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== ISSUE 203 ==== CONSUMABLE ONLINE ======== [March 16, 2000]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill
Holmes, Tim Kennedy, Jon Steltenpohl
Correspondents: Michelle Aguilar, Paul Andersen, Christina
Apeles, Niles J. Baranowski, Jason Cahill,
Matthew Carlin, John Davidson, Andrew Duncan,
Krisjanis Gale, Jade Hughes, Paul Hanson,
Scott Hudson, Steve Kandell, Dave Kemper,
Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod,
Wilson Neate, Mike Pfeiffer, Linda Scott, Don
Share, Scott Slonaker, Kerwin So, Chelsea Spear,
Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright Consumable
and their author(s).
==================================================================
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| Contents |
`------------'
LIVE REVIEW: Noise Pop Festival 2000, San Francisco, Cal. - Kerwin So
REVIEW: Patti Smith, _Gung Ho_ - Don Share
REVIEW: Eels, _Daisies of the Galaxy_ - Wes Long
INTERVIEW: Shannon Curfman - Al Muzer
REVIEW: The The, _Naked Self_ - Michelle Aguilar
REVIEW: Dirty Three, _Whatever You Love, You Are_ - Chris Hill
REVIEW: Steve Stevens, _Flamenco A Go-Go_ - Scott Hudson
INTERVIEW: Podunk - Al Muzer
REVIEW: Acoustic Junction, _Strange Days_ - Joann D. Ball
REVIEW: Pornosonic, _Unreleased 70s Porno Music feat. Porn King Ron
Jeremy_ - Matthew Carlin
REVIEW: Gladshot, _Gladshot_ / Debbie Andrews, _Suburbs of Eden_
- Jon Steltenpohl
REVIEW: Cupcakes, _Cupcakes_ - Jade Hughes
REVIEW: Nickelback, _The State_ - Scott Hudson
TOUR DATES: Beck, Frank Black and the Catholics, Phil Coulter, Cracker,
Enon, Filter / Chevelle, Guster, Ben Harper And The Innocent
Criminals, Miles Hunt, Incubus, Kelis, Korn, Neko Case & Her
Boyfriends, New Wet Kojak, No Doubt / Suicide Machines, Ginny Owens,
Papas Fritas, Podunk, Powerman 5000, Prodigals, Red Hot Chili
Peppers / Foo Fighters / Muse, Slip, Squatweiler, Tonic / Third Eye
Blind, Union
Back Issues of Consumable
---
LIVE REVIEW: Noise Pop Festival 2000, San Francisco, Cal.
- Kerwin So
San Francisco's annual Noise Pop festival packs so much darn
goodness into so many days that it would be near impossible for one man
to soak it all in and settle down enough to recount it intelligibly. This
year, the Bay Area was blessed with shows by Bob Mould, the Magnetic
Fields, a reunited X, and dozens of other artists of national and local
prominence. Being but one man, I can only share the events that I did
experience during this week, and praise it to the high heavens.
Noise Pop began seven years ago, when founders Jordan Kurland and
Kevin Arnold wanted to bring attention to a style of music -- you guessed
it, noisy pop -- at a time when "thrasher-funk- punk ruled the Bay Area
musical landscape," according to Kurland. The very first show, in 1993,
included sets by The Meices, Overwhelming Colorfast, and Noise Pop
perennials the Fastbacks. "Nowadays, noise pop is more a spirit or theme
than a genre of music," continues Kurland. "Most of the acts that play are
college-radio friendly, and lots of them have their roots in the
independent music community."
Bob Mould, one of the headliners of the six-day festival, certainly
fits all these criteria -- and then some. "If anyone defines the mentality,
genre, feel of noise pop, it is Mr. Mould," declares Kurland. "In our
opinion, he is the godfather of noise pop." To verify this assertion for
myself, I went to check out a full bill at Bimbo's 365 club, with the
ex-Husker Du singer headlining.
Incomprehensibly, local act Nuzzle flaked out of the opening slot
of a lifetime, leaving another local band, Thingy, to fill that space with
their, um, interesting brand of spastic indie-prog. The next performer,
John Vanderslice, has just embarked on his solo project after the
dissolution of MK Ultra, but you wouldn't know it as he incorporated a
healthy amount of his previous band's material into his live set. Overall
it was very straightforward rock, but I'll hold out from further
disparagements, because not only did Vanderslice pen a song with the line
"Bill Gates must die!", he also runs his own website with dope MP3s. Check
it out at: http://www.johnvanderslice.com .
Chicago's Mountain Goats followed, and let me tell you quite
honestly, it got to me. Despite the plural name, Mountain Goats is
essentially one man, John Darnielle, and his acoustic guitar, spewing
intense tales of broken love and historical ruminations over frenetic
strumming, infused with a captivating, almost childlike honesty.
Witnessing his one performance at Noise Pop made a believer out of me.
By this point the stage was set perfectly for Mould, playing a solo
acoustic set, to step in. Unfortunately, the ever-reliable United Airlines
lost his electric guitar en route from Denver, so he was confined to
playing his trademark 12-string, but believe me, that was more than
enough. Kicking off as always with "Wishing Well," Mould tore into
favorites from his solo, Sugar, _and_ Husker Du catalogs, including
"Hoover Dam," "Brasilia Crossed with Trenton," "Makes No Sense At All" and
"Celebrated Summer." At the crowd's behest, he even valiantly attempted
"Panama City Hotel," which he claimed he hadn't even listened to in at
least four years. It came off quite well, as did one painfully intimate
new song that reduced the capacity crowd to an awed hush. It was great to
hear how Mould is taking care of himself these days (e.g. cutting back on
smoking and dairy products), and the quote which was probably the crowd
favorite of the night was, "Is Madonna getting better or am I getting more
gay?" Mould claims he's working on two new albums simultaneously, one
subdued and one dance(!), but he's slow in releasing either of them. In
the meantime, he certainly left us satisfied for one night.
