|
Post by Shrimp.Fried.David on Jul 22, 2007 12:34:42 GMT -5
everytime a new garbage review surfaces i get more and more sad. =[
|
|
|
Post by moorzilka on Jul 22, 2007 14:51:03 GMT -5
|
|
|
Post by Garbage Addict on Jul 22, 2007 15:56:02 GMT -5
Classical Rock gave it a very positive review (7/10) - early work to quote "peerless" - notable mentions OHWIR, SG and ITIP - "classics" and that TMWIH was up there with the early great work - very positive indeedy
|
|
|
Post by moorzilka on Jul 23, 2007 1:15:37 GMT -5
Classical Rock gave it a very positive review (7/10) - early work to quote "peerless" - notable mentions OHWIR, SG and ITIP - "classics" and that TMWIH was up there with the early great work - very positive indeedy could you podt the full review please
|
|
|
Post by Garbage Addict on Jul 23, 2007 3:32:14 GMT -5
yup wen I get time I'll scan it
|
|
|
Post by Garbage Addict on Jul 23, 2007 3:52:49 GMT -5
here it is:
|
|
|
Post by Tornado on Jul 23, 2007 4:13:26 GMT -5
^Indeed, with the last song "It's All Over But the Crying" anyone can think about a "full stop"
Of course we know Garbage will continue to create amazing albums...
|
|
|
Post by moorzilka on Jul 23, 2007 4:36:04 GMT -5
spank you. shirley is gorgeous in the photo. have never seen this one
|
|
|
Post by oscillations. on Jul 23, 2007 16:18:34 GMT -5
Pitchfork review...
Garbage Absolute Garbage [Geffen; 2007] Rating: 5.3
For all the hoopla made about the overnight transition from late-80s hair metal to early 90s grunge and the alternative music boom, people forget how equally quickly mindless top 40 rock had its revenge. In 1994, artists like R.E.M., Morrissey, Beck, and Nirvana topped Billboard's Modern Rock Track charts for a significant number of weeks. Then, just one year later, walking time capsules like Live, Better Than Ezra, Goo Goo Dolls, and Silverchair supplanted them. Armed with three producer-musicians and a jaw-dropping frontwoman, Garbage hatched from that aesthetic fall-out, poised to lay claim to the rock-radio vacuum. Absolute Garbage neatly documents their attempted coup, reminding us that, for better or worse, Garbage were one of the most memorable rock bands in the initial post-grunge years.
Despite the number of grunge/goth markers they flaunted-- circles under the eyes, grainy, psychologically 'disturbing' videos, a self-flagellating ethos-- Garbage was undeniably pop from the onset. Absolute Garbage's tracklist and accompanying DVD attest to this, displaying how the band often milked five or six singles from an album and made the right music videos to sell them. Adhering strictly to chronological order, the album kicks off with the band's debut and best material. Techno-rock hybrids like "Milk" and "Vow" don't sound so novel today in a world Pro-Tooled to perfection, but the band's production troika, led by Nevermind and Siamese Dream svengali Butch Vig, deftly manipulated simple, catchy melodies and chord progressions to maximize their cross-genre fanbase. Bereaved Cobain apostles could rally behind "Only Happy When It Rains" for its woe-is-me irony and fuzzy bassline, while MTV-crazed teeny boppers simply couldn't get enough of Shirley Manson's girl group-friendly hooks.
Validated by their debut's success, Garbage cranked up the hit machine to 11 with Version 2.0, a blockbuster of an album that contributes five solid tracks here. Feeding off the late-90s success of the Chemical Brothers and Daft Punk, the band's pop songs received a house injection with "When I Grow Up" and "Push It" soaring over newfound glitchy percussion and robotic guitar effects. However, the real apex here is "Special", an infectious Pretenders ode able to stand on its own without the studio bells and whistles.
The turn of the century wasn't kind to the band, and the compilation's final third reminds us of this all too painfully. Creative juices clearly were in short supply by the 1999 Bond theme "The World Is Not Enough", a predictable "Goldfinger" permutation signaling the band's limitless affinity for big budget theatrics. When 2001's beautifulgarbage took a stab at more "experimental" territory-- a move Garbage weren't equipped for-- Manson ended up sounding as bubblegum as the girly-girl late 90s singers she distinguished herself from on earlier releases. "Cherry Lips (Go Baby Go)" and "Shut Your Mouth" ape Gwen Stefani hella bad, while "Bleed Like Me"'s boring acoustic guitar and sarcastic lyrics scream out Sheryl Crow.
