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== ISSUE 173 ==== CONSUMABLE ONLINE ======== [April 5, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Tim Mohr, Al Muzer, Joe Silva
Correspondents: Christina Apeles, Niles J. Baranowski, Tracey
Bleile, Jason Cahill, Patrick Carmosino,
John Davidson, Andrew Duncan, Krisjanis Gale,
Paul Hanson, Chris Hill, Eric Hsu, Tim Hulsizer,
Franklin Johnson, Steve Kandell, Reto Koradi,
Robin Lapid, Linda Scott, Scott Slonaker,
Kerwin So, Chelsea Spear, Simon Speichert, Jon
Steltenpohl, Michael Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
INTERVIEW: XTC's Andy Partridge - Joe Silva
REVIEW: Underworld, _Beaucoup Fish_ - Simon West
REVIEW: Eminem, _The Slim Shady LP_ - Joe Silva
REVIEW: Frank Black and the Catholics, _Pistolero_ - Andrew Duncan
REVIEW: Soundtrack, _The Mod Squad_ - Tim Hulsizer
REVIEW: Jim O'Rourke, _Eureka_ - Kerwin So
REVIEW: Mocean Worker, _Mixed Emotional Features_ - Patrick Carmosino
REVIEW: Beulah, _When Your Heartstrings Break_ - Scott Slonaker
REVIEW: The Pretty Things, _Rage Before Beauty_ - Bill Holmes
REVIEW: David Sylvian, _Dead Bees On A Cake_ - Joe Silva
REVIEW: The Dictators, _New York, New York_ - Bill Holmes
REVIEW: Frank Bango, _Fugitive Girls_ - Scott Slonaker
REVIEW: Grinspoon, _Guide To Better Living_ - Linda Scott
REVIEW: Ester, _Default State_ - Joann D. Ball
REVIEW: Cat Power, _Moon Pix_ - Chelsea Spear
REVIEW: Soundtrack, _Office Space_ - Jason Cahill
REVIEW: Pan sonic, _A_ - Simon Speichert
NEWS: Songwriting Contest
TOUR DATES: Aerosmith / Afghan Whigs, Asian Dub Foundation, Candlebox,
Cubanismo Spring Tour, Ani DiFranco, Eve 6 / Lit, Gardener,
Godsmack / Loudmouth, Gomez / Mojave 3, Miles Hunt, Jets to
Brazil / Euphone, Kent / Papa Vegas, Low, Mercury Rev, Mighty
Blue Kings, Steve Miller Band, Alanis Morissette, Olivia Tremor
Control, Placebo / Stabbing Westward, Residents, Sleepyhead,
Elliott Smith, Sparklehorse / Varnaline, Sally Taylor, David Wilcox,
Back Issues of Consumable
---
INTERVIEW: XTC's Andy Partridge
- Joe Silva
After years of legal internment, the band XTC, or what remains
of them, have finally resuscitated themselves. With the release of their
first LP in nearly seven years (_Apple Venus Vol. I_), Andy Partridge
and Colin Moulding once again prove themselves to be one of the finer
pop organisms known to the planet. Witness the uncomplicated joyance
of "I'd Like That," the blissfully cyclical architecture of "River of
Orchids," or the endearing melody and sincere narrative of "Frivolous
Tonight." Released as the orchestral/acoustic half of a two record
project, the record is a lush and comely addition to their already
brilliant catalogue.
Having somewhat acrimoniously shed guitarist Dave Gregory after
nearly twenty years in the lineup, Partridge and Moulding are now keen to
get on with their musical lives after finally being released from the
grips of Virgin Records. A second, more electric volume may be out
before the millennium expires, and longtime fans are now sure to be
regularly fed with fresh and archival material (witness last year's
_Transistor Blast_ collection of BBC recordings).
But for Partridge, who's even more vehemently against trotting
himself out before loving audiences for performance-sake, the only
concession he's currently prepared to make to the grind of touring was
a recent multi-continental publicity jaunt. He (and occasionally
Moulding) made several thousand admirers all giggly with delight by
turning up for in-stores to sign autographs and pose for quick photos.
While temporarily installed in a San Francisco hotel, we took a few more
ounces of interview flesh from Partridge and attempted to focus on the
what concerns him most: the songs.
Consumable Online: Considering the amount of signing you've done,
are you now being forced to use some sort of prosthetic device to hold up
the phone?
Andy Partridge: Ha ha! No, I can sign the night away, but it's
the wrong sort of exercise I'm afraid.
C.O.: Have you got your fill or adulation at this point?
A.P.: I must admit, I don't really need adulation. I'm not an
adulation junkie. I know some people are in the music business. I can
do without it.
C.O.: It must be a bit overwhelming after not being around for
a while.
A.P.: It's nice, but it's not my drug of choice. I can do
without it. I wouldn't mind if I was never interviewed, photographed or
filmed again. That wouldn't worry me.
C.O.: How was the (Coast To Coast With) Space Ghost appearance?
A.P.: Very bizarre. They stick you against a black screen
there, and just have a schmoe in a chequed shirt sat on a stool
opposite you asking you non-questions and you just have to react.
They'll ask you things like "Do you mind if we drill a hole in your
head?" or "Can we have the use of your mother's remains?" and you just
have to react this. And then what they do is take it away and over the
course of three months they animate the show and script in questions
that suit your responses. It's a kind of reverse interview. You just
have to react like a cretin being poked. In those sorts of situations,
I tend to click into a junior Robin Williams.
C.O.: I'm curious to why you finally went with the peacock
feather on the sleeve? (Partridge's rabid superstition had long put
him off of the idea of using the image for the album cover image)
A.P.: Yeah, I really didn't want to use it, but my girlfriend
said "Oh, don't be so stupid." I'm intensely superstitious and then
Colin said "It's bad luck isn't it I've heard, we better not have
that," so the pair of us were kind of psyched up not to use it. But
then I started to research it and found that in as many cultures it's
considered good luck. So I guess it cancels out to mean no luck at all
really. I sort of steadied my superstitious mind and put some of the
ballast back on the other side. So I figured 'What the Hey?' I like
the imagery in it, which I think looks like the songs. The center of
the feather looks like a visual representation of a lot of the music.
C.O.: Which brings us to the songs and the composition. When
you started "River of Orchids," did you originally intend on doing
something cyclical or did you just accidentally wind up piecing various
melody lines together?
A.P.: No, I just started noodling. I sat down with a keyboard
and a sequencer and some of my favorite sounds and very soon just
built up something. I left it running around and around, and thought
'Oh my God, this is really compulsive!' as opposed to repulsive. I
usually pull the plug on 99% of those kind of doodle experiments, but
with this I couldn't stop bouncing to it. I took my shift off and shoes
and socks and leapt around my little home studio for a couple of hours
on end thinking 'My God, I've stumbled onto something really
fascinating." And in a mad scrabble, I looked into my lyrics book
and found a phrase that I hadn't used before but really liked which
was "I heard the dandelions roar in Piccadilly Circus," which I thought
was a nice mess of contradictions. It seemed to fit the contradictory
(nature) of the music. And I used that as the lynchpin and the song
fell out very quickly. And the orchestra got the intro in two takes
and I was really shocked.
