Sunny pop band the Apples in Stereo was one of the leading lights of the Elephant 6 Recording Company collective, a coterie of like-minded, lo-fi indie groups -- including the Olivia Tremor Control, Neutral Milk Hotel, and Secret Square -- who shared musicians, ideas, and sensibilities. They were led by singer/songwriter Robert Schneider, a... [+] Read More

Sunny pop band the Apples in Stereo was one of the leading lights of the Elephant 6 Recording Company collective, a coterie of like-minded, lo-fi indie groups -- including the Olivia Tremor Control, Neutral Milk Hotel, and Secret Square -- who shared musicians, ideas, and sensibilities. They were led by singer/songwriter Robert Schneider, a native of the tiny town of Ruston, LA, also home to Jeff Mangum (later of Neutral Milk Hotel) as well as William Cullen Hart and Bill Doss (who formed the Olivia Tremor Control). Throughout high school, the aspiring musicians -- all influenced by the likes of the Beatles, the Zombies, Pink Floyd, and Sonic Youth -- exchanged home recordings and played in each other's bands. After college, Schneider and Mangum relocated to Denver, CO, where Schneider struck up a friendship with fellow Beach Boys fan and bass player Jim McIntyre; after enlisting drummer Hilarie Sidney and guitarist Robert Parfitt, they formed the Apples, and issued their self-titled debut EP on the Elephant 6 label. To avoid confusion with other similarly named bands, they officially became the Apples in Stereo for 1995's full-length debut Fun Trick Noisemaker. In 1996, Schneider produced the Olivia Tremor Control's Music From the Unrealized Film Script, Dusk at Cubist Castle and later in the year the Apples issued Science Faire, a collection of singles and rare material. The Apples in Stereo returned in the fall of 1997 with Tone Soul Evolution; shortly after its release, the band signed a distribution deal with Sire and the album was re-released in January of the following year. The excellent Her Wallpaper Reverie followed in the spring of 1999, and a year later the band returned with the equally wonderful The Discovery of a World Inside the Moone. The group also contributed a song to 2000's Heroes & Villains: Music Inspired by the Powerpuff Girls, and in 2001 they released the Let's Go! EP, which featured the track from Heroes & Villains along with a cover of the Beach Boys classic of the same name. In fall 2002, Schneider and Apples in Stereo issued their most ambitious effort to date with Velocity of Sound. ~ Jason Ankeny, All Music Guide [-] Hide

One of the most pleasing pop groups of the '90s, the Cardigans' sugary confections would grow annoying very quickly if they weren't backed by great musicianship and clever arrangements. The band's 1995 breakout album Life reflected the Cardigans at their most saccharine -- the sunny disposition of vocalist Nina Persson being the major argument... [+] Read More

One of the most pleasing pop groups of the '90s, the Cardigans' sugary confections would grow annoying very quickly if they weren't backed by great musicianship and clever arrangements. The band's 1995 breakout album Life reflected the Cardigans at their most saccharine -- the sunny disposition of vocalist Nina Persson being the major argument in favor -- and critics inserted the group into the space age pop revivalist camp. The Cardigans later proved that they were more difficult to pigeonhole, however.

Even the band's origins show that their later appearance was quite misleading; two heavy metal fanatics formed the group in October 1992 in Jonkoping, Sweden. Guitarist Peter Svensson met bassist Magnus Sveningsson in a hardcore group, though he had previously trained in music theory and jazz arranging. The two later grew tired of metal and decided to form a pop band with Nina Persson -- an art-school friend who had never sung professionally -- plus keyboard player Lars-Olof Johansson and drummer Bengt Lagerberg.

All five Cardigans moved into a small apartment in 1993 and began recording a demo tape, which entered the possession of producer Tore Johansson later that year. He liked what he heard and invited the group to record at his Malmö studio. Signed to the dance-oriented Stockholm label, the Cardigans released Emmerdale in May 1994. The single "Rise & Shine" became a hit on Swedish radio soon after the release of the LP, and a readers poll in Sweden's Slitz magazine voted Emmerdale the best album of 1994.