Spanking new single "Tell Me Where It Hurts", swollen with canned strings and Manson's Chrissie Hynde affectations, provides little hope for a Garbage rebound. The band's seemingly desperate to reinvigorate their cultural cachet, but Absolute Garbage's latter half emphasizes the depths they've fallen. Even on the enclosed DVD documentary, the band never appears as profound or engaging as the peripheral artists (c.f. Dave Grohl, Trent Reznor) they bump elbows with. Still, even the most hardened underground scenester may be surprised at how many quality hits they'll recognize on this collection. Whether classified as an extremely accessible grunge band or an extremely demented S&M pop outfit, the band left an indelible mark on mainstream rock in an era when boy bands, latin pop explosions, swing revivals and other cringe-worthy fads were gobbling rock bands up. It's just a shame Garbage had to outlive their usefulness to such an aesthetically displeasing degree.
-Adam Moerder, July 23, 2007
|
|
|
Post by Modern Method. on Jul 23, 2007 17:31:36 GMT -5
Pitchfork review... Garbage Absolute Garbage [Geffen; 2007] Rating: 5.3 For all the hoopla made about the overnight transition from late-80s hair metal to early 90s grunge and the alternative music boom, people forget how equally quickly mindless top 40 rock had its revenge. In 1994, artists like R.E.M., Morrissey, Beck, and Nirvana topped Billboard's Modern Rock Track charts for a significant number of weeks. Then, just one year later, walking time capsules like Live, Better Than Ezra, Goo Goo Dolls, and Silverchair supplanted them. Armed with three producer-musicians and a jaw-dropping frontwoman, Garbage hatched from that aesthetic fall-out, poised to lay claim to the rock-radio vacuum. Absolute Garbage neatly documents their attempted coup, reminding us that, for better or worse, Garbage were one of the most memorable rock bands in the initial post-grunge years. Despite the number of grunge/goth markers they flaunted-- circles under the eyes, grainy, psychologically 'disturbing' videos, a self-flagellating ethos-- Garbage was undeniably pop from the onset. Absolute Garbage's tracklist and accompanying DVD attest to this, displaying how the band often milked five or six singles from an album and made the right music videos to sell them. Adhering strictly to chronological order, the album kicks off with the band's debut and best material. Techno-rock hybrids like "Milk" and "Vow" don't sound so novel today in a world Pro-Tooled to perfection, but the band's production troika, led by Nevermind and Siamese Dream svengali Butch Vig, deftly manipulated simple, catchy melodies and chord progressions to maximize their cross-genre fanbase. Bereaved Cobain apostles could rally behind "Only Happy When It Rains" for its woe-is-me irony and fuzzy bassline, while MTV-crazed teeny boppers simply couldn't get enough of Shirley Manson's girl group-friendly hooks. Validated by their debut's success, Garbage cranked up the hit machine to 11 with Version 2.0, a blockbuster of an album that contributes five solid tracks here. Feeding off the late-90s success of the Chemical Brothers and Daft Punk, the band's pop songs received a house injection with "When I Grow Up" and "Push It" soaring over newfound glitchy percussion and robotic guitar effects. However, the real apex here is "Special", an infectious Pretenders ode able to stand on its own without the studio bells and whistles. The turn of the century wasn't kind to the band, and the compilation's final third reminds us of this all too painfully. Creative juices clearly were in short supply by the 1999 Bond theme "The World Is Not Enough", a predictable "Goldfinger" permutation signaling the band's limitless affinity for big budget theatrics. When 2001's beautifulgarbage took a stab at more "experimental" territory-- a move Garbage weren't equipped for-- Manson ended up sounding as bubblegum as the girly-girl late 90s singers she distinguished herself from on earlier releases. "Cherry Lips (Go Baby Go)" and "Shut Your Mouth" ape Gwen Stefani hella bad, while "Bleed Like Me"'s boring acoustic guitar and sarcastic lyrics scream out Sheryl Crow. Spanking new single "Tell Me Where It Hurts", swollen with canned strings and Manson's Chrissie Hynde affectations, provides little hope for a Garbage rebound. The band's seemingly desperate to reinvigorate their cultural cachet, but Absolute Garbage's latter half emphasizes the depths they've fallen. Even on the enclosed DVD documentary, the band never appears as profound or engaging as the peripheral artists (c.f. Dave Grohl, Trent Reznor) they bump elbows with. Still, even the most hardened underground scenester may be surprised at how many quality hits they'll recognize on this collection. Whether classified as an extremely accessible grunge band or an extremely demented S&M pop outfit, the band left an indelible mark on mainstream rock in an era when boy bands, latin pop explosions, swing revivals and other cringe-worthy fads were gobbling rock bands up. It's just a shame Garbage had to outlive their usefulness to such an aesthetically displeasing degree. -Adam Moerder, July 23, 2007 mhmm..its not too bad!
