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==== ISSUE 117 ==== CONSUMABLE ======== [July 31, 1997]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Jeremy Ashcroft, Tim Kennedy, Reto Koradi, David
Landgren, Sean Eric McGill, Tim Mohr, Al Muzer,
Jamie Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Tracey Bleile, Lee Graham Bridges,
Scott Byron, Patrick Carmosino, Janet Herman,
Bill Holmes, Eric Hsu, Tim Hulsizer, Stephen
Lin, Scott Miller, P. Nina Ramos, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, 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.
==================================================================
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| Contents |
`------------'
INTERVIEW: K's Choice - Al Muzer
REVIEW: Prodigy, _The Fat Of The Land_ - Simon West
REVIEW: Echo & The Bunnymen, _Evergreen_ - Joe Silva
REVIEW: Jayhawks, _Sound of Lies_ - Al Muzer
REVIEW: Blues Traveler, _Straight On Till Morning_ - Bob Gajarsky
REVIEW: Various Artists, _Regatta Mondatta_ - Lang Whitaker
REVIEW: Mission of Burma, _signals, calls and marches_ / _VS_ /
_The Horrible Truth About Burma_ - Al Muzer
REVIEW: Del Amitri, _Some Other Sucker's Parade_ - Bob Gajarsky
REVIEW: Soundtrack, _All of Me_ - Eric Hsu
REVIEW: Laurent Garnier, _30_ - David Landgren
REVIEW: World Party, _Egyptology_ - Al Muzer
REVIEW: Dambuilders, _Against The Stars_ - Bob Gajarsky
REVIEW: Regurgitator, _Tu-Plang_ - Sean Eric McGill
NEWS: Chris Butler, High Llamas, Trio, Mark Olson/Victoria Williams
TOUR DATES: Backsliders, Boston, Cravin' Melon, Furthur Festival
(Black Crowes and many more), Government Mule / Sweet Vine,
Guttermouth, Lollapalooza (Tool/Prodigy/Korn/many more),
Lunachicks, Megadeth, Moxy Fruvous, Sinead O'Connor, Radiohead,
Sister Hazel / Cowboy Mouth, Spiritualized, Supertramp, The
Vents, Warped Tour Dates (Reel Big Fish, Mighty Mighty Bosstones,
Social Distortion, Sick Of It All, Less Than Jake, many more),
The Why Store, World Party
Back Issues of Consumable
---
INTERVIEW: K's Choice
- Al Muzer
" I'm not really sure why bands from our part of the world
are finally beginning to get noticed," comments guitarist/songwriter
Gert Bettens of Belgium-based K's Choice when I mention that Bettie
Serveert's drummer asked me to say "hello" to him. "Then again," he
offers after a bit of thought, "that whole area of central-Europe
['Serveert is from Holland] has been absorbing the different styles
of music and culture surrounding it for years now."
"At the same time," adds the K's Choice co-founder (with
sister/songwriter/guitarist/keyboardist/vocalist Sarah Bettens), "we
also grew up completely influenced by American and English music,
fashion and culture."
"Maybe we've finally figured out how to take only the best of
what all those different influences offer," Bettens reasons, "and how
to leave out the bad parts?"
A reasonable assumption to make if you've heard Serveert's
latest effort or _Paradise In Me_, the 14-song, 550 Music/Epic Records
debut from K's Choice.
Stunning in its graceful simplicity and deeply moving thanks to
a moody understatement and lyrics as raw as the pages torn from an
ex-lover's diary; the confessions, fears, hopes and observations that
burst from the second album by K's Choice (which also features drummer
Bart van der Zeeuw and bassist Jan van Sichem, Jr.) are much more
personal and heart-on-sleeve than even the exposed nerve of the
group's hit, "Not An Addict," would indicate.
"Most of the album is very personal," Bettens says as he
relaxes in a Houston hotel room and readies himself for yet another
show on the group's seemingly never-ending American tour. "We both
write about things we feel very deeply about. She tends to write,
Sarah's lyrics are more open than mine. We're both, however, very
sincere and our songs stem from things that either really bothered
one of us - or else made whoever wrote that song very happy."
"While they both always seem to come from an extreme emotion,"
he explains, "Sarah's songs are more 'in your face' while mine are a
little more guarded."
"It was a bit surprising for us that this album took off the
way it has," he adds when the 1995 copyright date on the disc is
mentioned. "We were already working on our next record when, all of
a sudden, "Not An Addict" started getting airplay in the states and
we wound up touring to support an album that we thought, well, let's
just say that we were ready to move on to the next stage."
Not just touring, but serious touring.
Having supported the likes of Bryan Adams, Morphine, the
Proclaimers and the Indigo Girls after the release of their first
effort, 1994s _The Great Subconscious Club_, a then unknown K's
Choice was hand-picked by Alanis Morissette to open a large portion
of her 1996 _Jagged Little Pill_ tour - the rest, as they say, is history.
"It is a bit weird," Bettens comments on the relatively old
age of _Paradise In Me_ and the tour. "At one point, I think we all
got a little bit tired of the songs. But, then we got an opportunity
to play them for new audiences who were hearing them for the very
first time - which made the songs seem really fresh to us as well. We
play them now with as much enthusiasm as we did three years ago."
"It's very important," he adds, "to have something that
motivates you when it's time to play "Not An Addict" for the
thousandth time - and it's the audience here, in America, being so
wonderful to us and so open to our music that motivates us."
