A remarkable document of an odd moment in Seattle’s music, Juned’s second and final album finds them stretching out far beyond the punky/poppy vibe of their first. (Its first song is named after stoner-metal icons Kyuss; its last is an airy waltz that’s a showcase for Seattle experimental violinist Eyvind Kang.) One of Juned’s escape routes from alt-rock purgatory was the delay-heavy guitar sound Dale Balenseifen and Claudia Groom had picked up from British new wave; another was their feathery two- and three-part harmonies. The result is a little bit like an Americanized version of Lush, except with a rhythm section that kicks extra-hard — the bridge of its single “Possum” is basically Juned demonstrating that they can do metal too.
By Dave Thompson on 11.17.10 in Icons
It is often said that the bands that blaze the briefest (Velvet Underground 1966-70, the Stooges 1967-74, the Sex Pistols 1976-77) burn the brightest, and that is certainly true of Nirvana. Just over two years separated...
By Gillian G. Gaar on 11.26.14 in Features
Bruce Pavitt shares seven entries in his new '80s anthology.
By Marc Hogan on 03.20.14 in Features
The Seattle group channels Built to Spill and emerges with a record that belies their young age.
By Ian Cohen on 02.04.14 in Interviews
"We've heard the sound of each other's urine, so I think this will lead to a good interview." I've been promised — or more likely, warned — that Billy McCarthy is a heart-on-sleeve kind of guy. The Augustines frontman...