Overall, I think the guitar work could best be described as solid.ДЄs expected, the bass had very little input. Things would randomly stop and the timing would change. It was almost like whole band was improvising the end of the song. Unfortunately, the solo was pretty much ruined be the horrendous rhythm and timing. A nice blend of scales and climactic bends. It was actually a pretty good quality solo. The only real stand out solo can be found in Silvergun Superman. Solos were even more scarce than the riffs. Like most of the other guitar work, it wasnвЂ™t very complex, but it had good rhythm and was pretty catchy. It had neat distorted riff to get the song off the ground. One of the stand out riffs came from the track Unglued. There was the occasional stand out riff, but not as many as I wouldвЂ™ve liked to see. I regret to inform you there wasnвЂ™t a whole lot of riffage to be heard in the album. None of the examples I just gave you are very complex, but fairly well written and suite the albumвЂ™s atmosphere.

As for an example of a heavier power chord progression check out Meatplow. YouвЂ™ll be able to hear it best during the intro. For an example of a nice little chord progression give Intersate Love Song a listen. In the heavier tracks the rhythm guitar was mostly assembled with power chords, while in the lighter tracks the rhythm guitar work was mostly regular chords. The guitar work was certainly solid and somewhat varied as well. I doubt many people listen to this for the lyrics. Anyways, overall the so-so lyrics donвЂ™t effect the album too much. Perhaps there is some vague message within the track, but it doesnвЂ™t appear so. The, closer to the end it seems heвЂ™s preaching about conformity Fall in those single lines, like army ants. Not too long after that itвЂ™s hard to tell just what heвЂ™s talking about Gotta, gotta now, gotta find the reason why a woman ainвЂ™t a man. At first it appears Scott appears to be singing of an unknown person beating him You donвЂ™t look, but you kick me. Some songs had lyrics that were completely indiscernible. The following lines should nicely exemplify this: вЂњHave you seen your mother, girl?вЂќ, вЂњPretty Penny was her name, she was loved and we all miss her. The song appears to be about a mother (Penny) abandoning her family, or perhaps dying in an unfortunate accident. A few songs were delved into the topic of women.

The lyrics werenвЂ™t horribly generic, or cheesy, but there was nothing original about them either. Lyrically, this album offers nothing particularly special. Luckily, there were occasional solos and splendid riffs to keep the listeners attention, so the tediousness wasnвЂ™t too large a factor. Unfortunately, itвЂ™s when itвЂ™s combined with a dim musical environment that it can become monotonous. Now, that can be said for many vocalists, so usually itвЂ™s not a big deal. ItвЂ™s just a little generic and doesnвЂ™t have much range. It wasnвЂ™t bad, in fact he has a fine voice. The tediousness stemmed from Scott WeilandвЂ™s voice. It helped to make the album seem more it gave the album sort of a calm, emotional feel (which was good), but at the same time this murky atmosphere could become boring and tedious at times. Said gloomy ambiance had both positive and negative effects on the album. Despite being composed of heavy tracks and ballads this album maintains a consistent gloomy ambiance.

Following up their debut album Core, this album solidified The Pilots as one of the top 90вЂ™s grunge bands. Purple Stone Temple PilotвЂ™s second studio album was released in 1994. Review Summary: Angst, murky, questionable production.

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