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Since We've Become Translucent Import

3.1 out of 5 stars 9 customer reviews

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Audio CD, Import, August 20, 2002
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Editorial Reviews

Mudhoney is back on Sub Pop. This is their first release without Matt Lukin on bass (Guy Maddison formerly of Bloodloss and Lubricated Goat takes over, and Wayne Kramer plays bass on "Inside Job"). One of the band's most varied records ever, ranging from Hawkwind-esque psych freakouts to horn-inflected stompers.
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Product Details

  • Audio CD (August 20, 2002)
  • Original Release Date: 2002
  • Number of Discs: 1
  • Format: Import
  • Label: Sub Pop
  • ASIN: B00006A6YA
  • Average Customer Review: 3.1 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #225,434 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
This is not my fave Mudhoney record. I love Mudhoney, but I prefer their older stuff. Some songs have a more progressive feel to them (Sonic Infusion and Baby Can You Dig the Light) I think it lacks the energy of my favorite Mudhoney record, Every Good Boy Deserves Fudge. The beats are slower and more bluesy, not as much punk rock influences. But it's good to see that they've evolved. Every good band should evolve and try new things. I'd recomend their self titled album or EGBDF first before you buy this.
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Format: Audio CD Verified Purchase
'Translucent' has gotten a bad rap in many reviews. While this album is different than other Mudhoney albums, I think it shows growth with the horns in multiple songs. The first song 'Can you dig the light' reminds of acid jazz fusion like the Mahavishnu Orchestra, and songs 'Inside Job' and 'the Straight Life' are instant classics. I say dust it off again and revise the thinking, this one is great!
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Format: Audio CD
Despite the fear that Y2K threatened to singlehandedly whipe out Mark Arm's computer of a brain, Mudhoney has returned after rumors of breakup and member lossage to make their career account for providing music during three calendar decades.

With the release of "Since We've Become Translucent", Mudhoney has returned to their hometown Sub Pop Records which at the time was steering away from the once favored 'Seattle Sound' and digging it's fingers into the now-associative and weaker sounding indie-pop genre. As with 2006's "Under A Billion Suns", these grunge daddies bring back the slew 'n' roll of the label's historic yesterdays and makes Sub Pop's wallpaper artist Iron And Wine sound even more... flower patterned.

The intro to the opening cut finds Mudhoney dabbling in an eight minute free-jazz freak-out rather than their previous tricks of off-kilter Sonic Youth noise experimentism, using horns (a Mudhoney first which is undoubtedly influenced by The Stooges "Fun House") and clean guitar effects. In a quest to find meaning, the song's ending lyrics "This is the end of the tunnel and there is no light/Where is the light/I always thought I'de see some kind of light" may very well tell the abbreviated tale of Mudhoney's beginnings at Sub Pop, then venturing out to Reprise Records in hopes of greater exposure, but ultimately returning to their humble starting point.

So what's a band to do? Re-invent itself. Kind of.
Read more ›
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Format: Audio CD
Mudhoney pride themselves on making loud, raucous anti-authority anthems. Well that's great. They sound great; Mark Arm has a perfect voice for insolent, working-class rock. So why bury the vocals somewhere in the background? Behind Guitars? Maybe burying vocals in the mix works for some bands, but for these guys it's the wrong approach. Those Beaurocrat hating screams should be loud and proud, splitting your ear-drums like you want em to!

It's too bad I'm writing this, because, other than that, this is a fine record. The opening, 8 minute + anthem 'Baby can you dig the light' is some crazy-but-oh-so-right anthem with organs, saxaphones and treated vocals. Whoa! Fantastic. A few of the other songs have a late 60's blues-psych leaning, like the catchy 'Take it like a man', and some straight ahead Mudhoney anthems like 'This is our time'. But the mixing/production ruins it. I'd give it three, but the final 'epic' is ruined by that 'bury the vocals' approach. Rating **1/2 (2.5)
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Format: Audio CD
Compared to all the other Mudhoney full length albums, this is their worst. That being stated, it's still not a terrible record... there's actually many bright spots on the record. They're branching out here (lengthening songs, bringing in horns) which is cool to hear, but it is obvious that this is a transitional album for the band. Some tracks really rock, while just as many drag. Dyin for it, Crooked & Wide, & Winner's Circle are particularly offensive to me, just because they are so extremely unremarkable and bland... tedious really.

The following album (Under a Billion Suns) is a bit spotty as well, but blows the doors off this record and Lucky Ones competes with their finest work. Since We've Become Translucent captures the band struggling to get their footing.

I do give the graphic design of the album five stars. The gatefold of the vinyl edition is super sweet.
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