Spiderland
Spiderland | ||||
---|---|---|---|---|
Studio album by | ||||
Released | March 27, 1991[1] | |||
Recorded | August 1990 | |||
Studio | River North Records (Chicago) | |||
Genre | ||||
Length | 39:31 | |||
Label | Touch and Go | |||
Producer | Brian Paulson (credited as engineer) | |||
Slint chronology | ||||
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Spiderland is the second and final studio album by the American rock band Slint. It was released by Touch and Go Records on March 27, 1991. Slint's lineup at the time of recording comprised Brian McMahan on vocals and guitar, David Pajo on guitar, Todd Brashear on bass guitar and Britt Walford on drums. Spiderland was engineered by Brian Paulson and recorded over four days in August 1990. The music and vocal melodies were composed throughout the summer of 1990, while lyrics were written in-studio.
Forming in 1986 in Louisville, Kentucky, Slint had met as teenagers playing in the Midwestern punk scene but soon diverged sonically from their hardcore punk roots. By the time they recorded Spiderland in late 1990, the band had developed a complex, idiosyncratic sound characterized by atypical rhythmic meters, harmonic dissonance and irregular song structures. McMahan's vocal delivery on the record alternates between spoken word, singing and shouting. The lyrics are presented in a narrative style and cover themes such as unease, social anxiety, loneliness, and despair.
Slint broke up shortly before the album's release due to McMahan's depression. In the US, Spiderland initially attracted little critical attention and sold poorly. However, a warm reception from UK music papers and gradually increasing sales in subsequent years helped it develop a significant cult following. Spiderland is widely regarded as foundational to the 1990s post-rock and math rock movements, and is cited by critics as a milestone of indie and experimental rock, inspiring a myriad of subsequent artists. Slint reunited in 2005 to perform the album in its entirety across three international tours.
Background
Slint formed in 1986 in
The 1989 studio recordings drew the attention of Corey Rusk, co-founder of
Production and recording
Throughout the summer of 1990, the band practiced the music for six new songs McMahan and Walford had written for Slint's second album. The songs were recorded in August 1990 with producer Brian Paulson, who was known for his "live" recording style and minimal takes. Paulson later said that the recording "was weird... because I remember sitting there, and I just knew there was something about it. I've never heard anything like this."[11] McMahan and Walford wrote the lyrics at the last minute while in studio,[11] although they had worked out the vocal melodies in advance using recordings of practice sessions and a four-track.[12] The album mostly explored themes of coming of age and anxiety about the approach of adulthood, and McMahan did not want the lyrics or vocal style to be heard by others until the actual recordings. He said: "I did not want to rehearse the vocals...it was a one-shot, cathartic experience."[13]
The recording sessions were intense, fraught, and often difficult. According to AllMusic, they were "traumatic...and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album."[14] Rumors circulated that at least one member of Slint had checked into a psychiatric hospital. Walford later said that there was no truth to such claims, although the band was "definitely trying to be serious about things, pretty intense, which made recording the album kinda stressful."[15] The recording was completed in four days.[11]
Music
The album's guitar work is noted for its roomy sound,[16] angular rhythms, dramatically alternating dynamic shifts, and irregular time signatures. McMahan's singing style varies among mumbling, spoken word, strained shouting, and a written-narrative style. Will Hermes of Spin summarized the album's sound as "mid-'70s King Crimson gone emo: screeching guitar chords and gorgeous note-spinning in odd-metered instrumentals speckled with words both spoken and sung".[17] Melody Maker described the music as "structurally and in tone", saying that the band "recall[s] Television circa Marquee Moon and Crazy Horse, whose simplicity they echo and whose style they most certainly do not".[18]
The lyrics are usually narrative in style, and have been described as "eerie" and having "peculiar syntax".[19] Both the vocal melodies and words were written by McMahan and Walford after the basic tracks had been recorded during practice sessions, and often were not heard by Pajo and Brashear until their final recording in studio. The vocal additions often pulled the songs in new directions, with examples being "Good Morning, Captain" and "Washer".[20] McMahan was never comfortable taking the role of vocalist and only did so because nobody else in the band would. He considerably increases his range on "Spiderland", incorporating both his earlier whispered and shouting approaches with what Tennent describes as conventional, "actual singing".[21]
The opening track, "Breadcrumb Trail", describes a day at a carnival with a
