In 1998, the music scene was in flux. Grunge was fading, giving way to a more diverse array of sounds. Bands like Radiohead and Smashing Pumpkins were redefining alternative rock with their innovative approaches. Simultaneously, pop punk bands like Green Day and Blink-182 were making waves with their catchy, rebellious anthems. Nu-metal was on the rise, with acts like Korn and Limp Bizkit blending heavy guitar riffs with hip-hop elements. The mainstream was increasingly dominated by polished, radio-friendly artists.
Amidst this vibrant and evolving musical landscape, Big Hate released their second and final album, “You’re Soaking It In.” The band, consisting of brothers Brian and Adam Stanger, drummer Steven Panas, and guitarist Rusty Cobb, had relocated from New York to Georgia. This move infused their music with a unique blend of grunge, southern rock, and alternative elements, setting them apart from their contemporaries.
Big Hate formed in the early 90s, with Brian Stanger on vocals and guitar, Adam Stanger on bass, Steven Panas on drums, and Rusty Cobb on guitar. Their first self-titled album dropped in 1995, but it was their 1998 follow-up, “You’re Soaking It In,” released through Flip Records, that showcased their growth and experimentation. This album highlighted their ability to blend grunge’s raw energy with the melodic sensibilities of southern rock, creating a distinctive sound that resonated with the era’s alternative rock enthusiasts.
“You’re Soaking It In” opens with “Century,” featuring a lazy slide guitar that introduces a dissonant yet compelling start. The twin guitar attack is a hallmark throughout the album, with tracks like “Writer’s Block” and “Sufi” delivering big, fuzzy chords and intricate harmonics. The band’s willingness to experiment is evident in “Beauty Mark,” where the unexpected addition of a banjo creates a unique texture, and in “West Virginia,” which leans into a southern rock twang.
The guitar work on this album is a highlight, reminiscent of the unbridled energy and exploration of sounds that defined the 90s. It’s a mix of the heavy fuzz tones of Dinosaur Jr., the melodic complexity of Big Wreck, and even the chaotic harmonics of early Muse. The band’s ability to blend these influences while maintaining a distinct sound is impressive.
While the music shines, the vocals are a point of contention. Brian Stanger’s voice often draws comparisons to Raine Maida of Our Lady Peace but lacks the hooky choruses that could have elevated the album’s radio potential. The production, handled by Rick Parashar (known for his work with Pearl Jam and Temple of the Dog), and mastering by Howie Weinberg, gives the album a huge, dynamic sound that fits its ambitious scope.
Despite their potential, Big Hate disbanded after this release. However, Adam Stanger went on to form Comes with the Fall, a band that included future Alice in Chains frontman William DuVall. This connection adds a fascinating layer to Big Hate’s legacy, showing their indirect influence on the larger rock scene.
Listeners on the Dig Me Out Podcast’s Patreon community unanimously rated “You’re Soaking It In” as a worthy album, praising its thick guitars and the blend of groove metal and southern rock elements. Comments highlighted the dynamic range of the guitar work and the raw, unpolished production that gave the album its distinctive character.
Big Hate’s “You’re Soaking It In” stands as a testament to the experimental spirit of the late 90s alternative scene. While they may not have achieved mainstream success, their willingness to push boundaries and explore new sounds ensures their place in the annals of 90s rock. For fans of heavy, guitar-driven music with a touch of southern charm, this album is a hidden gem worth discovering.
Songs In This Episode
Intro - Century
15:46 - West Virginia
20:34 - Disappointed
22:45 - Writer's Block
24:41 - Rock That Doesn't Roll / Dope Nostalgia podcast promos
34:35 - Lemonade
38:13 - Sufi
Outro - Beauty Mark
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Big Hate - You're Soaking It In