![]() ![]() Pull the Pin might be going for the uncluttered "production" of older Rick Rubin, but instead it cops the sterility of newer Rick Rubin, each song lumbering on a chassis of waterlogged tempo and Jones' wooden melodies, begging for just about anything to grab you. ![]() But it's also rock in a different sort of platonic way, as in platonic friend- no sex, no spark. That's what it comes down to- an effect featured on literally hundreds of better albums is the star of the show.Īwful cover art and album title aside, Pull the Pin is rock in the platonic sense, cranking out distorted riffs and power chords while Kelly Jones' vox box stays caked with ashtray residue amidst song structure having the almost mesmerizing predictability of NASCAR. By the end, you're so sapped for something memorable, that you might be willing to laud the sawtoothed guitar tone that bristles "I Could Lose Ya". "Daisy Lane" keeps you up to speed on recent knife violence in England (it's bad), but in doing so, picks at the same threadbare melody line for the song's entirety- one of the oldest tricks in the Stereophonics book. The only variations are laudable only for at least feigning variation- if Built To Spill's There's Nothing Wrong With Love-ending pisstake was 300% longer and somehow half as sincere, it would be "Bright Red Star". them dichotomy that's allowed the band to retreat to pleasing the diehards and somehow still stick it to scribes: no matter how many times you listen to Pull the Pin, you're still rendered nearly incapable of describing what you just heard. Writer", a laughably impotent revenge fantasy that projected their own narrow-mindedness on the critics that "shoot them down." It set up an us vs. In retrospect, it looks like these guys cast their lot with "Mr.
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