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==== ISSUE 107 ==== CONSUMABLE ======== [April 28, 1997]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi,
David Landgren, Sean Eric McGill, Tim Mohr,
Al Muzer, Jamie Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron,
Janet Herman, Bill Holmes, Eric
Hsu, Tim Hulsizer, Stephen Lin, Scott Miller,
P. Nina Ramos, Linda Scott, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Courtney
Muir Wallner, Simon West, Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
NTERVIEW: Matthew Sweet - Joe Silva
CONCERT REVIEW: Beck / The Cardigans / Atari Teenage Riot - Lang Whitaker
REVIEW: Daft Punk, _Homework_ - Bob Gajarsky
REVIEW: Moxy Fruvous, _You Will Go To the Moon_ - Jon Steltenpohl
REVIEW: Simpsons, _Songs In The Key of Springfield_ - Bob Gajarsky
REVIEW: Bobgoblin, _The Twelve-Point Master Plan_ - Jon Steltenpohl
REVIEW: Kip Winger, _This Conversation Seems Like A Dream_ - Linda Scott
REVIEW: Walter Clevenger, _The Man With The X-Ray Eyes_ - Bill Holmes
NEWS: Alx, Merril Bainbridge, Dodgy, Oasis, Silos, Paul Simon
TOUR DATES: Automatic, Bloodhound Gang, Bobgoblin, Brilliantine,
Cellophane, Chainsuck / Lycia, Chemical Brothers, Collective
Soul / Darlahood, Crown Heights, Dada, Dots Will Echo, Drain S.T.H.,
Humble Gods, Humpers, Jayhawks, Leo Kottke, London Suede / Longpigs
Marilyn Manson / Helmet / Rasputina, Matchbox, John Mayall,
Old 97s, Professor & Maryann, Reel Big Fish, Samples, Shonen
Knife, Silverchair, Sister Hazel, Sneaker Pimps / Chimera,
Stone Temple Pilots / Cheap Trick, U2, Verve Pipe
Back Issues of Consumable
---
INTERVIEW: Matthew Sweet
- Joe Silva
While the Marilyn Mansons of the moment have come to insure
that the day of the winsome and generally melodic pop star never
returns, there's enough resistance out there to keep the non-ghouls
like Matthew Sweet from fading entirely. Album number six from the
Nebraskan-born, Athens-reared (well, musically anyway) musician is
more high-energy, guitar-etched pop. _Blue Sky On Mars_ sees Matthew
combine forces yet again with uber- producer Bendan O'Brien to come
up with a hit-and-run style disc (it clocks in at just under 40
minutes) that's tuneful and fresh beyond what most regular record
chart residents could ever hope to be. On the road for warm-up gigs
with a slightly revamped lineup, Matthew took time for an extended chin wag.
Consumable Online: How are you doing?
Matthew Sweet: I'm crazed. Out of my mind. But I'm doing good.
The tour's gone great and I was really nervous to go out because I
hadn't played in like a year. It's been an amazing turn out every
night. We've been so lucky.
CO: This seven week "warm up" tour - was that your idea?
MS: We did it last time where we toured for a few weeks. It was
a little shorter, maybe like four or five weeks. It's definitely good
to get the band out and get warmed up when you're not under full
pressure yet. It's a little bit grueling, but mostly I was concerned
that we wouldn't have a good turn out and that they wouldn't know the
new songs and it would freak them out. But the crowds have been great
and really accepting so far.
CO: Who's out with you this time?
MS: Tony (Marsico, bass), Ivan (Julian, guitar), Rick Menke is
playing drums, and Paul Chastain is playing keyboards and doing vocals.
So we actually have an extra member this time.
CO: So have you guys worked out any of the harmonies?
MS: Well there's me and Tony and Paul singing together, so
there's more advanced harmonies than ever before in the live set.
CO: Someone had asked me why you haven't been over to Europe
in a long time.
MS: And you said "Because he's stopped flying!!"
CO: Well I had read how you'd made some manic two-day
cross-country drive.
MS: Yeah, I've done that a couple of times. I have a horrible
fear of flying and I went through a period during _Altered Beast_ where
I really flew a lot and it just caused me to have mini-nervous
breakdowns. And I went and got hypnotized and went to various
different people about it and just never really had an easy time
conquering it. It kinda got to the point where either I needed to
say I wouldn't fly or I was still going to have to fly all the time
to promo things, or flying every day to different cities, and doing
a lot of international. So before the last record, my manager said
"OK, we'll just not fly at all on this record and just concentrate
on this country and Canada." and I got gold records in both places
within the year, which is way faster than _Girlfriend_ went gold.
And since it worked so well, no one's really bothered me about it
since. We spent a lot of money touring internationally and never
really made money doing it. It's kinda like I feel I've gotten to
go everywhere (already) and for the time being it's not like I won't
fly, but it's just made it easier saying I won't.
CO: Have you thought about the "boat" option?
MS: Yeah, that really doesn't sound too great either. You
need a lot of time for it and it's totally horrifying. I mean
crossing the channel in England is scary. I spent a lot of time
in England early on in my career before I had any success, like
during my first record. Not so much touring, but recording.
CO: I've heard that you've brought a lot of guitars with you
on tour. And considering what you guys have been doing, is there
any reason why...
MS: Well I don't really have a ton of guitars with me,
especially for me. I think most of that comes from the _Altered
Beast_ era when I was using a lot of different tunings. I was using
an open G, open E, drop D, regular tuning, so I had to switch guitars
a lot on that tour. I got so much flak that I really made an effort
on the last album not to use open tunings so that I wouldn't have to
explain all the time why I switch guitars. I also love guitars and I
have millions of different guitars, but this tour I've been mostly
playing Jazzmaster Telecasters. Mostly fender stuff which I haven't
played in a long time. Also an Epiphone Casino I used a lot on the
record, the one from the back of _100% Fun_.
CO: What about that clear lucite looking thing?
MS: Oh, the Van Armstrong? I haven't used that a lot lately.
I haven't been touring with it. I used usually on song with open E
tuning. It's a cool looking guitar. It's really heavy, and not easy
to play. I do have a double-necked Gibson SG out with me that I use
in my new video.