I managed to drag myself out of bed the next afternoon for a
special early Noise Pop show at Bottom of the Hill, arriving just in
time to catch the final four notes of East Bay band the Jim Yoshi
Pile-up. Uh, they were a great four notes. Rumah Sakit tore the roof
off the joint with their inspired, incredibly tight math-rock. Modesto,
Cal., rockers Fiver will not get any good press from me, since their
drunk hometown friends kept slamming into me. By this time the crowd had
reached an unprecedented (and uncomfortable) level of physical intimacy,
and Death Cab for Cutie's set offered no compelling reason to stick
around. Why is this band so hyped again?
From there it was a rainy drive across town to catch a
stripped-down set at Cafe du Nord. A complete change of venue and pace
from the fire-hazard overflow of Bottom of the Hill's indie-rock elite,
the Cafe du Nord lineup reminded me again of Noise Pop's indomitable
spirit and sheer love of music across multiple lines. Jonah Matrangah,
former singer of Far, performed a set rife with innocence and chaos,
enlisting friends and recent acquaintances from the audience to perform
with him on stage, continually pleading with the crowd to "Do what you
love...please." Very uplifting.
And who better to bring you back down than Eric Bachmann? The
ex-Archers of Loaf front man has launched a new solo project, Crooked
Fingers, which is essentially Bachmann spitting out lost, drunken tales
with a Tom Waits-ian rasp over a fierce, melodic, de-tuned electric
guitar. In such a personal, intimate setting, it was impossible not
get drawn into Bachmann's overpowering songs to the point of crying into
your beer. I said it once, and I'll say it again -- I'm a believer.
Noise Pop reminds me of why music festivals exist in the first
place, or at least why they should: to showcase great music, and to make
us believe in music again. Noise Pop's unbridled success in this endeavor,
even after all these years, clearly sets it apart from industry orgies
like the Gavin Showcase or South by Southwest. "We will never be a
festival that caters to the industry," proclaims co-founder Kurland.
"That isn't to say that we don't welcome people from LA or New York or
wherever who work in the music business. We actually love it when they
do want to be here, because that means they appreciate what we are
trying to do and are fans of the bands that play. [But] at the end of
the day, we are a music lovers' music festival, and that won't change."
Thank God.
Noise Pop is also expanding to Chicago this year, with awesome
bands like Seam and Sleater-Kinney already confirmed for shows in May,
as well as a reunited Wire. As hard as it may be to fathom, Noise Pop
Chicago is shaping up to be even better than San Francisco's this year.
But all the same, I feel privileged to have experienced all that I did
during that all-too-short weekend. May the spirit of this festival live
long and prosper.
---
REVIEW: Patti Smith, _Gung Ho_ (Arista)
- Don Share
More Ho than Gung (literally), Patti Smith's new album is a
fascinating new step in her quarter-century career. Lovingly, almost
slickly produced, _Gung Ho_ is her most polished album to date, but she's
compromised nothing. From an 11-minute epic about Vietnamese hero Ho Chi
Minh, to a strident song-poem chastising African-Americans whose crack
use sends their ancestors' dreams up in smoke, _Gung Ho_ shows that
Smith's ardor and commitment remain undimmed.
The music is much affected by the presence of boyfriend/guitarist,
20-something Oliver Ray, whose sound burnishes an already rich band
consisting of stalwarts Lenny Kaye, Jay Dee Daugherty, and Tony Shanahan.
But _Gung Ho_ is also given a tremendous boost on its most remarkable
song, "Persusasion," by astonishing guitar work from Smith's young son,
Jackson, who has clearly inherited chops from his dad, the late Fred
"Sonic" Smith. In fact, Jackson's guest appearance is far more notable
than those by Michael Stipe and Grant Hart, which are rather tossed-in.
The single, "Glitter In Their Eyes," successfully updates Smith's
sound without spoiling her vitriol, which in this case takes aim at the
WTO and Disney. Easy targets, maybe, but you can't say that about the
long Ho song, or "New Party," which is about having a political party
not a millennium party for our new century. The lyrics of these last
two songs reveal that Smith has been studying American history and its
founding documents, the Declaration of Independence and the Constitution,
but as a kind of revisionist: she advocates thinking and warm humanism,
implicitly opposed to, say, George W. Bush's "compassionate conservatism."
It's no surprise that Patti Smith has kept her politics honed
sharp, but the music here is surprising. From the near-Blue Oyster Cult
riffs of "Gone Pie" to the beautiful ballad, "China Bird," to the Mother
Theresa-inspired "One Voice," there's a deely thoughtful dimension to
her sound which was hinted at in recent albums, but is completely
realized here. Never has Smith sounded so confidently diverse: "Libbies
Song" could even pass for a Carter Family front-porch classic. Some
will find all this disconcerting, but Smith has not abandoned, only
developed her "Horses"-era work.
Most moving of all, _Gung Ho_ is also a tribute to her father,
whose photograph as a young man in military gear - and in a pose like
that of his daughter on her first album - graces the album cover. This
music is an embodiment not just of her ideals, and Ho's, but his: it
celebrates democrats and warriors in heart and soul, and is both
stirring and slogan-free.
---
REVIEW: Eels, _Daisies of the Galaxy_ (Dreamworks)
- Wes Long
E, the brains and voice box behind the somewhat slippery and
aptly titled Eels, presented us with _Electro-shock Blues_ in 1998. A
dark collection of songs penned, cut and pasted together from troubled
times: the suicide of E's sister and the long illness and subsequent
death of his mother. _Electro-shock Blues_ concludes with the words
"maybe it's time to live." E's new release opens with the mournful
wail of a brass band performing at a New Orleans funeral, ushering
out the pain and welcoming the celebration of life that is Daisies
of the Galaxy.
