Spiderland makes webs in my mind

Slint’s “Spiderland” is one of those albums that feels ahead of its time to this day, 35 years later. It’s the musical equivalent of walking in on a conversation you’re not privy to; a conversation between instruments and the singer between himself. It’s two conversations going on at once, a confusing crossfire of harmonics, complex riffs and spoken lyrics unfurling narratives.

“Breadcrumb Trail” is a mixture of alarm-like guitars blaring and quintessential post-hardcore riffs with understated drum portions, all layered with mumbled prose followed by grating shouted lyrics.

The track is followed by an eerie, building riff in “Nosferatu Man,” in which the singer recounts the familiar plot of Nosferatu in only plainly spoken or shouted lyrics. An interesting detail and lyrical choice to note here is the reference to Hank Williams’ “Ramblin’ Man.” The lyrics, “I can be settled down/and be doing just fine/until I heard that old train/rolling down the line,” are a direct reference to the aforementioned song.

The next track, “Don, Aman,” is more of the same — dissonant guitars and softly spoken lyrics. The song is sparse and teeming with tension waiting to be relieved. The song builds in the tension, never fully allowing it to subside or reach a musical peak.

Track four, “Washer,” is arguably one of the more melodic tracks on the album. The lyrics are sung in flat vocals, rather than simply spoken or shouted like they have been thus far. It’s the first track in which the singer and the instrumentals are in tandem with each other and allow the listener to partake in the conference.

“Washer” is also the longest track on the album, spanning the better half of eight minutes. Unlike its predecessor, the song reaches a satisfying zenith, which makes up for the loose ends of the previous track. It’s restrained and adeptly harnessed, neither taking nor giving more than its fair share.

“For Dinner…” features a thundering bass presence amidst the reticent guitars. The sections of this song pass like high beams through blinds over the ceiling; intermittently and unpredictably, with sections of bated silence.

The album concludes with a concise six songs, ending on “Good Morning, Captain.” This track is the emulsifier of the independent musical themes present throughout the album. It’s taking the techniques and unspoken parts and integrating them into a neat and succinct culmination of concepts.

The album is a testament to a group of musicians that know how to work together, presumably a result of the members knowing each other as pre-teens. The album is regarded as one of the most important and formative albums of the 90s for indie-rock, math rock and post-hardcore.

Make no mistake, however, “Spiderland” is one of a kind and hard to reduce to genres or influences. It’s like a primary color of modern alternative, indie and post-hardcore music. With its minimal production and approach to construction, it’s no wonder “Spiderland” has remained a classic among alternative albums.