On the road meeting new fans for most of 1995, '96 and, so
far, for a great deal of 1997, K's Choice has filled the months since
the Alanis tour finally ended: filming the video for "Not An Addict"
with Peter Kristofferson (Rage Against The Machine's "Bulls On
Parade"); headlining at clubs and small venues across the country;
opening for the likes of Bob Dylan, Better Than Ezra, Evan Dando,
Beck, No Doubt and The Wallflowers at a slew of high-profile radio
festivals in major arenas around the nation; and getting acquainted
with the fans who spend their hard-earned money for the group's CDs,
pay the cost of concert admission, or call those same festival-sponsorin'
radio stations at 3 a.m. and beg to hear "Not An Addict" for the 39th
time that day.
"We really enjoy socializing with the audience after our sets,"
Bettens says of the group's current opening stint [which runs from July
to September] for Tonic and The Verve Pipe. "People are always coming
up to our bus after a show. Some ask for autographs and some just like
to hang out and talk or be with us for a little while."
"I understand, however, that it must be harder - that it does
get harder - for some artists to remain that accessible to their fans,"
he offers. "Take Alanis Morissette, for example. There were just way
too many people who wanted to talk to her, shake her hand or give her
a hug after one of her performances for her to accommodate all of them."
"I mean, she would never have made it to the next show if she
met everybody that wanted to meet her," Bettens laughs. "You know, it
used to bother me a little, but, I stopped blaming artists for not
doing that [meeting and greeting after a show] when they get too big
after seeing how out of control things sometimes got during the Alanis
tour."
On their way (hopefully) to a similar superstar status in
America, "Not An Addict" has been added to numerous radio playlists
across the country while K's Choice are currently one of the most
requested groups in the nation.
"When we started the band," reminisces Bettens as he recalls
the group's five-year journey to overnight success, "we, of course,
dreamed about reaching the highest possible thing you can achieve as
a band. But, we were both still going to school [Sarah for
photography, Gert for animation art] and weren't even thinking
about a musical career."
"We didn't even have a demo tape," he chuckles. "Someone
accidentally recorded one of our acoustic sets one night and the
tape wound up at a small independent label [Double T Music] in
Brussels."
"We were extremely lucky," Bettens says with a trace of
wonder at the set of coincidences that landed two members of the
Bettens' family a record contract and a chance to visit America.
"We didn't have to go through that phase a lot of my friends [in
bands] are going through now where you keep recording and mailing
out demo tape after demo tape with the hope that, someday, someone
will 'discover' you."
"We were, really, incredibly lucky," he adds quietly.
---
REVIEW: Prodigy, _The Fat Of The Land_ (Maverick/Mute)
- Simon West
On reflection, of course, the Prodigy were always the most
likely to succeed in the States. Hard beats, rock guitar, and two of
the most terrifying looking frontmen in recent history, plus the best
video of the last five years in "Firestarter", almost ensured certain
success, at least with the 16-year-old pierced MTV crowd. Does the
album meet the hype, though?
Of course. See, this is the Prodigy. There was never much doubt.
They've been pushing the boundaries of hard electronic dance music
since scary Keith Flint looked like a fairly friendly hippy. _The Fat
Of The Land_, though, is their most accomplished release to date. From
the first loops of the guaranteed to offend Wal-Mart "Smack My Bitch
Up" to the pure punk John Rotten style-yelping of L7's "Fuel My Fire",
this is truly music for the jilted generation, as they say. Something for
everyone, from Orb ambient fans to metal-heads. The energy and
aggression is palpable throughout. It works so successfully in part
due to the man who makes the music, Liam Howlett, and his ability to
graft insanely addictive hooks onto some brutal sounding noise.
The two standouts here are probably the singles. "Breathe" is
magnificent, able to sound menacing even as it lurches into acoustic
guitar breaks, and back into bass and drum explosions. "Firestarter"
is simply a true classic. It sounds like it was recorded in some
frightening otherworld, and having heard Keith Flint's vocal work on
several other tracks here, the shouting can be appreciated as
wonderfully restrained. The soundtrack to a thousand violent
nightmares.
It's not all aggressive noise though. A stunningly beautiful Indian
vocal weaves in and out of "Smack My Bitch Up". It shouldn't work with
the pounding synth and bass, but it does. Elsewhere, the Crispian
(Kula Shaker) Mills collaboration "Narayan" blends Mill's usual
mystical wailing with some restrained bass and keyboard loops, and
sole instrumental track "Climbatize" shows the Prodigy can still kick
out the jams with the best of them, while "Mindfields" explores almost
Depeche Mode-like synth territory.
Chemical Brother's _Dig Your Own Hole_ runs this pretty close, but
ultimately brute force wins out. The electronic release of the year,
and probably the album of the year across the board so far. Highly
recommended - aggression doesn't come much more danceable than this.
---
REVIEW: Echo & The Bunnymen, _Evergreen_ (London)
- Joe Silva
Throughout their career, various stops on the Bunnymen
rollercoaster have included cult-like stardom, potential mega-band,
born again retro-heroes, and plain dead boring. After having spent a
couple of years promoting their brilliant re-incarnation as the
horridly-titled Electrafixion, Ian "Mac" McCulloch and Will Sergeant
egos have apparently given in to the lack of attention the project
received and opted to recoup what's left of their fan base (and their
original lineup) and put together a proper comeback album.
