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And the tempo made it even more powerful.

The thing people remember most about Codeine is that their music was very, very slow. In retrospect, it's interesting how heavy all those bands were, when they also had a reputation for delicacy. We were kids into punk, metal, and flat-out noise, and we found something here to tug onto. For this small group of punks, hardcore kids, indie rockers, and a sensitive metal dude named Adam, Codeine- along with affiliated bands Bastro, Bitch Magnet, and eventually Seam- were huge. A few friends and I even found a way to have our school pay them decently to come out and play in a lifeless student center. I was in New Jersey, less than an hour from New York City, and traveled to the city (or Maxwell's in Hoboken or a dude's house in Princeton) to catch them whenever I could. In 1991, I naively thought Codeine were bigger than they actually were. It's also why I was waiting for the New York slow-core trio Codeine to follow up their excellent 1990 debut, Frigid Stars. But at that time and place I cared more about Slint's Spiderland, My Bloody Valentine's Loveless, Jesus Lizard's Goat, Dinosaur Jr.'s Green Mind, and Sebadoh III in 1991 than I did Nirvana's game-changer. If I'd been even a year older or younger this would've played out differently. I remember a winter meeting at the college radio station toward the start of 1992 where the station director and some other DJs were discussing the success of Nevermind, while I- wearing a Laughing Hyenas shirt and still smelling like sweat from a Jesus Lizard show the night before- stood there and shook my head. and Sonic Youth in high school, and much longer after I'd put on hardcore shows in my dad's backyard as a teenager. The year punk broke was a couple of years after I'd discovered Dinosaur Jr. I started college in the fall of 1991, which means I was old enough to be into underground music, and young enough to be a dick about it.

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