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==== ISSUE 91 ==== CONSUMABLE ======== [November 7, 1996]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Tim Kennedy, Reto
Koradi, David Landgren, Sean Eric McGill, Tim Mohr,
Jamie Roberts, Joe Silva, John Walker
Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron,
Paul Grzelak, Janet Herman, Eric Hsu, Tim Hulsizer,
Stephen Jackson, Daniel Kane, Stephen Lin,
Bob Mackin, Al Muzer, P. Nina Ramos, Linda
Scott, Ali Sinclair, Jon Steltenpohl, Courtney
Muir Wallner, Simon West
Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak,
Jason Williams
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 |
`------------'
REVIEW: Kula Shaker, _K_ - Simon West
REVIEW: Korn, _Life Is Peachy_ - Sean Eric McGill
REVIEW: Red House Painters, _Songs For A Blue Guitar_ - Lee Graham Bridges
REVIEW: Chainsuck, _Angelscore_ - Stephen Lin
REVIEW: Satchel, _The Family_ - P. Nina Ramos
REVIEW: The Urge, _Receiving The Gift Of Flavor_ - Jon Steltenpohl
REVIEW: Various Artists, _Street Dreams New York_ - David Pirmann
REVIEW: Various Artists, _Punk Lost & Found_ - Tim Hulsizer
REVIEW: Ugly Kid Joe, _Motel California_- Linda Scott
REVIEW: Bill White Acre, _Billy's Not Bitter_ - Jon Steltenpohl
SOUND BITE REVIEWS: Steve Wynn, _Melting In The Dark_
Plastic Mikey, _Cook Up Something New!_
Brian McMahon, _17 Volts_ - Al Muzer
REVIEW: Rasputina, _Thanks for the Ether_ - Courtney Muir Wallner
REVIEW: Low and Sweet Orchestra, _Goodbye To All That_ - Lee Graham Bridges
CONTEST WINNERS: Merril Bainbridge contest
NEWS: Beggars Banquet, Blind Melon, L.A. Love/Social Distortion,
Liquid Soul, Smashing Pumpkins, Sonicnet Chats, Stone Roses
TOUR DATES: Boozoo Chavis, Vic Chesnutt, Chimera, Phil Cody, Connells,
Cracker / Self, Cravin' Melon, Deftones, Fixx, Guy Forsyth, Grant
Lee Buffalo / 16 Horsepower / Slush, Gravity Kills / Chainsuck,
Boo Hewerdine / Darden Smith, Inti-Illimani, Parlor James, Jars
of Clay, Kula Shaker, Liquid Soul, London Suede, Tara MacLean,
Teddy Morgan, Doc Powell, Primitive Radio Gods, Pusherman, Sabri
Brothers, Screamin' Cheetah Wheelies, Skold, Stabbing Westward /
Ash / Drill, Stillsuit, Corey Stevens, Test Dept./Sheep on Drugs.,
Tool, Steve Wynn, Sophie Zelmani,
Back Issues of Consumable
---
REVIEW: Kula Shaker, _K_ (Columbia)
- Simon West
The latest Britpop sensation: jangly guitars, infectious
three-minute pop songs, shaggy haircuts. All vaguely familar. Wait
a moment...sitar solos and Sanskrit lyrics? Some mistake, surely?
No. The inevitable psychedelic end of the Britpop spectrum
is here. Kula Shaker, named after an eighth century Indian emperor,
are equal parts Stone Roses, 60s revivalists and spiritual enlightenment.
Half the potential audience is groaning softly by now, but
we'll press on. A song about Jerry Garcia, another that's a Sanskrit
mantra chanted over wah-wah guitars? Interviews featuring lead singer
Crispian Mills wittering on about the spiritual revolution, etc?
There go most of the rest of you. Here's the surprise. Kula
Shaker's debut album, _K_, is a cracker. Ignore (or embrace) the
heavy spiritual stuff and the fact that the band spews more symbolic
bollocks than The KLF could ever hope for - more 'K' references as
well - and you've got a strong candidate for British album of the year.
_K_ kicks off with "Hey Dude", an outright shoutalong rocker.
Mills' voice slides from Ian Brown whispers to straight-out
rock'n'roll swagger, and even manages to sound alarmingly like the
twitchy bloke from Stereo MCs in places. Hammond Organ and swathes
of guitars. Stop examining the cover (festooned with people whose
names start with K, and a great big K), and turn it up.
"Tattva", the current single, is a repeated Sanskrit chant
backed with the funkiest groove this side of "Fool's Gold", plentiful
sitar 'licks', and assisted with Mellotron-washed verses that aren't
a million miles shy of "Strawberry Fields Forever". A ten minute
club version would probably ensure world domination.
"Govinda", "Sleeping Jeva" and "Temple of Everlasting Light"
are even more Indian-influenced, and "Temple" extends the 60s
influence with some rather Simon and Garfunkel-like acoustic guitar
riffs.
"Smart Dogs" and "Into the Deep" are remeniscent in mood of
that first, world-beating Stone Roses album, infectious layered
grooves building slowly up to nice smart tight choruses, and
"Grateful When You're Dead" owns the guitar riff of the year.
There's still more. 13 tracks on the album, none of which are
filler, and my cd came with a bonus cd single containing two non-album
tracks and an unremarkable remix of "Tattva".
