It’s time for a little less conversation, a little more action, please. Steak knife! We were makin’ our way downtown, walkin’ fast, faces pass and we’re homebound, boot cut!, while Las Ketchup treated us to the Ketchup Song and Eminem asked us what we’d do if we had one shot, or one opportunity to seize everything we ever wanted. Dope dick! Avril Lavigne tried to reinvent how to wear ties AND the way we write ‘sk8er’ and ‘boi’ (the latter, oddly, seems to have stuck), pawn shop!, and Enrique Iglesias wanted to be our hero, baby. Con job! That’s right; it’s 2002! Oh, and the Red Hot Chili Peppers tried to say they’d be there, waiting for…
It was a strange year. I think that that the events and aftermath of 9/11 still cast a shadow. I dunno, it feels like it was a subdued year looking back at the music world. Plenty still happened – I mean, Nickleback left the stage at a festival in Portugal midway after their second song as a unimpressed audience sent a few rocks their way, Graham Coxon left Blur, Paul McCartney married his second wife Heather Mills (that would work out well – met her once, can’t say she was even slightly pleasant, in contrast to the ever-charming Paul), and Coachella returned to its two-day format. Normally not noteworthy in itself but 2002’s is: Dave Grohl played both days, the second with his Foo Fighters having already played the first with Queens of the Stone Age having drummed on their 2002 release Songs for the Deaf and toured behind the album. However, there was a lot of animosity amongst the Foos and the band were on the verge of splitting up (One by One languishing in an unfinished / unreleasable state and Dave enjoying being a drummer not a front-man again) – however, the band felt suitably delighted and bolstered by their Coachella set and decided to give both band and the album another go.
There were some pretty heavy farewells in 2002. Feeder’s drummer Jon Lee committed suicide, Dudley Moore died after years with a debilitatingly degenerative brain disorder, Dee Dee Ramon died from a heroin overdose, Lisa ‘Left Eye’ Lopes was killed in a car accident, The Who’s John Entwistle died after a heart attack and, December 22nd, Joe Strummer suddenly died due to an an undiagnosed congenital heart defect. He was 50.
On April 19th, after years of drug addiction and seemingly deliberate chasing to its logical conclusion, Layne Staley was found dead in his apartment. He weighed just 39kg and his partially decomposed body required identification by dental records. He’d kept away from people gradually isolating himself from everyone he knew over a period of years, emaciated, lost most of his teeth and several fingers. He’d died on April 5th – the same days Kurt Cobain 8 years previous – aged just 34.
It’s hard to think of music from the year that stands out. My obvious first ‘go to’ is Bruce Springsteen’s The Rising which was both a comeback of great proportions and Springsteen’s response to 9/11. I’ve covered it before as part of my Least to Most on the Boss but it’s still worth highlighting as one of the best of 2002’s albums.
Damien Rice’s O was released in 2002 as was Regina Spektor’s Songs and Alanis Moriessette’s Under Rug Swept – none of which were too shabby at all really. Paul Westerberg – free of major label input and big-name producers – turned in one of his strongest solo albums to date, Stereo (and released a counterpart Mono as his Grandpaboy alias which was just as bloody good).
Wilco released their epic Yankee Hotel Foxtrot on Nonesuch after Warner Bros. had refused to release it. It would be widely acclaimed and cited as one of the decade’s finest. Up yours Warner Bros., I guess. Following the enthusiastic reception to 2001’s ‘Green’ album, Weezer released Maladroit – the first to feature Scott Shriner on bass – a harder edged and absolutely belting album. Jerry Cantrell released his second solo album Degradation Trip, Sonic Youth the brilliant Murray Street which harkened back to longer, more experimental songs while feeling tighter and more structured, Red Hot Chili Peppers released By The Way and The Flaming Lips dropped Yoshimi Battles the Pink Robots.
Lifted or The Story Is in the Soil, Keep Your Ear to the Ground arrived from Bright Eyes in August and Interpol released their debut Turn On The Bright Lights. There was also new albums from Nada Surf with Let Go and Iron & Wine with the sublime The Creek Drank the Cradle. Foo Fighters’ One by One arrived via the thumping lead single ‘All My Life’ in October and the Queens of the Stone Age’s Songs for the Deaf was released in August. Tom Petty and the Heartbreakers released the lacklustre The Last DJ and Audioslave – which featured Chris Cornell members of Rage Against the Machine – released their powerful selt-titled debut Audioslave.
Godspeed You! Black Emperor released another genre-classic with Yanqui U.X.O. which did away with the field recordings and replaced them with pure, raw-sounding angry and epic post-rock. They’d go on hiatus shortly after its release and wouldn’t release another album for ten years.
Not calling it a day after taking a year-long break following the events of Roskilde and touring in support of Binaural, Pearl Jam returned in 2002 with Riot Act – an all-too-often overlooked album which gets stronger with each repeated listen. But, I’ve covered both that album and Pearl Jam’s ‘lost’ period pretty extensively already on this blog.
So… a bit of a quiet year on the release front from my wheelhouse but there’s one from 2002 that I continually put on and lose myself in:
Sigur Rós – ()
Sigur Rós’ third album was a real surprise for many who were probably expecting a direct continuation of the work on Ágætis byrjun. In a way, it is. But it’s also perhaps the most left-field in their main catalogue. Now, of course, some seven years down the road from their last proper studio album as they busy themselves with releases of projects built around loops and programmed fractions of music it doesn’t seem so.
However, the reason I love () so much is the feel of this album. Back in 2002 I’d just caught on to the band on the strength of their previous album and remember getting hold of this new, I loved everything about it from it’s wonderfully minimal packaging and artwork to the click of distortion that opens and ends the album.
It’s split into two distinct halves – the first four tracks more ‘light and optimistic’ and I still get a sense of ‘aaahhh’ when ‘Untitled 1’ – or ‘Vaka’ as it would become known – kicks in all these years later.
Sigur Rós didn’t make any massive changes to their sound for () – those more dramatic shifts would come later – but the subtle adjustments, the gentle smoothing and make it seem like a more ethereal (and I hate using that word especially as so many use it when describing this band) sound than previously achieved or since as Takk would feel like it was a more logical follow up to Ágætis byrjun in a way. The success of that album, driven thanks to the success of ‘Hoppípolla’ means that () is often forgotten.
I kind of see Sigur Rós work like that of Pink Floyd’s – you know it was made by a group of people using traditional instruments and yet, somehow, it seems untouchable and slightly removed from the ordinary and it’s never been more apparent than on ().