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The soft vocal harmony between Staley and Cantrell taking the emotion of this song to another level.
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Beautifully starting with a heart-touching intro, “ Down in a Hole” shows the fragile nature of love in connection to living a life of constant absence. Overall, the nature of this album is more personal than its predecessor, exploring a sadder side to human life and accepting truths that burn tongues off of taste. A memorable intro is set off by Starr and Kinney on “Rain When I Die” followed by a firm connection between the guitars and vocals to build up a story of heartbreak and frustration. Perfectly balancing the previous interplay, the eruption of “No, he ain’t gonna die!” sending shockwaves bouncing off the walls. The strength provided by the bass and drums just amplifying Staley’s already powerful voice. The calm chorused intro to “Rooster” an iconic point in the genre, the “Ooohs” spine-tingling and heavenly.
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Moving from a theological debate to a more angst-fueled portrayal lyrically, the dynamic between Kinney and Starr took a sharper highlight here too. The vocal harmony between Layne and Jerry took a more pronounced feature with the 1992 sensation, Dirt. Alice in Chains took the direction of Grunge from a more Metal and Blues infused direction. Seattle, the quiet town that erupted, became the heart of Grunge. The dragging through the dirt, sludgy and decaying feel of the word itself, resembling the music surrounding it. Down In A Hole: Dirt (1992)īy 1992, the word “Grunge” had spread like a pandemic throughout music. A song, musically filled with a lot of activity, yet playing in the borders of loud and soft. And with the drums giving fair warning, the chorus erupts into Layne’s heavy screams. Starting off with a buildup with Cantrell on the acoustic guitar and Kinney shuffling with the Hi-hat, the accents left by Starr on the bass erupts in a steady distorted riff. “Knocked down but I have enough hate to breathe –Ī clear example of this is the on-the-edge track, “I Can’t Remember”. Apart from full-on aggression, another great aspect of Facelift, the interplay between soft and calm mumbles and heavy screaming. The feel of driving down an isolated highway towards a steadily approaching storm, brought out by the Bluesy “Sea of Sorrow”, and the style where Kinney leads a seemingly bare stretch of suspense as Staley’s vocals die out, a big highlight both here and in “Love, Hate, Love”. The vocal harmonies between Staley and Cantrell paving the way to a whole new feel in their music, a gloomy and dark shadow. The subtle solos over the chorus along with the Wah heavy solo in the middle sets this song apart from its contemporaries. It wasn’t long before the talk-box experimentations of Cantrell, the memorable riff on “Man in the Box” became a staple on the airwaves. With Sean Kinney on the drums and Mike Starr on bass, Alice in Chains’ debut studio album opened the gates to a new era of music. Opening with an aggressive Drop C# riff by Jerry Cantrell, the feel of the opening song of the 1990 album Dirt, “We Die Young” is brought out to light with the guttural and harsh lines of “Scary’s on the wall” sung by Layne Staley. Among the first of the torches that led to the wildfire it became, is Alice in Chains. However, in the sleepy American state of Washington, another movement was starting to wake up Grunge. As the riffs started to get heavier, a clear distinction started to form between the era’s rock music and the new forming genre of aggressive, incredibly fast-paced, and technically complex Thrash metal. As the 1980s slipped away into the new decade, the direction of 1980’s pop music took a few sharp corners.