Walford sings and plays lead guitar on "Don, Aman", a deliberate anagram of Madonna.[16] Delivered in a hushed tone, the song's ambiguous lyrics depict the thoughts of an "isolated soul" before, during, and after an evening at a bar.[24] The tempo quickens as the song develops, becoming loud and distorted at its peak, before slowing back to the original speed.[24] "Washer" is the album's longest track, and features a low volume intro with guitar and cymbals before the rest of the band joins in the recording. The song builds until the final verse, when the tension is broken by loud distortion, followed by a lengthy outro.[25] Pajo has said he is particularly proud of the song's one-note guitar solo, admitting that "at that point in my life, if someone asked me to do a solo, I would do the exact opposite of what a solo usually is. Instead of playing a bunch of notes, I would just play one, though I did some decorative stuff around it there. There’re some cool, weird things in that song".[19]
The instrumental "For Dinner..." begins with a quiet section of "brooding chords throb[bing] with the occasional rumble of muted toms and bass drum", the song cycles through sections of building and releasing tension.[26] The guitars employ standard tuning, and do not use effects pedals.[19] The closing song, "Good Morning, Captain", has been described as a tribute to the Samuel Taylor Coleridge poem The Rime of the Ancient Mariner[26] but the band have denied this.[16] The song, which Pajo says is his favorite from the album,[19] is built from a two-chord guitar structure, described as a "spindly, tight riff", and a "jerky" drumbeat.[26] During the recording of the final chorus, McMahan became physically sick due to the strain of yelling over the guitars.[15] David Peschek of The Guardian compared "Good Morning, Captain" to Led Zeppelin for its epic scope, though not its bleak mood, writing: "the extraordinary [song] is [Slint's] "Stairway to Heaven", if it's possible to imagine Stairway to Heaven bleached of all bombast."[27]
Title and packaging
The title originates from McMahan's younger brother, who thought the record sounded "spidery".[15] Its black-and-white cover photograph depicts the members of the band treading water in the lake of an abandoned quarry at lake in Utica, Indiana.[13] The photograph was taken by the musician Will Oldham, who was friends with the band and whose father had taken the photograph on the cover of Tweez.[28] The Stranger credits the image as responsible for the later mystique surrounding the publicity-shy band, and notes how "most people only had seen Slint as four heads floating in a Kentucky quarry on Spiderland's cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were ruins bearing secrets."[29]
Chris Gaerig of the
The photograph on the back cover is of a dead
Reception
Reviews prior to the 2014 reissue | |
---|---|
Review scores | |
Source | Rating |
4th ed.) | [39] |
Select (1991) | 4/5[40] |
Spin Alternative Record Guide(1995) | 8/10[41] |
The band had broken up by the time Touch and Go were preparing for the album's release.
The UK music press were the first to report on the album. Edwin Pouncey reviewed it in the March 23, 1991 issue of NME, finding its sound indebted to Sonic Youth but concluding that "something original squirms at the core of Slint. Perhaps next time they'll reveal all."[38] Albini, who produced Tweez, wrote a review for Melody Maker published the following week. He praised the music's originality and emotional intensity, as well as the clarity and immediacy of Paulson's production. He claimed that Tweez—which he produced—only "hints at their genius" but had little of the "staying power" manifested on Spiderland. He awarded the album "ten fucking stars" and predicted that it would rise in stature, writing "It's an amazing record ... and no one still capable of being moved by rock music should miss it. In 10 years it will be a landmark and you'll have to scramble to buy a copy then."[18]
The album sold only a few thousand copies within the first year.[50] Even a few years later it was estimated to have sold fewer than 5,000 copies.[13] Slint remained an obscure local act in the period leading up to the album's release.[51] By the time it came out, the band had already broken up and its members had moved on to new projects, believing that Slint would be "just another blip".[52]
In the February issue of Select, reviewer Mike Noon praised its "creeping success", but cautioned that the band's sound would take time to fully appreciate.[40] In September 1992, Ben Thompson reviewed both Spiderland and Tweez for The Wire, and while the band's reputation had grown by that time, wrote that bands "like Pavement" were "hailing them as guiding lights for a new obliqueness". "It's not surprising these records confused people on first release", he wrote, in part because listeners had been primed to expect straightforward noise rock—a "total red herring" that concealed the band's "alarmingly introverted" sound. Thompson found Spiderland accessible but wrote that it "demands that you push your head up right close to the speakers (or buy some headphones) if you want to find out what is being said and sung."[53] According to biographer Scott Tennent, the laudatory review of the Melody Maker failed to attract commercial interest, but over the years succeeded in rescuing the album from an otherwise-assured relegation to obscurity.[54]
Legacy
Spiderland is considered a major influence on the
In the 2010s AllMusic's Mark Deming described it as one of the most singular and important albums of the '90s,
Reunions
After Slint's break-up in November 1990,
Critics differed in their assessment of the reunion. Some viewed the band's studio-based music as fundamentally unsuited to a live setting.