CO: Is one coming out soon?
MS: Yeah, we already made a video for "Where You Get Love,"
which is the third song on the record. It's a space video where I'm
like in a pod spinning through space and I go walking on the surface
of the planet sort of in a space suit and all of the current band is
in it. It really came out cool. It's directed by a guy named Andy
Fleming, who directed The Craft which is a teen witch movie that I
did a song for last year ("Dark Secret"). Lindsay Buckingham played
lead guitar on it because he was working in Ocean Way (studios) when
we recorded it. He's a huge idol of mine, so that was real exciting
for me. It's also the first time I got to play theremin on a record.
There's one credited on _100% Fun_ ," but that's not a real theremin.
CO: I saw that the new record also has as theremin credit. Is
that yours?
MS: Yeah, Brendan (O'Brien, producer) and I both bought
theremins. Bob Moog has been making re-issue theremins the last
couple of years out in North Carolina. They're a lot like an old
one, but they're a lot more stable. I used that a lot on the new
record, mostly "Missing Time" and there's a little bit on the very
end of "Where You Get Love."
CO: Speaking of theremins, I read the interview you did with
Brian Wilson. How was that?
MS: It's very exciting for me to meet Brian and for that
matter Van Dyke Parks who I'm also a huge fan of. He was so great.
You know, Brian's a little out there, but in certain ways he was more
normal than I expected him to be. You know, he's not talking out of
the side of his mouth or any of that stuff like you see footage of
him doing in particular in the theremin movie. I saw that movie
shortly after I interviewed him and it was night and day from the
guy I just met. He's really way a lot more normal than he was at
that point. He just seems healthier, but he's a little out there.
I've gotten to know his manager pretty well and he says "Don't
think Brian doesn't know what's going on behind the scenes. He uses
it a little bit as a buffer between him and the world, that kind of
wackiness thing.." It's kinda hard to tell. I've never really worked
with him musically. I was supposed to perform some stuff from _Pet
Sounds_ with him for some radio shows in conjunction with the _Pet
Sounds_ box set which then was shelved indefinitely. But it got to
the point where I was supposed to go to his house on a Monday and
rehearse and then the plug got pulled. I hope to one day check him
out musically a little bit, like get him to arrange some background
vocals or playing Hammond (organ) on something. But I'm just a huge
fan of his work.
CO: There's that little bit in the beginning of "Back To You"
that's sort of _Pet Sounds_-ish.
MS: Yeah, that's got a little. The funny thing is that really
comes from Brendan. It's Brendan that's playing that percussive
Hammond sound that so's signature-Beach Boys.
CO: I heard your voice coming out of a Coke commercial.
Why'd you do that?
MS: I used to collect a lot of tapes of people, and in fact
Van Dyke Parks immediately pops to mind as someone who did a lot of
cool commercials in the sixties. And the Yardbirds and the Stones
did these Great Shakes commercials and I always had tapes of those.
My viewpoint is kinda opposite of the hoighty-toighty artist that
won't do anything commercial. I'm kinda like, if they pay me a lot,
I think it's funny and cool to do it. And they did pay me a fortune
to do that Coke commercial which is like a minute long. We did it
the same afternoon that I did a song called "My Pet" for the Ace
Ventura II soundtrack, so I made a lot of money that day. I'm not
shy to say it, because believe it or not having sold a combined
million and a half records, I've never made a penny from record
sales. I mean, people might not understand that, but I need to do
things to make money. I buy so many guitars, I have to offset it
somehow (laughs). So it's partly for the money and partly because
I thought it was fun to do. It was the same thing like Flipper.
They asked me to do the theme for the kids Flipper movie last year.
They just paid me a fortune to do it, so it was like how could I say
no? Plus it was like Flipper, so I thought it was kind of funny. None
of the so-called alternative people really knew about it too much. I
just built up my eight year- old fan base with that. I mean, I just
like doing music and if I could make an inordinate amount of money
doing little one-off things like that as long as they're something
that I think would be fun or I'm interested in, I do them. I've
certainly turned down my fair share of things.
CO: You did a track for the Germs tribute record, didn't you?
MS: Yeah, that happened because believe it or not, I got
invited to Drew Barrymore's birthday party. When I was there I met
Pat Smear who's in the Foo Fighters now and was in the Germs and a
guy named Bill Bartell who was kind of the coordinator of that
record. They were just really nice to me and kind of begged me to
do it. My friend Brian, who's friend with them kinda helped me get
it together and came over and did some of the synthesizer noises.
He's actually the guy who did the Moog cookbook with Roger Manning
of Imperial Drag. So that was just a quicky thing we did. I
was really into the Germs' stuff. I like Pat's guitar playing a lot.
CO: So you knew their stuff ahead of time?
MS: I knew it a little bit. I wasn't hugely into at the
time. I kinda got the compilation, listened to a bunch of song, and
found one that I liked a lot.
CO: I guess you toured a fair amount for _100% Fun_.
MS: Yeah, we toured pretty much a year for that record.
Probably from February through December.
CO: And did you take a fair amount of time off aside from
the smaller projects?
MS: Yeah, really like the whole year. I made demos during
the spring, kinda got my demo studio together. I bought a house
during May and June, which was a monumental hassle and then moved
all my junk over there in early July. So I accomplished a lot of
major life things due to my publishing deal getting renegotiated.
CO: Zoo (Entertainment, Matthew's label) gotten shaken up
a little bit.
MS: Zoo was purchased by a group of Wall Street investors
and a guy who was one of the high-up money guys at BMG who defected
whose named is Kevin Zinger. Now it's Volcano Entertainment. It's
kind of exciting, because it gives a whole new atmosphere to the
label. They're more New York-based. It's a lot of my old friends
from BMG who are running it now and they're all excited because
there's more money for things like packaging now.
CO: Yeah, the sleeve is really neat.
MS: The cover has real Martian surface photos as well as
orbiter photos and then Roger Dean, the Yes album cover guy did my
name and album title for it. So we've got these really groovy
looking name and album title and then all these real lander photos
in color.
CO: Now the new record sort of comes off like Matthew and
Brendan's house of harmony and distortion again. Did you two work
pretty much together on this?