The Cardigans spent the last half of 1994 touring Europe and recording their second album. A satirical response to their moody debut, Life showed the band at their most upbeat, including an angelic picture of Persson in an ice-skating outfit for the cover. Released in March 1995 -- with several re-recordings of songs from Emmerdale -- the album eventually sold one and a half million copies worldwide and became especially popular in Japan, where it achieved platinum status.

A deal with Minty Fresh gave the Cardigans an American release of Life in spring 1996, and the group played eight sold-out shows in the U.S. that summer. The American major labels began to notice the attention, and Mercury signed them soon after. First Band on the Moon, released in September 1996, de-emphasized the pure pop in favor of abstract arrangements and some rather violent themes. Nevertheless, the infectious single "Lovefool" became a radio hit by early 1997, and First Band on the Moon eventually reached gold status in America, as well as platinum certification in Japan (just three weeks after its release). Gran Turismo followed in 1998, though it lacked an obvious hit and led to a long hiatus for the band. Finally, the Cardigans returned in 2003 with Long Gone Before Daylight, marking a clear transition with confessional material closer to the singer/songwriter tradition. Super Extra Gravity followed in 2005. ~ John Bush, All Music Guide [-] Hide

In alternative rock, as in any other genre, it's hard to stand out from a crowded field. When the Spinanes emerged in the early '90s, they got a couple legs up on the competition to be different. Taking the power trio format one stage further, they created a full-bodied rock sound with just two members, guitarist/singer Rebecca Gates and drummer... [+] Read More

In alternative rock, as in any other genre, it's hard to stand out from a crowded field. When the Spinanes emerged in the early '90s, they got a couple legs up on the competition to be different. Taking the power trio format one stage further, they created a full-bodied rock sound with just two members, guitarist/singer Rebecca Gates and drummer Scott Plouf. They also were one of the first Sub Pop bands that did not subscribe to a grungy metallic sound, although they rocked pretty hard.

Beyond these striking characteristics, however, the Spinanes' music isn't far off the beaten path of standard college-radio alternative fare, with its droning guitar textures, occasional harmonies, and measured vocals that avoid both slickness and extreme emotion. They're wise enough to realize the limits of their format, and their second album, Strand (1996), expands their instrumental, production, and songwriting ranges in interesting ways. When Plouf exited the duo after the LP's release, Gates relocated from Seattle to Chicago, where she continued the Spinanes as a solo project, resurfacing in 1998 with the excellent Arches and Aisles. The Imp Years, a much-needed collection of early Spinanes singles, followed in mid-2000.~ Richie Unterberger, All Music Guide [-] Hide

The Magnetic Fields are a bona fide band, but in most essential respects they are the project of studio wunderkind Stephin Merritt. Merritt writes, produces, and (generally) sings all of their material, as well as plays many of the instruments, concocting a sort of indie pop synth rock. While the Magnetic Fields may draw upon the electronic... [+] Read More

The Magnetic Fields are a bona fide band, but in most essential respects they are the project of studio wunderkind Stephin Merritt. Merritt writes, produces, and (generally) sings all of their material, as well as plays many of the instruments, concocting a sort of indie pop synth rock. While the Magnetic Fields may draw upon the electronic textures of vintage acts like ABBA, Kraftwerk, Roxy Music with Eno, Joy Division, and Gary Numan, Merritt's vision is far more pointed toward the alternative rock underground. His songs are also far warmer and more pure pop-oriented than the above reference points might lead you to believe, sounding at times like late-20th century equivalents to Phil Spector or Brian Wilson.

Merritt had been recording on his own four-track from a very young age, but didn't issue the first Magnetic Fields album until 1990, when he was well into his twenties. The first pair of discs featured the choirgirl vocals of Susan Amway, and are probably the most accessible offerings for general listeners wary of electro-rock. On subsequent releases, Merritt handled the vocals himself in a deep croon not far removed from his European influences. The synth pop quotient also became heavier, although Merritt has always taken care to mix in quite a few natural instruments with the electronic ones, often with the help of Claudia Gonson (percussion) and Sam Davol (cello, flute). The emphasis has always remained on the pop hooks and eccentric, romantically reflective lyrics rather than the bedrock synthetic rhythms and textures.

