1. Boo Radleys - Wish I Was Skinny (Creation)
It's been discussed surprisingly infrequently since, but The Boo Radleys' "Giant Steps" was a monstrously critically acclaimed album in 1993, sometimes seeming to be spoken about in the same breath as the work of Brian Wilson or Miles Davis. From apparently nowhere, the Do Badlys had risen in stature to become Gods of slightly experimental indie rock.
As I've mentioned before, there were clear signs in their earlier releases that changes were brewing in the band, and a new-found maturity was already apparent by the point of the "Boo Up" EP. While I've always been a fence-sitter where "Giant Steps" is concerned - I seem to remember being one of the only people in one of my social groups at the time who was slightly agnostic about it, which was a bit awkward - there's no question that it was one of 1993's most interesting (if uneven and slightly bloated) releases. It's the sound of young men knee-deep in their record collections, taking psychedelic drugs and having a creative spree, and occasionally hitting the bullseye.
"Wish I Was Skinny" isn't especially representative of the rest of the album, being a spindly and simple sounding release about male insecurity, with its ponderous plucked guitar lines and mournful trumpet adding to the subject's mood well. Like Brian Wilson, whose "Don't Worry Baby" was one of the earliest songs about a man needing reassurance from a woman, the Radleys were taking steps here which struck chords with lots of ordinary, podgy, spotty young men who were never going to be considered macho or glamorous. I used to actually have a couple of friends who considered this to be their anthem, one even playing it at his birthday party (Yeah, we really knew how to have fun in those days).
It's simple, pretty and very effective, and the video was actually filmed in the Radleys old comprehensive school and showed them being kicked around and bullied. They seemed to be representing themselves very honestly as complete outsiders, ugly ducklings who loved music and wanted to share their ideas with us. In a world filled with preening peacocks, their straightforwardness was welcome to everyone who probably enjoyed hanging around the local record shops on a Saturday more than they did a night at the club later that evening. Later on, their schtick could on occasion be slightly cloying - we won't get to discuss "From The Bench At Belvedere", but that's just as well, as it's an exercise in self-indulgent sentimentality - but for now, it was finely measured.
2. Delicious Monster - Big Love (Flute)
If "Snuggle" on the last LP was brief and rip-roaring, "Big Love" really shows off the songwriting chops the group had by this point. "Big Love" is a luxurious sprawl with chiming guitars, sensuous vocals and a considered arrangement. Rachel Mayfield appears to be suggesting that she can't get no satisfaction, and this is one part pean to love and lust, another part subtle comment on the role of women as objects of desire in society - at least, that is, if I'm reading it correctly.
It's a very yearning track, though, and even if it was possibly a bit too subtle to be a breakout mainstream hit, it was certainly critically acclaimed and performed well on the Indie Chart. It also proved that Delicious Monster were a multi-faceted band who could cope with subtlety and weave intricate melodies just as much as they could deliver raucous indie sounds.
More on them soon, hopefully.
3. Chapterhouse - We Are The Beautiful (Dedicated)
The old shoegazing scene was largely dead by this point. The groups had either proven their creative superiority and been elevated above and beyond the tag (My Bloody Valentine, The Boo Radleys) or they were now being mocked or, worse still, ignored. Chapterhouse returned in 1993 with a strange new determination, though. Their comeback single "She's A Vision" exuded an adult poppiness which had been lacking from their previous efforts, sounding strangely close to a "Seeds of Love" era Tears For Fears. At the time, the record label claimed that it had actually been a proper Top Five hit in Portugal, but I've found nothing online to verify that claim (press releases really should be verifiable sources, but over the years I've found they're often the stuff of wild exaggeration and fantasy).
"We Are The Beautiful" bares a bit more of a resemblance to the Chapterhouse of old, but is still a polished, shining, sleek Ferrari gliding along the psychedelic pop highway. None of that slick production can really hide the fact that the song itself is a bit uninspiring, though, offering nothing of any real substance. Even the chorus, which is presumably supposed to be a rallying cry, sounds limp. This would be their final single, and there would be silence from the band until they briefly reformed again in the late noughties.
4. Curve - Missing Link (Anxious)
That said, lots of groups seemed to be dropping like flies at this point. Our dear friends Curve, once the future of British Alternative Rock, were beginning to seem emotionally fragile. Their tour to support their second studio album "Cuckoo" was apparently beset with personal problems, and by the time it was over, so were the band. A split was announced, and the only single to be released from the platter was "Missing Link" (unless we count the extremely rare and barely promoted "Superblaster").
For a band who had a very clear, solid identifiable sound of their own in the build-up to their first album, Curve were now starting to blend in a little. "Cuckoo" is actually a much better LP than critics gave it credit for at the time, but nonetheless the buzzing synthesiser sounds of "Missing Link" resemble numerous Euro-industrial bands who were doing the rounds at this point, and the dramatic, urgent delivery of the chorus resembles Annie Lennox more than ever. Curve were still producing compelling material, but they were losing their own unique aura.
The split wouldn't be permanent and they would be back in 1998 with the album "Come Clean" - but certainly from the point of view of our timeline, it's all over for them. Of all the groups we've discussed, they're one of the main ones I feel possibly could have achieved something enormous if only a few slightly different turns had been taken. The fact that Garbage, who we'll come on to eventually, clearly owed a small debt to their sound showed that what they were producing wasn't in itself uncommercial.
5. Sugar - Tilted (Creation)
Frantic and psychotic sounding, "Tilted" gets the bit between its teeth and never lets go, thrashing and pounding away until the neurotic chorus arrives, which utilises a similar rising, stretching chord pattern to Magazine's "Shot By Both Sides". It's an exhausting listen, this, but one which featured in a wide variety of year-end "best of" polls (even if that seems unlikely now).
Sugar had recently returned with their mini-LP "Beaster", which was highly acclaimed and shot the band straight into the National Top Ten. It caused Bob Mould to apparently ring his friends in America and brag about how high he was in the British charts. It was an unfortunately short-lived period of mainstream success, and within a year Sugar would return to being a largely cultish concern, but it felt justified at the time. Husker Du had spent years dealing with disinterested record labels and low sales, becoming key influences on grunge without much in the way of financial reward. Sugar righted that wrong for a brief period, and gave Bob Mould commercial recognition he had never previously enjoyed. It certainly didn't hurt that he was also writing some of his finest material too.