MS: This was like really the culmination of our friendship.
We really had a great time doing it with just no turbulence at all.
We worked really quickly, pretty much doing a song a day. We did a
bunch of drums at first and then we'd just would work on a song a
day and try to mix it by that night. So we kept up the kind of
energy level of it because I played so much of it myself this
time. It's really just me and him and a drummer on any given track.
I played mostly all the guitars and everything, and he played a lot
of the keyboards. Last time when we finished we said "Yeah, I think
we could make a much stronger record." I feel like it's a really
consistent record, kind of upbeat for me. It's almost kind of like
a New Wave record.
CO: You've worked with a lot of different people on your
records, but now that you've done this more or less on your own
with Brendan, did that affect the approach? I mean Richard (Lloyd,
guitar) isn't on it.
MS: Well the original concept for this record was that I
was going to do it at home and then I was going to mix. It was
going to be my home demo kind of record and then I took so long
getting it together that (Brendan) finally called me going "Where's
the record?" And was like "Well I just finished the demo stage
(laughs)". So I ended going down and recording it with him. There
are a couple of songs that I did mostly at home. Both of the ballads,
"Until You Break" and "Missing Time" were recorded mostly at home.
It wasn't a planned thing not to have outside guitarists on this
record, but once I got there we just got into this process that was
so streamlined. I mean, it wasn't even easy for Brendan to say "Let's
not get Richard, let's not get Ivan", it was just that we had to make
the decision at some point that since it was going so well do we even
want to mess with that. I knew eventually I'd do a record where I
didn't use those guys. It happened so naturally, I thought "Well,
this is the time." If I take some knocks for that, I guess I'm
prepared for it. I mean I haven't noticed a lot of people picking
up on that right away. It's not the first thing they say to me.
CO: Are you going to play any of the ballads like "Until You
Break" on this tour?
MS: We're going to. We haven't really been playing it. We did
rehearse it. Almost every song from this record we can play live,
which is good in case it becomes successful because we can play a
lot of the songs from it which is not always the case. A lot of the
songs from _100% Fun_ were really hard to translate from the record.
But since we have Paul Chastain out playing keyboards, that helps to
get some of those textures in. It's just a simple record which gives
me a chance to play some lead live which is fun. Ivan's been really
cool about playing rhythm parts on those songs. A lot of people at
the label went really crazy about that song, and I think they have
high expectations of getting it on the radio someday. I'm sure
you'll see us playing it live.
CO: I read somewhere that you thought Zoo went a bit crazy
with how many singles they could get from _Altered Beast_.
MS: They were talking about that there would be five singles
and it just never works out that way. Usually it takes several months
to get through a single and once you do that a couple of times, your
record is either still happening or you're getting to a point where
you're going to stop spending all the big bucks to promote it. In
my case, the second singles have never been successful. They've been
mildly successful and gotten some airplay, some MTV, but they've
never really taken off. So we can always hope, but this time won't
be different than the last. It's not usually that they're not
saying that there are singles, they just sometimes get a little
beyond themselves. But that's not their fault, I'd love it if all
five singles came out.
CO: There are things that have been out a long time and they
finally get a single to take off like that Verve Pipe record, "The
Freshman".
MS: That happens a lot. That's a hard thing to get a label
to do, to promote something for so long. People felt like we didn't
promote "Sick of Myself" enough on the last record, that if we
would have stuck with it longer, it would have been a much bigger
hit. But the Top 40 felt so strongly that they could take "We're
The Same," they just moved along to that track. You can't really
back track it once you move on. So if anything, you should stay
with a single longer.
CO: Have you guys chosen a follow-up yet?
MS: I'm not sure what it's going to be. I've heard a lot
of different arguments. Some people say "Back To You," or "Into
Your Drug." I've heard people say "Until You Break" being some kind
of a pop single, but I don't think you'll see that happening unless
we have some huge hits with other songs. People like "Hollow" for
rock radio.
CO: Has the Chamber of Commerce for California not insisted
on "Come to California?"
MS: That was all I heard about during the making of the
record, but now I don't hear so much of anymore. I think people
are just afraid of it at the label, like it's dumb or something.
Brendan just went crazy for that song. He was just like "Feelgood
hit of the summer!!"
CO: Well you live out there now, and it's such an uptempo opener.
MS: It's really a sarcastic song, sort of saying that this
nasty machine will chew you up. But it's so cheerfully presented,
people don't really pick up on it. When we play that live, they
think it's a cover.
CO: I see you have a sizeable and thorough Web site going.
MS: Yeah, there are a few of those. There are some that are
just amazing to me. I look at them and I'm so flattered that someone
would go to the trouble.
CO: I remember asking you one time after a concert what you
thought about all the online hysteria that can go on for an artist
and you seemed kind of shy about the whole thing.
MS: My biggest problem with the online thing is that it
becomes an excuse for people to spout off endlessly in a consequence
free environment. And I just find that just breeds a lot of
egotistical bullshit and that's what I kinda don't like about the
Internet. But it's been useful to me in a lot of other ways, so it's
kind of softened my view. You know, when I was looking for Mars photos
for my record or just trying to find Roger Dean.
CO: You find Roger Dean on the Internet?
MS: Yeah, well we got an initial contact that way. I found his
publisher through that. So I've kinda softened, but it's kinda of
another thing to deal with. I'm really bad about answering e-mail. I
mean, I can't deal with the phone calls I have in real life much less
the other me in Internet life. I can certainly see that it's going to
be a big part of our future.
CO: What sort of focus do you have on the lyrics at this point
in your writing?
MS: I think they really grow out of the music for me more at
this point. I don't really conceptualize them a lot beforehand. I mean,
there are songs where I have a certain idea about a lyrical slant where
I might write it all at once like "Missing Time" which I wrote all in
one day with the words. A lot of times they are very fill-in-the-
blanks and I don't know what they mean. A lot of the analysis of them
is hindsight when people start asking me about them. I try not to
overthink lyrics. I try to have them be natural and somewhat
conversational. It's kind of a mysterious thing for me, the lyrics.
I don't know where they come from.
CO: So something like "Behind The Smile" is not particularly
directed at someone.
