Stone Temple Pilots
Core

THE REVIEW

1992: inner rage, adolescent pain, chronic and cosmic pessimism. All coordinates attached to American rock of the time, all thanks to a record called "Doesn't Matter" or better known as Nevermind, but it didn't end there, the story continued for a couple more years with a number of albums becoming best-sellers and artists suddenly becoming generational spokespeople.

The merit or demerit of the STP? Just one: ending up on the bandwagon of the Grunge winners despite coming from California and hinting at artistic solutions different from the Seattle stereotype that would become evident starting with Tiny Music onwards.
End of story? No, because the usual playful press proceeded to tear apart the flesh of the newly created idols: just enough time to earn a few platinum records and the Stone were already being invited to the imposters' gallows. Great move, considering that the "Grunge" sound was becoming so widespread it led to wasted comparisons with the New Wave of the previous decade: the pop side of rock that emancipated the Independent scene, let's see...

Controversies aside, Core was a truly fitting work for that 1992: perhaps precisely the missing link between Nevermind, Ten, and Dirt. By adding the Stone's record it created a perfect quadrilateral structure: power, high-charting songs, a quiet nod to the '70s, and some Punk rants translated from Californian hardcore. Long live Core then and the roaring start Dead & Bloated: in D like many strong pieces of the Stone, fresh in delivery and debut from the same band. Freshness, that's the point, the freshness of a record that couldn't be like many others because it possessed two little pearls called Plush and Creep. The first brilliant in its presentation, a great invention by the "DeLeo masters," the second, surely, rightly depressing enough to even spark a healthy tear.

It was 1992 and it was perfectly fine, but it makes me think: isn't today's "refined" post Grunge, which juggles between filth and Nu-Metal (another modern gem) somewhat indebted to them too? Imagine that, nobody ever heard tracks like Wicked Garden (copycats! Same drum intro as In Bloom by Nirvana!) or Sin (damn, too much Alice In Chains! Yes, but those after Dirt): no, never...leave Naked Sunday alone, who would that have been copied from? Perhaps the Jane's Addiction, but I'm not so sure.

Unfortunately, the Stone, if I must criticize them, didn't highlight their passion for the Doors, which would have influenced their subsequent compositions, but I still believe that with the already mentioned tracks (listen to them carefully then draw your conclusions, I'll just say they're worth it) and those not, namely the various Sex Type Thing (damn, what a forgetfulness, that’s a 2!) Crackerman and When the River Goes, I have more or less mentioned the entire record. Were they really copycats, for sure? Well, let me say that they did it with a class few had or have.
That's all, enjoy listening and happy reflections.