UPC: 707129301437
Format: LP
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Personnel: Matthew Sweet (vocals, acoustic, electric & 12-string guitars, piano, electric piano, electric harpsichord, synthesizer, bass, theremin); Brendan O'Brien (acoustic, electric & slide guitars, piano, electric piano, electric harpsichord, Clavinet, Mellotron); Richard Lloyd, Robert Quine (electric guitar); Greg Leisz (pedal steel guitar, electric lap steel guitar, mandolin); Stuart Johnson, Ric Menck (drums).
Recorded at Southern Tracks Recording Studio, Atlanta, Georgia.
Starring the same cast of characters who helped him sculpt previous works--guitarists Richard Lloyd (Television) and Robert Quine (Richard Hell & The Voidoids) along with Velvet Crush drummer Ric Menck--100% FUN brims with the power-pop hooks that Matthew Sweet has become known for.
Helmed by uber-producer Brendan O'Brien, the album retains Sweet's veiled cynicism, whether it's the self-loathing of "Sick Of Myself" or the feeling of abandonment in "Walk Out," a song whose point is point driven by O'Brien's insistent harpsichord playing. Sweet's desperation culminates in the semi-delusional vibe ebbing from "Lost My Mind": while Menck plays a constant militaristic cadence, Quine and Lloyd riff in and out of the song and O'Brien's mellotron pulses and oozes in a vortex that has Sweet's voice ebbing in and out of a fog.
While the scenery around this part of Sweet's psyche may seem familiar, the tight production and crack playing groove enough to shed some light on this darker side of town.
Recorded at Southern Tracks Recording Studio, Atlanta, Georgia.
Starring the same cast of characters who helped him sculpt previous works--guitarists Richard Lloyd (Television) and Robert Quine (Richard Hell & The Voidoids) along with Velvet Crush drummer Ric Menck--100% FUN brims with the power-pop hooks that Matthew Sweet has become known for.
Helmed by uber-producer Brendan O'Brien, the album retains Sweet's veiled cynicism, whether it's the self-loathing of "Sick Of Myself" or the feeling of abandonment in "Walk Out," a song whose point is point driven by O'Brien's insistent harpsichord playing. Sweet's desperation culminates in the semi-delusional vibe ebbing from "Lost My Mind": while Menck plays a constant militaristic cadence, Quine and Lloyd riff in and out of the song and O'Brien's mellotron pulses and oozes in a vortex that has Sweet's voice ebbing in and out of a fog.
While the scenery around this part of Sweet's psyche may seem familiar, the tight production and crack playing groove enough to shed some light on this darker side of town.