MS: No, not really. It's a song about somebody who knows
they've let somebody down most of the time because of their own
problems with themselves. It's a pretty universal concept I think. It
has that funny thing "I haven't been a good friend" in it, which is
obviously a little joke on _Girlfriend_. My manager really worked me
hard to put that song first on the record and I was like "I don't
need to be referencing my record two records ago just yet." But I
thought it was funny opening _Blue Sky On Mars_ with "Come To
California" which is a very martian place in a way. More pressure
than I've ever felt from people to move a song on a record.
CO: This record is pretty straight forward in terms of
presentation. Do you ever think you're going to put together a more
complex record using less traditional rock structures?
MS: I think maybe, but this was such a natural record for me
to make. I didn't plan for it to be really short songs and really
concise and all that. It's just sort of the way it came together. I
would really love to make a record like, but I just never seem to do
it. I'm sure I'm going to make some records where I really stretch out
and do some different things eventually. I'm still kind of struggling
to make my living you know, and I live in fear of not have anything to
show for my success. And that's not to say that I gear my records so
that they are easier to sell or anything but I think I'm really trying
to do clear, communicative, strong, "me" kind of records at this point.
It's not by any sort of design. I mean, you can talk and talk about what
kind of record you want to make, but for me it's just whatever songs
I happen to write then. I got a few things that are kind of weird and
different for the demos that I made for this record for whatever
reason. But I don't know if that would mean making kind of an
orchestral sort of record by branching out to different sort of
instruments. I'm sure it's going to happen eventually. I don't know
what it would take for me to be in the right kind of mood.
CO: Do you think that if this record went through the ceiling
and a year from now you were still even promoting, you'd feel
comfortable enough to stretch out?
MS: I think so, but I think it would take more than that.
After _100% Fun_, I certainly felt comfortable to do a record like
that, it just wasn't the time that I was interested in that. I was
more interested in making a sort of New Wave record, like ultra-simple
versus something complex and floral. But I would love to make something
if I didn't feel I had a time crunch. That's the thing most likely to
come out of my home studio when I get to a point where I have
soundproof rooms and really pro-level equipment. It wouldn't want to
do something that emulated too much of say, a _Pet Sounds_ style. It
would have to be something that would come out of my own space. I
fantasize a lot about making an instrumental record that I may do
sooner than later as a side thing.
---
CONCERT REVIEW: Beck / The Cardigans / Atari Teenage Riot
- Lang Whitaker
On a night that could have been billed as "Alternative
Culture Meets Agriculture", several of the newcomers on the
alternative music scene came to the bible belt and kicked it.
Surprisingly, the show held up well despite the socio-economic
differences.
Atari Teenage Riot opened the night with their own special
brand of techno music. It was a mind numbing half hour to say the
least. At first I thought maybe there was a broken drum machine or
something, because beats were spewing out of the speakers at a
machine gun rate. Two young guys with leather jackets burst onto
the stage like they were shot out of a cannon and immediately
started wiggling about all over the place. I guess that's how
you're supposed to dance to techno. The mosh pit ground to a
complete halt almost as fast as it had started, and the kids
comprising the pit sat down on the floor wherever they had been
standing. When the Riot asked "Do you guys want one more song?",
the answer came back a thunderous "NO!". Never ones to be dismayed,
the Riot graced us with one last ditty anyway.
When the Riot finally subsided, The Cardigans took the
stage. They appeared to be the anti-Riot. What was so appealing
about The Cardigans was that they played with all the posturing
and preening of the Riot, but with their tongues firmly planted
in cheek. Their set was an equal mix of songs off of their latest
album, _First Band On The Moon_, and their earlier American release
_Life_. Lead singer Nina Persson had enough moxie to make up for her
trying to hide behind the mike stand the entire time, and guitarist
Peter Svensson was really impressive. They opened with what had to
be the happiest version of Black Sabbath's "Ironman" ever played.
The rural crowd wasn't very familiar with The Cardigans' tunes,
but when The Cardigans ended their set with the ubiquitous
"Lovefool", the audience finally began to feel at home.
Finally, it came time for the main event. Beck's band
took the stage without him and began laying down a funk groove.
Beck's band brought to mind the house band at the club in
"Dolemite", not only because of their tight groove, but also
for their fashion sensabilities. Holding the band together was
the guitarist, Showboat, who played leads and rhythms with equal
aplomb. Also worth mentioning was Beck's D.J., who was decked out
in a full cowboy outfit, replete with a bandana covering half his
face and a 10-gallon hat on top. After grooving for several
minutes, Beck came pimp-walking onto the stage in a pin-striped
suit and tie. Combined with the spectacle of the disco ball
spinning over the stage and the colored light show, it was quite
a sight to behold.
Beck started off playing songs from _Odelay_ like the
throbbing "New Pollution", the donkey love song "Jackass", and
the country funk of "Hotwax" in virtual note-for-note renditions
off the album. It is possible that they were playing along to a
DAT on these songs, because the samples and everything off the
album were perfectly synched to the beats. Beck made up for the
unoriginality in arrangement by doing various 70's dances during
breaks and between songs. Beck then shifted gears and played some
older songs off _Mellow Gold_, like "Mountain Dew Rock" and "Pay
No Mind". After seeing many kids there wearing "Loser" T-shirts,
I wondered if Beck would even play his monster hit from several
years ago. Never one to disappoint, Beck did play "Loser", but
with a surprising twist. Instead of reeling off an uninspired
version of it, Beck and the boys played a version they called
"Robo-Loser", in which they all moved and played throughout like
robots. It came off like some kind of Devo tribute, which isn't
neccesarily a bad thing.
For a mid-show change of pace, the band took a break,
leaving Beck alone with his acoustic guitar and harmonica. After
removing his suitcoat, Beck played plaintive versions of "Asshole",
"Truckdriving Neighbors Downstairs (Yellow Sweat)", and "Hollow
Log". When his music is stripped down to it's bare bones, the soul
of his music really shines through. The crowd hushed and everyone
took a seat during this set. It was like we were all suddenly
transported to a folk music show.
Then, just as we grew comfortable with that setting, Beck
shifted gears again. Putting down his guitar and using only his
harmonica, Beck ripped off a rollicking "One Foot in the Grave".