In addition to his work with Magnetic Fields, Merritt has involved himself in several side projects, the most notable being the 6ths' Wasps' Nests album (1995). Merritt sang only one track himself on this disc, for which he acted as composer/producer/multi-instrumentalist, employing well-known alternative rock singers like Barbara Manning, Dean Wareham (Luna), Lou Barlow, Georgia Hubley (Yo La Tengo), Chris Knox, and Robert Scott (the Bats) to handle the lead vocals. After releasing 1997's New Despair as the Gothic Archies, Merritt finally returned to the Magnetic Fields aegis for 1999's 69 Love Songs, released as both a trio of separate discs as well as a limited edition three-CD box set. Merritt spent the next few years releasing more side projects, including records from the Gothic Archies, Future Bible Heroes, the 6ths, as well as numerous soundtracks. It wasn't until May 2004 that Merritt and his Magnetic Fields finally got around to making i, a collection of songs that begin with the aforementioned vowel. ~ Richie Unterberger, All Music Guide [-] Hide

Although the High Llamas are nominally a group, they're pretty much the brainchild of singer and guitarist Sean O'Hagan. O'Hagan did some time in the London-by-way-of-Dublin band Microdisney, in which he was the songwriting partner of Cathal Coughlan. After Microdisney split in 1988 (Coughlan forming Fatima Mansions), O'Hagan released a couple... [+] Read More

Although the High Llamas are nominally a group, they're pretty much the brainchild of singer and guitarist Sean O'Hagan. O'Hagan did some time in the London-by-way-of-Dublin band Microdisney, in which he was the songwriting partner of Cathal Coughlan. After Microdisney split in 1988 (Coughlan forming Fatima Mansions), O'Hagan released a couple of import-only solo albums before forming the High Llamas. The Llamas issued their debut, Gideon Gaye, in 1994 to high praise in the British press; it was released in the States a year later almost as an afterthought, with virtually no fanfare. Comparisons of the High Llamas/O'Hagan to Brian Wilson/the Beach Boys are unavoidable, and not just from arcane critics. Anyone with a large Beach Boys collection will detect the uncanny resemblance to 1966-1970 Beach Boys, with the sophisticated melodies, the beautiful harmonies, and the elaborate production, with the emphasis on layered keyboards and orchestration. Echoes of Pet Sounds, Smile, Wild Honey, and Surf's Up predominate, though O'Hagan also claims Burt Bacharach as a major inspiration. At this point, however, the strong resemblance to Wilson's meisterwerks place O'Hagan closer to imitation than originality. Considering that he's been making records for over a decade, he might want to start aiming his sights higher. Subsequent efforts include 1996's Hawaii, 1997's Cold and Bouncy, and 1999's Snowbug. Buzzle Bee arrived the following year, featuring a more stripped-down sound and guest vocals from Mary Hansen from Stereolab. ~ Richie Unterberger, All Music Guide [-] Hide

Although 20 Vodka Jellies is, as the cover says, "an assortment of curiosities and rarities," it also turns out to be one of Momus' strongest and most accessible efforts. Most of this material consists of well-produced demos (many recorded by other artists), plus a few new songs and some B-sides and outtakes that hadn't made it onto an official... [+] Read More