_K_ is an impressive debut, coming out of a British indie scene
that's confounded expectations by maintaining an extraordinary level
of quality for almost three years now. Kula Shaker might be just the
band that nomadic Dead fans are looking for. If they keep the quality
up, religions will likely form around this band.
---
REVIEW: Korn, _Life Is Peachy_ (Epic/Immortal)
- Sean Eric McGill
Few albums in recent memory have been as brutal as Korn's
1994 self-titled debut. Oh sure, many albums have come out with
some guy screaming about how evil the world is and how it has
done him so wrong, but rarely has an album full of so much
personal rage been released.
Now, two years later, Korn returns with _Life Is Peachy_.
And once again, the overriding theme of the album isn't the
injustices of the world, but deep-seeded personal anguish. The
omnipresent theme on the debut was one of innocence lost and a
childhood torn apart by abuse of all sorts, and that theme is
present here again on _Life Is Peachy_. "Kill You", about
vocalist Jonathan Davis' step-mother will remind listeners of
"Daddy" from the first album - only this time around, Davis
makes no illusions about his intentions.
But this time around, the theme may have run its course.
"Mr. Rogers" seems labored in its attempt to blame childhood
tragedy on everyone's favorite neighbor, and although "Kill
You" is one of the more brutal songs I've personally ever heard,
it doesn't pack the punch that "Daddy" or "Faget" did from the
first album.
Korn's best moments on _Life Is Peachy_ is when they
address other issues, such as drug use on "Swallow", or when they
lighten up on songs like "A.D.I.D.A.S." (an acronym for "All Day
I Dream About Sex", for those of you who didn't catch that in
junior high) and the incredibly vulgar "K@#o%!".
One of the many things that set Korn's debut apart from
other debuts was their raw sound, which hasn't been polished up
for _Life Is Peachy_. Davis' lyrics are still quite
incomprehensible at times, and the guitars of Brian Welch and
James Shaffer seem to be perpetually on the verge of incredible
amounts of feedback - but that's not a bad thing by a long shot.
Produced by Ross Robinson, _Life Is Peachy_ features those traits
and others (including the punctuating rhythm section of Fieldy
and David) that have defined the signature Korn sound.
With their first two albums, Korn have not only charted
a new direction for harder rock, but developed one of the most
fanatical fan followings in music (for proof, one need to look
no further than the numerous Korn-devoted pages on the World
Wide Web). Their music is speaking to a group of people who have
felt alienated and abused, but one can only hope that there are
other voices in Korn's repertoire - and that they find them
before they run the one they are using into the ground.
---
REVIEW: Red House Painters, _Songs For A Blue Guitar_ (Supreme/Island)
- Lee Graham Bridges
Mark Kozelek, better known as the only regular in Red
House Painters, makes his fifth journey into recording on _Songs For
a Blue Guitar_. While the RHP foundation (Kozelek's voice, clear as
glass, aiding the sensation of loss or hopelessness from even the
loudest melodies) remains mostly intact, the presentation has changed.
Songs were not rehearsed or polished in the recording and production
process. "I was tired of being so analytical about the recording
process, tired of endless pre-production and using tedious recording
techniques with the previous albums. Being so anal, I feel I may
have stifled the songs' natural energy," Kozelek remarked.
Particularly, _Songs For A Blue Guitar_ utilizes some harder
guitar sounds, as have earlier albums. Kozelek said the album "takes
a peek at how we're just beginning to get comfortable with the idea of
playing loud and the next record will probably have a lot more of it."
As a consequence of such experimentation and new musical direction, RHP
has severed with their previous label, 4AD. This should encourage
Kozelek's changing musical drive and resulting expression. "4AD in
many ways had specific artistic boundaries and we're now outside of
those boundaries," he explains.
Still, initial rumors that the album as a whole would be a
hard-rocking one are false. Typical album tracks such as "Have You
Forgotten" and "Priest Alley Song" are traditionally RHP, sans
percussion - simply Mark's vocals and acoustic guitar; they vary not in
instrumentation but in tone and color.
Other songs show RHP's growing experimentation with format.
"Make Like Paper" is strange in nature - its twelve-minute duration
allows a little playing around sloppily on the guitar before slowly
unifying and becoming solid. A good song, even if it takes its time
in becoming palatable. Later on the album, a cover of Yes' "Long
Distance Runaround" clones the music of "Make Like Paper" for a short
time, followed by an excellent, laid-back cover of The Cars' "All
Mixed Up". The Mazzy Star-esque "Song For A Blue Guitar", featuring
a lilting steel guitar and female backing vocals, hangs beautifully
in the foreground, begging for attention.
It will be interesting to see what the future holds for Kozelek
and company. Whatever it is depends on Kozelek's sense of tragedy that
penetrates Red House Painters' work.
---
REVIEW: Chainsuck, _Angelscore_ (Wax Trax!/TVT)
- Stephen Lin
Imagine a band being described as a combination of
Curve, Cocteau Twins, and (early) Nine Inch Nails; the
sliding, contoured bass and programmed drums of Curve, the
ethereal vocals of Cocteau Twins, and fuzzy guitar and the
electronic edge of _Pretty Hate Machine_-era Nine Inch
nails; that's Chainsuck in a nutshell. However, to
isolate Chainsuck solely within the characteristics of other
bands is entirely unfair. It is useful for descriptive
purposes, but damaging in terms of recognizing the full
potential of the band.