C.O.: I guess that's what you get when you hire professionals
at thousands of pounds an hour.
A.P.: Yeah, one day cost us 12,000 pounds ($20,000 American).
C.O.: It's very infectious though. My four-year old ran around
singing it the other day if that's imaginable.
A.P.: I can imagine that, because what you would call the
chorus, I think sounds like a nursery rhyme. And I think nursery rhymes
are extremely powerful.
C.O.: As far as the lyric goes, you've written about ecology
before. Do you have a need to re-assert that?
A.P.: I suppose it's one of my themes. Not having enough money
is one. Birth, death, and cycling 'round. Birth coming from death.
Betrayal is another recurring theme. Dave Gregory seemed to step right
into those shoes I had warming for him. Mostly betrayal by women.
C.O.: Speaking of themes, if we assume that "The Last Balloon"
isn't a song for Richard Branson, what does it imply for you?
A.P.: Ha ha! I never considered it! Since he's the man that
can't keep his balloon in the air, it doesn't really want to make you
go out and buy a Virgin brand contraceptives, does it?
C.O.: Why did you decided to use the balloon for the vehicle
of that lyric?
A.P.: I think of the balloon as being a civilized form of
travel. Bicycles are kind of civilized, trains are civilized, and
balloons are especially because of the speed of them. It's like
traveling by fading. It's almost like a place under siege. People
could leave Paris by balloon when it was besieged. I like that
metaphor of leaving this bad place containing a lot of things you
need to get away from. And the balloon is the elegant way of fading
from that. And also the idea of in order to make the balloon go higher,
you have to drop some of its contents. And urging the children to drop
adults, drop all their learning and the badness that adults brings
along. They probably won't but it's sort of like hope springs eternal.
C.O.: Not to poke fun at your age or anything, but did they
have the oxygen canister nearby when you attempted that last note?
A.P.: Ha! There are several bits of me that don't work well,
but my lungs are great. I had great fun doing that. I had to tell the
flugle horn player what I was hoping to do: 'When I point to you, you
fade yourself in on this note. And when I do the vocal, I'll sing
that note and turn into your flugle horn.'
C.O.: Did you do all the vocals at Colin's house?
A.P.: Yeah, the only ones that weren't recorded at Colin's
house are "Knights in Shining Karma," which we did in the little
recording stable of (producer) Haydn Bendall, and also Colin's songs.
C.O.: I read that you guys are setting up shop permanently
at Colin's.
A.P.: Yeah, in his double garage. I said to him "Look, we
need a permanent studio, and you don't need this garage since it's
full of junk, so why don't we take it over?" So we've had it
physically converted to make a studio, but we haven't equipped it yet.
C.O.: You mentioned "Karma," which seems to have the most
dense lyric of the bunch. Where does the lyric stem from for you? It
seems to be about protectionism.
A.P.: Yeah, protecting myself. Cracking up over the divorce,
catching myself dying cups at the sync and bursting into tears.
Feeling like I was totally disposed of, I figured I wanted to write
a song that would guard me and remind myself that I'm an okay person
and that being an okay person is sort of a reward in itself. I try
and be a good person and it kind of works like that. It does sort of
protect you. It was written for me. Not to cheer me up, but to sort
of console me in a way. I think it sounds like a male version of
Judee Sill. She made two albums for one of the WEA groups in the
early seventies and they are fantastic. They've never been put onto
CD. They're worth hunting out.
C.O.: How happy are you with Colin's songwriting at the moment?
A.P.: I just wish he'd write some more, but I can't blame
him for only writing a couple. A lot of reviewers have pointed out
that it's hardly a democracy that Andy has nine songs and Colin has
two, but if it had been a democracy, it would have ended up a
four-track EP. Colin only wrote a couple of songs. I think the time
in the fridge was very bad for him. It seemed like the worse things
got for me, the more songs came out. But with him, the more he was sat
on, the more he got depressed and closed down. The first song he wrote
in that situation was called "Boarded Up," which is actually going on
the next volume. But that's his state of mind. I feel for him. I like
"Frivolous Tonight" a lot, and I wouldn't have done "Fruit Nut" the
way it came out had it been my song. But I realize that it's his song
and his vision and I'm willing to go along with that. But "Frivolous
Tonight" I'm rather jealous of. I think it's a wonderful song.
C.O.: It seems his voice has changed somehow and gotten deeper.
A.P.: Well he sang them very quietly. He wasn't blasting out.
They're very personal sounding. I rank that in his top five. "Bungalow"
is possibly my favorite of his songs. I wish I'd written that. It's
lovely. It's got a great scenario to it. I liked "Day In and Day Out,"
though I know that sounds bizarre. I thought that captured the
mundanity of factory life. I don't play our albums at all, but every
time I play _Nonesuch, I start it from "My Bird Performs."
C.O.: Have you guys gotten the green light to go back and
begin Vol. II?
A.P.: I'd like to restart it personally. I think we rushed
it and just banged down things. Now that we're getting our own
facility, we be able to not rush. I think we'll work with another
drummer, because I think we rushed Prairie and didn't get the best
out of him. I would really like to do it justice.
---
REVIEW: Underworld, _Beaucoup Fish_ (JBO/V2)
- Simon West
After The Chemical Brothers and The Prodigy, the third of the
holy trinity of what some people still insist on clumping together as
"electronica" is Underworld. They don't use easily recognizable funk
samples or sport a shouting, pierced nutter, but they are responsible
for one of the songs of the decade. "Born Slippy.nuxx" was everywhere
in 1996, from the film "Trainspotting" to the top of Single of the
Year lists everywhere, a pulsing beast on the dance floor and a
chanted anthem ("lager lager lager lager") after closing time on
Friday nights across the planet. How do you follow that up?
Effortlessly, apparently. Underworld's third album, _Beaucoup
Fish_, is easily their best yet, blending dance floor beats and
singer/guitarist Karl Hyde's stream-of-conscious lyrics across a
diverse mix of styles and moods while moving still further away from
traditional rock-based structures.
The tempo varies from the straight-forward dance floor crash
of "Shudder/King Of Snake" and raving intensity of "Moaner" to the
ambient beats of "Winjer." "Bruce Lee" is something brand new - a
heavily hip-hop influenced rhythmic groove that should pack them in
on the floor. The typically elegant "Skym" is a mournful, piano-backed
ballad which drops the vocoder in favor of a reflective, untreated
vocal from Hyde (and drops the beat entirely).
