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Short Bus
Short Bus in Bloomington, MN
Current price: $11.99
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Size: CD
In the mid-'90s, as industrial metal penetrated the mainstream thanks to torchbearers
Nine Inch Nails
, acts like
Stabbing Westward
and
Gravity Kills
capitalized on that band's popularity with similar-sounding material that would fizzle out by the end of the decade. However, one band in particular had the pedigree to stand out from the glut of soundalikes. Led by former
NIN
guitarist
Richard Patrick
and producer
Brian Liesegang
,
Filter
released their debut
Short Bus
in 1995, packing a wallop with enduring hit "Hey Man, Nice Shot" and kicking off a decades-long career that outlasted many period contemporaries. Even though their sound quickly evolved and matured beyond the brutish
, this first offering cemented them as one of the industrial boom's more recognizable acts. Early comparisons to
were unavoidable and, while they were initially dismissed as rip-offs, the association also attracted a significant bulk of crossover fans interested in
Patrick
's harder-edged, less-sexy yang to
Trent Reznor
's more nuanced yin. In addition to the heavy similarities between the guitar work here and on
Pretty Hate Machine
Broken
("Under," "Spent"), pointed verbal shots stemming from the split were also deeply embedded in the lyrics, giving fans extra drama to pore over. Behind-the-scenes histrionics aside,
serves its purpose best as the vehicle for introducing the hard rock world to
's inimitable, piercing yowl and his churning vision that melded sludgy grunge with corrosive, mainstream industrial. With very little variation to the formula, the taut set seethes with frustration and vitriol on "Dose," "Take Another," and "White Like That," while even the more subdued moments bludgeon the soul ("Consider This," "Gerbil") and break spirits ("Stuck in Here," "So Cool"). However underdeveloped in its emotional maturity, these simple, relatable sentiments effectively force themselves in through
Liesegang
's unfettered industrial-adjacent delivery. Following the success of
contributed a string of fan-favorite songs to beloved cult soundtracks and, due to creative differences,
parted ways with the group. Leaving
behind,
expanded his sonic boundaries, improved his production approach, and delved headlong into a more dynamic and melodic attack, incorporating more organic instrumentation, actual singing, and nabbing a Top 20 hit with 1999's "Take a Picture."
never sounded quite like this again and
wound up being a singular snapshot cemented in time, a sleeper hit that became an enduring genre touchstone. ~ Neil Z. Yeung
Nine Inch Nails
, acts like
Stabbing Westward
and
Gravity Kills
capitalized on that band's popularity with similar-sounding material that would fizzle out by the end of the decade. However, one band in particular had the pedigree to stand out from the glut of soundalikes. Led by former
NIN
guitarist
Richard Patrick
and producer
Brian Liesegang
,
Filter
released their debut
Short Bus
in 1995, packing a wallop with enduring hit "Hey Man, Nice Shot" and kicking off a decades-long career that outlasted many period contemporaries. Even though their sound quickly evolved and matured beyond the brutish
, this first offering cemented them as one of the industrial boom's more recognizable acts. Early comparisons to
were unavoidable and, while they were initially dismissed as rip-offs, the association also attracted a significant bulk of crossover fans interested in
Patrick
's harder-edged, less-sexy yang to
Trent Reznor
's more nuanced yin. In addition to the heavy similarities between the guitar work here and on
Pretty Hate Machine
Broken
("Under," "Spent"), pointed verbal shots stemming from the split were also deeply embedded in the lyrics, giving fans extra drama to pore over. Behind-the-scenes histrionics aside,
serves its purpose best as the vehicle for introducing the hard rock world to
's inimitable, piercing yowl and his churning vision that melded sludgy grunge with corrosive, mainstream industrial. With very little variation to the formula, the taut set seethes with frustration and vitriol on "Dose," "Take Another," and "White Like That," while even the more subdued moments bludgeon the soul ("Consider This," "Gerbil") and break spirits ("Stuck in Here," "So Cool"). However underdeveloped in its emotional maturity, these simple, relatable sentiments effectively force themselves in through
Liesegang
's unfettered industrial-adjacent delivery. Following the success of
contributed a string of fan-favorite songs to beloved cult soundtracks and, due to creative differences,
parted ways with the group. Leaving
behind,
expanded his sonic boundaries, improved his production approach, and delved headlong into a more dynamic and melodic attack, incorporating more organic instrumentation, actual singing, and nabbing a Top 20 hit with 1999's "Take a Picture."
never sounded quite like this again and
wound up being a singular snapshot cemented in time, a sleeper hit that became an enduring genre touchstone. ~ Neil Z. Yeung
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