Chansuck does not have the ever-droning nature of
Curve, which isn't a bad thing; I love Curve. Chainsuck's
music is a bit more tangible than that of the Cocteau Twins'.
And, there is far less violent anger house within the sturcture
of a Chainsuck song as compared to Nine Inch Nails. So, is this
a winning formula?
Yes and no.
_Angelscore_ has beautifully textured music throughout
its ten tracks. However, none of the songs has a hook
capable of causing the listener to obsess over it, unlike
fellow Boston-based band, Letters to Cleo. There are
memorable bits here and there, but nothing seems to stick
as a radio-friendly single! While this may or may not diminish
their commercial success, the album is definitely a success
as a whole.
Frontwoman and mastermind Marydee Reynolds has paid her
dues and is deserving of all accolades bestowed upon her.
Several years ago, the voice instructor moved from New York
City to Boston to attend the Berklee School of Music. After
too many waitressing gigs, and short-lived engagements with
Diatribe and Take the Veil, she has finally solidified her
vision in Chainsuck. The original lineup (from four years
ago) was composed of Robert Trifiro on keyboards, Michael
J.F. Smith on drums, Doug Vargas and Lamar Lowder on the
production end.
"My Only Son" is currently receiving airplay on WFNX in
Boston. The response is encouraging. I also believe that
the first single, "Prozac," may get second looks; after all,
hindsight is 20-20 . While commercial success may escape this
band, listeners with a discerning ear may want to tune in to
check out this diversified and talented band.
---
REVIEW: Satchel, _The Family_ (Epic)
- P. Nina Ramos
Seattle has been privy to Satchel's wonderful sense of style
and grace for a long time. Now, it's time for everyone else to get
the chance. With _The Family_ , Satchel brings a collection of
charming and enthralling tunes to a national audience.
The entire CD plays more like a love letter to one who is
almost lost...but not quite. Songs like "Without Love" and "Breathe
Deep" only strengthen the feeling of romance that carries through
the entire piece. Anyone familiar enough with (vocalist and writer)
Sean Smith's style will attest to the traditional, yet unique manner
in which all his songs are composed. The production value helps
everything flow together in the way many contemporary collections
sorely lack.
The most heart catching tune is "Time 'O' Year". Starting
out with birds chirping and melting slowly to a smooth pounding of
piano. This one is a tearjerker.
_The Family_ is by far Satchel's strongest testament of
their talent; a collection of well thought out, charming and sweet
songs. Where most musicians are still looking for the sound that
will make their mark, Satchel has found it and run in directions
many thought extinct.
---
REVIEW: The Urge, _Receiving The Gift Of Flavor_ (Immortal/Epic)
- Jon Steltenpohl
Rarely does a St. Louis band make it big. The last two of note
(Pale Divine and Three Merry Widows) both broke up after getting signed.
Hopefully that won't happen to ska, funk, and hardcore newcomers The Urge.
Local fans of the band have dreaded the day when The Urge would be
discovered, and their killer small venue shows would be a thing of the
past. But, when a group like 311 befriends you and takes you touring
across the country, well, even a midwest band is bound to get noticed.
Not that The Urge wasn't working up to it. With the same lineup
for four years, the seven piece band is tight and has carved a
reputation providing an incredible live experience. Three excellent
independent CD's led up to producer Michael Vail Blum (Suicidal
Tendencies, Infectious Grooves, Low Pop Suicide) working with the
band and producing _Receiving The Gift Of Flavor_ for independent
release. The album sold 20,000 copies on its own before being snatched
up by Immortal/Epic records and re-released with an added track,
"Take Away".
Wailing guitar strikes the flavor alarm with the pulsing
"Brainless". The bass flies back and forth and the horns pipe up.
Immediately, the album reminds you of a cross between Mighty Mighty
Bosstones and Living Colour. There is the driving force behind the
music and Steve Ewing croons with a rock and roll attitude and an R&B
flair. Then there's the ska-core beat that gets your head bobbing and
your brain throbbing.
The Urge mixes up so many familiar styles to create its
particular sound that a single label would be misleading. There's
the R&B, ska, and rock influences juggled up with rap, funk, and punk.
Those who have seen The Urge live can rest assured that the album does
the band justice. It's a little bit punkier than previous albums, but
still keeps The Urge's edge.
Those who are new to The Urge will be surprised on first
listen. The band refuses to be tied down to a single style. The
aptly titled, "It's Gettin' Hectic", starts out ska, moves to a 311
style sound with rap over a hardcore groove, smoothes to a funk sound
with quiet horns, and builds right back up. All of this is the space
of less than 3 minutes. "Where Do We Go" reflects a serious side of
the band with an ode to Dr. Martin Luther King. Except for the
morose horns, "Where Do We Go" could pass easily for a Living Colour
song.
The main targets of most tracks are either people they're
pissed at or silly shit. "Drunk Asshole" and "Dirty Rat" are self
explanatory, and "Violent Opposition" takes a jab at bad cops. "Open
All Night" and "Damn That Shit is Good" are blithering tales of the
joys of convenience stores, and "Frying Pan" is a fast, kicking,
slamming jam with a funky horn/R&B groove about a mad girlfriend.