All attempts at categorizing E's music are futile; it's an
ultra odd assortment of sounds and starkly contrasting influences.
One moment he's a softer edged John Prine, "Grace Kelly Blues," while
"Flyswatter" finds him filling the role of a demented barker at a
state fair mumbling about field mice, head lice and spiders over a
wonderfully dislodged and eerie carnival sound befitting a Danny
Elfman scored Tim Burton flick. He's equally capable of creating
goofy-ass toe tapping nonsensical ramblings, "I Like Birds," and
Brian Wilson/Andy Partridge perfect inescapably dreamy pop, "Jeannie's
Diary." The latter of the two will spin in your head and CD player
almost incessantly.
Lyrically, E's an even more difficult animal to tag. A lovely
song of lost love is made all the more poignant and unusual by the
words "it's a motherfucker, being here without you," a striking
exhibition of unlikeness amidst a field of childlike verse. The
Beck-ian and super radio friendly first single, "Mr. E's Beautiful
Blues," not only features the chorus "God damn right it's a beautiful
day," but it's also a hidden track on the CD. Go figure.
With the aid of REM's Peter Buck (piano, guitar and bass), and
Grant Lee Buffalo's Grant Lee Phillips (bass), E churns out a set of
songs that are the polar opposite of stale. Each one somehow simply
complex and contagious as all get out. Some of the tracks are so oddly
silly and childlike that you almost feel guilty for listening, let
alone enjoying them. Guilty or not, _Daisies of the Galaxy_ is a pleasure.
---
INTERVIEW: Shannon Curfman
- Al Muzer
Rather than follow in the footsteps of Blues-belters such as
Billie Holiday, Bessie Smith, Merline Johnson and Rosetta Howard,
14-year-old Shannon Curfman seems determined to walk the paths
guitar-slingers like Johnny Otis, Elmore James, B.B., Bukka, Buddy,
Muddy, Memphis Minnie and her personal hero, Stevie Ray Vaughn, have
traveled.
Described as a "downright scary" performer with an "almost
freakish talent" that blends "Bonnie Raitt as a role model and Janis
Joplin as a guardian angel" -- Curfman is one of a handful of young
Blues practitioners championing what some consider a dying genre into
a new century.
In spite of her young age, the fact that she watches Dawson's
Creek and Party of Five, can name three of five Backstreet Boys and is
destined to endure comparisons to guitarist, contemporary, album guest
and fellow Fargo, North Dakota, native Jonny Lang for at least six more
years, there's a lot riding on Curfman's young shoulders.
Determined to be seen as more than an underage novelty act,
fiery appearances on the Late Show With David Letterman, CNN Showbiz
Today and Good Morning America, a supporting slot during John
Mellencamp's last tour and a brief headlining stint have exposed
Curfman's incredible talent to a much broader audience.
Strong sales, outstanding live performances, rave reviews,
positive word of mouth and enthusiastic radio support for her Arista
Records debut, the 11-song _Loud Guitars, Big Suspicions,_ is beginning
to turn the little girl with the big guitar into a nationally-recognized
figure.
Name-checked as "a hot young guitarist to watch" by none other
than Mr. Buddy Guy during an interview with the author three years ago,
it was destiny, a phone call and one good publicist that finally
connected Al Muzer and Shannon Curfman.
CO: So, how does a 14-year-old in a sea of Backstreet Boys,
'N Syncs and Ricky Martins come up with an album this mature, this good
and this grounded?
Curfman: Well, a lot of my friends listen to the other stuff
[manufactured teen fluff] and that's fine. But, a lot of them are
starting to get into the blues, rock and Jimi Hendrix, too, and I think
that's really great. I grew up with a real classic rock background thanks
to the records in my parent's collection. I also went through a country
thing for a couple of years. But, then I heard Jonny's record [18-year-old
Lang is featured on three songs including the Lang/Curfman/Bowe-written
"Love Me Like That"] when I was, like, 10 or so and I really started to
get into playing the blues, funk and a much bluesier type of rock.
CO: Okay - but that still doesn't explain how someone so young
can come up with something as lovely, longing, lonely and
heartbreakingly sad as "Never Enough." Where did that come from?
Curfman: You know - I'm not really sure - That song, uhm - I
don't really know! It has to be coming from somewhere, you know? I'm
just not sure where, exactly, that somewhere is yet. I write without
really stopping to think about "where" or "why." I've got time to
figure all that out later on.
CO: You mentioned a "country thing." You do realize that "I'm
Coming Home" would be a massive hit on country radio?
Curfman: I'm a real Lucinda Williams and Dwight Yoakam fan. Buck
[Owens], John Prine, BR5-49 - good country music, you know? The stuff I
play is definitely a mix of what I've been exposed to all my life.
Country. Blues. Pop. Top 40. Rock. Dance. Oldies. Punk. I think it's a
shame that music has to be segregated to different playlists, different
charts and different radio stations based on what "label" it's been
assigned. The guys in my band [which includes 36-year-old guitarist
Randy Casey and former Rufus songwriter/keyboardist Kevin Murphy, 55]
sometimes talk about the great AM radio stations of the '60s and '70s.
Back in the day when everything got played and anything could become a
hit. [sighs]
CO: How did you decide that you were "ready?" Most folks your
age don't have a clue -- you have an album.
Curfman: Well [laughs], there are times when I'm at home hanging
out with friends I went to school with [Shannon has been home schooled
for the last few years] and grew up with, you know, hanging out and
going to Burger King, that I forget about everything that's happening.
I've got a great family that has supported and believed in me from the
very beginning [dad even requested a job transfer to Minneapolis so the
family could relocate Shannon's base of operations to a bigger city].