First single "Push Upstairs," is a concise, structured affair
with a funky house piano and an actual chorus that should actually
get a chance of radio play in the States. It reappears nearer the end
of the album in the dubby, ambient shape of "Push Downstairs."
"Moaner," first featured on the _Batman and Robin Soundtrack_,
is a pulsing monster. A vibrating, almost industrial bass line rumbles
behind frenetic synth loops and break beats for three minutes, before
cutting back to the bass and the sound of one man ranting: Hyde as
narrator, lounge singer, lunatic. Utterly out of control, completely
frantic, as the instrumentation rises again until the abrupt false
ending, and the old-school John Carpenter movie fade.
A superb album, in short. Underworld makes thoroughly original,
intelligent and atmospheric electronic music. If they lose any points
at all it's for not sticking with the brilliant original album title:
_Tonight, Matthew, I Am Going To Be Underworld_. The first absolutely
essential electronic/dance release of 1999.
---
REVIEW: Eminem, _The Slim Shady LP_ (Aftermath/Interscope)
- Joe Silva
What can a white-boy from East Detroit operating behind a
cartoonish facade do about making rap music fun again? A lot if he's
assisted by Dr. Dre and a few consecutive weeks of high MTV rotation.
Built upon a set of goofy storylines and a few catchy tracks, what
da Comic and da Chronic have wrought here is a small triumph full
of attitude and rap acumen.
As freestylin' as he wants to be, and as good-humored as
the Digital Underground used to be, Marshall Mathers a.k.a. Eminem
makes a semi-pop occasion out of his second LP. The uncensored
version of the hit "My Name Is" tells most of the tale: Long
ostracized and bullied for his lack of color, he ran a tough
minimum-wage race to be heard by his urban peers. Now he can poke
fun at Mr. N.W.A. himself as he tells tales of his rise to notoriety.
And if nothing else on the LP turns out to be as catchy as
the single, the accounts of his surviving junior high ("Brain Damage"),
taking his daughter along for her mother's final ride in the trunk
("'97 Bonnie & Clyde") and accidentally helping an alterna-chick O.D.
on mushrooms are enough to keep your interest afloat for the duration.
He ridicules the gangsta-by-numbers posture of the kids who insist on
adapting their life to the records they spin ("Role Model"), but
simultaneously takes the piss out of the parental advisory by
recording one of his own.
With twenty tracks of four letter reprisal for those who've
long dissed his efforts, this rapper isn't worried now about who or
how he offends. Because for the moment, Eminem or Slim Shady or
Marshall Mathers may be laughing the loudest. He's currently en route
to a city near you.
---
REVIEW: Frank Black and the Catholics, _Pistolero_ (spinART)
- Andrew Duncan
"We don't know what we're talking about, that's just words in
our libretto," sings Frank Black, beginning his newest effort
_Pistolero_ with such a demonstrative non-statement. For the suburban
veteran of the '80s college-rock movement, Black is back and he still
has the tools to successfully vent some angst through imaginative
phrasing, a guitar and his vocal chords.
_Pistolero_ is Black's second try as Frank Black and the
Catholics. Originally slated to be a multi-faceted release with
numerous instruments composed and arranged into this extravagant
concept, Black immediately ditched the idea and recorded the album
live on to two-tracks with no overdubs in the matter of 10 days, the
complete opposite from his 1996 release _The Cult Of Ray_. With help
from Nick Vincent - Black's drummer on his first self-titled solo
album - to help oversee the project, _Pistolero_ can be considered
either a fresh change or a proper relapse.
"Bad Harmony" harks back to familiar terrain for the former
Pixies' vocalist with basic rock-chords built under estranged time
signatures. With the stripped-down recording process, Black's vocals
can not hide under glossy recording processes leaving a throaty venture
as he slides through each word. Black is an old pro at lyrical
dissertation, and concentrates more on his vocal pitch and range.
"Western Star" is more freeform experimentation than his normal
shout-it-out approach, even though there is plenty of that still
going on. "I Love Your Brain" reminisces the raw energy Iggy Pop made
on "I Want To Be Your Dog," while "So. Bay" replicates "Los Angeles,"
from Black's solo debut, beginning with soft acoustic guitars only to
pack an electric punch 20 seconds later.
Overall, it's all about rock and roll, and the same elements
that were once used at a time when the technology was not as complex
are the things that make _Pistolero_ a great listen over and over again.
---
REVIEW: Soundtrack, _The Mod Squad_ (Elektra)
- Tim Hulsizer
Points docked right off the bat for introducing me to the phrase
"alt-funk." Points are also deducted by the East German judge for
engineering a clothing line tie-in with Levi's. However, ignoring those
two transgressions, let's take a look at the motion picture soundtrack
landscape and review this disc on its own terms.
I'm sure by now we're all familiar with the modern film
soundtrack. Generally half of the songs aren't even in the film
(they're somehow "inspired by" the movie) and they rarely serve as
anything more than a sampler for a record label's latest band line-up.
_The Mod Squad_, though somewhat guilty of the latter (all
but four acts are on Elektra), is better than most albums of this
kind. First and foremost, every song on here is actually in the
film itself. Also, the producers have managed to dish up some
rump-shaking songs while avoiding a soundtrack full of chaff.
The indomitable Busta Rhymes kicks things off in his own unique
way with "Party is Goin' On Over Here." Everlast is next with his
catchy little song "Ends," a twangy guitar ode to the evils of
money. Interestingly enough, he samples a Wu-Tang Clan song which
had already sampled Isaac Hayes' classic "C.R.E.A.M." (there's
some kind of irony there but I can't put my finger on it). Alana
Davis drags things to a grinding halt with her predictably bland
soul/pop number "Can't Find My Way Home," but Curtis Mayfield
and Lauryn Hill duet wonderfully on "Here But I'm Gone." Leave
it to the man behind the _Superfly_ soundtrack to deliver the
goods on a 1970's TV show-to-movie remake like The Mod Squad.
Next up on this lively compilation is The Crash Test Dummies'
new single "Keep A Lid On Things." It's a catchy tune utilizing some
quirky falsetto and strings while retaining its hip-swaying
danceability. The disc manages to sabotage itself with the next song,
the ridiculous rap/metal "Goin' Crazy" by SX10. Why is it so many of
these aggressive rap acts end up sounding like a parody of the genre?
Ah, and then there's Bjork. Her new single "Alarm Call" all but erases
the memory of the previous track. Weaving in her usual overdubs and
vocal acrobatics, this song has a number of great hooks, begging you
to hit the "repeat" button at least once.