|
|
|
Post by oscillations. on Jul 23, 2007 18:12:03 GMT -5
Aside from the 5.3 rating, I'd agree. Pitchfork has never been overly fond of G, though. Even 2.0 got a 6.7 or something in the middle. As we know, Pitchfork is nothing if not trendy in its views.
|
|
|
Post by Modern Method. on Jul 23, 2007 18:26:51 GMT -5
I know! Pitchfork can be quite harsh and brutal at the best of times! Every Placebo album that has come out they always slag of Brian (sexuality, look, antics...). Basically they criticise everything thats not related to the actual music.
|
|
|
Post by oscillations. on Jul 24, 2007 0:42:04 GMT -5
AMG review: www.allmusic.com/cg/amg.dll?p=amg&sql=10:j9fqxz9gldfe3.5 stars. Overall, positive, but calls the collection "overly generous" (as they did with "Rotten Apples"). What are they supposed to do, omit EVERYTHING post-Version 2.0? (Even that album doesn't get the honor of any "highlights" included here).
|
|
|
Post by Tornado on Jul 24, 2007 10:00:56 GMT -5
|
|
|
Post by Tornado on Jul 24, 2007 10:01:27 GMT -5
This one is the best: Garbage won at K Awards and now they are so low rated? Unbelievable!
|
|
|
Post by oscillations. on Jul 24, 2007 12:14:31 GMT -5
Holy shit. I forgot G got so many Kerrang covers. Their (former) alliance with them always struck me as odd, too, since they are primarily a hard rock/heavy metal leaning publication.
|
|
|
Post by Modern Method. on Jul 24, 2007 12:16:33 GMT -5
Shirl rocked those covers!
|
|
|
Post by acereject on Jul 24, 2007 14:26:43 GMT -5
This one is the best: Garbage won at K Awards and now they are so low rated? Unbelievable! Garbage have won NOTHING at the K! awards although they have presented an award to the Offspring and performed in 2002, as well as presented Most Creative to Butch in 96. Aside from a few nominations, never a win. That issue of Kerrang! is being read in an episode of The Osbournes by Sharon and Ozzy, and sits on their desk for a bit. It can easily be seen, even though it's at an angle. Its the episode/scene where Ozzy jokes that having sex with Sharon whilst she is undergoing chemotherapy would leave him with a radioactive dick.
|
|
|
Post by Tornado on Jul 25, 2007 4:44:12 GMT -5
^thanks for info
I thought they won...
|
|
|
Post by Tornado on Jul 25, 2007 5:00:15 GMT -5
BBC review
Difficult to remember now just how oddly perfect Garbage seemed when they burst from left field on the Britpop scene of 1995. While Britpop was overwhelmingly male and retro, Garbage were brazenly modernist and in Shirley Manson boasted an impassioned and very female icon. Debut “Vow” was a buzz-saw riffed statement of intent, but it was “Queer” – with its loops and fluid rhythm – that proved just how sonically interesting and fully-formed they were.
That Garbage had in fact borrowed much of their sound (dense, swampy electronic production, topped off with sugar and spite vocals) from the extraordinary but commercially unsuccessful duo Curve didn’t greatly matter. Their self-titled debut was a terrific collection of angry/seductive future-rock songs, mostly skewering male arrogance, while in the slinkily addictive “Stupid Girl” it boasted an international hit.
Second album, the wryly titled Version 2.0, lacked the element of surprise but demonstrated tighter songwriting. Both “Push It” and “I Think I’m Paranoid” showcased gleaming riffs and a bustlingly modern pace, as well as Manson at her most forceful and domineering. Fans of the band’s poppier side were catered for by the fierce but melodically lush “Special”. Sadly, Garbage ignored the curse of Bond and – like Duran Duran and Aha before them – their trajectory dipped after contributing the lacklustre, atonal “The World Is Not Enough” to the film of that name.
Third album “beautifulgarbage” saw them attempting to escape a sound that was becoming a straitjacket, but the addictive, ultra-poppy “Cherry Lips” aside, it was unfocused and occasionally lifeless. Wisely, drab second single “Breaking Up The Girl” isn’t included here. And while 2005 comeback single “Why Don’t You Love Me?” had some of the old pace and bile, it was a blatant retread of their earlier sound. Garbage were no longer pioneers.
The band are now rumoured to have split, though the epic, string-soaked new track “Tell Me Where It Hurts” suggests there might still be blood in the stone should Manson’s solo career stiff. If not, Absolute Garbage is a fine legacy, the sound of a briefly brilliant and always interesting band which sounds like no other greatest hits you own.
Jaime Gill
|
|