Despite having made some rather not-so-pleasant comments about
bass player Les Pattinson during the Electrafixion era, Mac has talked
up much about their combined return to Bunny-form since Les' return
to the camp. Outside of McCulloch's hair-teased reality, what the
Bunnymen have managed to return to is the lackluster output that
comprised much of the initial swan song LP. The U.S. success of
their weakest single "Lips Like Sugar," seems to have prompted
towards a stylistic return to that bland but lucrative period. Even
the Brits themselves (in this case the NME) could not have hit the
head of the nail any squarer when they said: '...many more than the
few thousand Anglophiles who worshipped them last time round - will
probably lap it up, too. McCulloch, Will Sergeant and Les Pattinson
may well make, at last, serious money. And the precious artistic
reputation of Echo & The Bunnymen will be soiled just a little bit
more.' Maybe not a little.
Content-wise, the blame could probably be shifted largely to
McCulloch himself. While the Edge and/or Johnny Marr will probably
tussle it out through history as to who's more deserving of the 80's
Guitar God trophy, Sergeant is a massively overlooked contender. And
even when he's only in mid-soar as he is here, he still has the
ability to come up sounds that passages that shimmer and sounds that
have a unique eerie-ness all their own. But McCulloch's art-school
literacy has left him virtually wordsworth-less. The melodies that
attempt to prop up said-lyrics are even more limp than practically
anything he's committed to tape. Yes yes, Liam Gallagher mumbles
something into the backdrop of "Nothing Lasts Forever," but not even
the aid of a mediocre yet happening rock star can salvage these
offerings.
While the Electrafixion leftover "Baseball Bill" gets a
decent Bunny-fied reworking here, you're left otherwise with only
stray hooks here and there and a decided hankering for some of the
sonic ferocity and dreamy psychedelic prose they have mastered many
times over. This LP combined with the whole PopMart fiasco could drive
a generation to drink.
---
REVIEW: Jayhawks, _Sound of Lies_ (American)
- Al Muzer
Returning to the fray after most critics and fans assumed the
departure of guitarist/singer/co-songwriter Marc Olson signaled the
death knell for this supple, Minneapolis-based quartet;
singer/guitarist/songwriter Gary Louris (long considered by many to be
the heart of the now six-member group in the first place) has masterfully
taken charge on the band's fifth release, _Sound of Lies_.
Traveling in a dense, lush, more harmonic, pop-like direction
than on previous efforts, the Cowsills harmonies, chiming piano and
swirling guitar that drive "The Man Who Loved Life" serves as a perfect
introduction to what, for all intents and purposes, marks the rebirth
of the Jayhawks.
Displaying a welcome authority in his singing style and
commanding a very visible presence in the mix, Louris' guitar is a
blistering psychedelic wash riding a hypnotic, mantra-like chorus and
propulsive beat on "Think About It"; his trademark warble and frayed
leads convert "Trouble" into a shimmering thing of beauty; gentle
piano and ringing Louris/Karen (keyboards) Grotbeg harmonies turn
"It's Up To You" into a classic, late-nite beer-jerker; emotional
lyrics coupled with a road-weary delivery cause "Stick In The Mud"
to ring with a troubling authority; while a pulsing beat, layered
harmonies, sardonic lyrics and maximum jangle mesh perfectly on "Big
Star."
"Poor Little Fish" begins side-two (there's the very distinct
sense of flipping a record over) on a bitter lyrical note brightened
by weird violin and e-bow effects floating over ethereal harmonies and
an uplifting beat, while "Sixteen Down" projects a dark, brooding,
chaotic vibe punctuated by the harmonic choir of vocal-guest Matthew
Sweet.
Following with "Haywire," which works beautifully thanks to
simple instrumentation, outstanding Wurlitzer organ fills and a resigned
sense of willing defeat; "Dying On The Vine" (a mellow slab of
semi-funk that features a classic chorus); "Bottomless Cup" (written
and sung with an endearing Ronnie Lane-like gruffness by drummer Tim
O'Reagan); and the reflective, sadly-introspective title track - the
Jayhawks not only manage to defy staggering odds by coming back strong,
they do so with one of the best albums of the year.
---
REVIEW: Blues Traveler, _Straight On Till Morning_ (A&M)
- Bob Gajarsky
Blues Traveler, with their previous disc _Four_, alienated some
longtime fans with their newfound stardom. Just as Deadheads cringed
when "Touch of Grey" brought a new breed of fans to their camp - and
more recently, when the Spin Doctors went from under-appreciated
cultdom to overexposed burnout, thanks to "Two Princes" and "Little
Miss Can't Be Wrong" - Blues Traveler's hits "Run Around" and "Hook"
brought with them an almost unwelcome level of success.
Rather than succumb to the sweet smell of pop radio stardom,
or return to their roots, Blues Traveler perform as two nearly
distinct bands on their followup disc, _Straight On Til Morning_.
On one hand, this disc takes the the band back to
their H.O.R.D.E. days and before, when the jams flowed more freely.
The leadoff track and first single, "Carolina Blues", knocks
out any initial perceptions that Blues Traveler will 'sell out'.
Instead of crafting the tune for pop radio, this cut owes more to
1970s ZZ Top and Led Zeppelin than the Barenaked Ladies. Other cuts
such as "Great Big World" and the all-too-short "Psycho Joe" leave
the impression that John Popper would rather play an extended
harmonica solo than tinker with the perfect 3 minute song.
However, there's another side to Blues Traveler - the one which
notched them a pair of top 40 hits from _Four_. "Canadian Rose" is a
softer song, not unlike a more refined "Hook", which could explode on
AAA radio. "Most Precarious" represents the upbeat song most likely
to make a dent in the pop charts, while another softer ballad, "Yours"
also stands a chance at putting Blues Traveller back in the public's
eye.
