Shellac 1000 Hurts

All technical things come in threes. And so the albums of Shellac the third one is a good thing. Since 1994, when the band was formed by Steve Albini with bassist tom Weston and drummer Todd Trainer, 1000 Hurts is the third album confirming the status of Shellac as an original, purposefully mean-spirited band.Albini, as some sort of an underground divinity, his band and their album did not need any promotion on the receiving set or TV, there were no interviews, no free copies for the press. 1000 Hurts is Shellacs third and by far best album, which again and again let us enjoy Albinis guitar pirouettes and his lunatic screaming voice, Trainers beating the hell appear of his drums, and Westons unmatched bass tone.In this album one will find a number of new elements which were not heard from Shellac yet the radio in QRT, Todds singing in New Number One or Guitarsolo in Canaveral. But as Steve Albini says these all this new stuff was not planned, but this is something they just cam e up with accidentally. May be it is hard to believe that the two monsters of the music producing (Albini and Weston) did not plan anything to make this album really good in terms of commercial success of the album. But these guys do it for fun.What also makes this album different is the quality of the songwriting. Its not a case of clinging to the measure chorus verse structure so much as an adherence to melody. pains Against Itself employs Shellacs trademark meaty riffage, but it also incorporates its some melodic vocals yet. The riffs seem even more memorable this sentence- to the point where you would possibly hum them later. It is impossible to hum their older songs like Doris or House mount Of Garbage.The songwriting has polarized from the easily accessible rock and roll The songs on this album switch gears from straightforward 4/4 time rock to bizarre arrangements/time changes more quickly and at greater extremes than their past releases. To make the contrast even more b latant, the straightforward separate are very straightforward, and the crazy parts are even more crazy.The emotional content of lyrics has remained the same, just like Albini himself mean and sarcastic. Prayer To God is an hysterical plea, in which Albini asks the one true God above to kill two people for him. The tone of his prayer is dripping with sarcasm but the point is simple enough her, she can go quiet by disease or a blow/to the base of her neck where her necklaces close/where her garments come together/where I used to lay my face/thats where you ought to kill her/in that particular place.The music rises to meet his anger. Squirrel Song is a sad fucking song that showcases Shellacs incredible rhythmic precision. Song Against Itself starts out sounding almost as straightforward as pop punk, while Mama Gina starts with a dissonant melody being played over a slow rhythm section which then fades out to bass pulses and guitar beeps with Steve singing/talking about a woman who l ikes to dance.Shellac hasnt lost an apothecaries ounce of its brutality. Pounding rhythms, sharp but sparse guitars, and crying bass lines bust through the speakers with exquisite production. The songs and recording on 1000 Hurts dont deviate from the sound of their other releases so much as to shock the listener. The disk doesnt really break any new ground like its predecessors, its a collection of angular guitar lines, hypnotically repetitive rhythms, oddball time signatures, noise-rock squalls and twisted lyrics.Frankly, its just nice to hear a record that you know was written without even the slightest thought for commercial potential, marketing or playlists. 1000 Hurts shows Shellac in prime form who seems to have realized that 12-minute rock songs dont rock. This records longest track, Mama Gina, clocks in at an appropriate 544, long enough to fully flesh out the song, but not so long that the groove gets tired.