A new Shellac record is always an event. However, its not always because they are a great band
what puts out kick ass records. It is, in part, because their releases are erratic and infrequent and,
in part, because their records are packaged in crazy little packages. 1000 Hurts is the
craziest package yet. In fact, the package is so crazy that it almost obscures the recorded product
inside. Which is somewhat ironic, given that the package is all centered around how what you are
getting is a recorded product played and recorded by some world-class recording engineers. But,
whatever. All that really matters is: are the songs any good?
They are pretty damned good. They range from alright to great, but there are no real clunkers in the
whole set. Though they do not reach the same heights as they did on their early 7"s, overall,
1000 Hurts is more consistent in quality than Terraform , and at least as good as
At Action Park. In fact, "Prayer to God" may be as good as any song they have recorded, in
part because it is an earnest plea on behalf of a betrayed lover for "the one true God" to kill his lover
and the one with whom she betrayed him. It features the repeated refrain "fucking kill him, fucking
kill him, kill him already kill him" and ends with "Amen." One hundred percent pure bile. Absolutely
fucking beautiful and brilliant.
If you have heard Shellac before, then you pretty much know what you are going to get. Loud,
punchy rock, like an angry Midwestern AC/DC. Albini's guitar tone is perfect, as usual, and his
playing is measured when appropriate, but never afraid to let loose. Todd Trainer continues to be
one of the best straight rock drummers of all time: compelling without being too gimmicky. Bob
Weston's bass anchors the songs in counterpoint to Albini's guitars. Plus, the always enjoyable
Albinisms like, "This is a sad fucking song. We'll be lucky if I don't bust out crying."
Some have criticized 1000 Hurts of being too gimmicky, that it is like a couple of
professional engineers performing sonic experiments in space and rhythm and calling it a record.
Well, what the hell is wrong with that? Shellac is exceptional not only because of Albini and
Weston have trained their ears so well while working their "day job" as engineers, but also because
all three members are experienced punk rock and rollers. They have come to understand, better than
most, the economy of sound. That a power trio can still make such compelling music out of the most
primitive of elements is perhaps the most exceptional aspect of Shellac. They are all about
straightforward, punch-you-right-in-the-ass rock and roll. So what if they bring a little
engineering intellectualism to the table? What do these critics want? Something a little more
boring? Quit crying and face up to the rock!
(By the way, if you like Shellac, do yourself a favor and check out the now defunct Tar, also available
from Touch and Go. Listening to 1000 Hurts reminded me how much I liked Tar. Their final
record, Over and Out, particularly, is a real winner, though some insist that Jackson,
on Amphetamine Reptile, was their best.)
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