It appears clear that the days of lengthy solos may be
reduced from Blues Traveler's arsenal, but not completely forgotten.
What remains to see is if the band's longtime fans will support such
a split personality - and if the 'pop' fans can appreciate the rawer
side of Blues Traveler.
---
REVIEW: Various Artists, _Regatta Mondatta_ (Ark 21)
- Lang Whitaker
Finally. After a spring of nothing but rain, we have a day here
in Atlanta that seems like it was imported from the Carribean. Time for
an afternoon drive. I got the top down and sunglasses on, now I just
have to find the appropriate music. Let's see, I'll give this
reggae/Police tribute album, _Regatta Mondatta_, a shot.
Not that anyone needs another Police album, but Ark 21 has done
a nice job in assembling _Regatta Mondatta_, a 20th anniversary Police
album. One reason for the Police's popularity in the 80's was their
incredible, genre-inclusive sound. A big part of that sound was Andy
Summers' rhythm on the guitar, which was often on the 2 and 4 beats, a
reggae hallmark.
Out of the driveway. The first track comes booming forth. Chaka
Demus and Pliers collaborate on a hip-hopped cover of "Every Little
Thing She Does is Magic". Were it not for the dance hall rap from
Pliers, this would fit right in on BET and the Box, which is not to
say it wouldn't fit in now. Next up is British group Aswad's take on
"Roxanne". The Grammy nominated Aswad puts a drum and bass flavor to
the tune, while still keeping the orignal version's intensity and drive.
Turn right on Peachtree Road. Former Police frontman Sting puts
in an appearance on the third song, sharing lead vocals on "Spirits in
the Material World" with Pato Banton. Banton appeared on the CD single
for Sting's "This Cowboy Song" a few years ago, so I guess this is his
payback. The song works just as well as a duet as it ever did for Sting
by himself.
Traffic. My favorite track on the album is Shinehead's
previously-released transformation of "Englishman in New York" (which
was a Sting solo number- never a Police song, but I guess it qualifies
anyway) into "Jamaican in New York". Think Weird Al meets Cool Runnings.
Shinehead even samples Branford Marsalis' lovely saxophone off of the
original song and drops it into his version, which sold me on this one.
Stop sign. The first stinker of the album is Betty Wright's
"Every Breath You Take". Wright's alto reminds me of Toni Braxton's
smooth tone, but the music behind her saps all of the original
version's scorching throb.
Yellow light...floor it. Sting puts in an encore appearance
alongside Ziggy Marley on the classic "One World (Not Three)", which
was more or less a reggae song anyway. Sting's lack of soul is readily
apparent next to Marley's authentic ad libbing at the end of the track.
Thinking back to when the Police were in their prime, Sting had enough
moxie to go toe to toe with anyone from The Ramones or The Sex Pistols,
but his recent retirement from actually making progressive music to
VH-1 land must have sapped whatever venom he had left.
Right on Piedmont. Maxi Priest turns "Message into a Bottle" into
a dance track with a steady rhythm. "Can't Stand Losing You", in the
hands of Steel Pulse, sounds a heck of a lot like an Ace of Base song,
but the overproduction doesn't detract too much.
Home. Eject.
Generally, the reggae artists all seem to be having fun with
these songs, which is a marked difference from Sting's intensity. Many
of the words are updated by the reggae artists. For instance, Sting's
"(I see you sent my letters back) and my LP records and they're all
scratched" is converted to "...and my CD collection and they're all
scratched". The music itself is remarkably similar to the original
versions. The cover artists also use a bunch of the signature licks and
runs from the original songs, which make all of the new versions instantly
recognizable.
There's nothing new or groundbreaking on this CD, but if you're
a Police fan or a reggae fan, pick this one up. It will at least keep
your head nodding and make you feel irie, mon.
---
REVIEW: Mission of Burma, _signals, calls and marches_ / _VS_ /
_The Horrible Truth About Burma_ (Rykodisc)
- Al Muzer
This three CD Mission Of Burma reissue series (which includes
"Academy Fight Song," "Trem Two," four bonus tracks and four previously
unissued cuts) undertaken by Rykodisc finds original Burma producer Rick
Harte's remastering job increasing the depth and clarity of this Boston
four-piece's groundbreaking sound without sacrificing any of the power,
energy or raw, exposed nerve the group committed to wax back in 1980,
'81, '82 and '83.
Since covered by a veritable "who's who in music" that includes
Sugar, Moby, Catherine Wheel, REM, the Spinanes and Soul Asylum; Burma
songs such as "Fun World," "This Is Not A Photograph," "Einstein's Day,"
"Academy Fight Song," "Dirt," "Learn How," "Fame And Fortune," "Go Fun
Burn Man," "Peking Spring," "Trem Two," "Mica" and, of course, "That's
When I Reach For My Revolver," are the work of musicians, who - much
like the Only Ones, Big Black or Big Star - were clearly several
years too far ahead of their time to be accepted as anything but
frequently-cited future influences.
Abrasively poppy, stridently poetic, aggressively artistic and
stunningly loud - frequently within the confines of the same song; Clint
Conley (bass/vocals) and guitarist/vocalist Roger Miller (who disbanded
the group when his hearing began to go in 1983) combined a rough,
Jam/Plimsouls-like pop/punk squalor with the tense edginess of a less
"out there" David Byrne and the wigged guitar 'n' noize weirdness of a
deep-fried Television for three albums crammed with early-'80s energy
and angst-frazzled anthems that sound as immediate and vital now as
they did when they first hit the 'It's not REO Speedwagon or Survivor'
cut out bins back in the days when Hall & Oates ruled and dinosaurs
still roamed the earth.