What's most important is that I completely love what I'm doing and I
think - I hope, that comes across when I'm playing.
For updates on Shannon's shows and appearances point your
browser at: http://www.shannoncurfman.com or
http://www.arista.com/aristaweb/ShannonCurfman
---
REVIEW: The The, _Naked Self_ (Nothing)
- Michelle Aguilar
When I played this album in the living room, my roommate
walked through at one point and said, "Man, Matt Johnson must have
been really bummed out when Radiohead came out." While this album
doesn't really sound like _O.K. Computer,_ I knew what he meant.
Johnson has always been very good at making concept albums in
disguise, taking one idea and exploring its depths through various
perspectives and voicings. 1981's _Soul Mining_ is of course the
masterpiece everyone always brings up, but I see similar modes of
attack on an album like 1988's _Mind Bomb,_ which feels like the
ravings of a man contemplating either suicide or a shooting spree or
both. Even _Hanky Panky_ -- which wasn't Johnson's songs -- managed to
convey a unified sense of the anger and despair bubbling not far
underneath Hank Williams' country pop songs.
_Naked Self_ is yet another cohesive The The album that is
just perfect for listening to in one shot, on headphones, in the dark.
This time, Johnson's concept is the harsh, mechanical sounds of a city,
(New York, London, wherever) with most everything recorded to sound
like the cold metal sheen at the top of the Chrysler Building. The
important exception is Johnson's acoustic guitar, a musical Travis
Bickle standing at the center of a cold whirlwind, the only example
of genuine warmth or passion operating in this environment full of
numbed, damaged individuals. It's an important exception because
Johnson's guitar and aching voice are what really cut through the
big, harsh soundscape and draw the listener in to the simple songs
underneath the eight million naked stories here.
"Boiling Point" starts us right off on a severe foot, opening
the album with a single police siren that lasts a full 30 seconds then
languishes its way into an slow, reverb-laden world of distorted
electric guitar and metallic drums. It sounds like the "L" train
emerging, agonizingly slowly, out of the underground and into the
blinding heat of a summer day. I am reminded of the beautiful and
sinister opening to _Mind Bomb,_ which sparked to life with the sound
of wailing Muslim prayers.
The strongest songs on this album are the snapshots of people
in quiet crisis. "December Sunlight" is an uplifting guitar anthem for
a sad-eyed woman, at the very moment she realizes that she's wasted
half her l ife letting others make her miserable and that she doesn't
need to waste the rest. Perhaps my surprise favorite was "Phantom
Walls," a simple acoustic number that relies on the beauty of
simplicity. Coming into the album ten songs deep, it's a refresher
after the grimness that surrounds the previous songs.
"Voidy Numbness" is very catchy, poppy, with a mean rhythm
section that keeps building up and down and back up again on its guitar
riff. "The Whisperers" is quieter and brooding, a bit reminiscent of
"Kingdom of Rain" from the _Mind Bomb_ album. "Weather Belle," another
good song, surprises with a repeated banjo riff, although the lyrics
are familiar territory -- all about the last moment Johnson saw his
love before it was taken away from him.
However, having just said that, it should be noted that most
of the lyrics on this album are a departure from the intensely
personal-sounding songs Johnson has written in the past. Most of these
songs sound like they're about someone else, maybe friends, maybe
strangers. Or maybe they're disguised versions of himself, who knows?
But the first person perspective was always one of Johnson's strong
suits and it's the one thing I really find myself missing here.
Still, the album's mission seems to be to tell stories of
isolation, alienation, dysfunction and once in a while, hope. It
succeeds at this quite well, surrounded by some of the warmest production
Johnson has ever had.
---
REVIEW: Dirty Three, _Whatever You Love, You Are_ (Touch & Go)
- Chris Hill
The Dirty Three, with their sixth album (if you count the recent
Australian-only _Praise_ soundtrack), continue to release music that
enchants and beguiles the senses. Violinist Warren Ellis coaxes sad,
senses-filling visions from his instrument: a storm-tossed ship, a
sailor's wife gazing out to sea from a beckoning lighthouse, a drunken man
staring sadly at his empty bottle. Grim? Hardly. There are many moments of
gentle beauty as well: tender, midnight caresses to go with the thunder
and squall, all within the encircling arms of a single song.
Like guitarist Mick Turner's thickly-brushed paintings which have
graced their recent covers, the band's music is richly imagistic. Listeners,
aside from a titular nudge, are left to paint their own pictures with the
songs. "Some Things I Just Don't Want to Know" -- what things? "I Really
Should've Gone Out Last Night" -- why? Who knows? For them, the journey is
as important as the destination, and they don't give a paint-by- numbers
pattern of vocals or lyrics to answer these questions, only instrumental
suggestions for hue, tone, and color.
With _Whatever..._, you have six canvasses to fill. In "Some
Summers They Drop Like Flys," a wind-blown Scheherazade pinwheels from
the heavens to land on earth, numbed and drunk with wonder. "I Offered
It Up To The Stars & The Night Sky" begins as a secluded meadow of
violins awakening gradually, joining one another until the ground is
awash in notes vying for their place in the moonshine. A prelude, the
violins then subside into silence, and the piece begins. Jim White's
drums guide a steady guitar and a questioning, ecstatic violin to a
glorious crescendo. The interplay between the three musicians here, and
throughout, is phenomenal. Small wonder that indie luminaries such as
Chan Marshall (Cat Power), Nick Cave, and Will Oldham have sought out
their services, and count themselves among their fans.
After the last track, "Lullabye for Christie," finishes all too
soon, the listener departs with the knowledge that when night falls, the
Dirty Three are a boon precursor to sleep, a soft cocoon of beauty and
understanding to transport one's soul safe through the night.
