The Cavern
Rock & Words
FACELIFT (Alice In Chains, 1990)
Artist: Alice In Chains (C+)
Recording Dates: Dec 1989 – Apr 1990
Release Date: August 21, 1990, USA
Record Label: Columbia Records
Producer: Dave Jerden
Rating: 9.5
Era: Grunge (1989-???)
Subgenre: Grunge (1989-1997)
Best Song: Man In The Box
Tracklist: 1) We Die Young; 2) Man In The Box; 3) Sea Of Sorrow; 4) Bleed The Freak; 5) I Can't Remember; 6) Love Hate Love; 7) It Ain't Like That; 8) Sunshine; 9) Put You Down; 10) Confusion; 11) I Know Somethin' ('Bout You); 12) Real Thing.
Alice In Chains started out as a band of guys-who-look-like-girls with tons of makeup and the typical patheticness of glam metal. Just by looking at them, you'd think they were Guns N' Roses clones mixed with Twisted Sister trying to sound like Armored Saint, fresh out of some circus. Or asylum. Or rehab center.
Wait, are we talking about the same band? Alice In Chains? Yep. So how did a little band of wannabe speed metalheads become an underrated icon of grunge, defining the sound the genre "should" have on this album in a way Nirvana never did? Simply put: They achieved a combination of incredibly powerful sounds, heavily influenced by metal and by the dark, wonderful riffs of Tommy Iommi, and made an album that speaks of death, nightmares, drugs, failed rehab attempts, drugs, the emptiness of youth in the midst of a society that left them no space (hey, doesn't this define Generation X?), death, suffering, drugs, death… Oh, and drugs and death. And other lovely things of that nature.
Furthermore, the vocalist sings as if he knows what he's talking about. Perhaps it's because he really DID know what he was talking about; there are no affectations here, he's not some emo kid threatening suicide for attention (Layne would end up dying in 2002 in the only way possible, from an overdose), he's a guy who portrays, in the rawest and most sincere way possible, his tremendous existential angst, which was shared by millions of young people in the early 90s. Add to that the masterful instrumentation, the meticulous harmonies, the monstrous riffs, the 4000-decibel distortion, and the minimalist production, and you have the first grunge album to reach the top of the Billboard charts, paving the way for Nirvana's Nevermind to achieve megastardom a year early, earning a Grammy nomination, and, in my personal opinion, encapsulating the true essence of that thing we call grunge as if we knew what it meant, but which, in reality, no one has been able to define.
Layne Staley had already been forming bands in and around Seattle since the early 80s. By 1986, his band Sleeze had broken up, and he decided to form a new group called Alice N' Chainz, whose initial lineup didn't include any of the other well-known members and was essentially a speed metal band. Around that time, Staley met Jerry Cantrell, who had a band called Diamond Lie, and they became good friends. Staley's band eventually broke up due to personal and financial problems, and the singer temporarily joined a small funk band that also needed a guitarist. Since Staley wasn't very skilled on the guitar but admired Jerry Cantrell's playing, he invited him to join the informal project. Cantrell agreed on the condition that Layne would also join him with his band, Diamond Lie. Mike Starr on bass and Sean Kinney on drums were already in Diamond Lie. Layne soon realized that this was the band he should prioritize and where there was a future, so they both left the funk project and changed the group's name in 1987, adopting the one Staley liked so much: Alice In Chains, which already hinted at the dense, heavy, and dark sound they were aiming for.
The band's performances quickly became a hot topic, stretching material that could have been used for about 15 minutes to an hour. Soon, their attempts at speed metal became slower, more technical, and more refined. Randy Houser, a local promoter, recorded their first demo, "The Treehouse Tapes," which somehow reached Columbia Records. Nick Terzo was blown away by its power and personally went to convince the president of Columbia. Thus, in 1989, the powerful label signed the unknown Alice In Chains, and since this novel sound was becoming a sensation in Seattle, recording their first album became a priority for the label. They had complete faith in the band, but still decided to release an EP called "We Die Young" first, in July 1990. The EP was an absolute smash hit on metal radio stations across the country, and given its success, the release of the LP "Facelift," which was practically finished, was only a matter of weeks away.