---
REVIEW: Del Amitri, _Some Other Sucker's Parade_ (A&M)
- Bob Gajarsky
Glasgow's Del Amitri has returned to their familiar
landscape of pop music on their fifth album, _Some Other Sucker's
Parade_.
Although 1995's _Twisted_ included the big hit "Roll To Me",
its inconsistency yielded less than satisfactory results. _Some Other
Sucker's Parade_ reverts back to the formula used on "Always The
Last To Know" - saracstic lyrics and straight-ahead hooks - to keep
the listener's attention throughout this 14 song effort.
The best example of these hooks comes on the first Byrds-like
single "Not Where It's At". The singer doesn't get the girl (do pop
singers ever?), because he's not hip enough or in the right scene.
This could be the story of Del Amitri's career - pop music's critical
popularity has been waning throughout the course of their album, but
the Scottish group has remained true to their musical beliefs.
Any band that claims to play pop music will inevitably point
towards the Beatles as influences, and cuts such as "Mother Nature's
Writing" and "Cruel Light of Day" (circa "She's So Heavy") verify
this statement. And speaking of the lads from Liverpool, the latest
so-called fifth Beatle, Jeff Lynne, could almost be singing on the
sarcastic "High Times", which mocks the hippie movement and all
associated with it.
"I loathe this neo-hippie revival of mysticism," says lead singer
Justin Currie. "I believe the world's problems can only be solved by
people getting off their asses and doing some work; the original hippie
movement was about action as much as it was about introspection."
It doesn't take much thought to determine the target audience
for this release. Fans of Teenage Fanclub and their ilk, or the classic
groups such as the Byrds and the Beatles, should take part in this
parade.
---
REVIEW: Soundtrack, _All of Me_ (TVT)
- Eric Hsu
Often the only appeal of a soundtrack is either of its one
single, usually flogged relentlessly on music video, or as a collection
of b-sides and outtakes and unused dribble from well-known artists.
Many of the songs here have been pulled from the regular studio
releases of the artists, so in this case the appeal of the collection
won't be to completists, but to people looking for a sampler
introduction to some of the new women in rock today. The compilers (the
direcftors Alex and Sylvia Sichel) try for more, attempting to provide,
more than a coherent soudtrack, nothing less than a collective manifesto
of female empowerment and self-awareness. I can't address the success or
failure of the bigger goal, but it's not a bad collection of music.
There are a number of highlights, backed up by a few better than average
songs and no song is worse than average.
The standout track here is the dynamite "I Wanna Be Your Joey
Ramone" by Sleater-Kinney. In a time when grunge has made screaming
dull, this song leaps out of the speakers and mates melody with noise
in one big blast of fresh air. This is an album track, though, so by
itself it's not a convincing argument to by this record.
Also memorable are Helium's "Hole in the Ground" (with some
surprisingly memorable and beautiful wailing to complement the Lou Reed
type vocals), and Patti Smith's "Pissing in a River" from 1976. It's
interesting to hear how up to date this song sounds twenty years later,
compared to, say, the Ozark Mountain Daredevils' "Jackie Blue", also on
this record, and even compared to the Geraldine Fibbers' "Dragon Lady".
his song has a kind of charisma to it, especially the passionate vocals,
but its average grunge stylings distract and instantly date this song
in a way that the rave-up rock backing of the Patti Smith Group doesn't.
Michelle Malone and Ani DiFranco have impressive voices and supply
what sound to me to be totally average songs for them, "Dimming Soul" and
"Shy". Somehow neither of them have ever particularly moved me, but I
think their fans will be pleased by these selections, and the curious
will find these songs to be pretty representative of their work.
On the list of average to above-average songs are the Murmurs'
moody "Squeezebox Days" and the Amps' "Empty Glasses" (the Breeders' Kim
Deal's new band), Alison Piptone's "Dynamite", and Tuscadero supplies the
perfectly serviceable "Game Song", and 12 Rounds offers the strangely
compelling "Something's Burning", muttering over a grumpy guitar line.
"Hello" by Babes in Toyland is unfortunately the first track, but fans of
their out-of-tune and lurching style might not mind, and Drugstore supply
what sounds like a Mazzy Starr single (not a compliment in my book). Miki
Navazio contributes moody film score music scattered throughout. Nothing
exciting, but nothing horrible either. Most indulgent moment: the secret
track containing the director's band 6 Foot Hero.
This soundtrack really gives you your money's worth of time
and songs (sixteen tracks). This is a decent introduction to a number
of these bands, a number of which I'd never heard before. As a coherent
musical statement, it makes less sense to me, but this is an unusually
well-considered and well-intentioned soundtrack.
---
REVIEW: Laurent Garnier, _30_ (F Communications/Never Records)
- David Landgren
I had to laugh the other day at something I read in the
mainstream press. Or, to be more precise, something I read in the
alternative press about the mainstream press. For it seems that
America has, at long last, "discovered" techno music. In all modesty,
it seems to me that Consumable has been reviewing since its inception
in 1993 the best of the European techno scene.
The really amusing part about the whole story is that 'Techno'
per se is already dead, or at least, it has splintered into so many
different currents as to be impossible to map entirely. Take _30_,
from Laurent Garnier, one of the European paramount grandmasters in
the DJ/house/dance scene. His second album (and his age), _30_
documents Garnier's flight from the dancefloor to something a little
more thoughtful and experimental.
