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Alternatif et Indé - Paru le 2 avril 2013 | Sub Pop Records

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Alternatif et Indé - Paru le 23 juillet 1991 | Sub Pop Records

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In mid-1991, grunge was poised to make its entrance into the spotlight of global popular culture as Nirvana's Nevermind was being readied for release. But Mudhoney didn't know that as they began work on their second album, and they were starting to tire of the monolithic hard rock/metal side of their sound. Taking a detour back into the garage rock and early punk influences that meant as much to them as Blue Cheer, they booked time in Conrad Uno's cozy eight-track recording facility Egg Studio, and soon emerged with Every Good Boy Deserves Fudge, a proudly stripped-down and wiry effort that appeared two months before Nevermind. If 1989's Mudhoney seemed a bit short of inspiration as the band figured out where to go after the Superfuzz Bigmuff EP, EGBDF was leaner, meaner, and a great deal more enthusiastic, and "Let It Slide," "Into the Drink," and "Who You Drivin' Now" took the noisy report of "Touch Me, I'm Sick" and gave it a good bit more snarl and rattle, which worked strongly in their favor. EGBDF also sounded like Mudhoney were having more fun than on their first long-player; the lo-fi organ accents fit this music just right, Mark Arm's vocal howlings are gleeful snottiness personified, Steve Turner's gloriously dirty guitar solos were paeans of scuzziness from deep inside the soul, and Matt Lukin and Dan Peters were the perfect rhythm section for this music. The songwriting was also considerably stronger than on their previous LP, and just as the rockers at once stomped harder and seemed lighter on their feet, slower tunes like "Broken Hands" and "Check Out Time" dug deeper into their bluesy side and revealed how strong their ominous alter ego could be. Every Good Boy Deserves Fudge was Mudhoney's declaration that they didn't need grunge to survive, and if their timing proved to be a bit off, their musical instincts were faultless, and it's one of their very best albums. © Mark Deming /TiVo
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Rock - Paru le 25 octobre 1990 | Sub Pop Records

Dans le ballet incessant et incestueux de la scène grunge, après l’implosion de Green River, Mark Arm recrute l’ancien bassiste des Melvins, le batteur de Feast, et le guitariste Steve Turner, pour former Mudhoney, un nom inspiré du film de Russ Meyer sorti en 1965. Dans la veine des Wipers, la bande de Mark Arm joue un rock simple et direct. Ayant déjà posé, en 1988, l’un des actes fondateurs du grunge avec la face B Touch Me I’m Sick, Mudhoney accède à un succès underground suffisant pour que Sonic Youth les invite à ouvrir leurs dates britanniques. Premier groupe grunge à s’exporter, Mudhoney entre directement dans les charts anglais avec Superfuzz Bigmuff, paru chez Sub Pop, catalyseur grunge créé par Bruce Pavitt et Jonathan Poneman. Élu par Kurt Cobain comme l’un de ses préférés, ce premier maxi, plus garage que Green River, à cheval entre hard rock et punk, balance des riffs primitifs et des hurlements dignes des Stooges sur fond d’ampli grésillants. © Charlotte Saintoin/Qobuz
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Rock - Paru le 26 juillet 1991 | Sub Pop Records

In mid-1991, grunge was poised to make its entrance into the spotlight of global popular culture as Nirvana's Nevermind was being readied for release. But Mudhoney didn't know that as they began work on their second album, and they were starting to tire of the monolithic hard rock/metal side of their sound. Taking a detour back into the garage rock and early punk influences that meant as much to them as Blue Cheer, they booked time in Conrad Uno's cozy eight-track recording facility Egg Studio, and soon emerged with Every Good Boy Deserves Fudge, a proudly stripped-down and wiry effort that appeared two months before Nevermind. If 1989's Mudhoney seemed a bit short of inspiration as the band figured out where to go after the Superfuzz Bigmuff EP, EGBDF was leaner, meaner, and a great deal more enthusiastic, and "Let It Slide," "Into the Drink," and "Who You Drivin' Now" took the noisy report of "Touch Me, I'm Sick" and gave it a good bit more snarl and rattle, which worked strongly in their favor. EGBDF also sounded like Mudhoney were having more fun than on their first long-player; the lo-fi organ accents fit this music just right, Mark Arm's vocal howlings are gleeful snottiness personified, Steve Turner's gloriously dirty guitar solos were paeans of scuzziness from deep inside the soul, and Matt Lukin and Dan Peters were the perfect rhythm section for this music. The songwriting was also considerably stronger than on their previous LP, and just as the rockers at once stomped harder and seemed lighter on their feet, slower tunes like "Broken Hands" and "Check Out Time" dug deeper into their bluesy side and revealed how strong their ominous alter ego could be. Every Good Boy Deserves Fudge was Mudhoney's declaration that they didn't need grunge to survive, and if their timing proved to be a bit off, their musical instincts were faultless, and it's one of their very best albums. © Mark Deming /TiVo
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Rock - Paru le 1 janvier 1989 | Sub Pop Records