Like their live shows, The Urge focuses _Receiving The Gift
Of Flavor_ on two things: having a good time and tearing up the place.
They are ferocious and funky in all the right places. Although
newcomers to the national scene, The Urge has been doing its thing
since 1987 and the album shows it. This is a seasoned touring band
that is guaranteed to turn it out on stage, and _Receiving The Gift Of
Flavor_ does a good job of capturing the band at its best.
Check out .WAV and RealAudio samples at The Urge's web page at
http://www.crl.com/~urge or email the band at urge@crl.com.
---
REVIEW: Various Artists, _Street Dreams New York_ (Clay Dog)
- David Pirmann
Recently a number of albums featuring New York City subway
musicians have been released, including the slickly packaged studio
recording _Subplay_ and the acclaimed album by Patti Rothberg,
_Between the 1 and the 9_. The recent release _Street Dreams New York_
is notable as the first album actually recorded in the subway (the
others were were recorded in studios with obvious results). _Street
Dreams'_ raw sound is at the same time an advantage and a
disadvantage; some songs, like "The Saddest Day of My Life" by Asheba
and the One Vibe Band, has the background noise of crowds and subway
trains obscuring the music. However, the unproduced sound does justice
to Kathleen Mock's strong folk-rock vocals and acoustic guitar on her
songs "Touch Your Hair", "You Should Know" and "It Must Have Been an
Angel". Mock, probably the most important "find" on this album, also
appears on "Subplay" and hopefully will follow in the footsteps of
fellow underground artist Patti Rothberg by releasing a complete
solo album. But until she does, she remains a highlight of these
collection discs.
The songs are mostly original compositions, and as is probably
expected from an album of subway musicians, the collection is rather
eclectic. A number of tracks features the didjeridoo performances of
Simon 7 and Didjiworks; for those unfamiliar, a didjeridoo is an
Australian instrument that doesn't sound like anything else - and
what better place to find a didjeridoo master than in the New York
City subway? The blind folk-pop group Herman Ferman is represented
by two tracks, the unremarkable "Nothing" and the introspective
"End of the Line" (yes, the band's three members are all completely
blind). Rounding out the collection are songs influenced by blues,
jazz, rock, folk, and African tribal music, performed by brother
and sister Roger and Tan Ridley and Briton Paul Clements.
Overall, _Street Dreams_ provides a good look at the
underground music culture of the New York subway, and offers a few
real gems. In addition, part of the proceeds benefits the AIDS support
organization LifeBeat, making it a worthy effort all around.
---
REVIEW: Various Artists, _Punk Lost & Found_ (Shanachie)
- Tim Hulsizer
Although this disc was released several months ago the coolness
factor of the tunes more than makes up for any slowness on my part.
It's on Shanachie Records, which right away surprised me because they
generally do folk-related releases, but I popped this sucker in and was
swept away on a sea of punk bliss.
The basic concept of the album is rare tracks, most of which
were only available on vinyl, and some of which were never released
at all. That's not all: the second concept is that many of these
tracks are by bands that feature people who later went on to greater
success in other projects. There's a fantastic track called "Shakin'
All Over" by Generation X (Billy Idol's old band) and the rest is just
as cool. There's the 101'ers (featuring Joe Strummer of the Clash),
The Nips (featuring Shane MacGowan), Riff Raff (featuring Billy Bragg),
The Radiators From Space (featuring the Pogues' Phil Chevron), and more.
Other than the big-name factor, the songs themselves are
absolutely fantastic. Some of the best ones are by the bands that
contain no famous folks. "Where's Captain Kirk" by Spizzenergi is a
triumph of hooks and quirky lyrics, and it's coincidentally a track I
have been searching for on CD for years! Eater does a good cover of
Lou Reed's "Waiting for the Man", and the classic song "Smash it Up"
by The Damned is thrown on here for kicks (and kick it does). Another
track that struck me quite favorably was the impossibly-named tune,
"I'm in Love With the Girl On the Manchester Virgin Megastore Checkout
Desk" by The Freshies.
An excellent compilation (which has become something rare
these days of cashing in on trends), and it deserves to be heard.
_Punk Lost & Found_ makes a great addition to anyone's CD collection;
particularly to collectors seeking that rare punk track, but it can
easily be appreciated by the average music lover as well.
---
REVIEW: Ugly Kid Joe, _Motel California_ (Evilution Records)
- Linda Scott
If it seems like you just read a review on Ugly Kid Joe,
you're probably right. Their 1995 release, _Menace to Sobriety_, was
an above average release that seemed to go nowhere. Compared with
the previous multi-platinum releases of the _Ugly As They Wanna Be_
EP and the _America's Least Wanted_ LP, _Menace_ had some problems.
The big sellers were heavily assisted by the powerhouse singles
"Everything About You" and "Cat's In The Cradle" which peaked at #3
and #6 respectively on the Billboard singles chart. The short story
here is the third album didn't do as well, UKJ left Mercury Records,
and they began working in a garage studio on new music. Evilution
Records is their own label which basically gave the guys a free hand.
The result is _Motel California_.