Watch for upcoming tour dates at http://www.dirtythree.com/, as
the Dirty Three continue their practice of tour-only releases with
_Lowlands_, an eight song CD. Live, the band is a beast of manic energy
that prances and howls on stage, and not to be missed.
---
REVIEW: Steve Stevens, _Flamenco A Go-Go_ (Ark 21)
- Scott Hudson
Steve Stevens has built himself quite an impressive resume over
the past two decades. As the resident pyrotechinal guitar wizard for
Billy Idol in the 80's, Stevens co-wrote some of their biggest hits
including, "White Wedding", "Rebel Yell" and the haunting "Eyes Without
A Face".
In addition to his work with Idol, Stevens has appeared with the
Thompson Twins at Live Aid, created the controversial "Dirty Diana" with
Michael Jackson, won a Grammy for Best Pop Instrumental Performance for
the Top Gun soundtrack and in the mid-'90's, recorded and toured with
Motley Crue front man Vince Neil, to name a few.
However, it was a concert by renowned flamenco-guitar virtuoso
Paco De Lucia that would inspire Stevens to explore new musical terrain.
_Flamenco A Go-Go_ is an enhanced CD (which features internet
links and live performance video).The record combines Stevens love of
traditional flamenco guitar styles and his fascination with
state-of-the-art electronics. Although recorded exclusively with a
nylon-stringed classical guitar, Stevens was able to digitally alter
the sound to make it sound electric on "Letter To A Memory" and
"Flamenco A Go-Go."
With its ghostly keyboard intro, "Our Man In Istanbul" quickly
establishes itself as an exhilarating, full-tilt race across the
countryside with Stevens' dazzling fretwork setting the pace.
On the bouncy "Flamenco A Go-Go", Stevens plays all of the
instruments, as he does on most of the record with the exception of
the percussive work and the occasional voice.
The Federico Fellini-inspired "Cinecitta" with its beautifully
crafted, tasteful guitar lines and atmospheric keyboard is rhythmically
brilliant and passionately gut-wrenching.
And then there is "Dementia", Stevens' six and a half minute
tour-de-force. A technical free-for-all, "Dementia" begins with subdued,
exquisite melodies that soar into a barrage of dizzying, staccato
flourishes climaxing into a synthesizer frenzy that would make Keith
Emerson grin with approval. This tune has enough intensity to power a
small city.
Not to be forgotten are outstanding numbers such as, "Twilight
In Your Hands", "Riviera '68" and the cerebral "Feminova" with its
opening monologue, "This will twist your head..." It most certainly
will!
_Flamenco A Go-Go_ is masterful neo-flamenco record from a
performer who doesn't classify himself in that genre. With this record
Steve Stevens reveals himself as an artist who knows no bounds; creating
a record that is not only technically brilliant, but emotionally intense.
---
INTERVIEW: Podunk
- Al Muzer
Friends since kindergarten and jamming together since they
were 12-years-old, Port Arthur, Texas, natives Paul Soroski (bass),
Bryan Jones (guitar) and vocalist/guitarist/songwriter Jason Touchette
form the front line of one of the crispest, crunchiest, radio-ready
rock outfits since Lou Gramm and Foreigner lied way back when and
said it felt "Like The First Time." Together with Austin-born
co-songwriter and Podunk drummer/vocalist Dwight Baker since 1996,
this Lone Star State quartet crafts earnestly sung "boy meets girl,
boy longs for girl, boy gives girl the 'world,' girl is still cold as
ice, uh, hey! come onnnn, girl!" �type, no frills AM radio pop-metal
with soaring, sing-along hooks, an urgent bass/drums pulse, monster
choruses, sweeping guitars and the staggering, Gramm-was-Grandpa
chops of Touchette.
Not as raw, rough, raucous or ragged as 1996's_Murlin's Doc_,
the just-released, William Poppy (Smash Mouth) -helmed _Throwin'
Bones_ (on the group-run Matchbox Records) has already been named one
of the Top 10 most added "Radio & Records" rock chart discs and
features The Album Network's No. 11 most added track and the group's
first single, "Wings."
A diehard Podunk fan two verses into "Wings" -- Al Muzer
recently chatted with Baker about touring, roots, fitting in, "King
Of The Hill" and an album that packs the sort of big league punch that
could turn a bunch of sun-fried rednecks from Heatstroke, Texas, into
the hottest thing to hit radio in years.
CO: The other three members of Podunk have known each other
since they were kids and have been jamming together for almost 10 years;
did you find it hard to fit in when you joined? Especially when you
consider the fact that you're the group's first and only drummer?
Baker: Jason, Paul and Bryan had a lot of time to get used to
each other and learn how to, like, "read" each other, so there was a
period there where I would, uhm, sometimes get lost. [laughs] They're
good, small town folks, though. Nice, caring fellas, not a bad bone in
their bodies, so I never felt like there was an agenda or that I
didn't fit. They never treated me like an outsider. On the other
hand, those three go back so far that they'll always be inside each
other's head, they'll always kind'a know what the other guy is
thinking. Our live shows can get pretty interesting sometimes,
[laughs] like, "out there," because of the closeness of the band.
CO: You've toured with Shannon Curfman and Tesla and have
shared the stage with a wide variety of musicians playing a wide
variety of styles.
Baker: That's the truly great thing about this record and
about this band. We can play comfortably with a wide range of acts.
We can tour with just about any band out there and hold our own. We
get blues fans likin' us, metal fans, straight up rock fans -
it's great to see folks that didn't know who we were when we picked
up our instruments cheering when we finish our set. Ya' know,
we used to have a mostly male following but, in the last year or
so, there's been a huge increase in the number of women, loud
women [laughs], at our shows. I dunno, maybe the gals are lookin'
to rock again?