Before serious clubbers and ravers dismiss it outright, there
is some hardcore dance material in the shape of "Flashback" (what's
the sample? "acid is a state of mind", yeah ri-i-ight). But that's
all there is like that. The subtext being to have one, and one only,
of everything; if you want an album all alike, you'll have to go
elsewhere. Garnier chooses to cast his net wide, trying his hand at
different things. Sometimes the experiments don't quite work out,
but I don't think he'll be offended if you skip over to the next
track. It's a challenging and rewarding slice of electronica.
Laurent Garnier adheres to what might be termed the boostrap
or constructionist approach; that is, a song is built from the ground
up by starting the merest shred of melody or beat, and then
progressively bringing more samples and sequences online and
weaving them into the groove. The effect of which, when well done,
creates an uplifting feeling of anticipation.
The album opens up with an elegant little Eno number, "Deep
Sea Diving", a restless yet calming ambient passage, before moving
into a "Sweet Mellow D", a long synthetic meandering landscape, the
only sound from the real world being a heavily distorted handclap.
The former is brilliant, yet far too short, and the second starts
out well, but too bad it doesn't stay short.
The jewel of the disc is "For Max", an infectious slow-acting
dub; a curious track that benefits from repeated listens. I keep
thrashing this track. There are three things going on, a bluesy
groove, a harsh, scraping industrial interjection and finally an
aerien wash weaving in and out. Yeah, a brilliant track that benefits
from repeated listens. Max is lucky. Garnier following his bluesy
instincts also gives rise to "Feel the Fire", another slow burner.
The "Crispy Bacon", the album's single (a pun of all the
cyber blah blah dance tracks doing the rounds), is a more upfront
hi-NRG piece. The difficulty of the exercise is to know when to
stop. Here's where you can participate at home. All you have to do
is the skillful DJ bit and fade into something else about three
minutes before the end of the song.
The one you don't even want to program in at all is "The
Hoe". "Yo man, 'zat yo woman over there dancin' with that brother? --
Yeah man, she ain't nothin' but a whore". Ha ha ha, but he thought
they said "hoe", see? Hence the title of the song. But I digress.
Apart from that it's an awful melody. Zap. Also on the subject of
Let's Really Piss Off The Listener is "La Minute Du Repondeur Le
Plus Casse-Couilles", which loosely translates to "My Answering
Machine Is A Pain In The Ass". Answering machines are passe. That,
and, "*?*", some kind of in-joke, (and it's not MS-DOS).
But that's about it as far as songs that don't work out.
"Mid Summer Night" is fine, coming across as a modern-day minimalist
Mike Oldfield. I'd almost swear one of the samples was lifted from
_Tubular Bells_. There is also "Theme From Larry's Dub": an African
groove, a flute solo, a dash of Henry Mancini's "The Elephants' Walk"
and even The Clash's "Junko Partner". In other words, it's pretty
berserk.
Magnificent in closing, Garnier finishes with the majestic
"Le Voyage de Simone". In listening to Tricky a while ago I remembered
that I had forgotten about Yazoo's _Upstairs at Eric's_. This track
also evokes that feeling. If my stylus wasn't dangerously worn I'd
think about digging that vinyl up and seeking out some of its
gloomier tracks. It's that good.
---
REVIEW: World Party, _Egyptology_ (Enclave)
- Al Muzer
Karl Wallinger artfully pillages and plunders the mid-'60s British
Invasion (in addition to a slew of other artists) for inspiration on the
15 amazing tracks that make up World Party's fourth release, _Egyptology_.
Working as a one-man-band, Wallinger incorporates a blast of Keith
Moonish drums on the tail end of the enthusiastically bubbling opening
track, "It Is Time"; calls on the Troggs and Small Faces for a bit of
help with the gorgeous "Beautiful Dream"; recalls the Beatles and
Electric Light Orchestra on the effervescent "Call Me Up"; summons the
ghost of the Walker Brothers, Neil Diamond, Love and Paul Revere on
"Vanity Fair"; 10CC in ballad mode for "She's The One"; the Beach Boys
for a quick harmony interlude called, appropriately enough, "Interlude";
the Fab Four in psychedelic overdrive for "Curse Of The Mummy's Tomb";
and Traffic jamming blissfully with John Lennon on a spiffy groove
known as "Hercules."
Continuing his finely-tuned aural assault with a Ten Years
After-type ballad awash in a moody opulence worthy of Barclay James
Harvest ("Love Is Best)," Wallinger hits a creative peak on a lonely,
closing-credits ballad called "Rolling Off A Log" that segues nicely
into a Traffic/Sly Stone/mid-Eastern Beck jam tagged "Strange Groove"
that mutates into a Todd Rundgren/Beatles ditty titled "The Whole Of
The Night" that, in turn, shifts into a funky bit of groove-fluff ("Piece
Of Mind") reminiscent of a Ben Folds Five/Stones studio workout.
"This World" and "Always" close out Wallinger's best work since
he saved "The Whole Of The Moon" for The Waterboys with a spaced-out bit
of dream pop and a dreamy bit of space-pop that finds you hitting the
replay/shuffle buttons while you feverishly begin searching stacks of
CDs for _Goodbye Jumbo_, _Private Revolution_ and _Bang!_
---
REVIEW: Dambuilders, _Against The Stars_ (East West)
- Bob Gajarsky
There are instances when a band, despite being on a 'major
label', record an album which embodies all the freedom and spirit
supposedly represented by independent labels. Possibly the best - and
definitely the most recent - example of this comes in the
Dambuilders 3rd release on the East-West (a subsidiary of Elektra)
label, _Against The Stars_.