Propelled by the crowd's unison stomping and clapping, Beck
delivered an inspired sermon on how "regulating...must have been
invented in North Carolina".
The band then rejoined Beck to close with a 15 minute
version of his alterna smash, "Where It's At". After playing it
through one time by rote, they broke it down, with the DJ adding
in snatches of De La Soul's old-school jam "Me, Myself, and I" for
good measure. For an encore the band returned for a medley Beck
termed "American Wasteland". It began with a hard-charging rendition
of "Motherfucker" off _Gold_, and then without missing a note, Beck
did a superfast recitation of the lyrics to "Devil's Haircut" to the
same thrashing beat.
As the band held onto the final note of the evening, Beck
took off his electric guitar and smashed it to bits on the floor.
Unexpected, yes, but by now we should know enough to expect the
unexpected from Beck.
---
REVIEW: Daft Punk, _Homework_ (Virgin)
- Bob Gajarsky
It's never too early to practice up on those ABCs.
Some could say that is the motto of Daft Punk on their
debut album, _Homework_. Glorified as one of the leaders of
the "new" bands in electronica (as opposed to veterans such
as the Orb, Chemical Brothers, or Prodigy), Thomas Bangalter
and Guy-Manuel de Homem Christo have recorded an album on the
cheap (in the bedroom, a la White Town) which is sure to be a
hit in the clubs in 1997.
As a child practices the alphabet one letter at a time
to get it right, Daft Punk bring out all the musical stops, one
step at a time. This results in a musical classroom-like
setting, where the French duo show the listener how their songs
are constructed, one section at a time. Songs which might
last 3-4 minutes for another group turn into extended 6+ minute
lessons in layering one keyboard-based instrumental sound on top
of another.
"Da Funk", which also appears on _The Saint_ soundtrack,
is a beautiful meeting of Chic (circa "Good Times", sans vocals)
and the 90s form of electronica; the inside sleeve, complete with
a picture of a Chic record, only serves to reinforce the connection.
The sleeve, which could have come from an American teenager's
room in 1980, includes a Kiss concert poster, _Hit Explosion_ album,
can of Dr. Pepper, turntable, and Playboy magazine, amongst other
articles.
Daft Punk's "respect to..." section covers all the artists
the band has listened to, from expected street icons James Brown,
Grandmaster Flash and Sugarhill Gang to the unlikely names of
Barry Manilow, Urge Overkill and Ween. The track "Teachers" speaks
more on these influences, name-dropping Brian Wilson, Dr. Dre, and Lil'
Louie Vega through a sometimes computer-generated voice over
an authentic hip hop/funk backbeat.
_Homework_ will definitely bring hip hop and old school fans
over to the world of electronica. For fans of the new style, Daft Punk
is in the house, and class is in session.
---
REVIEW: Moxy Fruvous, _You Will Go To the Moon_ (Bottom Line)
- Jon Steltenpohl
Fresh, exciting, and eclectic are words that any fan would
use to describe Moxy Fruvous. These self-proclaimed "Alternative
Folk Heroes from Canada" went from street performers to major stadiums
in just a few years. Here in the United States, street performers are
a single evolutionary step away from panhandlers. Mostly, we think of
mimes doing "the robot" and guys playing saxophone to karaoke tapes.
But in Canada, things are different. Street performers are
called "buskers", and a lot of times, they are incredible. Canadians
treasure their originality, showmanship, and satirical lyrics. Moxy
Fruvous are one of those incredible groups. As the story goes, they
were four high-school friends who "took over a Toronto street corner."
Their shtick was a kind of improvised and acted out do-wop. They got
so popular that they were eventually asked to perform on CBC radio in
Canada, and the rest is history.
It's been a few years now since Moxy Fruvous played for
donations in a hat, and _You Will Go To the Moon_ continues their
transition from a live a cappella group to a recorded band very
nicely. Nothing is quite the same as a live Moxy Fruvous show. The
guys don't just sing songs - they live them. They make strange faces,
jump and spin around, run through the crowd, and generally go nuts.
Their rap version of Dr. Seuss's "Green Eggs and Ham" is a show stopper.
Those who have seen the band live will have no problem getting
into _You Will Go To the Moon_. The style flows from Persian jazz to a
Bee Gees cover ("I've Gotta Get A Message to You") with invisible
fluidity. Those with Moxy Fruvous in their blood will be amazed.
Those without Moxy will be puzzled. Add some politically liberal
lyrics and a tendency towards an acoustic and a cappella sound, and
you'll find that Moxy Fruvous has a small but dedicated fan base.
The opening cut, "Michigan Militia", is pure Moxy. To start
with, this _Canadian_ band is slamming a dubious _U.S._ institution!
Then, the style of the song is "bluegrass hip-hop". _Deliverance_
style banjos play over a funky bass beat. It's a not-too-subtle
poke at mixing backwoods white supremacists with the urban African
America they antagonize. There are even samples of barnyard animals
quietly "baa"ing in the back of the mix. It takes some massive jewels
to poke political satire both across a border and at nationalist gun
freaks!
The rest of the album careens from one style to the next.
"Get in the Car" (which sounds remarkably similar to The Beatles
"Drive my Car") pokes fun at guys who are too attached to their
cars. Two quiet waltzes, "Lee" and "Love Set Fire", recall the
melancholy piano tunes of Tom Waits, and tell similarly fractured
tales of love where the "flames look like angel wings." "Kick in
the Ass" is an a cappella treat that offers its title to telemarketers
and baggage handlers. It's one song that you just keep humming over
and over again.
The bottom line on Moxy Fruvous is that these guys are great
artists with a huge range in lyrics and styles. In Canada, that's a
big asset, but in the U.S. of A., it doesn't give them an easy way
onto the radio. They compare somewhat to Barenaked Ladies. But
where Barenaked Ladies travel the narrow road of quirky pop, Moxy
Fruvous is all over the map. But, such variety won't surprise
current fans of Moxy Fruvous who will be highly pleased with _You
Will Go To The Moon_.
---
REVIEW: Simpsons, _Songs In The Key of Springfield_ (Rhino)
- Bob Gajarsky
America's favorite family doesn't really exist except through
the magic of cartoons, but the Simpsons are back with their
second album, _Songs In The Key of Springfield_.
