photo manipulation by nacrowe
in the wake of the first breakup of JANE'S ADDICTION in the early 1990s, the founding members basically divided into two camps, the PERRY FARRELL/STEPHEN PERKINS alternative rock outfit PORNO FOR PYROS and the ERIC AVERY/DAVE NAVARRO experimental art-project DECONSTRUCTION.
while PORNO FOR PYROS continued the ascendancy of PERRY FARRELL as a cultural force riding his own wave with his LOLLAPALOOZA platform, it is my opinion that the lone DECONSTRUCTION (AMERICAN RECORDINGS, 1994) album is by far superior, arguably equal in quality with the WARNER BROS. output of early JANE'S ADDICTION.
this is in part because ERIC AVERY as the bassist of JANE'S ADDICTION wrote those iconic, almost tribal, looping, melodic bass motifs that became the creative foundation upon which the songs were based. essentially the next batch of transcendent riffs for a never-made JANE'S ADDICTION album found themselves on this record as well as later ERIC AVERY projects like POLAR BEAR and solo albums (all worth checking out).
i feel strongly that ERIC AVERY has never gotten his due and is criminally underrated and under-celebrated. the dude influenced everyone around him in the alternative scene and his bass style has been copied to the point that its omnipresent. it is almost laughable.
i think in JANE'S ADDICTION you have a band that was more than the some of its parts and each member was invaluable, specifically PERRY FARRELL's ability to cross-pollinate styles and cultures in a pre-internet glorious clusterfuck of ideas that set the tone for the decade. breaking down barriers between the tribes and promoting an almost utopian ideal of raising consciousness through shared ideas and dialogue. but essentially when you come down to it, ERIC AVERY was the vehicle that allowed such to happen. in my opinion.
his post-JANE'S ADDICTION output is more personal in scope and an acquired taste, given that his PETER MURPHY-like atonal vocal delivery and post-punk sense of angular song structure is not for everyone. what i truly love about this output is his love of texture. he really seems to bask in the idea of creating a vibe through sonic textures and then either juxtaposing it or letting it ride out in an almost shaman-like fashion. if you know about his family history in the film industry and his connection to LOS ANGELES it only makes for a more complex, diverse appreciation of his creative output.
again, his stuff is not for everyone but if you dig his work is rewarding.