On _Stars_, lead vocalist Dave Derby, working with drummer
Kevin March, guitarist Eric Massunaga and violinist/guitarist/keyboardist
Joan Wasser, have taken all the configurations of the musical beast
known as 'pop' music and thrown it into a huge blender and let the
resultant effort land where it may.
Want some early 70's pop? "Burn This Bridge" straddles the
line between falsetto pop (a la Raspberries) and the Replacements,
with some early nineties underground indie pop sprinkled in
for good measure.
Progressing later through the decades, "New Wave" playfully
steals part of its backing riff from Blondie's "Rapture", while
"Discopolis" takes the idea that U2 barely touched on with
"Discotheque" - making an alternative disco song - and brings it to
fruition, with an indie sensibility that the Irish foursome haven't
seen in 15 years. It's rap, guitars, and keyboards with a touch of
that glitter ball.
How about an 80s version of college pop? Check out "Might Want
Me Around", with its Westerberg-like vocals, one guitar playing like
mellower early R.E.M., - and Wasser's backing vocals just to shake
things up a bit more.
Finally, check out "I Was Wrong", which lands squarely between
grunge and 80s arena rock without ever losing its cool. The poignant
"You'll Never Know" also deftly avoids the trap of being a cliched,
lighters-in-the-air, slow track and instead is transposed into a
meaningful piece of music.
The Dambuilders blend distinct vocal arrangements with
musical riffs that we've nearly heard before in a brand new delivery.
Just when you're ready to pinpoint exactly what it is that makes
them different, the band turn just slightly off-center to dispel
any monickers which might get attached to them.
One of the most diverse releases of the year.
---
REVIEW: Regurgitator, _Tu-Plang_ (Reprise)
- Sean Eric McGill
When you listen to the amount of music that your average music
critic listens to in this day and age, the little things are no longer
shocking - take song titles, for instance. After two years of being
exposed to grindcore and seeing song titles from bands like Cannibal
Corpse and Carcass, not much surprised me - seeing song titles that
read like answers to a anatomy mid-term have that effect.
But, I must admit, I did a double take when I saw the first
track from _Tu-Plang_ by Regurgitator, "I Sucked A Lot of Cock To Get
Where I Am". And you can only imagine my surprise to hear the first
lyric from the album, which is exactly the same as the title. I was
intrigued, to say the least.
Unfortunately, this sense of intrigue was replaced by something
akin to dismay as I realized that musically and lyrically this song is
little more than a retread through the Weezer school of rock and roll
songwriting: simple chords, persuasive lyrics, and a catchy hook. I was
about to dismiss Regurgitator as being another band that sounded good the
first couple of times out of the gate, but then lost their appeal.
I'm glad I didn't. The remainder of Regurgitator, while drawing
from a variety of sources in terms of styles and other bands, covers
such a broad spectrum of musical styles that it left me incredibly
impressed.
Where songs like "Kong Foo Sing" and "Social Disaster" both
have the same sort of rock/rap hybrid sound that bands like 311 have
made us familiar with (just without the reggae influence), a song
like "Music Is Sport" takes the rock pretty much out of the equation -
this song is rap, plain and simple, and sounds like the best song
Disposable Heroes of Hiphoprisy never wrote. One of the best two tracks
on the album, "Music Is Sport" is exactly what the title suggests,
making an analogy that hasnt crossed my own mind ever - and I wrote
sports for years.
The second best track on the album, "Pop Porn" also features
the same type of lyrical delivery, and doesnt as much attack the music
industry as it does the attitudes of some individuals in the industry.
The first line, dripping with sarcasm, sums it up: "I'm a sexist
mutherfucker on the microphone/with my yo ho, suck my dick, ho" drone".
It's no secret that in many areas of popular music, the attitude
towards women is disrespectful at best, and outright disgusting in
many instances, and "Pop Porn" is a direct attack on that. The chorus
puts it perfectly: "No matter what your colour/no matter what your
sex/respect".
With a musical sound that mixes samples, simple instrumentals,
punk rock, and basically anything else you can think of, there's
something here for pretty much everyone. Of course, there's little
question that if Regurgitator go anywhere with _Tu-Plang_, then songs
like "Pop Porn" will be mistakenly interpreted as being sexist - I'm of
the opinion that it is not of course, but God only knows what people will
read into the first track.
---
NEWS: > Chris Butler's "The Devil Glitch" song, which clocks in at 69
minutes and contains more than 500 verses, has just been acknowledged by
the Guiness Book of World Records as the "World's Longest Pop Song".
> The High Llamas _Hawaii_, reviewed in the June 5, 1996
issue of Consumable, has finally seen the light of day in the States.
The release, on V2 Records, also includes six previously unreleased
tracks.
> Trio's 1982 underground hit, "Da Da Da", has received a new
life courtesy of a Volkswagen commercial. Because of this, a 14 track
"greatest hits" compilation has just been rush-released in the
United States.
> Former Jayhawks member Mark Olson, who left the nest last year, a
nd his wife, Victoria Williams, have recorded a new album and are
shopping for a label - "or we may put it out," Olson said. "It's gonna
be called 'The Original Harmony Rich Creek Dippers.'
Musically it's a lot like the 'Blue Earth' record," Olson said,
referring to the Jayhawks' first, independent release. "People that liked
the Jayhawks for that element will like this - it's kinda country." Olson
backed up Williams on bass, harmony vocals and percussion for a few
dates recently on the second stage of the Lilith Fair tour. Williams, who
has multiple sclerosis, said she still has good days and bad with the
disease, but she looked healthy during and after a spirited half-hour
set on July 20 in Canandaigua, N.Y.