The next one, "Hello It's Me" by Gerald Levert, is
by-the-numbers R&B, so you'll either love it or hate it depending on
your musical leanings. My hat's off to Ivan Matias though. His song
"Messin' Around" is a lot of fun, intertwining a human beatbox, a lot
of modern R&B vocals, and a piano hook reminiscent of Mungo Jerry's
old '70s tune "In the Summertime." It's followed up by a good new
recording from the Breeders, a '70s funk gem by Chocolate Milk, a
fine Morphine spoken word piece called "You're An Artist," and a
jazz instrumental rendition of "My Favorite Things" performed by
Skerik and the Keefus Trio.
All in all, this is an enjoyable soundtrack. There are a few
eyebrow-raising points here, what with the "first mainstream clothing
line specifically inspired by a film" and all, but better that than a
bunch of songs that have little or no connection to the film in
question. The music keeps up a funky beat throughout, evoking some
nice pseudo '70s imagery, and it's a good disc to drive around to.
No offense though -- I'm going to pass on the bellbottoms.
---
REVIEW: Jim O'Rourke, _Eureka_ (Drag City)
- Kerwin So
The words "modern day music renaissance man" roll awkwardly off
the tongue, but they will be uttered anyway. It would be nearly
impossible to discuss one Jim O'Rourke-- a fixture of the flourishing
and incestuous Chicago music colony-- without mentioning the vast range
of past and present work he has done in the musical spectrum, from
production and composing gigs to remixing projects and a glut of
releases, both as a band member and under his own name. O'Rourke was
one-half of recently deceased avant-rock favorite Gastr del Sol, as
well as a past member of post-psychedelic" pioneers the Red Krayola.
He has remixed and/or worked with a slew of near- household names,
including Stereolab, Smog, John Fahey, Tortoise, and High Llamas. And
he has created countless recordings of musique concrete and similarly
obscure experimental music that most of us will probably never hear.
Okay, fine, we got that out of the way. So the guy is an
accomplished and, in some circles, even a revered musician. That
doesn't necessarily mean that the creative work he produces himself
actually bears artistic fruit or is, to use the slightly condescending
term, "accessible." The good news is that even with the introduction
of vocals (not an O'Rourke staple), _Eureka_ does not grate the ear of
your average listener. Far from it. Sure, O'Rourke's voice sounds like
what you'd think a music geek with horn-rimmed glasses would sound
like -- somewhat high and nasal -- but it rarely gets in the way, even
when he sings the same refrain over and over 30-some-odd times, as in
the album's dork-folk epic opener "Women of the World." Although the
overall feel of this record could (very) loosely be described as
lounge pop (particularly with the blaring bossa cover of Burt
Bacharach's "Something Big" spiking the album mid-way through),
such a conclusion might cause one to miss the more affecting spaces
where O'Rourke lets the music speak solely for itself.
This is not an album to be divided up into singles. Only by
listening to it in its entirety can you catch the lush, melancholy
keyboard arrangements scattered throughout, which, when leavened
with french horns, saxophones and clarinets, sound almost goofy at
times, yet still moving. O'Rourke makes his point over eight songs
and moves on: the final track "Happy Holidays" ends decisively with
the line "I only came to leave," reminding us once again that O'Rourke
will constantly be moving on to the next musical project. He may be a
part of the "musical elite," but _Eureka_ is still something that
most of us can grab hold of.
---
REVIEW: Mocean Worker, _Mixed Emotional Features_ (Palm Pictures)
- Patrick Carmosino
_Mixed Emotional Features_ certainly is a mixed affair of
jazz and techno-influenced electronica. The brainchild of jazz A&R
maven/musician Adam Dorn, the album can only be the product of someone
whose influences and musician credits cover such extremes as Everything
But The Girl, Wally Badarou, Marcus Miller, Chaka Khan and Patrick
Brunel. Such varied tastes often lead to way-too-varied sounding
albums, but Dorn's sensibilities and sequencing give _Mixed Emotional
Features_ the flow of a nice modern jazz record. It certainly prevails
upon a great thing both electronica and jazz projects share: that
moods, not tunes, are the thing.
Although _Mixed Emotional Features_ is generally a pleasant
listening experience, the great jazz and electronica analysts (geeks)
may not be too taken with Dorn's lack of commitment to any one form.
_Mixed Emotional Features_ shows him to be a dabbler to the nth
degree, a veritable George Plimpton for the electronica set. The
dark, trancey beats of the opener "Rene M." find him perhaps a bit
too much on the Ben Watt "dark mellow" tip and leads one to think
they are heading into familiar territory. I'm not sure much is there
in that track to dispel that theory. More prominent as a suspect is
the drum 'n' bass/jungle mix he employs on such tracks as "Detonator,"
"Jello Dart," "Mycroft," "Wonderland," "Times Of Danger" and "Boba
Fett." Its formulaic style doesn't reach for the cutting edge heights
and new be-bop agenda that makes characters such as Squarepusher,
Cujo (Amon Tobin) and Plug so unique. However, these tunes, often
given a unique pop sheen with spy chiller horn eruptions, pull
themselves off nicely and accomplish the film-less soundtrack bit
very well.
Highlights include the Mission Impossible-cum-salsaesque piano
on "Jello Dart." Also a must to check out is the tense ploddings of
the swing tribute "Counts, Dukes & Strays" (not too allusionary a
title, is it?). Marrying the vibe of classic Basie and Ellington
rousers with a melancholy Hal Willner-inspired clarinet line raises
this above any stereotypical nostalgic bow and creates a nice, unique
mix. Dorn's use of tense, rock steady trip-hop on "Heaven @ 12:07" is
also a nice touch to the record's palate.
In a genre where certain records are getting over-hyped into
uber existence, _Mixed Emotional Features_ is a nice sleeper record.
It will most likely be heard in hip stores, lounges and bistros and
then unfortunately forgotten. Its importance, however, lies as a nice
notch on the musical growth chart of one Adam Dorn.
---
REVIEW: Beulah, _When Your Heartstrings Break_ (Sugar Free)
- Scott Slonaker
Beulah's claim to fame so far is that they were the first
"outside" act to release an album on the Elephant 6 label, home of
everyone's (or at least the music press') favorite long-monikered
experimental retro-pop bands. While Beulah does seem to share some
sonic common ground with the collective, most notably the Apples in
Stereo, this reviewer is rather ill-prepared to debate the merits
of Beulah's current release with the label's crop of artists.
That out of the way, _When Your Heartstrings Break_ is very
high-quality indie-pop, exhibiting most of the advantages and
disadvantages that go with the designation. In other words, you
get a short album of slightly deadpan, assymmetrical, occasionally
brilliant, sometimes-soundalike hummables with song titles
seemingly assigned at random. This is the quintet's second album,
and first not recorded on a four-track, as was 1997's _Handsome
Western States_. From the sound of it, the band was mighty excited
to use real recording equipment, so they dressed everything up with
no less than eighteen additional guest musicians and a dozen other
instruments (everything from violin to accordion). The problem
is that it feels like they're using all of their tricks, all at
once, on every song, which negates some of the variety. The relative
lack of choruses and overabundance of hooks makes one wish these
boys had some outside production help. Vocals, from frontman and
songwriter Miles Kurosky, are solid if standard and McCartney-ish.