Whereas the debut Simpsons disc _Sing The Blues_ combined
members of the Springfield community with famous musicians in
original tracks, serious fans of the show will recognize
these songs - for all have originally appeared before on television.
That fact shouldn't detract from the value of this disc, as
these songs and outtakes have never appeared outside of their
television context. And the pairing of highlights from the Simpsons
show (songs plus dialogue), showcases the creative brilliance not only
of the Simpsons writers, but of series composer Alf Clausen, the man
responsible for creating most of the music on this disc.
The tracks themselves are often witty takeoffs of other
songs, themes and ideas. "Flaming Moe's" owes much to the theme of
"Cheers"; "Dr. Zaius" is a direct parody of Falco's "Rock Me Amadeus",
and Mr. Burns' "See My Vest" parodies Beauty & The Beast. The
ending of "Baby On Board" references the Beatles ("Did we pass the
audition?"), while Jack Sheldon recreates his "Schoolhouse Rock"
vocals on "The Amendment Song".
There's more; eleven different interpretations of the Simpsons
theme; "Chimpan A To Chimpan Z", from "Planet of the Apes - The
Musical!" pokes fun at the cheezy lyrics in many Broadway musicals,
and a quite different version of "In A Gadda Da Vida". Guest stars
abound, including Tony Bennett, Robert Goulet and Tito Puente. And,
if there was any question of the mysterious voice singing "Happy
Birthday, Lisa", we find out (officially) that the song was
published by MIJAC Music. Say hello, Mr. Jackson...
More volumes will be coming out in the future, so we'll have
to wait for Volume 2 to hear the Ramones ("Happy Birthday") and
Sting ("We're Sending Our Love Down The Well"). A must for
Simpson-philes. File under comedy.
---
REVIEW: Bobgoblin, _The Twelve-Point Master Plan_ (MCA)
- Jon Steltenpohl
Bobgoblin sounds like an early 80's band. My editor told
me that before I received this CD. I mumbled that when I popped it
in the player, and my wife said, "What is that 80's stuff?" when I
went to review it. So, the concensus is in. Not that _The
Twelve-Point Master Plan_ is bad. It's actually pretty good. Imagine
Frank Black forming a band to play Devo and Cheap trick covers, and
you've pretty much got Bobgoblin figured out.
Like current 80's throwbacks The Presidents of the United
States of America, Bobgoblin is goofy, guitar driven, and uniform
clad. The bio describes the band as a futuristic group of rock
soldiers in the Liberation Front States Motor Forces, and each of
the band members has their pack number embroidered on their uniform.
(You can travel to www.bobgoblin.com for a more detailed briefing.)
Bobgoblin has gone to a lot of effort creating a very strange
image for themselves. If DEVO hadn't dreamed up their own world of
de-evolution, Bobgoblin's little fantasy might seem original.
Basically, they're just the same bunch of disenchanted, idealistic,
DIY rockers that have always been out there. The lyrics steal a
little emotion from The Descendents "Suburban Home" and pretty much
anything involving Henry Rollins.
Suicide is covered in "One Down, One Across", and gun nuts
get it in "Nine." "Pinata" relates the story of an oppressed "boy
with a candy inside" who gets hung from a rope and beat with a
stick. The chorus flip flops between guitar crunches and a "Pinata!"
shout out. _The Twelve Point Master Plan_ ends with a bossanova beat
caressing the song "Killer." Lead singer Sgt. Hop Manski sings
blithely "there's no time to ask him 'Why...Why...Why-hy-hy-hyyyyyyy'".
Fortunately, Bobgoblin's obsession with being members of
the LFSMF doesn't creep into their music or lyrics. The sound is
a bombastic crunch of deep guitar and bass. Simple little hooks
bounce up and down, and stop just short of inducing a mosh fit in
your brain. Instead, the effect produced is similar to the back
and forth head bopping caused by a DEVO tune. At times, the album
is a bit linear, and one song is tough to distinguish from the rest.
Frank Black and his dearly departed Pixies are represented with
"Oh-Ah" backing vocals and melodic interludes between the punchy
guitars. Even little bits of The Cars come through in "Close You
Eyes, Kids".
By the end of _The Twelve Point Master Plan_, it's unclear
why Bobgoblin seems so interested in the story line they've created
for themselves. Bobgoblin's music has some potential, and it will be
interesting to see if the story line turns into a video that kids
will latch onto or not. But short of that, the uniform is just a
distraction from this better-than- average release.
---
REVIEW: Kip Winger, _This Conversation Seems Like A Dream_ (Domo)
- Linda Scott
In the 80's, a band called Winger was on top of the glam metal
world. With front man Kip Winger, his namesake band released three
albums in seven years selling more than four million copies. They
were the darlings of the metal fan magazines with color pictures and
interviews in nearly every issue. Then alternative grunged out of
Seattle, and the Winger-like bands hit the canvas.
Winger's death blow came from the unlikely source of the
Beavis and Butthead cartoon show. A dorky character named Stewart was
added to the show. Stewart, forever uncool and out of it, wore his
Winger t shirt proudly. The band's sales plummeted even further, Kip
Winger begged out of his contract, and Winger was history. The man
who once played bass for Alice Cooper, fronted his own band, decided
to leave for New Mexico where he would build his own recording studio
and rebuild his career.
_This Conversation Seems Like A Dream_ is Kip Winger's first
solo album. It's in the pop/rock genre, and it's a beauty. Music is
by Winger exclusively; so are the lyrics with a collaboration here
and there. The man has a beautiful voice that conveys the emotion in
the lyrics. Winger says his influences now are Bowie, Thomas Dolby, The
Beatles, Gabriel and Sting. The lyrical complexity and beauty are
certainly reminiscent of Sting, and the music leans more towards adult
contemporary. It this musical style is a favorite of yours, then you'll
want this album. From the first track, "Kiss of Life", you know you
are into something special. Other personal favorites are "Monster"
and "I'll Be Down". Possible singles leap out all over the track list.
