Alice in Chains
Jar of Flies

According to a theory almost as old as the world itself, things are seen better at a distance of time. Small nuances, colors, sensations become clearer and appear to us for what they are, escaping the deceptive and ephemeral smokescreen that encloses a moment. If one then thinks of Alice in Chains and this "Jar of Flies", it immediately becomes clear how what was said above contains far more than a half-truth. Native to Seattle and the flourishing Grunge scene like the more acclaimed Nirvana, Alice was initially at least overshadowed by the charisma of Kobain's band, which had left a rock milestone of the '90s behind called "Nevermind" (September 1991) and would indelibly mark so much music to come.
After a very interesting first effort but still immature from some points of view and a second album, "Dirt," which perfectly embodies the soul of Alice in Chains and which I consider to be their most convincing work, it is precisely "Jar of Flies" (excluding the mini, also acoustic but in my opinion negligible Sap) that shows what the group was capable of. Indeed, confronting the decidedly Metal base that emerges in "Facelift" and in "Dirt," it is precisely their more intimate and dramatic soul that gives the true reading perspective of the group.
The album opens with "Rotten Apple", a very sad melodic piece, very close to a funeral march. Then comes the best track of the album, "Nutshell", in which over a few simple guitar riffs, Layne Stanley's voice, expressive and very sweet, throws in everyone's face the private pain that slowly crumbles him from the inside ("and I tell myself that if I couldn't be alone, I'd rather be dead"). "Stay away" sees the use of string instruments, especially violins, which play well with the singer's vocal harmonies, supported by a band that does its duty perfectly. The work lives of the delicate musical intuitions of Cantrell on the guitar and Stanley's vocal charisma, leaving no room for doubt in terms of interpretation and conviction. "Whale" and "Wasp", an entirely acoustic piece, and "Don't Follow", in which the harmonica takes the lead painting almost country-like, very suggestive scenarios, and Cantrell's voice, almost whispered in the first part, perfectly maintains the global balance of the track, are also very beautiful.

A very beautiful album, therefore, recommended to those who do not know anything about Alice in Chains and to all those who consider the Seattle band capable only of producing noise because their acoustic and intimate side is worth as much as or perhaps more than their Metal-Grunge component.