CO: When you think about it, _Throwin' Bones_ is a daring
record to release in the era of Christina, Mandy, M2M, Britney and
Backstreet. It's completely unlike anything else out there right
now, yet it's so commercially accessible that I can't believe no
other band has thought to revive the genre.
Baker: We don't think of it as "reviving" anything, actually.
We just wanted to make a solid, riff-y rock record loaded with nothing
but great songs that stayed as true to our roots as possible. That's
what we've always been about. All four of us grew up listening to Van
Halen, the Black Crowes, Foreigner, Tesla, ZZ Top, 'Zeppelin, Janis
Joplin, Willie [Nelson], Stevie Ray [Vaughn], Doug Sahm and Johnny
and Edgar Winter and, I think, we manage to pull a little bit of all
that together in our sound. It just wouldn't have been right -- it
wouldn't have been us -- if we'd tried to sound like, say, Korn,
Blink 182 or Limp Bizkit. The way we sound is the way we sound.
What we were ultimately aiming for on _Throwin' Bones_ was to
create something that would find a place on "Rock" radio. Something
that stood half a chance on today's charts. We wanted this album and
these songs to really stand out on the radio -- so we mixed everything
with how it would sound coming through a set of car speakers in mind.
We mixed the record loud, phat, full and convertible-ized! We aren't
out to change the world, you know. Just getting people to sing along
to one of our songs, I think, would be accomplishment enough.
For Podunk updates including shows, news and special appearances
point your browser at: http://www.matchboxrecords.com/podunk-news.html .
---
REVIEW: Acoustic Junction, _Strange Days_ (Omad)
- Joann D. Ball
There is only one name for the musical intersection of rock,
power pop, country and folk, and that is Acoustic Junction. And as
singer/songwriter Reed Foehl recently learned, Acoustic Junction is the
only name for his much beloved band.
Foehl and his band mates return true to form on _Strange Days_,
and the long awaited release of this fourth studio effort reflects hard
lessons learned in the past several years of the band's decade long
career. Signed to Capricorn Records in 1997, the band recorded
a studio release under the new moniker Fool's Progress, but the major
changes ultimately alienated the band from its roots. Despite maintaining
the signature rock, country and more hybrid sound, the ill-fated name
change left longtime fans wondering what had happened to one of Boulder,
Colorado's most popular bands.
But that's all in the past, because the delightfully lengthy
_Strange Days_, which flows perfectly from start to end, represents a
wonderful new beginning for Acoustic Junction. The fourteen tracks are
honest and straightforward, with Foehl's insightful lyrics brought to life
by a skillful blend of acoustic and electric instruments which is the
foundation of the band's full melodic sound. With Foehl at the helm,
Curtis Thompson on bass, Tom Diehl on drums and Tim Roper handling a
number of instruments including organ, piano and harmonica, Acoustic
Junction will certainly win back old supporters while expanding its vast
fan base.
Opening track "Every Heart" travels along the same gravel road as
Grammy Award winner Lucinda Williams. The first radio single "Melt," which
features former Hall and Oates bassist and former Saturday Night Live band
member T-Bone Wolk on accordion, bass and reso guitar, unfolds slowly into
a touching tale of longing and sorrow and then segues into the uplifting,
big blue sky feel of the title song, "Strange Days." Drummer Kenny
Aronoff, from John Mellencamp's band, provides the beat on this track, as
well as on the slower tempo numbers "Green" and "Long Way 'Toil Tomorrow,"
and also on "Contender," a bittersweet tale of "could have beens" that
features T-Bone Wolk's pulsing bass and a stinging guitar solo from Adam
Steinberg. Acoustic Junction also received help from the legendary Graham
Nash of CSN&Y, who duets with Foehl on the beautifully tender "Dancin' For
You."
Given all that Acoustic Junction has survived in the past few
years, _Strange Days_ is a triumph for a band that toured endlessly to
make a name for itself. But at least for Acoustic Junction the deal
signed at the crossroads didn't mean the demise of one of Boulder,
Colorado's best bands. Acoustic Junction has been reborn with a firm
sense of purpose and in _Strange Days_, one of the best records of the
year.
---
REVIEW: Pornosonic, _Unreleased 70s Porno Music feat. Porn King
Ron Jeremy_ (J-Bird)
- Matthew Carlin
When you boast porn king Ron Jeremy right on the cover of a CD
you know what's inside is going to be awful. But in a good way. And
that's (hopefully) the intent behind Pornosonic.
With song titles like "Special Delivery" from the film _A Happy
Ass_ and "Laying Pipe" from _Plumbers Delight_, Pornosonic has all the
porno music pre-requisites: wah wah guitar, fuzzed out bass, cheesy
organ sounds. Oddly enough, "The Hedgehog" Jeremy's contributions are
fairly minor. In fact his between song banter isn't even funny enough
to quote. Even more odd, though, is that his voice and delivery sounds
remarkably similar to Captain Beefheart's on _Trout Mask Replica_.
Stand-outs include the slow, melodically bass-driven "Nice N
Sleazy Does It," the funky wah wah workout "SpiderPussy," the spirited
"Prepare for Take Off" (nice trumpet arrangement) and, of course,
"SpiderPussy (Slight Return)" from _SpiderPussy 2: Caught in the Web_.
Sophomoric? Yes. But entirely amusing. It's the little touches,
like the flute on "Her Magic Carpet" from _Donna Does Denise_ and the
addition of female vocals for "SpiderPussy (Slight Return)" that make
the yucks work.
---
REVIEW: Gladshot, _Gladshot_ / Debbie Andrews,
_Suburbs of Eden_ (Frankly Mills Music)
- Jon Steltenpohl
Mike Blaxill and Debbie Andrews are two independent
musicians with some potential. When Blaxill fronts the band,
they apparently go by "Gladshot", and when Andrews sings, it's
solo. But, both albums feature Blaxill and Andrews as the main
artists and as cowriters on nearly every song.
