Cherry 2000 | Taint

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United States - Mass. - Boston

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Rock: Grunge Rock: Shoegaze Moods: Type: Lo-Fi
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Taint

by Cherry 2000

The ninety-seven-second crush "Real Bad" sounds a bit like Fugazi, in an unguarded moment, revealing a secret love of Motörhead, and the twenty-minute finale "Lungfish", before it wanders off into noisy post-rock, sound-collage experiments.
Genre: Rock: Grunge
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1. Bulldoze The Fraternities
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0:31 $0.99
2. Rodeo Clown
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4:28 $0.99
3. Purified
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1:54 $0.99
4. Sullen Man
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3:23 $0.99
5. Blood Red
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4:30 $0.99
6. Cowgirl
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2:20 $0.99
7. Marlboro
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3:43 $0.99
8. Good Morning Little Yellow Bird
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1:00 $0.99
9. Mexican
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4:29 $0.99
10. Small Still Hands
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3:07 $0.99
11. Tommy's Lonesome Trainwreck
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3:26 $0.99
12. Real Bad
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1:37 $0.99
13. Lungfish
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19:39 $0.99
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ABOUT THIS ALBUM


Album Notes
The ninety-seven-second crush "Real Bad" sounds a bit like Fugazi, in an unguarded moment, revealing a secret love of Motörhead, and the twenty-minute finale "Lungfish", before it wanders off into noisy post-rock, sound-collage experiments and ambient wash, has several passage of overdriven rush, but most of the band's material is much more squarely in the demented, essential Boston tradition of the Pixies; the clipped "Marlboro" would make a very believable Surfer Rosa out-take, and the fitful, stop-start "Mexican" could be an excerpt from Bossanova, right down to the guitar sound. Elsewhere, the isolated howls of "Purified" punctuate a pogoing surf-punk anthem with traces of the Buzzcocks' unsteadiness. "Sullen Man" is a punk rant that might, if they'd put it out two or three years ago, have earned Cherry 2000 the Offspring's spot in the suburban punk revival. The lurching, mechanical "Blood Red" smooths out some of Tool's jaggedness by letting Leah Blesoff take the vocal lead. "Small Still Hands" brackets a bleary wail, like Lush trying to compete with Curve, with intro and outros that sound more like a slightly-less-restrained Cowboy Junkies. "Tommy's Lonesome Trainwreck" is a measured instrumental that, if it were only a little slower, could belong to the Red House Painters. This album suffers a little, for me, from the band's reluctance to commit to any one style, but I'll admit that I often seem to react that way to any band that alternates male and female lead vocalists, so if you're less sensitive to that detail, this record may seem more coherent to you. And as I'm happy to be reminded, not cleaving to a single style is one of the great prerogatives of albums made without any appreciable outside pressure, and one of the good reasons to support whoever is having noble difficulties making their decisions where you live.


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