---
TOUR DATES (Please confirm with site before travelling):
Backsliders
Aug. 1 Birmingham, AL The Nick
Aug. 2 Atlanta, GA Star Bar
Boston
Aug. 1 San Antonio, TX Alamodome
Aug. 2 Woodlands, TX Woodlands Pavillion
Aug. 3 Dallas, TX Starplex
Aug. 5 Phoenix, AZ Desert Sky
Aug. 6 Paso Robles, CA Mid State Fair
Aug. 8 Universal City, CA Universal Amp.
Aug. 9 Devore, CA Blockbuster Pavillion
Aug. 10 Las Vegas, NV Aladdin
Cravin' Melon
Aug. 8 Atlanta, GA The Cotton Club
Aug. 9 Florence, SC Shooter's
Furthur Festival (incl. Black Crowes and many more)
Aug. 2 Mountain View, CA Shoreline Amphitheatre
Aug. 3 Irvine, CA Irvine Meadows
Government Mule / Sweet Vine
Aug. 1 Asbury Park, NJ Stone Pony
Aug. 2 Boston, MA Mama Kin
Aug. 4 Northampton, MA Iron Horse
Aug. 5 New Haven, CT Toad's Place
Aug. 6 Portland, ME Stone Coast Brewery
Aug. 7 Burlington, VT Club Toast
Aug. 8 Burlington, VT Blues Cruise
Guttermouth
Aug. 1 Caringbah, AU Coyotes
Aug. 2 Sydney, AU Manning Bar
Aug. 3 Narrabeen, AU The Sands
Aug. 6 Melbourne, AU Punters Club
Aug. 7 Geelong, AU Barwon Club
Aug. 8-9 Melbourne, AU Lava Lounge
Aug. 10 Adelaide, AU Flinders University
Lollapalooza (Tool/Prodigy/Korn/many more)
Aug. 2 Dallas, TXStarplex
Aug. 6 Phoenix, AZ Desert Sky
Aug. 8 Salt Lake City, UT Wolf Mountain
Aug. 10 Denver, CO Fiddler's Green
Lunachicks
Aug. 2 Portland, ME Zootz
Aug. 10 Rochester, NY The Bug Jar
Megadeth
Aug. 1 Denver, CO Red Rocks
Aug. 3 Kansas City, KS Memorial Hall
Aug. 4 St. Louis, MO American Theater
Aug. 6 St. Paul, MN Wilkens Auditorium
Aug. 7 Milwaukee, WI Eagle's Ballroom
Aug. 8 Chicago, IL Aragon
Aug. 9 Columbus, OH Air Center
Aug. 10 Cleveland, OH Agora Parking Lot
Moxy Fruvous
Aug. 2 Decatur, IL Decatur Celebration
Aug. 4 Milwaukee, WI Shank Hall
Aug. 8 Northampton, MA Iron Horse
Aug. 9 Newport, RI Newport Folk Festival
Aug. 10 Toronto, ON Taste of the Danforth
Sinead O'Connor
Aug. 9 Seattle, WA Peri 62/63 Waterfront
Aug. 10 Portland, OR Champeog Park
Radiohead
Aug. 2 Seattle, WA Kitsap Bowl
Aug. 3 Portland, OR Timberbowl
Aug. 6 Minneapolis, MN First Avenue
Aug. 7 Chicago, IL Riviera
Aug. 8 St. Louis, MO Galaxy
Aug. 10 Atlanta, GA Masquerade
Sister Hazel / Cowboy Mouth
Aug. 1 Birmingham, AL 5 Points Music Hall
Aug. 2 Ft. Walton Beach, FL Ocaloosa Co. Fairgrounds
Aug. 3 Huntsville, AL Von Braun Center
Spiritualized
Aug. 6 Milwaukee, WI Rave Bar
Aug. 7 Minnesota, MN First Avenue
Aug. 8 Chicago, IL Double Door
Aug. 9 Detroit, MI St. Andrews Hall
Aug. 10 Toronto, ON Opera House
Supertramp
Aug. 2 St. Paul, MN St. Paul Civic Center
Aug. 3 Winnipeg, MN Winnipeg Arena
Aug. 5 Edmonton, AB Coliseum
Aug. 6 Calgary, AB Saddledome
Aug. 8 Vancouver, BC General Motors Palace
Aug. 9 Ellensburg, WA Gorge
The Vents
Aug. 1 Eugene, OR KNRQ Festival
Aug. 3 Portland, OR KNRK Festival
Aug. 9 Indianapolis, IN Deer Creek WRZX X Fest
Warped Tour Dates (Reel Big Fish, Mighty Mighty Bosstones, Social
Distortion, Sick Of It All, Less Than Jake, many more)
Aug. 1 Jacksonville, FL Jacksonville State Fair
Aug. 2 Miami, FL Pompano Grounds
Aug. 3 Orlando, FL Tsunami Complex
Aug. 4 Panama City, FL Club La Vela Complex
Aug. 5 Atlanta, GA Lakewood Fairgrounds
The Why Store
Aug. 9 Indianapolis, IN Deer Creek WRZX X Fest
World Party
Aug. 6 Detroit, MI St. Andrews Hall
Aug. 7 Cleveland, OH Odeon
Aug. 8 Chicago, IL Metro
Aug. 9 Minneapolis, MN First Avenue
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
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===