Still, the album's veritable cornucopia of sound results in
some marvelous tracks. The first three tracks, "Score From Augusta"
"Sunday Under Glass", and "Matter Vs. Space", all possess guitar,
bass, drums, keyboards, assorted horns, flute, strings, and
additional percussion- and are still boppy, under-three-minute
wonders. "Emma Blowgun's Last Stand" stretches out into somewhat
of a keyboard dreamscape, before pulling its second half into an
actual song. And the baroque flutter of "Calm Go the Wild Seas"
is endearing.
So, if you wish the mid-nineties Guided By Voices hadn't
spammed quite so much, or that Pavement would be more fun if
it only tossed in a few _Pet Sounds_ frills, or that all these
psychedelic-pop experimentalist collectives would stop noodling
endlessly and get to the goddamn point, _Where Your Heartstrings
Break_ is likely to be your cup of latte. Despite the album's
soundalike nature, the sheer volume of hooks is sure to impress.
Hopefully, Beulah will be around for years to come.
---
REVIEW: The Pretty Things, _Rage Before Beauty_ (Snapper)
- Bill Holmes
And if you think that's a great title, consider that the
original was _Fuck Oasis and Fuck You!_. Yessirree, these geezers
haven't lost one iota of vinegar over thirty five years, and now
there's a recorded document to prove it. Snapper Music has recently
released the classic older titles by The Pretty Things along with
this collection of material recorded during the mid and late nineties.
The original band is as intact as it possibly can be in 1999, and
that gives a whole new meaning to the phrase "boys to men" now,
doesn't it?
For those unfamiliar with the band, they were contemporaries
of The Rolling Stones (guitarist Dick Taylor was an original Stone),
but their behavior and attitude made the Stones look like decent
lads. When your drummer is widely considered the inspiration for
Keith Moon's loutish lifestyle, well...that's saying a mouthful. It's
also pretty widely accepted that their _S.F.Sorrow_ was the first
rock opera, although _Tommy_ certainly got the accolades and the
airplay. They were the first signing to Led Zeppelin's flagship
label Swan Song, but snafus let Bad Company get theirs out first.
Whatever - it seems that The Pretty Things were snakebitten from the
start, so why not channel that aggression into your life as well as
your music? And so they did.
_Rage Before Beauty_ is a telegram from a shipload of
survivors, serving notice that although they're old, they're not in
the way. Shit, Phil May's voice has a rasp that only pain could
season. On "Love Keeps Hanging On", May's autobiographical tale of
a relationship that's been battered over time, his heart almost
bleeds through the speaker cloth. What starts like "Wild Horses"
soon increases intensity and by the finish is a full blown Pink
Floyd anthem, with David Gilmour providing the type of emotional
guitar solo he has built a career upon. Listen to the intensity of
"Not Givin' In", which dares to drape garage punk with acoustic
guitars (!), and it's hard to believe that this is a band of men in
their fifties. Ditto the opening cut "Passion Of Love", very uptempo
(for the Pretties) and a challenge to bands half their age.
Guitarists Dick Taylor and Frank Holland simply shine throughout
the record, but perhaps these two are great examples of less being
more. "Everlasting Flame" recalls "19th Nervous Breakdown"; Skip
Alan's drumming and the keyboard's duel with the guitar leaving May
no choice but to use the same cadence. And speaking of Bo Diddley,
the tribute to their loon of a drummer, "Vivian Prince", is another
winner.
Making the record was reportedly as easy as passing a stone,
though, and in spots it shows. Songs like "Blue Turns To Red" and
"Going Downhill" (their single from 1989) sound like unfinished ideas
when compared to some of the others already mentioned. And although
they were probably a gas to record, three covers ("Eve Of Destruction",
"Mony Mony" and "Play With Fire") are a large percentage to have when
you've had so much time on your hands. "Fire" does have an
interestingly seamy arrangement, and "Mony Mony" does feature Ronnie
Spector, but they would have been better saved for live shows or
buried as bonus cuts. I'd rather have seen the band add more rave ups
or even songs like the frail, acoustic "Fly Away" instead, but I say
that just to amuse myself. I know that the band would just tell me to
"piss off" if I really suggested it to them.
Had the band not issued _Rage Before Beauty_ at all, their
legacy would have still been assured. They just wanted you to know
that they're not going out quietly, and they just might kick a few
more asses before they do. By all means grab their earlier works,
especially _S.F. Sorrow_ and _Silk Torpedo_, and then savor the
great moments captured here, which far outweigh the ordinary ones.
There will hopefully be a better website very soon, but some good
information can be had by visiting
http://www.mindspring.com/~us000091/pretties1.htm for now.
---
REVIEW: David Sylvian, _Dead Bees On A Cake_ (Virgin)
- Joe Silva
From pancake faced faux-Glam boy to futurist Asia-phile to
sensitive balladeer, David Sylvian's shape-shifting has brought him
loads of criticism and only limited commercial success. With his first
solo effort since '87's _Secret Of The Beehive_, the ex-Japan frontman
returns to familiar terrain -- graceful synth-scapes laced with
flowery, semi-spiritual verse sung in his distinctive baritone.
Brought in to help shape his efforts are familiar friends
(Ryuichi Sakamoto, Bill Frisell), newer associates (Talvin Singh, Marc
Ribot) and family (wife/singer Ingrid Chavez). When these capable
elements work, as they do on songs like "Midnight Sun," Sylvian
contrives enough of a memorable groove and melody to plant his Euro-Pop
flag in. When it doesn't work, we are left with tracks that are
handsomely produced and competently pieced together, largely wanting
in everything else ("Krishna Blue").
Devotees might be able to abide by this stuff, but outside
of being successfully able to evoke a glossy sort of arty-ness,
Sylvain's lesser material almost begs to jeered at. Lyrically he
probably could get no worse ("There's a place for every story/And this
one starts with us tonight/Let me take you down/To Caf Europa"), but
when the musical backdrops become equally tiresome, there's little
hope of salvaging much from these tunes.
For those of us who've been able to look past Sylvian's
penchant towards overly-stylized profundity when the melodies have
been there, this record is often disappointing for all its aural
luster.
---
REVIEW: The Dictators, _New York, New York_ (ROIR)
- Bill Holmes
ROIR (Reachout International Records) was founded by former
club owner and talent agent Neil Cooper in 1979 to provide a home
for the bands that were dominating the New York scene at the time.
