Louisville's rock scene has a distinct sound — a style of guitars, drums and vocals that Louisville musicians have employed for generations that are still distinguishable in bands today. These three albums essential to a Louisville music collection are both unique and related because of their connection to this city.
“False Cathedrals”
Elliott (2000)
“False Cathedrals” exemplifies what can happen when a band works exhaustively on developing their songs. Most bands just stick with whatever they come up with first that sounds okay. That's the opposite of what Elliott did for this record. The entire album is good, but there are four songs on here that are so fantastic I'm not sure I could ever tire of them. Other than being a beautiful and dynamic piece of finely-tuned work, the album is versatile. Many years ago, someone told me it was the “ultimate makeout record.” I never have had the opportunity to employ it for such a purpose, but I have heard it played in a multitude of settings — inside Highland Coffee, as a road trip soundtrack, before another band's set, when I'm by myself — and it seems to sound a little different yet work wonderfully in each distinct application.
Scott Ritcher is a Louisville graphic designer, musician and former owner of Slamdek Records
“Skag Heaven”
Squirrel Bait (1987)
Squirrel Bait was Louisville's first melodic punk/hardcore band that got national attention — and they were absolutely cutting edge. To me, “Skag Heaven” is just inspiring. A lot of its sound ended up in a lot of the Dischord Record bands that were big when I was a kid — the single-note guitar and the frantic drums. When I was a kid, the Squirrel Bait records were out of print. But when I finally got this record, it was a moment that ignited a fire. It was so similar to the D.C. bands that I was into quite a bit. I found it inspiring. Every time I listen to it, I'm surprised by how up-to-date it sounds. It's not just an of-the-moment record.
Ryan Patterson is the singer-guitarist for Coliseum
“Speed”
Crain (1992)
Looking back, “Speed” has stuck with me longer than many albums from that era, but I don't hear enough people talking about it. It has that D.C. sound, mixed with Louisville interests. Strangely enough, Crain was not my favorite band of that era, but there are just a few records that have stuck with me, where I can still relate to it — where it's not just a record from a point in my life. Crain's “Speed” is just kind of brutal. I only wish I could've written riffs like that.
Chris Higdon is the singer-guitarist for Frontier(s) and the former singer for Elliott