And the rest is history… Oh! What a predictable statement! Anyway, the point is that this is AIC's rawest and wildest album, perhaps because they genuinely considered themselves more of a metal band than a grunge band, and later, when the genre's definition became a bit more established after the success of Nirvana's Nevermind and Pearl Jam's Ten, they slightly adjusted their sound without losing their essence. There are still those who say this is metal. Let me clarify: metal is loaded with sex, has strong references to death, in many cases diabolical references, to monsters, creatures of the night, and fantastical elements; metal uses kilometer-long solos and often has quite elaborate structures, and it runs the risk that if its members aren't intelligent enough to get the most out of their instruments, they'll be exposed as complete idiots. Grunge, while not a strict definition, generally lacks sexual references. It contains references to drugs and death, but in a more realistic and less mythological sense than metal. It sometimes carries a political charge stemming from the influence of post-punk, and its harmonic structure and soloing are more akin to punk or 70s hard rock bands than to progressive rock or the speed of metal. Furthermore, if you don't have enough talent to play more than three chords on a guitar, you run the risk of being pigeonholed as the absolute god of a generation.
The album opens with “We Die Young”. What a savage start! The guitar truly sounds like that of a consecrated metal god during the first few seconds, and Staley's growl at the beginning adds tremendous darkness to the already dense intro. This is the perfect song to inaugurate the golden age of grunge. The riff approaches the sheer intensity of Metallica's best work, but without the pretentiousness; this song is truly a sonic nightmare, and I don't mean that in a negative way at all. It's also incredibly catchy; the riff will be ringing in your head for hours without being commercial or contrived. The guitar solo at 1:35 isn't as elaborate, but it's loaded with feedback, and by changing the guitar's tone, it maintains the wild and dark feel. Furthermore, the way Layne sings the chorus, you really see him writhing on the floor, his soul shattered. The handling of low, mid, and high tones is exquisite, shifting from whispered bitterness to screamed despair in a matter of seconds without forcing anything. “And we die young / faster we run…” There you have it, a guy predicting his own death. And unlike Jorge Luis Borges, he came true.
Next comes “Man In The Box”, which slows the tempo slightly, but not the intensity or power of the song. The syncopated guitar riff is incredibly simple and, for that very reason, delightful. The magic of this song truly lies in the way Layne's wail blends with Cantrell's wah-wah pedal, creating the song's real riff: “Naaaaa nara naaaaa naranahhh…”. The vocal harmony is perfect. Slow and desolate in the verses. Then the tempo picks up slightly in the bridge, “Won't you come and save me,” before finally exploding in the choruses where Jerry's backing vocals are flawless. The guitar solo at 3:15 adds to the song's anguished tone; it's relatively simple but very well done, demonstrating a shift away from metal and towards 70s hard rock—simpler but more calculated. Kinney's drumming is simply devastating from beginning to end. Impressive. Although this isn't my favorite AIC album, this is by far my favorite song by the band, and I unconsciously end up playing it at least once a week…
The third track is “Sea of Sorrow”, which begins with a slow piano arrangement before launching into full instrumentation at the 20-second mark, still with a dense rhythm, and then exploding at 55 in a much more dizzying way. The riffs here could use a bit more work, as the song, being almost 6 minutes long, feels a little repetitive, but the choruses are very good, again very melodic and catchy. As the chorus finishes at a fairly strong tempo, the band leaves Cantrell alone with the opening arrangement for a moment, and then, seemingly out of nowhere, the song bursts into flames again. Kinney showcases some well-executed drum fills, and this time the guitar solo is faster and more incendiary. Perhaps if they had cut it at 4:50 it would have been perfect, but extending it to 5:40 with only a few changes to make it epic feels a bit excessive.
Next up is “Bleed The Freak” with a crushing, arpeggiated intro, very much in the Hammett vein. At :40, the song explodes with mind-blowing guitar effects, similar to those on “We Die Young” but with better technique. The vocal arrangements preceding the choruses are formidable, and that third voice Cantrell adds later in the chorus would become AIC's signature on future albums. Who said grunge is simple? Who said it can't have vocal harmonies? Kurt? Well, this song is a real ass-kicker, including Kurt's. At :02, we have a wild and brief guitar solo that leads into the opening arpeggio, with Layne making whispered sounds and truly creepy laughs (This is why I say AIC can actually inspire fear, unlike Ozzy, Kiss, or Alice Cooper). At 3:20, Staley lets out an impressive howl that brings back the power of the rhythm section. The lyrics mention Satan, but not in the way death metal usually does. They also mention God. And I think the chorus line “name your God and bleed the freak” encompasses both, so these verses lean more towards self-destruction than classic “devil” songs. And it fits perfectly with the music's atmosphere.