Although 20 Vodka Jellies is, as the cover says, "an assortment of curiosities and rarities," it also turns out to be one of Momus' strongest and most accessible efforts. Most of this material consists of well-produced demos (many recorded by other artists), plus a few new songs and some B-sides and outtakes that hadn't made it onto an official Momus release. This sort of collection usually doesn't reward anyone besides an artist's most devoted fans, but 20 Vodka Jellies is actually an effective showcase for Momus' ample skill as a pop songwriter, as well as his musical versatility. "The End of History" and "Nobody" were recorded by Japanese singer Noriko "The Poison Girlfriend" Sekiguchi on her Shyness album, while the first five songs on the album were written for Shibuya-kei star Kahimi Karie; there's also the Momus version of Karie's Japanese Top Five hit "Good Morning World," originally commissioned for a cosmetics advertisement. Aside from being some of his most compulsively listenable material, these songs fit right into the Shibuya-kei movement's diverse, often kitschy tastes, neatly demonstrating Momus' own eclecticism. Also present are four "grunge demos," made when the prospect of a collaboration with Nirvana producer Butch Vig seemed likely; aside from the use of distorted electric guitars, they aren't a tremendous musical departure, but they are solidly written, humorously quirky pop songs. Still, even if he can't quite pull off hard rock, Momus can travel as far afield as crooning a trip-hop/lounge version of the Buzzcocks' "Orgasm Addict," which works surprisingly well once you get past the bizarreness of the concept. In general, the lyrical sensibilities on 20 Vodka Jellies aren't as overtly twisted or perverse as his other late-'90s releases (although several moments certainly are), but the music is impressive and extremely well crafted, and the lyrics are still literate and playful. ~ Steve Huey, All Music Guide [-] Hide

The Go-Betweens were already a good band well before they made Before Hollywood, but this second album is what proved for many listeners that they were great. For good reason -- both Robert Forster's and Grant McLennan's singing sounds much more honestly theirs, finding their own voices, while collectively the trio create a series of intricate,... [+] Read More

The Go-Betweens were already a good band well before they made Before Hollywood, but this second album is what proved for many listeners that they were great. For good reason -- both Robert Forster's and Grant McLennan's singing sounds much more honestly theirs, finding their own voices, while collectively the trio create a series of intricate, surprising melodies and songs which balance past and present beautifully. Strange as it may sound, the band's peers at this point could and did range from the Cure (for both melancholic intensity and guitar -- check some of the electric work on "Ask") to more obvious cohorts such as Orange Juice, but the Go-Betweens already had their own identity firmly established. For many the album's reputation rests on the presence of one song alone, and understandably so: "Cattle and Cane." Arguably the band's absolute highlight of its earliest years and one of the early-'80s' utter classics, the combination of McLennan's nostalgia-laden but not soppy lyric, his flat-out lovely singing and overdubbed backing vocals, and the catchy, beautifully elegant acoustic/electric arrangement is simply to die for. There are plenty of other songs that demonstrate the threesome's collective strength. "Two Steps Step Out" is a prime example, with sudden tempo shifts, from a more straightforward beat on the chorus to the sudden breakdown on the brisk chorus, and McLennan's lovelorn lyric and quietly impassioned singing making it an instant winner. Another McLennan winner is "Dusty in Here," soft piano from Bernard Clarke adding just enough to the spare but warm arrangement. Forster gets his own share of memorable moments, not least of which is the title track, not to mention the edgy, desperate "By Chance" and slightly calmer "On My Block." Lindy Morrison's abilities as a drummer are similarly improved, the at-times strident work of Send Me a Lullaby here replaced with a good balance between impact and steady swing. ~ Ned Raggett, All Music Guide [-] Hide

Collecting most of the singles the Pastels released on Fire, A Truckload of Trouble: 1986-1993 is a fine introduction to any newcomer and a vital piece of any fan's collection. These songs see the Pastels at their shambolic best, whining guitars blazing and ringing, alternating slurred and dreamy vocals punctuating the finest ever C-86 tunes,... [+] Read More

Collecting most of the singles the Pastels released on Fire, A Truckload of Trouble: 1986-1993 is a fine introduction to any newcomer and a vital piece of any fan's collection. These songs see the Pastels at their shambolic best, whining guitars blazing and ringing, alternating slurred and dreamy vocals punctuating the finest ever C-86 tunes, and blending pop and punk in the most aesthetically sublime way. Throughout the album's running time, one can't help but marvel about the sheer number of bands these songs inspired, and repeat listens make it obvious that the Pastels were a stepping stone between so many great bands and styles. In bottling up and mixing potent influences like the Fall, the Ramones, the Smiths, and the Velvet Underground, they opened the door for further experimentation by offspring such as Yo La Tengo, My Bloody Valentine, Magnetic Fields, Built to Spill, Beat Happening, and Belle & Sebastian. As steeped in the classics and as inspirational as these songs are, their most glaring attribute is just how catchy, raw, and invigorating they are. Though it covers periods of major lineup changes and rampant stylistic shifts, Truckload of Trouble is a cohesive listen from start to finish and a vital portrait of a band marching to the beat of different drum. ~ Tim DiGravina, All Music Guide [-] Hide