Winger did a short March tour in support of _This Conversation
Seems Like A Dream_ and it's hoped he will agree to a longer one. This
album deserves promotion. It's a lovely pop/rock album from the former
glam metal posterboy. You can see more on Kip Winger at his record
company site: http://www.domo.com He's a talented musician who's remaking
his image - Kip Winger is on his way back.
---
REVIEW: Walter Clevenger, _The Man With The X-Ray Eyes_
(Permanent Press)
- Bill Holmes
"Love can make you happy/or it can spit right in your face..."
Therein lie the two moods of one Walter Clevenger, whose
yang and yin theories of love and relationships pack an impressive
debut record. And if the "yang" is the "my life is so blissful with
you" half of that couplet, this album is chock full of yin. Thank God
for that!
The first thing the listener will zero in on is that Clevenger
sounds uncannily like Nick Lowe. In fact, I'll wager that I could play
"Love You Like A King" , "Love (A Misunderstood Thing)"and "Angels" to
friends who are fans of Nick Lowe and they'd swear it was their boy.
Although Nick is one of Walter's heroes, I don't consider this record
a rip-off or even a homage to Jesus Of Cool; rather it's a case of
someone who grew up loving a certain type of music naturally emanating
it in his own. That said, however, the converse is certainly true - if
you do like Nick Lowe, you'll love Walter Clevenger.
His lyrics are witty and biting, as anyone who has been on the
wrong end of a romantic crash can attest. Sometimes it's utter
dejection ("I used to make the hit parade/Now I only line the cage")
and sometimes bitterness ("You say you're sorry/I don't believe you/
'Cause sorry couldn't cover/half of what you're doing"). Even when he
is singing about a happy relationship, it turns out that it's one that
slipped through his fingers. If you're despondent about love, this is
the soundtrack for your life, and it will either pick up your spirits
or hit you deep. Either way, it leaves a mark.
Musically, Clevenger nails the pop bulls eye by wrapping up
pathos in three-minute nuggets. There are a few different sounds to
the record, which may be a result of it having been recorded over a
longer period of time. Most are 70s/90s classic pop ("Yesterday's
News Now" could be a Rockpile outtake) and some, like "Cries Of
Desperation", suggest folk and country-pop influences like the
Everly Brothers. Only the closer, "I Don't Like Your Face (Just
Git)", sounds out of place. But hey, rednecks gotta cry at the
jukebox too, so why not to this one?
Clevenger recorded most of the record at his home and issued
it under the title _PoPgOeStHeMuSiC_ in 1995. (The cassette-only
release quickly sold out through word of mouth and is now a
collector's item.) I was delighted to see that Walter's recording
was picked up by a label for distribution, and not just any label,
either. Permanent Press Recordings is headed by Ray Paul (Klimek),
a popster himself, who has also released records by deserving artists
like Bob Segarini and Klattu. _The Man With The X-Ray Eyes_ is proof
positive that sometimes the best music around is being made in
someone's bedroom or garage.
Radio Programmers take note: this is music that should be
deserves to be playing on radio stations everywhere. For you
doubters with Internet access, there's a link to his website on my
homepage (http://www.geocities.com/SunsetStrip/8282) where you can hear
it for yourself. I heartily urge you to find a copy of this record and
wallow in great music.
---
NEWS: > The musician Alx has his own Web site, located at
http://www.diamondhard.com:80/artists/alx/alx.htm
> Fans of Australian pop star Merril Bainbridge can
reach out and touch her through cyberspace at the e-mail
address merrilb@unistudios.com
> Dodgy has released their fourth UK single from
_Free Peace Sweet_. "Found You" includes three extra tracks;
an "underground excursion version" of the main track,
"I Can't Make It", which also appears on the Small Faces
tribute album, _Long Ago and Worlds Apart_ and a live version
of "Stand By Yourself".
> Tentative Oasis information: A new Oasis single, "Everyone's A
Winner", is slated for a May 19 UK release date. The single is from the
forthcoming album _Be Here Now_, slated for a September or October release.
> The Silos have a homepage with tour information, sound clips,
photos, and a discography/lyrics to their songs. Check it out at
http://world.std.com/~silos
> Paul Simon's 1986 classic _Graceland_ disc has been
reissued in an enhanced CD format. The enhanced version
includes exclusive interviews, original handwritten lyrics,
rare video footage and a bonus CD-Rom track.
---
TOUR DATES:
Automatic
May 2 Atlanta, Ga Cotton Club
Bloodhound Gang
May 2 Detroit, MI St Andrews Hall
May 3 Champaign, IL WPGU Planet Fest (w/ Less Than Jake, Jane Jensen )
May 8 Potsdam, NY SUNY-Potsdam
Bobgoblin
May 1 Iowa City, IA Gabe's
May 2 Normal, IL The Gallery
May 3 Rockford, IL The Pit Skatepark
May 6 Chicago, IL Metro (w/ Pulsars)
May 7 Milwaukee, WI The Globe
May 8 Ann Arbor, MI Rick's Cafe
Brilliantine
May 6 Washington, DC Black Cat
May 7 Chapel Hill, NC Lizard and Snake
Cellophane
May 1 Lincoln, NE Hanger 18
May 2 Chicago, IL Double Door
May 3 New Orleans, LA ESPN EXTREME GAMES -Audobon Institute
May 6 Kansas City, MO Roadhouse Ruby's
May 7 Springfield, MO Juke Joint
May 10 Virginia Beach, VA ESPN EXTREME GAMES -Mt. Trashmore
Chainsuck / Lycia
May 4 Birmingham, AL Unity
May 5 New Orleans, LA Angel
May 7 Fort Worth, TX Impala
May 8 Austin, TX Backroom
May 9 Midwest City, OK Star
May 10 Denver, CO Blue Bird
Chemical Brothers
May 1 Salt Lake City, UT Brick's
May 2 Las Vegas, NV Joint (w/Orb)
May 4 Oakland, CA Kaiser Arena (w/Orb)
May 7 Seattle, WA Union Station
May 10 Los Angeles, CA Shrine Expo
Collective Soul / Darlahood
May 9 Brookville, NY Tillis Center
May 10 Boston, MA Avalon Ballroom
Crown Heights
May 9 Austin, TX Emo's
Dada
May 1 Chicago, IL Park West
May 3 Sea Bright, NJ Tradewinds
May 4 Washington, DC The Bayou
May 5 New York, NY Coney Island High
May 7 Providence, RI Lupo's
May 8 Boston, MA Mama Kin
May 9 Philadelphia, PA Theater/Living Arts
May 10 Columbus, OH Newport Music Hall
Dots Will Echo
May 3 Easton, PA Lafayette College
May 9 Red Bank, NJ No Ordinary Joe
May 10 Summit, NJ Common Ground Cafe
Drain S.T.H.