Familiar name, right? UKJ likes those satirical twists. In
the early days, they opened for headliners Pretty Boy Floyd. The
permanent band name was born on that tour. Formed in California in
1989, the band has experienced some staff changes, but the major
players have always been Whitfield Crane (vocals), Klaus Eichstadt
(guitar), and Cordell Crockett (bass).
UKJ is now looking to re-establish themselves as a successful
90s rock band, and _Motel California_ has a lot riding on it. The
album is a mixture of heavy, raw, hard rock and rock with some lovely,
delicate ballads. The band leads off the album with its heaviest
tracks, and you might wonder if you've gotten the UKJ album in the
player. "It's A Lie" and "Dialogue" are in your face - rocking hard
with driving beats and raw lyrics. The remaining rockers are not as
driving and of more interest to the general rock fan. A highpoint
are the three ballads, "Would You Like To Be There", "Undertow", and
"12 Cents". Crane has a wonderful voice, and he and the band deliver
these perfectly.
Without the ballads, the album isn't a winner. Several songs
have the same arrangement of talking leading into a crash of rock
guitars. The strangest song on the album is "Message Saved" with
the band playing and an answering machine tape running. The tape is
so loud and distracting that the listener loses the music. Also,
Crane's voice just doesn't seem suited to the Motorhead type of music
at the beginning of the album. The lyrics don't seem to be anything
special on a number of songs. In fact, it seems that the whole album
could have used more time in creation and production. The band
produced _Motel California_, and some more experienced help could have
made a difference.
UKJ is a proven band, but on this album they seem to be
flailing around looking for the way back. All bands need to grow
and change, but some firm direction has to be set, and time has to
be spent getting the new concept ready to go to the fans.
---
REVIEW: Bill White Acre, _Billy's Not Bitter_ (Touchwood)
- Jon Steltenpohl
_Billy's Not Bitter_ is a great little independent release
that's reminiscent of The Lemonheads, Michael Penn, and Weezer.
Given the long list of awards, credits, and brushes with greatness
listed in his bio, it is truly a wonder that Mr. Bill isn't bitter.
From being picked Billboard's best song writer by Frank
Zappa in 1994, producing such bands as Spew and Chyanna Davis,
and fronting a band called Big Planet, Bill White Acre has been
on the verge of breaking on the scene for a few years now. White
Acre brings catchy pop with novel new arrangements to us on this
delicious little platter that's sure to catch the attention of the
major labels.
_Billy's Not Bitter_ does a lot of things right. First,
the tunes are familiar without being common. The music is
founded around the alterna-pop standard guitar, bass, and drums
line-up with an occasional detour to White Acre's unique
unplugged sound. (In 1994, _Guitar Player_ magazine praised
White Acre as one of "those rare young players blessed with both
precocious chops and bold stylistic vision.") _Billy's Not
Bitter" is steadfastly minimalistic without sacrificing layer
upon layer of sonic twists and turns. White Acre produced the
album himself, and his previous experience as a producer lends a
balance and perspective to the whole album.
White Acre's lyrics tell tales of befuddled love and range
from quirky to philosophical. "All 4 Love" paints the portrait
of a mother who prostitutes herself while her son plays in the
room next door. "All 4 Love" could be a nice little cliche on
moral decay, but White Acre takes the routine a step further to
the mother's suicide and the son taking up the family business for
his sister.
"Counting" is probably the best bet for a single off
_Billy's Not Bitter_, but don't hold your breath given White
Acre's history of obscurity in the face critical acclaim.
Instead, help keep Billy from being bitter. Take the bull by the
horns and write to oralsect@aol.com for the lyrics and more info.
---
SOUND BITES
REVIEW: Steve Wynn, _Melting In The Dark_ (Zero Hour)
- Al Muzer
Featuring Thalia Zedek and Chris Brokaw from Come, former
Dream Syndicate/Gutterball guy Steve Wynn rips through some of the
coolest 'billy-rooted crunch-rock since Sam The Sham and the
Pharaohs influenced Robyn Hitchcock to emulate John Lennon on acid
way back when.
The unbridled joy with which Wynn cranks out what are,
without doubt the best tunes of his career, captures and holds your
attention throughout what is unarguably one of the best discs
released this year.
REVIEW: Plastic Mikey, _Cook Up Something New!_
- Al Muzer
Featuring an amazingly sharp sense of pop song craft and
wistful, Tony (Edison Lighthouse) Burrows-caliber vocals bounced
off cool, Samba-fied jazzed beats, a Violent Femmes sense of musical
and lyrical playfulness, and minor lounge, funk, soul, new age and
Charlie Brown piano flourishes - these guys sound sort'a like a hip
version of Gerry Rafferty done up as Ben Folds Five for the '90s.
For more information, contact Brian Hutzell, 2512 W. Leland, Ste. #1,
Chicago. IL 60625 or via e-mail at aladdin@suba.com
REVIEW: Brian McMahon, _17 Volts_ (Crab Pot)
- Al Muzer
Former Electric Eels founding member Brian McMahon has
mellowed considerably over the ensuing years since that obscure,
in-yer-face, pre-punk musical barrage's 1972 debut.