Remastered box set
Spiderland (remastered) | |
---|---|
Box set by | |
Released | April 15, 2014 |
Recorded | 1989–1992 |
Length | 118:35 + DVD |
Label | Touch and Go |
Producer | Bob Weston (remastering) |
2014 box set | |
---|---|
Aggregate scores | |
Source | Rating |
Metacritic | 99/100[75] |
Review scores | |
Source | Rating |
AllMusic | [63] |
The A.V. Club | A[76] |
Mojo | [77] |
Pitchfork | 10/10[61] |
Q | [78] |
Record Collector | [79] |
Uncut | 9/10[80] |
In 2014, Touch and Go reissued Tweez and a version of Spiderland remastered by Bob Weston from the original analog master-tapes.[81] The bonus tracks were selected by the band and include demos, outtakes and a live performance. The transitional songs (written after Tweez, but before the bulk of the Spiderland tracks) "Pam" and "Glenn" (whose recording is described as containing one the best drum sounds Albini ever achieved)[82] were recorded during the Spiderland sessions but failed to make the album.[83]
Track listing
All music written by Slint. Actual music composers listed below. Lyrics by Brian McMahan and Britt Walford.
No. | Title | Music | Length |
---|---|---|---|
1. | "Breadcrumb Trail" | Todd Brashear | 5:55 |
2. | "Nosferatu Man" | Slint | 5:35 |
3. | "Don, Aman" | Britt Walford | 6:28 |
4. | "Washer" | Brian McMahan | 8:50 |
5. | "For Dinner..." | Slint | 5:05 |
6. | "Good Morning, Captain" | Slint | 7:38 |
Total length: | 39:31 |
No. | Title | Length |
---|---|---|
7. | "Utica Quarry, Nighttime" | 15:38 |
Total length: | 55:09 |
No. | Title | Length |
---|---|---|
1. | "Breadcrumb Trail" (Remastered) | 5:54 |
2. | "Nosferatu Man" (Remastered) | 5:34 |
3. | "Don, Aman" (Remastered) | 6:27 |
4. | "Washer" (Remastered) | 8:49 |
5. | "For Dinner..." (Remastered) | 5:05 |
6. | "Good Morning, Captain" (Remastered) | 7:41 |
7. | "Nosferatu Man" (Basement practice) | 7:05 |
8. | "Washer" (Basement practice) | 4:48 |
9. | "Good Morning, Captain" (Demo) | 7:34 |
10. | "Pam" (Rough mix of Spiderland outtake) | 4:44 |
11. | "Glenn" (Spiderland outtake) | 7:59 |
12. | "Todd's Song" (Post-Spiderland song in progress) | 7:22 |
13. | "Brian's Song" (Post-Spiderland demo) | 5:57 |
14. | "Cortez the Killer" (Live in Chicago, Illinois, March 3, 1989) | 8:36 |
15. | "Washer" (4-track vocal demo) | 7:21 |
16. | "Nosferatu Man" (4-track vocal demo) | 5:23 |
17. | "Pam" (4-track vocal demo) | 3:33 |
18. | "Good Morning, Captain" (Evanston Riff tape) | 0:45 |
19. | "Nosferatu Man" (Evanston Riff tape) | 3:18 |
20. | "Pam" (Evanston Riff tape) | 4:39 |
Total length: | 118:34 |
Personnel
The album packaging omitted the band members' names.[84] The lineup credits below are adapted from The Great Alternative & Indie Discography (1999) by Martin C. Strong.[85] Walford performed vocals and guitar on "Don, Aman", accompanied by Pajo on guitar.[86]
- Slint
- Todd Brashear – bass guitar (tracks 1–2, 4–6)
- David Pajo – guitar (tracks 1–6)
- Brian McMahan – vocals (tracks 1–4, 6); guitar (tracks 1–2, 4–6)
- Britt Walford – drums (tracks 1–2, 4–6); vocals (tracks 2, 3, 6), guitar (track 3)
- Other personnel
- Will Oldham – photography ("band photo")
- Brian Paulson – engineering
- Noel Saltzman – photography ("spider photo")
Release history
Region | Date | Label(s) | Format(s) |
---|---|---|---|
Various | March 27, 1991 |
| |
United States & Canada | 1995 | CD | |
USA | Jan 20, 2004 | Vinyl | |
USA | 2011 | CD | |
USA, Canada and Japan | 2014 | CD, vinyl | |
USA | 2022 | Vinyl |
Accolades
Publication | Country | Accolade | Year | Rank |
---|---|---|---|---|
Pitchfork | United States | Top 100 Albums of the 1990s | 1999 | 12[64] |
NME | United Kingdom | The 500 Greatest Albums Of All Time | 2013 | 314[87] |
Spin | US | 100 Greatest Albums, 1985–2005 | 2005 | 94[17] |
References
Citations
- ^ "Slint Limited 30th Anniversary T-shirt". Touch and Go. Archived from the original on April 19, 2021. Retrieved April 24, 2021.