May 7 Boston, MA The Axis (w/Sister Machine Gun)
May 9 New York, NY Coney Island High
May 10 Baltimore, MD WIYY Radio Show
Humble Gods
May 2 Detroit, MI Majestic Theater
Humpers
Apr. 30 New York, NY Coney Island High
May 1 Cambridge, MA TT The Bear
May 2 Philadelphia, PA Upstairs At Nicks
May 3 New Brunswick, NJ Court Tavern
May 4 Providence, RI Met Cafe
May 6 Cleveland, OH Peabody's
May 7 Columbus, OH Stache's
May 9 Des Moines, IA Satori
May 10 Sioux City, IA KD Station
Jayhawks
May 2 New York, NY Irving Plaza
May 3 Boston, MA Paradise Rock Club
May 4 New Haven, CT Toad's Place
May 5 Baltimore, MD Bohager's
May 6 Washington, DC 930 Club
May 8 Carrboro, NC Cat's Cradle
May 9 Charleston, SC Music Farm
May 10 Atlanta, GA Roxy
Leo Kottke
Apr. 29 Cincinnati, OH Bogarts
Apr. 30 Columbus, OH Capitol Theatre
May 2 Bloomington, IN Bluebird
May 3 Cleveland, OH Odeon
London Suede / Longpigs
May 9 Toronto, ON Warehouse
May 10 Ottawa, ON Barrymore
Marilyn Manson / Helmet / Rasputina
May 2 Hamilton, ON Copps Coliseum
May 3 Erie, PA Civic Center
May 4 Pittsburgh, PA Civic Arena
May 6 Utica, NY War Memorial
Matchbox
April 28 St. Petersburg, FL State Theatre
April 29 Miami, FL Hard Rock Cafe
May 1 Greenville NC Characters
May 3 Charlotte, NC Tremont Music Hall (w/ the Connells)
May 5 Philadelphia, PA Pontiac Grill
May 7 New York, NY Mercury Lounge
May 9 Charlottesville, VA Trax
May 10 Baltimore, MD WIYY show
May 13 Winston Salem, NC Ziggy's
May 14 Atlanta, GA 99X show
May 16 Columbia, MO Blue Note
May 17 St. Louis, MO KNPT show
May 18 Springfield, MO Juke Joint
May 20 Cincinnati, OH Top Cats
May 21 Cleveland, OH Grog Shop
May 22 Detroit, MI Shelter
May 23 Chicago, IL Scubas
May 24 Minneapolis, MN WEJE show
May 26 Milwaukee, WI WLUM show
May 28 Ft. Wayne, IN WEJE show
June 4 Sea Bright, NJ Tradewinds
John Mayall
May 1 New York, NY Bottom Line
May 2 Morgan, NJ Club Bene
May 3 Huntington, NY Inter-media Arts Center
May 4 Alexandria, VA Birchmere
May 6 Piermont, NY Turning Point
May 7 Northampton, MA Iron Horse Music Hall
May 8 Burlington, VT Club Metronome
May 9 New Haven, CT Toad's
May 10 Providence, RI Lupo's
Old 97s
May 2-3 New York, NY Mercury Lounge
Professor & Maryann
May 10 New York, NY West Bank Cafe
Reel Big Fish
May 9 Santa Barbara, CA Ucsb Fiji House
May 10 Redlands, CA Uc Redlands
Samples
May 1 Columbus, OH Newport Music Hall
May 2 Cincinnati, OH Bogart's
May 3 Athens, OH Pi Kappa Alpha Field
May 4 Champaign, IL Thunderbird Theatre
May 7 St. Peter, MN Lund Arena
May 8 Minneapolis, MN First Avenue
May 9 Omaha, NE Ranch Bowl
May 10 St. Louis, MO Mississippi Nights
Shonen Knife
May 1 Boston, MA Paradise
May 2 Philadelphia, PA Theatre of Living Arts
May 3 New York, NY Irving Plaza
May 5 Washington, DC 9:30 Club
May 6 Atlanta, GA Masquerade
May 7 New Orleans, LA House of Blues
May 9 Houston, TX Urban Art Bar
May 10 Dallas. TX Galaxy
Silverchair / Automatic
May 3 St. Petersburg, FL Jannus Landing
May 4 Ft. Lauderdale, FL The Theatre and Club
May 6 Houston, TX West Park Entertainment Center
May 7 Dallas, TX Bomb Factory
May 10 Phoenix, AZ Club Rio
Sister Hazel
May 2 Auburn, AL Auburn University
May 3 Atlanta, GA Music Midtown Fest
Sneaker Pimps / Chimera
May 2 Cincinnati, OH Top Cats
May 3 Chicago, IL Metro
May 4 Milwaukee, WI Rave
May 5 Minneapolis, MN First Avenue
May 8 Denver, CO Bluebird
Stone Temple Pilots / Cheap Trick
Apr. 28 Binghamton, NY Broom Co. Arena
Apr. 29 Allentown, PA Stabler Arena
May 1 Johnson City, TN Freedom Hall
May 2 Roanoke, VA Civic Center
May 3 North Charleston, SC Coliseum
May 4 Atlanta, GA Music Midtown Festival
May 5 Orlando, FL UCF Arena
May 7 Birmingham, AL Oak Mountain
May 9 New Orleans, LA UNO Arena
May 10 Pensacola, FL Civic Center
U2
May 1 Denver, CO Mile High Stadium
May 3 Salt Lake City, UT Rice Stadium
May 6 Eugene, OR Autzen Stadium
May 9 Phoenix, AZ Sun Devil Stadium
Verve Pipe
May 8 New York, NY Irving Plaza
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
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