Now a song-driven minimalist with a innocent sense of whimsy
and a wide-eyed, endearing quality about him, McMahon putters his
way casually through 17 extremely lo-fi, thoroughly winning, garage
rock influenced, keyboard-fueled, Lou Reed-circa-Velvet Underground
tunes as done by a supremely buzzed Wreckless Eric/Alex Chilton
disciple. For more information, contact Crab Pot Records, 1535 N. Western
Ave., Chicago, IL 60622
---
REVIEW: Rasputina, _Thanks for the Ether_ (Sony)
- Courtney Muir Wallner
Melora, Julia, and Agnieszka are Rasputina, an all cello band
who are fascinated with nineteenth century romanticism and the use of
fantasy as a means of expression. Their music is a combination of
dark, heavy melodies which swoon upward and downward in a direct
contrast to Melora's tiny soprano vocals. Melora, who hails from
Kansas and played with Nirvana on the last leg of their final European
tour, is Rasputina's primary songwriter. Julia is from Canada,
Agnieszka from Poland and each share a love of Victorian history.
Melora placed an ad looking to form an all cello band and
discovered upon meeting Julia and Agnieszka that they all attended
the same nanny school in Manhattan. Soon after they formed Rasputina,
A Ladies Cello Society was born, which is the enactment of their
music and love of history into their daily lives. Whether they
actually extol the true values of the domestic sphere of nineteenth
century women is debatable, rather they appear to incorporate the
parts that appeal, such as the hoop skirt, corsets, and long skirts
and mix it with twentieth century ideals- giving themselves the
freedom to choose how to lead their own lives. They can choose to
perform with their skirts hiked up around their thighs while
barefoot, and wearing their long hair down and twisted into
dreadlocks, and feel empowered rather than scorned. And by
choosing to mesh the best of both worlds, it looks as if Rasputina
has created an atmosphere where they can feel at home. That is the
joy of being able to examine history with hindsight; one can take
what one likes and leave the rest.
Rasputina's debut _Thanks for the Ether_ is a medley of
warbling vocals and music that is as complex as it as simple - simple
in the sense that the music is unpretentious and is pure in it's
intention. The music is driven solely by three cellos and
accompanying vocals. The complexity is found in the spectrum of
emotions inveighed into each song, such as in "Transylvanian
Concubine", which chronicles the historical story of the Vampire.
As in "Mr. E. Leon Rauis", after stumbling upon an old photograph of
a young gentleman, they took their own images of fantasy and
decided what may, or may not, have become of him during his lifetime.
The expression of human emotion and the telling of exotic
fantasies was what made nineteenth century art so appealing. And
the idea of female empowerment was the reality of a few select
women who were strong enough to take it, and the fantasy of everyone
else. Rasputina, with all the fanfare their foresisters would have
appreciated, takes these dreams and makes them their reality.
---
REVIEW: The Low and Sweet Orchestra, _Goodbye To All That_ (Interscope)
- Lee Graham Bridges
With their debut album, the members of The Low and Sweet
Orchestra say _Goodbye To All That_- goodbye to punk, goodbye to
standard rock instrumentation, but also goodbye to making a lasting
impression on the smart record shopper.
Most of the band's (you didn't think it was really an
orchestra, did you?) members have punk roots. Guitar and banjo player
Zander Schloss was a member of The Circle Jerks. Schloss and lead
vocalist Mike Martt were both members of Thelonius Monster. Accordion
player James Fearnley had previously torn things up with Irish punkers
The Pogues, thus adding to the atmosphere of Irish, American country
and western, and other European influence.
Those who buy this album may be excited upon hearing such an
interesting mix of aural flavors, then realize that the musical
structure still leaves something to be desired in terms of intricacy
and originality. On a more basic level, the songs were not likely
made from an effort at artistic expression but a need to ensure the
final product would have a user-friendly appeal.
However, it is the lyrics, not the music, that is the greatest
inherent problem with this album. The songs deal with heartache, lost
love, and hardship much the way Warrant or Poison dealt with sexuality:
senselessly, not attempting to motivate the listener to feel
vicariously what is being conveyed musically to some extent. Without
realism. Bands getting their start in the industry could be told a
million times that lyrics need to be either creative, completely
unintelligible (but adding to harmony), or nonexistant to make an
impact on an experienced, discerning listener, but many bands would
still write songs like these. For all their lyrical and musical
enthusiasm, the Low & Sweet take themselves too seriously, to a
melodramatic effect. Martt's vocal texture initially reminds the
listener of Bruce Springsteen and/or John Popper, but even the lyrics
themselves pander to a too-simple aesthetic similar to pop songs of a
very by-gone era.
"The most punk thing you can do is expose your emotions, your
sadness and joy. The edge lies not in the volume but the emotion,"
remarked Schloss. Very well said - but the Low & Sweet's one-sided
songwriting, while user-friendly as mentioned before, doesn't achieve
the unique edge they aspire to.
---
CONTEST WINNERS: The winners for copies of Merril Bainbridge's Top 10
single, "Mouth" (on Universal Records), are: Christian Saboro, Adrian
Buckley, Dov Wisebrod, P Kalapa and Arabella Clauson. Congratulations
to all winners, and thanks for everyone who entered.
