Song: "Kerosene"
Album: Atomizer
Year: 1986
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While many bands and artists may think and attempt to give off the idea that they are controversial or that they don't care to adhere to any societal norms or boundaries, the reality is that almost every musician in history does conform to a certain set of "reasonable standards" in terms of musical arrangements as well as lyrical themes. Granted, there are a few artists that have taken small steps away from these "acceptable" subjects, but for the most part, in terms of lyrics, the overall world of music is rather tame. Then of course, there was the band Big Black, who for a brief period of time seemed to make it their mission to completely destroy any ideas of such boundaries, making music and writing lyrics that were as confrontational as anything else in all of music history. Whether they were singing about mutilation or immolation or even more risqué subjects, the defiance in their lyrics was only matched by the aggressive, yet sonically competent way that they deployed their brand of noisy hardcore rock and roll. Furthermore, it is these musical contributions that would form the basis for what would become the "industrial" sound, and while many of those bands were seen as "daring" or bold in their music or lyrics, they are almost laughably tame when compared to Big Black. This can be easily understood when one hears what may very well be the creative apex of Big Black, their 1986 song, "Kerosene."
The moment that "Kerosene" begins, the rather in-your-face and aggressive nature of Big Black is completely evident, as the somewhat ear-piercing noise that opens the song surely turned away most listeners before the song even entered into its main section. It is in this aspect where comparisons to The Fall have been drawn over the years, and yet there is a form and energy that places Big Black far apart from such similarities. The song is largely driven by the bass of Dave Riley, and he brings a somewhat looming, dirty and aggressive sound the pace and mood with which is plays is nothing short of unsettling. It is the way that his playing works with the programmed drums where one can find the base for the entire "industrial" sound, and yet it is the way that the drums are almost unrelenting that gives "Kerosene" an even more intimidating presence. Taking this darker aspect of the song, it is the contrast created by the guitar of Santiago Durango which gives the track an unexpected level of depth, as well as a more powerful and angry presence. Showing an amazing understanding of how to create mood on a track, Durango is just as great when he is letting a single note sustain in the background as he is when his distorted riffs and chords leap to the front of the song. It is these shifts in sonic placement, as well as the overall tone of aggression and frustration that are the key to the sound of Big Black, and they were rarely more perfect than one finds on "Kerosene."
Along with the uniquely hostile musical arrangement, the vocals from Steve Albini serve as a similar "starting point" for the generation of musicians that followed, as well as providing the ideal completeness to this song. It is the clear, methodical rhythm with which he speaks throughout the song that is in many ways more unnerving than the music itself, and it is this reality which vaults Big Black far beyond any other band. The tension and intensity that builds with every line is second to none, and even when the music gets louder, it is the fact that Albini's voice stays largely the same which proves once again that shouting rarely equals more impact. In many ways, it is the way that Albini seems to be delivering a "restrained rant" that makes "Kerosene" so uniquely intense, and once one concentrates on the words he speaks, the song becomes nothing short of disturbing. Though it largely comes off as a "sounding off" against the rather mundane life of "suburbia," it is during the bridge and chorus sections where the band shows that they have no issue going far into territory where other bands would never dare. The fact that Albini states the idea of self-immolation as "something to do" and yet does not come off as sarcastic or melodramatic in the least is perhaps the most telling moment in the bands' catalog, as his rather straightforward reference to this act manages to perfectly ride the line between agitating and captivating.
Strangely enough, though it is certainly their most musically complete, one can easily argue that "Kerosene" is one of the "less confrontational" songs within the catalog of Big Black. While many may find this hard to believe given the nature of the music and words, this is a band that had no issue in bluntly discussing topics ranging from murder to racism to a wide range of "taboo" topics, and their ease with such subjects quickly put all other bands into stark perspective. Furthermore, when one hears the music of Big Black, it is clear that they are not making these songs for "shock value" as so many later artists did, and it is this almost matter-of-fact approach that makes their music all the more disturbing. Yet at the end of the day, the reality remains that the trio of musicians that comprise the band are exceptionally talented, and it is their ability to balance the overly-aggressive nature of their music with unquestionable musical expertise that make them a band that knows no peers. From the ringing guitars to the dark groove of the bass, Big Black remain one of the few bands in history that refuse to be ignored, and one can easily make the case that without their music, a majority of the heavy metal, hard rock and "industrial" music that appeared at the end of the 1980's would have never occurred. Though their catalog is filled with some of the most powerful and unapologetic music ever recorded, one can find Big Black at their best in every aspect throughout their 1986 song, "Kerosene."
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