2002
Perhaps the most commercial Chilis album, this is a collection of masterful pop rock songs that burrow into the head and don’t let go. It has been said that the Chilis traded their edge for success, but for me, the Chilis traded idiocy and inconsistent genius for solid song writing and beautiful pop songs. Fair trade as far as I’m concerned, but then the old Chilis were never one of my favourite bands. ‘Universally Speaking’ and ‘Mercury’ are particularly magic, and even the slightly annoying title track is pretty good.
The transition made by Silverchair from outdated grunge noise kids to progressive experimentalists is a pretty exceptional one in my eyes. Neon Ballroom showed what they were thinking back in 1999, but this was still a major surprise. I mean, I still enjoy a bit of Frogstomp now and then (released when they were in their mid-teens and so was I), but this is purely a question of nostalgia. Diorama, however, is epic stuff. ‘Tuna In The Brine’ is Kate Bush meets Arcade Fire, ‘Greatest View’ has a real beauty to it, and ‘One Way Mule’ makes sure we remember that Silverchair can still kick ass when they want. Daniel Johns taught himself piano and went to singing classes to improve his voice for this album. His efforts are evident throughout. Mature and deep. And great.
This was the Queens at the very panicle of their powers. Every track is awesome in terms of its raw power and how alive it feels. The thing that makes QOTSA, and this album in particular, so special, for me, is that they produce what are in many respects pop songs, but that are hard and fast and dirty and don’t sound anything like anyone else. The lead single, ‘No-One Knows’ epitomised this: groovy, but with sharp edges, this is radio-friendly in an unfriendly way, and very Queens. It is the menace of ‘A Song For The Dead’ and the no messin’ riffery of ‘Go With The Flow’ that stand out the most, but hell, every track is amazing. Finally, the exceptional presence of Dave Grohl behind the kit adds something really special to an already potent mixture, pushing Songs For The Deaf from the ‘classic’ category into the realms of ‘essential albums’ territory. It’s been three and a half years and I still listen to it all the time.




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