His roster was incredible - Television, the New York Dolls, Bad
Brains, Suicide and The Fleshtones among them. Amazingly, the label
was cassette-only releases in an era still dominated by vinyl (the
Sony Walkman had not yet debuted, but its arrival soon afterwards
saved the label). Perhaps even more amazingly, this man with his
finger on the pulse of the imminent musical explosion was 49 years
old at the time.
Now 68, Cooper and his label have been digitally transferring
titles to CD for the past four years, and one of the newest re-releases
might be the one that put ROIR on the map in the first place. _Fuck
Em If They Can't Take A Joke_ was ROIR's third release, a sonic
atomic bomb from a five-headed street monster that was the perfect
bridge between the urban glam of the New York Dolls and the punk edge
of the Ramones. The Dictators kicked ass and took names, a dynamic
blend of white heat and solid songwriting. They were loud and
obnoxious, but if you looked closely you could see that tongue
planted firmly in cheek. Not too closely, though...former roadie
turned lead vocalist "Handsome Dick" Manitoba prowled the stage like
a rabid rhino, keeping time with Richie Teeter's thunder drums. Ross
"The Boss" Funicello played blistering lead guitar while Scott "Top
Ten" Kempner held the fort on rhythm and Andy/Adny Shernoff handled
bass. A Dictators show was a party and a war zone at the same time,
and this night was no exception.
The show was recorded live to two track in 1981 and contains
many of the classic songs - "Two Tub Man", "Next Big Thing", "Loyola"
and "Rock And Roll Made A Man Out Of Me" among them. The band smokes,
but Funicello was especially hot - his solo on "Science Gone Too Far"
is a classic that players seventeen years later have a hard time
matching. Naturally, there's a version of the set staple - Iggy's
"Search And Destroy" (with a hilarious introduction by Manitoba) as
well as covers of Mott and Lou Reed ("What Goes On"). Shernoff is a
solid songwriter who leans toward the melodic, and "Weekend" offers
a great example of a pop song turned inside out. _New York New York_
expands the original track list by adding three bonus cuts from a
show at the Ritz. The soundboard recordings of "Master Race Rock",
"Baby Let's Twist" and "Faster And Louder" catch the band on another
solid night and were mastered by Shernoff last year for inclusion
here. Ironically, as the recording date is listed as "the early
80's", these could have been from a show after the band's official
demise.
The Dictators went their separate ways - Funicello to the
heavy metal Man O War, Kempner to the late, great Del-Lords, Manitoba
to his Wild Kingdom, but through it all they remained Dictators at
heart. Always New York legends, recent years have seen them become
gods in Spain (where even a tribute record was released) and add to
their legend with new singles on Norton. This year, the band has
finally acquired the rights to their final album _Bloodbrothers_ and
have released it on their own, later this year the classic _Manifest
Destiny_ may join it. But the best news of all is that there will be
a new release in the Fall of 1999, so we can all ride their
coattails into the New Millennium the way it should be - faster
and louder.
In the meantime, whether you have worn out your original
ROIR cassette (as I did) or you never had the pleasure in the first
place, you are in for a real treat with _New York New York_. For
although Blondie and The Talking Heads made more money, and The
Ramones had more imitators, and Television got more credit for
being important, let's set the record straight. Nobody, but nobody,
embodied New York rock better than The Dictators
( http://www.roir-usa.com ).
---
REVIEW: Frank Bango, _Fugitive Girls_ (Not Lame)
- Scott Slonaker
In some alternate universe, if Elvis Costello had a kid brother
who wasn't very political and preferred languid acoustics to taut
electricity, his name could have been Frank Bango. Another high-quality
pop-oriented release from Not Lame Records, one of the finest small
independent labels in these United States, _Fugitive Girls_ is somewhat
of a concept album about a romance between the singer and some unnamed
girl.
The first song, "Candy Bar Killer," marries a layered mid-tempo
melody to Bango's lilting, slightly nasal vocals. The first couple of
listens might see it pass by without comment, but once it strikes like
the killer referred to in the lyrics, watch out! It turns out to be the
most memorable track. There are a handful of uptempo tunes, such as the
Beach Boys bounce of "Ape" and the British Invasion bop of "Instamatic,"
but much of _Fugitive Girls_ opts for a quieter pace, heavy on
introspection in tracks like "Blue Sweater" and "Building a Better
Plaything." While the Costello vibe is strong throughout, "There Was
A Sweetness" sounds like a downright outtake from _Painted From Memory_.
A particularly interesting thing about _Fugitive Girls_ is that
Bango does not write most of his own lyrics. His partner Richy Vesecky
handles that job, and does a good job avoiding the typical
hey-girl-yeah-yeah-yeah retro-pop lyrical cliches. In fact, Vesecky's
work may be what truly makes the album stand out from a host of
comparably agreeable (but not memorable) indie-pop releases. The
interesting lyrical portraits help temper Bango's more grating vocal
nasalities and keep him from being in the forefront all the time.
If you bought Elvis Costello's collaboration with Burt
Bacharach, but, like me, couldn't get past the non-pop/rock
arrangements and wished for a little more _Spike_ after a few spins,
_Fugitive Girls_ might be the tonic you're looking for. Bango's
compositional ability and Vesecky's lyrics go quite well together,
and this album puts them on display.
---
REVIEW: Grinspoon, _Guide To Better Living_ (Universal)
- Linda Scott
Grinspoon has been around their native Australia since 1995,
and they are making their presence known in the U.S. with some radio
airplay, short tours, and their new album, _Guide To Better Living_.
They're a punk/grunge rock band with some metal and pop accents,
targeted to the under-age moshers who love those songs about getting
drunk and living the life you want to live. The driving bass line,
short songs with metal transitions appeal; and _Guide To Better
Living_ is loaded with them. In fact nearly every song on the album
is just like that; the album could be a hit with this niche audience.
This Aussie quartet is Phil Jamieson (vocals), Joe Hansen
(bass), Pat Davern (guitar), and Kristian Hopes (drums). Heavy riffs
and straining vocals are their mainstay. These were strong enough to
blow away the competition in their country's Unearthed contest. With
guaranteed airplay, the band picked up more gigs, recorded two EPs,
and then made _Guide To Better Living_. The debut album shows off
their thumping bass and guitar-heavy tracks and Jamieson's hoarse
vocals. Their irreverent lyrics are in the great punk tradition, but
the band is into lyrics that are lighthearted rather than the
revolutionary Sex Pistols' lines.
Grinspoon has some diversity on _Guide To Better Living_. A
few tracks, such as "Repeat", "Don't Go Away", and "Rail Rider", show
their pop side. These are more mellow, less aggressive; and they show
that the band can do more than hardcore punk. However, these songs
have not been as successful for them, so the moshers won't be seeing
a pop Grinspoon anytime soon. A last note here, is that some of the
riffs sound familiar, and the band readily admits to the influences of
other bands, such as White Zombie.
