From One Prick TO Another

Prick is the sixth studio album by the Melvins which was released in 1994 through Amphetamine Reptile Records under the name ƧИIV⅃ƎM. It has been said that because the Melvins already had a contract with Atlantic Records, Prick was released with the band name in mirror writing, which resulted in some sites such as RateYourMusic crediting it to Snivlem. The album displays a distinctly experimental quality, with an eclectic selection including field recordings, electronic effects and loops, band jam sessions, a stereotypical drum solo that segues into an archetypal heavy metal guitar solo, and a track that's introduced as "pure digital silence" – followed by silence for a minute. Singer/guitarist Buzz Osborne has stated that Prick is "a total noise crap record we did strictly for the weirdness factor. Complete and utter nonsense, a total joke." The band claimed that they wanted to call the album Kurt Kobain but changed it after Cobain's death to eliminate the possibility of people mistaking it for a tribute record.

The best way to describe this band is a mixture of ideas from electronic and experimental music fused with progressive metal. An all instrumental band, Kong are able to create various sounds and moods, not unlike some post rock. Kong often has segments where the band is playing entirely separate from one another, yet the sound works. Eclectic is a word that comes to mind when listening to this band.
They started out in 1988 as a side project for Amsterdam-based musicians Dirk DeVries (guitar, samples, programming), Aldo Sprenger (guitar), Mark Drillich (bass, programming), and Rob Smits (drums)…

Any discussion of the Top 100 '90s Rock Albums will have to include some grunge, and this one is no different. A defining element of that decade, the genre (and the bands that rose to fame playing it) was given credit for revitalizing rock at a badly needed moment. That said, there's far more to the story. Our list of the Top 100 '90s Rock Albums, presented in chronological order, takes in the rich diversity of the period.

If you've only listened to Heifetz's crude interpretation of Sibelius's tempestuous and capricious concerto in the past, you might be incredulous after listening to this CD. "What? This is the Sibelius Concerto? It's a far cry from the one in my memory." After listening to it twice, however, tears should prick your eyes–the result of two gusts of contrasting emotions in one stroke: anguish over all the beauty, passion and subtlety you've missed in the past from this fabulous concerto, and jubilation at your new discovery of this supreme recording and the privilege to relish every bar of the music.

1. Outside bears the subtitle "The Diary of Nathan Adler or The Art-Ritual Murder of Baby Grace Blue. A Non-Linear Gothic Drama Hyper-Cycle." Alright, so it reeks of pretension. One belabors the point because Bowie at his best has always been pretentious, risque, creatively (if sometimes contrivedly) over the top. 1. Outside marks the first in a planned series of collaborations with multi-instrumentalist, producer, and conceptualist Brian Eno based on a Bowie short story…