---
NEWS: > Beggars Banquet, the label which has at one time
or another had artists such as The Cult, Charlatans, Bauhaus,
Go-Betweens, Love and Rockets and Gary Numan on their label, has
established a Web Site which not only includes the general news
and reviews on the label's releases, but also an area where
people can post their "Records Wanted" (as a free forum) of
any Beggars artist that is no longer available. The site is
located at http://www.beggars.com
> The release of Blind Melon's forthcoming documentary
home video, _Letters From A Porcupine_ will be celebrated with a
free, all-ages screening of the video at Wetlands in New York City
at 8 pm on Wednesday, November 13. The video will be released on
November 19.
> L.A. Live is broadcasting the Social Distortion concert from the
Hollywood Palladium on November 15 at their Web site, http://www.lalive.com
> Liquid Soul, the ten piece acid jazz group from Chicago,
recently reissued their self-titled debut on Miles Copeland's newly
formed Ark 21 Records. _Liquid Soul_, originally released on the
band's own Soul What Records, was reviewed in Issue #81 (July 11) of
Consumable Online, and can be located on our website at
http://www.westnet.com/consumable/1996/07.11/revliqui
> A new unofficial Smashing Pumpkins web site has opened up
online - interested surfers can find it at
http://www.ping.be/~ping1977/page/index.htm
> Sonicnet chats coming up include They Might Be Giants on
Nov. 7 (7 pm EST) and Blind Melon on Nov. 8 (7 pm EST); all chats
are located at http://www.sonicnet.com/sonicore/chat/
> The Stone Roses have officially broken up, former lead
singer Ian Brown announced. Former bassist Mani has recently hooked
up with Primal Scream.
---
TOUR DATES
Boozoo Chavis
Nov. 9 Abbeyville, LA St. Teressa's Hall
Nov. 17 Opelousas, LA Trail Ride
Vic Chesnutt
Nov. 11 Charleston, SC Music Farm
Nov. 12 Chapel Hill, NC Local 506
Nov. 14 Hoboken, NJ Maxwell's
Nov. 15 Brooklyn, NY St. Ann's
Nov. 17 Wilmington, DE Rehobothe Beach
Chimera
Nov. 12 Ewing, NJ Trenton State University (with Jeffrey Gaines)
Phil Cody
Nov. 7 Toledo, OH Underground
Nov. 8 Pittsburgh, PA Civic Arena
Nov. 10 Cleveland, OH Grog Shop
Nov. 12 Milwaukee, WI Rave Bar
Nov. 13 Minneapolis, MN 7th Street Entry
Nov. 15 St. Louis, MO Side Door
Nov. 16 Lawrence, KS Bottleneck
Connells
Nov. 12 Scottsdale, AZ Rockin' Horse
Nov. 13 West Hollywood, CA House Of Blues
Nov. 14 San Diego, CA Brick by Brick
Nov. 15 San Juan, CA Coach House
Nov. 16 San Francisco,CA Slim's
Cracker / Self
Nov. 13 Newark, DE Stone Balloon
Nov. 16 Troy, NY Rensselear Polytech. Inst.
Cravin' Melon
Nov. 7 Danville, VA Sir Richards
Nov. 8 Richmond, VA Alley Cats
Nov. 9 Washington, DC The Bayou
Nov. 11 New York, NY Mercury Lounge
Nov. 12 Boston, MA Bill's Bar
Nov. 13 Philadelphia, PA North Star Bar
Nov. 14 Lancaster, PA Chameleon
Deftones
Nov. 7 Long Beach, CA Tower Rec./KROQ-FM show
Nov. 9 Denver, CO Ogden Theatre
Nov. 10 Albuquerque, NM The Zone/KZRR-FM show
Nov. 12 Austin, TX Liberty Lunch
Nov. 13 San Antonio, TX White Rabbit
Nov. 14 Houston, TX The Abyss
Nov. 15 Dallas, TX The Galaxy
Nov. 16 New Orleans, LA Tipitinas
Nov. 17 Atlanta, GA The Point
Fixx
Nov. 14 Morgan, NJ Club Bene
Guy Forsyth
Nov. 14 Waco, TX Burgers & Blues
Nov. 15 Houston, TX Satellite Club
Nov. 17 Austin, TX Antone's
Grant Lee Buffalo / 16 Horsepower / Slush
Nov. 10 Salt Lake City, UT DV8
Nov. 12 Seattle, WA Showbox
Nov. 13 Portland, OR La Luna
Nov. 16 West Hollywood, CA Troubadour
Gravity Kills / Chainsuck
Nov. 12 Kalamazoo, MI Warehouse
Nov. 13 Indianapolis, IN Egyptian Room
Nov. 14 Milwaukee, WI Mojeska
Nov. 16 Minneapolis, MN 1st Avenue
Boo Hewerdine / Darden Smith
Nov. 7 Seattle, WA Tractor Tavern
Nov. 9 Eugene, OR John Henry's
