In 1995 musician Shannon Hoon died of an unintended cocaine overdose, abandoning (like Kurt Cobain) a associate and toddler daughter. However this collaged video diary, assembled from the camcorder archives Hoon shot between 1990 and his demise as he rose to fame as lead singer of alt-rockers Blind Melon, is – cheeringly – not a grim trawl via the gutter of extra. Somewhat, it’s a quizzical time capsule of pre-internet fame from the angle of a troubled however succesful younger man who knew his approach round a digicam.
The brawny, snub-nosed Indiana native, usually capturing via a fisheye lens, seems right here because the boy within the bubble as he arrives in Los Angeles and rapidly integrates into the town’s rock scene. Hoon sings backup vocals for Weapons N’ Roses, after which Blind Melon’s jaunty strumalong hit No Rain, launched in 1993 a 12 months after their debut album, briefly makes them the toast of MTV. However amid this whirlwind, with the identical pointed means to spin the mundane that marked his lyrics, he continually gravitates to the marginalia together with his digicam: a cat rising from a flowerbed, a roadie sleeping in a laundry cart, Lenny Kravitz licking the lens.
Blind Melon’s present-day standing as 90s alt-rock also-rans means the primary curiosity of All I Can Say lies within the nature of superstar relatively than the band itself. Seen backwards down the kaleidoscope, the music-biz hullabaloo and rock posturing appear as quaint and out of date as the numerous random cultural marker-posts, like a Rolling Stones tune turning into the primary to be launched on CD-Rom. However Hoon is instinctively conscious of this absurdity, complaining of the fuss over their iconic girl-in-a-bee-costume mascot: “I believe persons are analysing it approach too deep.” (He’s fortunate he wasn’t well-known 30 years later.)
At one level Hoon says that he hopes to maneuver into film-making, and it’s true he has a watch. The movie’s flotsam circulate is in fact the work of three different administrators, however the unique angles are Hoon’s; and lots of – just like the shot dodging the wheels of a shifting freight practice – are adventurous. It might’t in fact be taken at face worth as the reality about his drug dependancy or broader emotional life, however it’s a wonderful portrait of a seeker wading via the human actuality on the coronary heart of fame.