"Seattle’s Mudhoney embodied grunge’s grimy ethos better than anyone. These splinters of Green River, Bundle Of Hiss and Melvins dripped with the rage and ennui of the late ’80s." © TiVo
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Alternatif et Indé - Paru le 14 juillet 2009 | Rhino - Warner Records

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Alternatif et Indé - Paru le 20 septembre 2019 | Sub Pop Records

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Alternatif et Indé - Paru le 14 juillet 2009 | Rhino - Warner Records

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Punk - New Wave - Paru le 5 octobre 2009 | Munster

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Alternatif et Indé - Paru le 14 juillet 2009 | Rhino - Warner Records

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Alternatif et Indé - Paru le 19 septembre 2018 | Sub Pop Records

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« Fuck the planet, screw up your childrens. Get Rich, you will ». (Prosperity Gospel). Le message est clair. Comme prévu, Mudhoney continue sa fournée 2018. L'année avait commencé avec un live intitulé LiE qui fixait la sueur échappée de leur tournée européenne passée. Cinq ans que les viocs de Seattle n'avaient rien sortis, trente qu'ils tiennent debout. Entre leur chicots jaunis, les quinquas crachent un punk tout juste sorti du frigo. Bien frais, bien puant, bien à eux. Ça commence avec les larsens de Nerve Attack et la voix bourrée de Mark Arm. Ça se poursuit avec l'harmonica de Next Mass Extinction pour le côté pub rock. Puis avec les guitares dégueulasses de Hey Neanderfuck. Digital Garbage, dixième effort de Mudhoney, c'est du grunge contemporain, mature, qui bat grassement cette matière inépuisable, sujette à toute les caricatures, qu'est l'Amérique de Trump. Bien joli. © Charlotte Saintoin/Qobuz
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Alternatif et Indé - Paru le 14 juillet 2009 | Rhino - Warner Records

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Rock - Paru le 11 septembre 1998 | Reprise

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Alternatif et Indé - Paru le 28 septembre 2018 | Sub Pop Records

« Fuck the planet, screw up your childrens. Get Rich, you will ». (Prosperity Gospel). Le message est clair. Comme prévu, Mudhoney continue sa fournée 2018. L'année avait commencé avec un live intitulé LiE qui fixait la sueur échappée de leur tournée européenne passée. Cinq ans que les viocs de Seattle n'avaient rien sortis, trente qu'ils tiennent debout. Entre leur chicots jaunis, les quinquas crachent un punk tout juste sorti du frigo. Bien frais, bien puant, bien à eux. Ça commence avec les larsens de Nerve Attack et la voix bourrée de Mark Arm. Ça se poursuit avec l'harmonica de Next Mass Extinction pour le côté pub rock. Puis avec les guitares dégueulasses de Hey Neanderfuck. Digital Garbage, dixième effort de Mudhoney, c'est du grunge contemporain, mature, qui bat grassement cette matière inépuisable, sujette à toute les caricatures, qu'est l'Amérique de Trump. Bien joli. © Charlotte Saintoin/Qobuz
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Rock - Paru le 22 octobre 1993 | Reprise

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Rock - Paru le 7 mars 2006 | Sub Pop Records

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Rock - Paru le 20 août 2002 | Sub Pop Records

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Rock - Paru le 20 mai 2008 | Sub Pop Records

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Alternatif et Indé - Paru le 6 novembre 2007 | Sub Pop Records

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Punk - New Wave - Paru le 2 décembre 2019 | Folc Records

L'interprète

Mudhoney dans le magazine