Nov. 10 Portland, OR Alladin Theatre
Nov. 12 Davis, CA Palms Playhouse
Nov. 13 San Francisco, CA Hotel Utah
Nov. 14 Monterey, CA Morgan's
Nov. 15 Santa Monica, CA McCabes
Nov. 16 San Juan Capistrano, CA The Coach House
Nov. 17 Solana Beach, CA Belly Up
Inti-Illimani
Nov. 14 Davis, CA University of California-Davis
Nov. 16 Stanford, CA Lively Arts
Parlor James
Nov. 13 San Francisco, CA Bottom Of The Hill
Nov. 14 Santa Monica, CA Ash Grove
Jars of Clay
Nov. 8 St. Petersburg, FL Mahaffey Theater
Nov. 9 Jacksonville, FL Velocity
Nov. 10 New Orleans, LA House of Blues
Nov. 15 Santa Barbara, CA UCSB Event Center
Nov. 16 Irvine, CA Bren Events Center
Kula Shaker
Nov. 12 Boston, MA Paradise
Nov. 14 Toronto, ONT Opera House
Nov. 15 Pontiac, MI 7th House
Nov. 16 Chicago, IL Double Door
Liquid Soul
Nov. 14 San Diego, CA Hurrican
Nov. 15 Los Angeles, CA Luna Park
Nov. 16 San Francisco, CA Elbo Rom
London Suede
Nov. 12 Grenoble, Fra Summum w/Boo Radleys
Nov. 14 Paris Bataclan w/Boo Radleys
Nov. 15 Le Mans, Fra Salle D'allones w/Boo Radleys
Nov. 16 Bordeaux Krakatoa w/Boo Radleys
Tara MacLean
Nov. 11 Toronto, ON C'est What
Nov. 15 Ottawa, ON Zaphod's
Nov. 17 North Bay, ON Wylders
Teddy Morgan
Nov. 7 San Marcos, TX Cafe on the Square
Nov. 14 Wichita, KS Panama Reds
Nov. 15 Lawrence, KS Jazzhaus
Nov. 17 Kansas City, MO Grand Emporium
Doc Powell
Nov. 16 Phoenix, AZ Desert Sky Pavilion
Primitive Radio Gods
Nov. 12 State College, PA Crowbar
Nov. 13 Pittsburgh, PA Grafitti
Nov. 14 Indianapolis, IN The Patio
Nov. 15 Columbia, MO Blue Note
Nov. 16 St. Louis, MO Galaxy
Pusherman
Nov. 12 Toronto, ON Horseshoe
Nov. 13 Detroit, MI Shelter
Sabri Brothers
Nov. 11 Ashland, OR Southern Oregon State College
Nov. 12 Bloomington, IN Lotus World Music Festival
Nov. 13 Chicago, IL Gateway
Nov. 14 Toronto, ON Roy Thompson Hall
Nov. 15-16 Minneapolis, MN Cedar Cultural Center
Screamin' Cheetah Wheelies
Nov. 7 Tuscaloosa, AL Old Train Station
Nov. 8 Macon, GA Elizabeth Reed Music Hall
Nov. 9 Winston-Salem, NC Ziggy's
Nov. 10 Chattanooga, TN The Bay
Nov. 12 Atlanta, GA Smith's Old Bar
Nov. 13 Birmingham, AL The Nik
Nov. 14 Columbia, SC Elbow Room
Nov. 15 Charleston, SC Music Farm
Skold
Nov. 7 Dayton, OH Sanctuary
Nov. 8 Grand Rapids, MI Intersection
Nov. 10 Cincinnati, OH Topcat's
Nov. 11 Nashville, TN Ace of Clubs
Nov. 13 Denver, CO Snake Pit
Stabbing Westward / Ash / Drill
Nov. 12 Minneapolis, MN First Avenue
Nov. 14 Columbus, OH Newport Music Hall
Nov. 15 Cleveland, OH Odeon
Nov. 16 Detroit, MI St. Andrews Hall
Stillsuit
Nov. 8 Purchase, NY SUNY Purchase
Nov. 9 Fitchburg, MA 490 Club
Corey Stevens
Nov. 7 Burlington, VT Club Toast
Nov. 8 Utica, NY Captain Trips Rain Forest
Nov. 10 Ft. Myers, FL WRXK Festival
Nov. 12 Columbus, OH Newport Music Hall
Nov. 13 Dayton, OH McGuffy's
Nov. 14 Ft. Wayne, IN Pierre's
Nov. 15 Sommers Point, NJ Brownies
Nov. 16 Cleveland, OH Wilbert's Bar & Grille
Nov. 17 Toledo, OH Steven Jay's
Test Dept./Sheep on Drugs.
Nov. 10 Tampa, FL The Empire
Nov. 13 Boston, MA Mama Kin
Nov. 14 Phillidelphia, PA Middle East
Nov. 15 New York, NY WestBeth Theater
Nov. 16 Washington, DC Capitol Ballroom
Nov. 17 Albany, NY QE2
Tool
Nov. 11 Kansas City, MO Memorial Hall
Nov. 12 St. Louis, MO American Theatre
Nov. 14 Chicago, IL Aragon Ballroom
Nov. 15 Columbus, OH Newport Music Hall
Nov. 16 Cincinnati, OH The Garage
Steve Wynn
Nov. 14 New York, NY Mercury Lounge
Nov. 15 Hoboken, NJ Maxwell's
Sophie Zelmani
Nov. 11 Boston, MA Kendall Cafe
Nov. 12 New York, NY Arlene's Grocery
Nov. 13 Philadelphia, PA Tin Angel
Nov. 15 Chicago, IL Urbis Orbis
Nov. 17 Minneapolis, MN Bryant Lake Bowl
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
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===