Debbie Andrews' _Suburbs of Eden_ is a sweet little
album with an easy pace and a nice feel. It's not definably
country, folk, pop or mellow. Some songs feel a bit like Sarah
McLachlan without the drama, and others feel like Shawn Colvin
without the twang. Either way, it's nice, laid back music that's
often driven by Andrew's guitar.
Gladshot's self titled debut is a little bit stronger
at times, but still shares in the "white bread" sound of Andrews.
You'll find a little bit of R.E.M.'s harmony driven pop along
with a bit of Hootie and the Blowfish's straightforward sound.
A few songs pick up a casual blues feel to them, and there is
enough guitar here and there to pep it up a bit. At times, the
sound is even reminiscent of Don Henley or Bruce Hornsby.
In the end, both albums are good examples of independent
talent just waiting to be discovered. Andrews and Glaxill have
a good feel for melody, and even though their genre isn't played
on radio much these days, it doesn't change the fact
that these are pretty good albums.
For more info, check out http://www.debbieandrews.com
or http://www.gladshot.com
---
REVIEW: Cupcakes, _Cupcakes_ (DreamWorks)
- Jade Hughes
I first started to appreciate this album on my third listen.
I had put the music on quite loud so that I could "feel" it and I was
having a coffee with a friend. We both realised, nine or ten minutes
into the album, that we were unconsciously moving our heads and
smiling to the music.
To be honest, when I first listened to "Cupcakes" I thought
it was just any other pop/rock band. It needed a few good listenings
to realise that Cupcakes are not just any pop band, but an
up-and-coming, modern band with a lot of potential.
The music sounds firstly like happy pop, the impression given
by the simple, electronic sounds. This is then counteracted by a good
dose of rock which spurts out through your stereo speakers and boosts
the music up. The rock guitar riffs give the song more intensity.
The lyrics are emotional and straight to tthe point, and Preston
Graves voice is very poignant, stands out from the music and conveys
feeling. His voice is not always "easy-listening," especially when it
reaches higher peaks, dripping with emotion, but it works exceptionally
well with the music.
The first song, "Exaggerator," pulls you straight into the
Cupcakes' world, which seems to be a mix of anything and everything,
it's up to the listener to pick out what they want to. My definite
favourite is "Blood Thirsty," as the lyrics are very direct and r
emind me exactly of what I would love to do to someone I hate - I
think everyone can compare their own experiences to this one! "Space
Age Boy" is another gem. The music of this song has a slower beat and
it is so full of emotion that it nearly brought tears to my eyes.
Those three are my favourites, but the others are pretty
interesting and well worth listening to. Any fans of Pavement, The
Presidents of the USA, Blur, Weezer and Smashing Pumpkins should love
Cupcakes' debut album. An interesting band who are probably going to
have an interesting future!
---
REVIEW: Nickelback, _The State_ (Roadrunner)
- Scott Hudson
When Nickelback independently released _The State_ in January,
1999, through their own label, it was well received in their native Canada.
Their leadoff single, "Leader of Men," went top-twenty on the Canadian
rock charts and the record companies began hovering like hungry vultures.
The band eventually inked a deal with Roadrunner Records.
After listening to the _The State_, one can only wonder if the
people at Roadrunner had done the same or were they simply blinded by
the hype surrounding "Leader of Men?"
Nickelback is nothing more than a Canadian version of Bush,
although less cryptic lyrically. Chad Kroeger's vocals are an almost
perfect imitation of the raspy-throated Gavin Rossdale, with a pinch of
Kurt Cobain thrown in for good measure.
_The State_ is an energetic record but it isn't energy that
sustains a record. Sometimes it helps to have good songs, and _The State_
boasts only three (and "Leader of Men" isn't one them). "Old Enough,"
"Diggin' This" and "Breathe" are good tunes full of energy and aggression,
however, the other 75 percent of the record consists of tunes that seem
aimless and uninspired.
Although Nickelback has certainly made a splash in Canada, it will
take more than _The State_ has to offer to make any noise south of the
border. With a lot of creative tweaking they may have a chance, without
it they'll continue to be a big fish in a very small pond.