“I Can’t Remember” also begins with an arpeggio, but they add power chords to differentiate it a bit. The bass contributes significantly to thickening the sound in the opening lines. The song moves between these arpeggios and a mid-tempo rhythm with considerable distortion. The riff is well-crafted, but it feels like the band is repeating some tricks from previous songs, and despite being well-made, it never really takes off.
“Love Hate Love” slows the tempo even further, and with it, the mood. However, this is precisely the song's intention: a reflection of the love-hate relationship Layne maintained with drugs from then on, manifested in the album's most distressing atmosphere. Low tones, a great riff, the raw vocals in that sort of chorus… This is a descent into Layne's inner hell, and that's why it's such a chilling song.
The seventh track is “I Ain’t Like That”, which has a bit more of a beat. The guitar arrangement is more powerful, starting with a seesaw-like pattern, then shifting to a more rhythmic riff. That sharp guitar is what Layne must have heard drilling into his head during withdrawal, since this song is about failed detoxes, which he honestly admits he didn't enjoy. Another terrifying song where the lyrics perfectly complement the music. TV Azteca and Televisa: Stop with the corny, pretentious anti-drug ads. If you really want to keep young people away from drugs, show them this song with subtitles so they know what it's like to be immersed in that world and unable to escape.
“Sunshine” initially deceives us with a brighter, vibrato-laden riff, but then the vocals drag us back into its pessimistic abyss. In the verses, there's a slight acceleration of the melody, followed by an ultra-slow chorus, emphasizing "I don't care no more" to transform this song into an ode to utter despair. At times, the vocal harmonies are wonderful, and after the drop, the return to the initial rhythm feels apocalyptic.
"Put You Down" is one of the album's fastest songs, with a funkier, more carefree vibe that demonstrates AIC could indeed play styles other than Iommi's. The track is energetic, and the rhythm even compels you to nod your head and tap your feet at times without losing momentum. That part where the title is repeated endlessly from 2:25 onwards, with an echo in the vocals, is simply irresistible. The lyrics remain pessimistic, but it's one of the album's most upbeat songs. Hey! It's even one of the most cheerful songs in the band's entire repertoire!
"Confusion" is the album's weak point. The song resonates in your ears with that acidic arpeggio. However, this time it lacks variety, and the track ends up becoming too monotonous. Notice how the guitar only shifts from a clean effect to a heavy distortion, but the drums barely have any rhythmic variations throughout the entire song? I insist, it's not bad, but for being one of the longer tracks on the album, it has very few variations and ends up being incredibly monotonous.
“I Know Something (About You)” is another pretty funky and upbeat song. It even reminds us of Red Hot at times because of that initial bass line. By the way, doesn't the initial guitar sound too similar to Led Zeppelin's “The Crunge”? It doesn't sound similar, in fact it sounds IDENTICAL! When the voice comes in it reminds us that it's AIC, but even Layne sounds enthusiastic here. The chorus is where it sounds most like Alice again, with background voices playing melodic games and bitter harmonies. Still, the song is full of energy and this time it doesn't make you want to climb the nearest building and jump off the roof.
The album closes with “Real Thing” where we once again have a devilishly cool riff and an aura that is once again dark and full of power, which is the best that AIC knows how to do. It's a good ending, check out Sean's work on the drums. For some reason I think they wanted to copy part of Guns N' Roses' style in this one, I don't know if it was because of the way they sing or because of that half-Axlrosian ending that Layne does, but this has never stopped me from liking this little song.
This debut by Alice In Chains is tremendous, loaded with lyrical brutality, perhaps being the band that most explores the terrain of drugs and death from a realistic perspective and not bragging. However, we also find here the most “optimistic and brilliant” songs in their catalogue, which is not bad at all, and which will no longer be repeated in future productions (Unless the bad joke about Love Song by SAP, which I can never finish listening to because of the disgust it produces in me). Powerful riffs, good construction of harmonies, the vocal game between Jerry and Layne begins...
Thus, AIC was the first band to inadvertently establish the border between metal and grunge, with the authentic desperation of Layne Staley and his excellent voice combined with Cantrell's tremendous and powerful guitar. Within his short discography, this is his most sincere LP. But they still lack a little in the elaboration of riffs and the vocal harmony will be perfected in the following albums. Generally I am not a fan of such power, but Alice In Chains has become my favorite grunge band because of the tremendous respect they have for music, and without a doubt they are enormous creators who unintentionally defined the most transcendent musical movement of the 90's, so I dare to recommend them. It is worth mentioning that they were always applauded by critics, but unfairly disparaged by the public. A revolutionary and powerful debut album... Much better than Nirvana's debut.
By Corvan
May/11/2009
