Artist: Dinosaur Jr.
Released: October 31st, 1988
Highlights: Freak Scene, Yeah We Know, Pond Song, The Post
As a more extreme and less popular version of the punk rock movement which inspired it, the American hardcore scene of the 1980s also naturally featured a far lower degree of professionalism. That is not to say the people involved in it did their job poorly or amateurishly; in many cases tasks were actually performed with much more passion than in its seminal counterpart. But given the corporate world of big labels and magazines showed little to no interest in taking over the reins of the music that was being made in the underground, the influence of money was minimal and positions – whether they were on the stage as a band or behind the scenes as part of the network that supported hardcore musicians – were far more accessible to anyone who was willing to give it a shot.
Ultimately, what this wide entry point meant was that nearly anyone with a guitar or the wish to say something could find a way in; a reality that for punk rockers in the 1970s quickly dissipated when the huge companies stepped in to attract its most famous offspring. As a consequence of that fact, American underground bands like Black Flag, Minor Threat, the Minutemen, Fugazi, and the Butthole Surfers, which were mostly made up of individuals whose visible artistic talents did not match up with the expectations of the mainstream, could plug in to the amplifiers and rock.
In their midst, however, roamed one guy who was a bit out of the curve. J Mascis, the leader of Dinosaur Jr., was certainly a member of this independent environment. His talents, though, were more akin to those of folks who transited in the pop music charts. He could play guitar with a high degree of technique and he would showcase that ability clearly by frequently stepping into blistering solos. He could write songs based on classic chord changes that exhibited a smoothness that recalled power pop. And, on what was perhaps the biggest challenge to the ethos of a deliberately noncommercial scene, Mascis could write melodies with the potential to reach thousands. As such, it is no accident that to many of his musical peers, the vocalist and guitarist of Dinosaur Jr. was always seen as the man with a gift.
In spite of these greatly marketable skills, Mascis and his band never made it big, which means that something stood in the way. Anyone listening to “Bug”, the third release by the group, ought to recognize at least one of the elements that ended up keeping Dinosaur Jr. out of the big leagues; and that would be noise. Mascis enjoys playing as stridently as possible, making it sound like whatever amplifier he is using is about to implode due to the volume. Because of that, his simple, approachable, and lovable pop writing is drenched in a vicious guitar attack that veers into the limit between what is tuneful and what is feedback. If that is not enough of a tall barrier to widespread recognition, then Dinosaur Jr. builds it higher thanks to the vocal drawl and slacker attitude of Mascis.
Those two characteristics need to be mentioned together because they are nearly inseparable. Like a moody teenager or a stoned uncle, Mascis sings as if he is totally detached from both the feelings he is talking about and the noise he is making; his attitude tells listeners that he either does not care or is simply too cool to make an effort. Locked inside this unique lazy demeanor that would go on to construct the careers of a few bands, such as Pavement, Mascis does not even try to sing within the parameters of what most would judge as merely adequate; likewise, although his inborn creative greatness hands him a bunch of pop rock gems, his choice is to leave them unpolished and augment their original roughness by giving them a bath in underground noise alongside his bandmates Lou Barlow and Murph.
This battle of accessibility versus laziness and abrasiveness not only defines the entire career of Dinosaur Jr., but also firmly puts them in the underground scene they would otherwise not be a part of. “Bug” is particularly notable for being the point in which that combat reaches its most interesting level. It is not a stalemate, because laziness and abrasiveness certainly win the round, but the balance feels just about ideal. Whether they are pushing forward furiously (“Let It Ride”) or floating in a lazy haze (“The Post”), the members of Dinosaur Jr. here are always pairing up the right amount of melodic goodness to keep one attentive with the correct dosage of ear-splitting madness to stop the whole project from diverging into the mellow terrain its sweet hooks could lead it into. The sole exception to the norm is “Don’t”, which – sung by bassist Lou Barlow – is a cacophony of screaming vocals and guitars, hence shifting the equilibrium too much to one side.
Like it happens with nearly all other works by the band, it is nigh impossible to say the murkiness of “Bug” is polished, but the album holds a few touches of care that greatly benefit its excellent material. “Freak Scene”, the best cut of the record, is a delightful constant barrage of fuzzy strum, but its melodic beauty is enhanced by an accompanying acoustic guitar on its second verse; and that element reappears with even more constancy in “No Bones”. At one point, “They Always Come” brings down the noise to let the melody shine, but Mascis humorously turns the tables by singing in an unusually muffled tone. “Yeah We Know” has a rhythmic driving force that when combined with the cold vocals recalls The Jesus and Mary Chain. “Pond Song” seemingly nods to R.E.M. by featuring jangling verses and a chorus that tames the feedback slightly. “Budge” has a hook played on a relatively clean and slim guitar that nods to Sonic Youth’s more conventional moments. And before getting to its glorious chorus, “The Post” has a large, sparse, and dark soundscape on its verses, which indicates some post-punk influences coming from The Cure, Talking Heads, and even Joy Division.
“Bug”, therefore, is not just an album in which the struggle between pop rock sensibilities and freewheeling hardcore noise-making that defines Dinosaur Jr. gets to its most ideal level. It is also a work that knows how to nudge its sound, even if ever so slightly, towards interesting places that add an unexpected variety to the band’s usually steady music. Given his slacker spirit, it is unlikely J Mascis will ever admit putting effort into bringing out the best of the tunes he wrote for the project or even working on any of the songs until they were truly complete. And anyone listening to the album is sure to feel parts are missing or that “Bug” was not finished. But the fact is there is nothing really missing, and the record is as complete as pretty much any mainstream release. The noisy, chaotic, and lazy mess is just how Dinosaur Jr. operates; and although that has certainly kept them out of the top of the charts, it has also made their greatness even more interesting. And that quality has never found a better display than “Bug”.