If you like punk music that's got a funk/rock/metal edge, pick up
_Guide To Better Living_. Their web site is: http://www.grinspoon.com.au .
The band may not hold a great appeal for everyone, but for young, white
partying punk males, this may be just the ticket.
---
REVIEW: Ester, _Default State_ (Thirsty Ear)
- Joann D. Ball
The pronouncement that rock is dead has more to do with the
decadent state of rock radio than the lack of good rock bands making
music. The Los Angeles-based quartet Ester is one of those fresh new
bands that proves that spirit of rock and roll is very much alive.
One need only to play Ester's debut record _Default State_ for proof.
Under the direction of lead vocalist, guitarist and
songwriter Paul Garvey, Ester takes the rock and roll high road.
Ester's draws upon jazz improvisation, the intensity of the blues,
and the fullness of acoustic folk for a progressive approach to
rock. Ester avoids the trappings of bombastic heaviness and grandiose
productions in favor of evenly balanced guitars, bass and drums /
percussion (and the occasional saxophone). These instruments are
skillfully interwoven, and provide ample room for the gentle
huskiness of Garvey's vocals. The result is a whole, organic sound
ideally suited for Garvey's intelligent lyrics. To his credit,
Garvey manages to explore the world of emotions, ideas and perceptions
in a way that is not rendered incomprehensible by abstraction or
arcane references.
While Ester can be considered a "thinking" band, volume is
not central to Ester's sonic vibe. But like the best albums by
groups like Rush and Queensryche, _Default State_ is a full volume
of work with different but connected many parts. The record starts
with the aggressive, high energy track "Heading Through." "Mongoose,"
on the other hand, is a refined, slow-tempo track, precisely the type
of song that Alice and Chains and bands of that ilk wish they could
deliver. On the instrumentals "Mexicali," "Broken String" and
"Intro," Ester displays the range of musical format influences, and
are exactly the types of pieces that could infuse some life and
spirit into the monotonous format known as smooth jazz. But the
epic "Sun Tune" is by far the most adventurous cut on _Default
State_. The jazz-rock fusion parts of the song bring to mind Sting's
early solo work with Santana accents, while the middle section
suggests a volume-compressed Metallica.
Ester has a musical versatility that is all too rare among
contemporary rock bands. It is a foundation that makes _Default
State_ a notable record with excellent form and quality material.
And that's exactly what has always been critical to the life and
livelihood of rock music.
---
REVIEW: Cat Power, _Moon Pix_ (Matador)
- Chelsea Spear
To hear Chan Marshall tell it, the latest album by her one-woman
band Cat Power came out of the very natural fear of nightmares. After
having a particularly disturbing dream, Marshall picked up the guitar and
put all her faith in music and God to carry her through the tumultuous
night. A cursory listen to _Moon Pix_, the new Cat Power album, would
support this inspiration. These spare, haunting songs are dappled with
light here and there, but carry the mysterious texture of such a scary
nocturnal journey. The urgent, driving rhythm of Marshall's strumming,
and her raw voice, particularly on tunes such as "Cross Bones Style" and
"Colors and the Kids" underscore this theme of fear, faith, and redemption.
Musically, _Moon Pix_ marks a step forward for Marshall and Cat
Power. Previously, she released two low-fi albums on various Lower East
Side indie labels with songs that showed some promise, though much of the
album was mired in whinging, one-key songs that went nowhere. Clearly
Marshall had promise, but still needed to develop her craft and figure out
what she wanted to do.
The songs on _Moon Pix_ are much better defined, and the album is
not limited to the striking, rhythmic "Cross Bones Style". Helped along by
Australian musicians the Dirty Three, Marshall has fleshed the songs out
and brought them beyond the skeletal tunes that marked her previous career.
There is still a sameness to the songs, and while many shine and
pulsate with beauty and power, some others blend into one another, and
into the background. However, Marshall has also been able to create a
few moments that stick into the throat of the listener, for better and for
worse. The album is not perfect, but its intense current may well spark
some interest in the adventurous listener.
---
REVIEW: Soundtrack, _Office Space_ (Interscope)
- Jason Cahill
If you blinked, you missed it. That about describes the box
office life of "Office Space," the first feature film written and
directed by Mike Judge (creator of "Beavis and Butthead"). The film,
a humorous look at the hell that is the corporate world -- copy
machines, office politics and all -- didn't get what it deserved at
the box office, but it did manage to spawn a soundtrack filled with
choice cuts from some of the most interesting voices rap music has to
offer. The fact that all of the movie's music is of the gangsta variety
is funny in and of itself when one considers that the film is about
four white office workers who conspire against "the man," in this
case a faceless and uncaring corporation, by using all the techniques
of a wanna-be gangster.
The soundtrack kicks off with the Canibus track "Shove This
Jay-Oh-Bee." The song is noteworthy for two reasons: first, it amusingly
samples Johnny Paycheck's "Take This Job And Shove It," and second, and
more importantly, it is flavored with the vocal stylings of rap's crown
prince Biz Markie, who would be interesting rapping the alphabet. The
album's second cut and first single, "Get Dis Money," is a smooth jam
by Detroit's Slum Village, a new and exciting voice in hip-hop who
should manage to rise to the genre's forefront with the release of
this soundtrack.
The soundtrack's best moments come from rap veterans Ice Cube
and the Geto Boys, who emerge from a recent quiet period to grace the
album with two exceptional cuts. "Damn It Feels Good To Be A Gangsta,"
an old track from The Geto Boys, sounds as fresh as ever. Ice Cube's
"Down For Whatever," a single from the early '90s, is easily one of
his finest moments, reminiscent of the great sounds he created while
with N.W.A. Was gangsta rap always this much fun to listen to?
A few missteps come in the form of Lisa Stone's unoriginal
cover of "9 to 5," which left me thinking that Dolly Parton's version
might not have been so bad; Kool Keith's "Get Off My Elevator" is
amusing, but in the end nothing more than a pale homage to Slick Rick.
Aside from those wack tracks, the Office Space soundtrack
works on two levels: both as a quality compilation of the best that
gangsta rap has and had to offer, and as a companion to a movie that
was prematurely dissed and dismissed. In terms of this year's
soundtrack releases, the Office Space soundtrack is one of the best.
Disagree and I'll bust a cap in your ass.
---
REVIEW: Pan sonic, _A_ (Mute/Blast First)
- Simon Speichert
The group formerly known as Panasonic (the name was changed
for obvious copyright reasons) has outdone themselves. About 8
months ago, I picked up a copy of their last album, _Kulma_. I was
astounded. Bleeps and bloops mixed with harsh abrasive sounds, all
from homemade synthesizers and tone generators. That, in a sentence,
was how you could describe Pan sonic. That has now changed.
