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Cover art included, liner notes not included
When DGC Records signedin 1991, one of DGC's A&R reps expressed the opinion that, with plenty of touring and the right promotion, the new act might sell as well as its labelmate and touring partner . The surprise success of upended previous commercial expectations for (among other established alternative rock bands), and when " " was released in 1992, it was seen by many as the band's big move toward the grunge market. Which doesn't make a lot of sense if you actually listen to the album; while 's clean but full-bodied production certainly gave and 's guitars greater punch and presence than they had in the past, and many of the songs move in the increasingly tuneful direction the band had been traveling with and , most of is good bit more jagged and purposefully discordant than its immediate precursors, lacking the same hallucinatory grace as or the hard rock sheen of . If anything," finds revisiting the territory the band mapped out on -- merging the propulsive structures of rock (both punk and otherwise) with the gorgeous chaos of their approach to the electric guitar -- and it shows how much better they'd gotten at it in the past five years, from the curiously beautiful "Wish Fulfillment" and "Theresa's Sound World" to the brutal "Drunken Butterfly" and "Purr." " was also 's most overtly political album, railing against the abuses of the Reagan/Bush era on "Youth Against Fascism," "Swimsuit Issue," and "Chapel Hill," a surprising move from a band so often in love with cryptic irony. Heard today, doesn't sound like a masterpiece (like ) or a gesture toward the mainstream audience (like ) -- it just sounds like a damn good rock album, and on those terms it ranks with 's best work.
|Orange Rolls, Angel's Spit|
|Youth Against Fascism|
|On The Strip|