---
TOUR DATES:
Beck
Mar. 18 Copenhagen, Denmark Kb Hall
Mar. 20 Stockholm, Sweden Cirkus
Mar. 23 London, England Wembley Arena
Mar. 24 Manchester, England Apollo
Mar. 25 Glasgow, Scotland Armadillo - Clyde Auditorium
Frank Black and the Catholics
Mar. 16 San Diego, CA The Casbah
Mar. 17 San Juan Capistrano, CA The Coach House
Mar. 19 Santa Barbara, CA Yucatan
Mar. 21 Phoenix, AZ The Mason Jar
Mar. 22 Tucson, AZ The New West Gotham
Mar. 23 Las Vegas, NV Legend's
Phil Coulter
Mar. 16 Albany, NY The Egg
Mar. 17 New York, NY Avery Fisher Hall
Mar. 18 Worcester, MA Mechanics Hall
Cracker
Mar. 17 Washington, D.C 9:30 Club
Mar. 18 Philadelphia, PA Trocadero
Enon
Mar. 16 Austin, TX Copper Tank
Mar. 19 Fayetteville, AR Clunk Music Hall
Mar. 21 Knoxville, TN Tomato Head
Mar. 22 Richmond, VA University of VA
Mar. 23 Carrboro, NC Go Lounge
Mar. 24 New York, NY Mercury Lounge
Mar. 25 Baltimore, MD Otto Bar
Filter / Chevelle
Mar. 16 Minneapolis, MN Quest Club
Mar. 17 Indianapolis, IN Egyptian Room
Mar. 19 St. Louis, MO American Theatre
Mar. 20 Pittsburgh, PA Metropol
Mar. 22 Chicago, IL Riviera
Mar. 24 Dallas, TX Bronco Bowl
Guster
Mar. 23 E. Lansing, MI Michigan State
Mar. 24 Granville, OH Denison University
Mar. 26 Peoria, IL Bradley University
Ben Harper And The Innocent Criminals
Mar. 16 Madrid, Spain La Riviera
Mar. 17 Barcelona, Spain Zeleste
Mar. 19 Toulouse, France Zenith
Mar. 20 Bordeaux, France La Patinoire
Mar. 22 Paris, France Bercy
Mar. 23 Angers, France Amphitea
Mar. 24 Caen, France Zenith
Mar. 25 Lille, France Zenith
Miles Hunt
Mar. 23 Philadelphia, PA The Northstar
Mar. 24 Passaic, NJ Loop Lounge
Mar. 25 Asbury Park, NJ The Saint
Incubus
Mar. 16 Scranton, PA Tink's Entertainment
Mar. 17 Hartford, CT Webster Theatre
Mar. 19 Portland, ME State Theatre
Mar. 21 Toledo, OH Roxy Theatre
Mar. 22 Chicago, IL House of Blues
Kelis
Mar. 21 Atlanta, GA Yin Yang
Mar. 22 Savannah, GA Savannah College w/Wyclef Jean
Mar. 23 Durham, NC Duke University w/Wyclef Jean
Mar. 25 Charlotte, NC UNC Charlotte w/Wyclef Jean
Korn
Mar. 16-17 Chicago, IL Allstate Arena
Mar. 19 Indianapolis, IN Conseco Fieldhouse
Mar. 20 Fort Wayne, IN Fort Wayne Coliseum
Mar. 22 Dayton, OH Nutter Center
Mar. 24 Buffalo, NY Marine Midland Arena
Neko Case & Her Boyfriends
Mar. 17 Austin, TX Yard Dog (Day Show)
Mar. 18 Austin, TX Antone's (Billions Showcase)
Mar. 20 Houston, TX Rudyard's
Mar. 21 New Orleans, LA Mermaid Lounge
Mar. 22 Atlanta, GA Echo Lounge
Mar. 23 Nashville, TN The End
Mar. 25 Chicago, IL Double Door
New Wet Kojak
Mar. 16 Austin, TX Buffalo Billiards
Mar. 18 Nashville, TN The End
No Doubt / Suicide Machines
Mar. 24 Chicago, IL Riviera
Ginny Owens
Mar. 23 Columbus, OH New Life Comm. Baptist Church
Mar. 24 Terre Haute, IN Indiana Theatre
Mar. 25 Cincinnati, OH Landmark Baptist Church
Papas Fritas
Mar. 16 Houston, TX Rudyard's Pub w/ Team USA
Mar. 17 Denton, TX Rubbergloves w/ Sealy, Team USA
Mar. 18 Austin, TX Waterloo Brewery (SXSW)
Mar. 21 Tucson, AZ The Solar Cultural Gallery
Mar. 22 San Diego, CA The Casbah
Mar. 24 Los Angeles, CA Spaceland w/ Push Kings
Mar. 25 San Francisco, CA Bottom Of The Hill w/ The Orange Peels
Podunk
Mar. 18 Corpus Christi, TX Centre Theatre w/Pushmonkey & The Hunger
Mar. 22 Amarillo, TX Dodge City w/ Union
Mar. 23 Lubbock, TX Liquid City 2000 w/ Union
Mar. 24 Ft. Worth, TX TCU
Mar. 25 Dallas, TX Canyon Club w/ Union
Powerman 5000
Mar. 16 New Orleans, LA House Of Blues
Mar. 18 Oklahoma City, OK Diamond Ballroom
Mar. 20 Denver, CO Ogden Theater
Mar. 21 Salt Lake City, UT Salt Air
Prodigals
Mar. 16 Boston, MA House of Blues
Mar. 17 Chicago, IL Navy Pier
Mar. 18 Washington, DC Black Cat
Red Hot Chili Peppers / Foo Fighters / Muse
Mar. 24 Minneapolis, MN Target Center
Mar. 25 Madison, WI Dane County Expo Center
Slip
Mar. 17 Atlanta, GA Cotton Club
Mar. 18 Athens, GA 40 Watt Club
Mar. 19 Asheville, NC Stella Blue
Mar. 21 Greeneville, NC Peasants Cafe
Mar. 23 Baltimore, MD 8x10
Mar. 24 Philadelphia, PA Kyber
Squatweiler
Mar. 16 Austin, TX Waterloo Brewpub (SXSW)
Tonic
Mar. 25 Baton Rouge, LA Bonne Fete 301
Tonic / Third Eye Blind
Mar. 16 Minneapolis, MN Orpheum Theater
Mar. 17-18 Chicago, IL Riviera
Mar. 19 Milwaukee, WI Eagles Ballroom
Mar. 21 Akron, OH Akron Civic Center
Mar. 22 Cincinnati, OH Taft Theater
Mar. 23 Marietta, OH Ben Johnson Fieldhouse
Mar. 24 Detroit, MI State Theater
Apr. 24-25 Boston, MA Orpheum Theater
Union
Mar. 16 San Diego, CA Brick By Brick
Mar. 17 Anaheim, CA The Shack
Mar. 18 San Luis Obispo, CA S.L.O. Brewing
Mar. 19 Phoenix, AZ Mason Jar
Mar. 20 Kingman, AZ House of Sound
Mar. 22 Amarillo, TX Dodge City
Mar. 23 Lubbock, TX Liquid 2000
Mar. 24 Odessa, TX Dos Amigos
Mar. 25 Corpus Christi, TX Buckets
---
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