These albums were all released in 1996, but they have a timeless sound that brings them up to date. The following albums sound so fresh, you’d never believe they came out 30 years ago.
‘Emperor Tomato Ketchup’ by Stereolab
Stereolab’s fourth album, Emperor Tomato Ketchup, was destined to be experimental right from the title. Released in March 1996, the name comes from a controversial 1971 Japanese arthouse film about an empire controlled by children. The album features Stereolab exploring alternative techniques, such as building upon loops instead of riffs.
The result is an album that still sounds new and innovative 30 years later. Emperor Tomato Ketchup is often lauded by fans as one of Stereolab’s best works. It innovated with their existing style, but kept the elements that were distinctly Stereolab. For that, this album aged extremely well, carrying a timelessness with it through the years.
‘C’Mon Kids’ by The Boo Radleys
The Boo Radleys’ fifth album, C’mon Kids, was often misunderstood as a purposeful rebellion against their newfound popularity. After the success of the 1995 album Wake Up!, The Boo Radleys saw an influx of new fans. So the brash, alternative style on C’mon Kids was interpreted as the band trying to scare away new fans. But that wasn’t the case at all.
Instead, this album, released in September 1996, was meant to be a journey into new territory for The Boo Radleys. They weren’t trying to scare away new fans, but to encourage them to stick with them as they experimented. Frontman Sice Rowbottom explained it as the natural successor to their 1993 album, Giant Steps. Apparently, Wake Up! was more of a reactionary pop album, but its single “Wake Up Boo!” saw huge success. Still, Rowbottom has said C’mon Kids is his favorite Boo Radleys album, and it’s easy to see why.
‘Viva! La Woman’ by Cibo Matto
Cibo Matto released their debut album, Viva! La Woman, in January 1996. Originally, Cibo Matto was just a duo, formed by Miho Hatori and Yuka Honda. On Viva! La Woman, they reinterpreted elements of their live shows and first EP. Overall, the sound is innovative, unique, and quirky without being overbearingly nonsensical.
A lot of the album’s success came from its raw charm. Hatori and Honda wrote obscure lyrics about food, and their band was rooted in sharing post-show meals. The abstract songwriting sometimes dabbled in richly emotional narratives. But the real meat and potatoes of Viva! La Woman is its ability to stay engaging and interesting after 30 years.
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