- ^ Tennent 2011, pp. 53, 56.
- ^ a b c Ankeny.
- ^ Sarig 1998, p. 266.
- ^ Southern Records 2009a.
- ^ Tennent 2011, pp. 71–72.
- ^ Bangs 2014, 47:49–48:02.
- ^ Tennent 2011, pp. 73–74, 81.
- ^ Tennent 2011, pp. 69.
- ^ Bangs 2014, 55:54–56:36.
- ^ a b c Parker 2005.
- ^ Tennent 2011, p. 57.
- ^ a b c Simpson 2014.
- ^ a b Carlson 2001, p. 369.
- ^ a b c d Irvin 2001, p. 640.
- ^ a b c Shteamer 2020.
- ^ a b Hermes 2005.
- ^ a b c Albini 1991, p. 35.
- ^ a b c d Wojtas 2014.
- ^ Tennent 2011, p. 74.
- ^ Tennent 2011, p. 107.
- ^ Maginnis (a).
- ^ Maginnis (b).
- ^ a b Maginnis (c).
- ^ Maginnis (d).
- ^ a b c Maginnis (e).
- ^ a b Peschek 2005.
- ISSN 0261-3077. Retrieved August 24, 2023.
- ^ Segal 2005.
- ^ Sarig 1998, p. 267.
- ^ Gaerig 2007.
- ^ Southern Records 2009b.
- ^ Puckett 2014.
- ^ Zoladz 2013.
- ^ a b Christgau 2000, p. 285.
- ^ Larkin 1998a, p. 4969.
- ^ McMahon 2011, p. 105.
- ^ a b Pouncey 1991, p. 36.
- ^ a b Randall 2004, p. 744.
- ^ a b Noon 1991, p. 73.
- ^ Sutton 1995, p. 373.
- ^ Tennent 2011, pp. 131–132.
- ^ Tennent 2011, p. 131.
- ^ a b Tennent 2011, p. 137.
- ^ Larkin 1998b, p. 5075.
- ^ Bangs 2014, 1:20:28–1:20:50.
- ^ Lutz 1991, p. 59.
- ^ Dominguez 1991, p. 103.
- ^ Male 2014a.
- ^ Tennent 2011, p. 3.
- ^ Baines 2021.
- ^ Tennent 2011, p. 136.
- ^ Thompson 1992, p. 69.
- ^ Tennent 2011, pp. 3, 83, 137–138.
- ^ Goldberg 2007.
- ^ Blandford 2004, p. 37.
- ^ Jovanovic 2004, p. 129.
- ^ Mercer 2002.
- ^ Diver 2008.
- ^ Devine 2007.
- ^ a b Berman 2014.
- ^ Butler 2015.
- ^ a b Deming n.d.
- ^ a b Pitchfork 2003.
- ^ Crock 2006.
- ^ Bangs 2014.
- ^ Harrington 2005.
- ^ NME 2007.
- ^ "Pitchfork Music Festival 2007: Friday". Pitchfork. July 15, 2007.
- ^ Turner 2014.
- ^ DeRogatis 2007.
- ^ Gordon et al. 2007.
- ^ DeRogatis 2007b.
- ^ Catucci 2007.
- ^ Metacritic n.d.
- ^ Eakin 2014.
- ^ Male 2014b.
- ^ Perry 2014, p. 124.
- ^ Atkins 2014.
- ^ Pattison 2014, p. 85.
- ^ "Spiderland (remastered)". Touch and Go. Retrieved April 24, 2021
- ^ Tennent 2011, p. 72.
- ^ Minsker 2014.
- ^ Olsen 2014.
- ^ Strong 1999, p. 579.
- ^ Tennent 2011, p. 100.
- ^ COS 2013.
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- ).
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External links
- Spiderland at MusicBrainz (list of releases)