Belle & Sebastian's second record, If You're Feeling Sinister, is, for all intents and purposes, really their first, since their debut in 1997 was not heard outside of privileged inner circles. And If You're Feeling Sinister really did have quite a bit of an impact upon its release in 1997, largely because during the first half of the '90s the... [+] Read More

Belle & Sebastian's second record, If You're Feeling Sinister, is, for all intents and purposes, really their first, since their debut in 1997 was not heard outside of privileged inner circles. And If You're Feeling Sinister really did have quite a bit of an impact upon its release in 1997, largely because during the first half of the '90s the whimsy and preciousness that had been an integral part of alternative music was suppressed by grunge. Whimsy and preciousness are an integral part of If You're Feeling Sinister, along with clever wit and gentle, intricate arrangements -- a wonderful blend of the Smiths and Simon & Garfunkel, to be reductive. Even if it's firmly within the college, bed-sit tradition, and is unabashedly retrogressive, that gives Sinister a special, timeless character that's enhanced by Stuart Murdoch's wonderful, lively songwriting. Blessed with an impish sense of humor, a sly turn of phrase, and an alluringly fey voice, he gives this record a real sense of backbone, in that its humor is far more biting than the music appears and the music is far more substantial that it initially seems. Sinister plays like a great forgotten album, couched in '80s indie, '90s attitude, and '60s folk-pop. It's beautifully out of time, and even if other Belle & Sebastian albums sound like it, this is where they achieved a sense of grace. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the defining albums of the mid-'90s indie scene, the Apples in Stereo's full-length debut is one of those records that marks a sea change in musical attitudes, akin to Mudhoney's "Touch Me I'm Sick" or Pavement's early singles. Besides being the breakthrough release of the Elephant 6 collective, which alone is responsible for many of the... [+] Read More

One of the defining albums of the mid-'90s indie scene, the Apples in Stereo's full-length debut is one of those records that marks a sea change in musical attitudes, akin to Mudhoney's "Touch Me I'm Sick" or Pavement's early singles. Besides being the breakthrough release of the Elephant 6 collective, which alone is responsible for many of the better albums of the decade, Fun Trick Noisemaker is the album that defines the post-grunge indie pop shift from sullen negativity into a kind of cockeyed, giddy optimism, and is also among the handful of albums that turned Brian Wilson, Arthur Lee, and Burt Bacharach into cool names to drop at the record store. The album opens with a plundered bit of sonic ephemera from an old stereo-effects demonstration record that plunges directly into the manic throb of "Tidal Wave," where Hilarie Sidney's thudding drums sound like "I Want Candy" on speed and Robert Schneider's goofy mixed-metaphor lyrics and boyish vocals blend with sci-fi vintage synth whooshes and a killer fuzz-guitar riff out of the Fillmore West's heyday. From that breathless start, the album skips blithely from high point to high point, like the sugar-sweet bubblegum melody and "la la la" harmonies of "Glowworm" and the hyperspeed rush of the Buzzcocks-meet-the Banana Splits "Dots 1-2-3." Childlike songs like Sidney's lone vocal showcase, "Winter Must Be Cold," add a charmingly naïve sensibility to what could otherwise be a collection of ideas plundered from impossibly hip record collections. Several years' worth of albums covering the same territory might have dulled the album's freshness just a touch, and the group's technical competence would grow with each successive album, but Fun Trick Noisemaker is a minor masterpiece. ~ Stewart Mason, All Music Guide [-] Hide