3 keepers
keeper avg .300
Though L.A. band Eleven debuted in the pre-grunge world of 1991 with their unabashedly poppy and peppy album "Awake in a Dream," by the time 1993 came around "grunge" was the word, and Eleven's self-titled album would be vastly different from the debut. Though they had a close relationships with the Red Hot Chili Peppers and Josh Homme (subsequently of QOTSA), I frequently hear similarities to another fellow-L.A. band, Stone Temple Pilots. Album opener "Crash Today"****, closing track "Heavy," and especially the malevolently churning "Ava Tar"**** are strong with the balls-y drop-D riffs. To be fair, Eleven did beat STP onto CD by a year, but with an album still rooted in the 80's; I don't think it's totally a coincidence that tracks like "Crash Today" combine angry riffs and happy, anthemic choruses in a similar manner to STP's version of grunge on Core (1992).
My introduction to this unique band was the album's MTV single "Reach Out"*****, Alain Johannes' celebration of rubbery string bending, with one of the most memorable riffs in years and an exuberant chorus. "Towers" highlights the player that truly sets Eleven apart from all of their grunge contemporaries, organ/bass/vocalist Natasha Shneider (and that's all at the same time mind you). Her carnival-esque organ and highly idiosyncratic vocals are either the band's not-secret-at-all weapons or acquired tastes, but either way they're forces to be reckoned with. Her impassioned vocal delivery, frequently in a screams or growls, dominates "Towers", "Ava Tar", and "Runaway." For better or for worse, her intensity meter seldom goes below a 9, though she pulls back a bit on the slow, deliberate "Hieronymus."
In true "grunge" fashion, most songs are in a similar mid-tempo pocket, though they rock out a little bit more on "Let Down (Left Out, Laughed At)" and actually sound like they're having fun on the funky "Slinky." Also, having two accomplished vocalists and players certainly keeps things interesting, though it can be a little too much of a good thing when both Johannes's and Shneider's busy instrumental parts are fighting each other for attention, such as on "Towers." In a few years both Johannes and drummer Jack Irons would go on to much greater exposure (at least) with other bands, but this one is a solid effort from the get go.
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