Both a defining moment in slacker, 80s indie culture, with it's blend of hardcore punk and mumblecore lyrical sentiment, and a virtual blueprint for the Seattle grunge scene; You're Living All Over Me is one of those records that is constantly cited as 'influencial' almost over and above 'totally rocking.'
But totally rocking it is, as J Mascis and co. borrow liberally from the fundamentals of classic rock: Neil Young soloing, Byrdsian guitar jangle, Black Sabbath sludge; and filter them through the underground's lo-fi aethetic and Mascis' dyspeptic, perpetually heartbroken angst. It's a record that sonds fairly chaotic, walls of feedback and noise underscore entire songs, but it also sounds remarkably precise and constructed, with songs coalescing into a huge hook or chorus just when you think they're on the brink of falling apart.
With song titles like Sludgefeast and Tarpit, this was always going to be a dark, grimy, record. And so it is. At times the band create a thick soup of noise; waves of wah-wah, bass rumble and pounding drumming that are like being submerged in quicksand. Only a lot more fun than that sounds. But the tunes also have a remarkable melodic brightness. The hooks on Little Fury Things, Raisans and Tarpit are immense. Dino's work here has as much in common with the melodicism of bands like the Cure and R.E.M. as noise merchants like Big Black and Sonic Youth.
This album is also particularly loved, I think, because it one of the most distinctly Lou-influenced Dinosaur records, particularly in the case of the proto-Sebadoh Poledo. To be honest, I was at least as happy when J was running the band as a dictatorship, but Barlow's imprint is certainly distinctive here. In any case, this is an awesome record.