ecstasy" it is very interesting as the riff side of the guitar sound feels like it is made faster and looped to feel like a dance beat but it is a distorted guitar. Great stuff, I could see this all being released in the UK as a white label promo (white label is where no info is on the disc making DJ/radio listen) and getting many people interested.

I really do wonder what would have happened if this was put out with a big label as at the time Stockholm Records was not as big as it was. More so outside of Sweden. Perfect label would have been Deconstruction. Give this a go it was listed at the time as industrial/electronic rock but it really is more than that. Very catchy I remember friends into dance music asking me for a copy of this in 99. Always loved how they were enjoying it so much but always adamant they don't like rock music.

Now easily available it has had many reprints so the cover may well be different.

Twitter: 29xthefun