Pan sonic has moved forward with their sound, although I
speculate whether that was by choice or force. A friend remarked to me
how many albums the group could sell if they'd just use conventional
beats; most rhythms in their music are based on different tones. I
replied that, although it might compromise their integrity, it would
definitely mark a change in their style, although at the time, I was
unsure whether that change would be for better or for worse. It
turned out to be better.
_A_ consists of 17 tracks, about eighty percent of them in
the style that was previously so prevalent. The remainder of the disc
paradoxically moves forward, rather than sticking to the past; there
are 3 tracks with actual drum beats in them. More complex melodies
exist than before. The group is definitely merging different styles,
in a post modern-rock world that shows the diversity possible when
one puts their mind to it.
If you're looking for electronic music with unusual rhythms
that continually pushes the envelope, _A_ is just right for you.
---
NEWS: > The world's leading international songwriting contest,
the 1999 USA songwriting competition has been launched.
Open until May 31, 1999, entrants stand to win a grand prize of more
than $22,000 in cash and music merchandise by entering in 15
different musical categories. For more information on the event's
rules, regulations and entry forms, check out
http://www.songwriting.net .
---
TOUR DATES:
Aerosmith / Afghan Whigs
Apr. 11 Columbus, OH Schottenstein Center
Asian Dub Foundation
Apr. 6 Washington, DC Black Cat
Apr. 7-8 New York, NY Bowery Ballroom
Candlebox
Apr. 6 Denver, CO Ogden Theatre
Apr. 8 Reno, NV Rodeo Rock
Apr. 9 Portland, OR Roseland Theatre
Apr. 10 Spokane, WA Met Theatre
Apr. 12 San Francisco, CA Fillmore
Cubanismo Spring Tour
Apr. 6 Chapel Hill, NC Memorial Hall (UNC)
Apr. 7 Vienna, VA Barns at Wolftrap
Apr. 8 Philadelphia, PA International House
Ani DiFranco
Apr. 9 Amherst, MA Mullins Center
Apr. 10 Providence, RI Providence Civic Center
Eve 6 / Lit
Apr. 6 Columbus, OH Mecca
Apr. 7 Grand Rapids, MI Reptile
Apr. 9 Detroit, MI St. Andrew's
Apr. 10 Chicago, IL Riviera
Gardener
Apr. 7 Arcata, CA Cafe Tomo
Apr. 8 Chico, CA Blue Room
Apr. 9 San Francisco, CA Bottom of the Hill
Apr. 10 Los Angeles, CA ROXY
Apr. 11 San Diego, CA Casbah
Apr. 12 Tempe, AZ Boston's
Godsmack / Loudmouth
Apr. 6 Ft Wayne, IN Pierre's
Apr. 7 Sth. Bend, IN Heartland
Apr. 8 Columbus, OH Newport Music Hall
Apr. 9 Toledo, OH Main Event
Apr. 10 Buffalo, NY Showplace
Apr. 12 Toronto, ONT Lee's Palace
Gomez / Mojave 3
Apr. 7 Carrboro, NC Cat's Cradle
Apr. 8 Atlanta, GA Cotton Club
Apr. 10 Washington, DC 9:30 Club
Miles Hunt
Apr. 7 St. Louis, Mo The Gargoyl
Jets to Brazil / Euphone
Apr. 7 Milwaukee, WI Rave Bar
Apr. 8 Chicago, IL Fireside
Apr. 9 Chicago, IL Empty Bottle
Apr. 10 Cincinatti, OH Sudsy Malones
Apr. 12 Cleveland, OH Grog Shop
Kent / Papa Vegas
Apr. 7 San Diego, CA Casbah
Apr. 8 Los Angeles, CA Troubadour
Apr. 9 San Francisco, CA Bottom of the Hill
Apr. 11 Portland, OR Roseland Annex
Apr. 12 Seattle, WA Crocodile Cafe
Low
Apr. 6 Bennington, VT Greenwall
Apr. 7 Portsmouth, NH Elvis Room
Apr. 8 & 9 New York, NY Mercury Lounge
Apr. 10 Philadelphia, PA Pontiac Grille
Apr. 12 Knoxville, TN Tomatohead
Mercury Rev
Apr. 6 Los Angeles, CA El Rey
Apr. 8 San Francisco, CA Bimbos
Apr. 10 Bellingham, WA VU Main Lounge (Western Wash. Univ.)
Apr. 11 Seattle, WA AROspace
Mighty Blue Kings
Apr. 7 Cincinnati, OH Bogart's
Apr. 10 Miami, FL Bay Front Park Amphitheatre
Steve Miller Band
Apr. 7 Fargo, ND Fargo Civic Auditorium
Apr. 8 Minneapolis, MN Northrup Auditorium
Apr. 9 Sioux Falls, SD Sioux Falls Arena
Apr. 10 Bismarck, ND Bismarck Civic Center Arena
Alanis Morissette
Apr. 6 Anaheim, CA Pond
Apr. 7 Los Angeles, CA Universal Amphitheatre
Olivia Tremor Control
Apr. 7 Washington, DC Black Cat
Apr. 8 Carrboro, NC Cat's Cradle
Apr. 9 Harrisonburg, VA James Madison
Apr. 10 W. Columbia, SC New Brookland
Placebo / Stabbing Westward
Apr. 6 Minneapolis, MN Quest
Apr. 7 Boulder, CO Fox Theatre (Placebo ONLY)
Apr. 9 Salt Lake City, UT Bricks
Apr. 11 Seattle, WA Show Box
Apr. 12 Vancouver, BC Rage
Residents
Apr. 5-7 New York, NY Irving Plaza
Apr. 9 Washington, DC 930 Club
Apr. 12 Minneapolis, MN First Avenue
Sleepyhead
Apr. 7 Pittsburgh, PA Mills Institute Theatre
Apr. 8 Philladelphia, PA Balcony at Trocadero
Apr. 9 Harrisonburg, PA MAC Rock Festival
Apr. 10 Washington, DC Black Cat
Elliott Smith
Apr. 6 Louisville, KY Headliners
Apr. 7 St. Louis, MO Karma
Apr. 8 Chicago, IL Metro
Apr. 9 Minneapolis, MN First Avenue
Apr. 10 Lawrence, KS Bottleneck
Apr. 12 Denver, CO Bluebird Theatre
Apr. 13 Salt Lake City, UT DV8
Sparklehorse / Varnaline
Apr. 6 Lawrence, KS Bottleneck
Apr. 8 Minneapolis, MN 7th Street Entrry
Apr. 9 Chicago, IL Double Door
Apr. 10 Detroit, MI Shelter
Apr. 11 Cleveland, OH Grog Shop
Sally Taylor
Apr. 8 Frisco, CO Barkly's
Apr. 10 Denver, CO Tuft Theatre
David Wilcox
Apr. 8 St. Louis, MO Sheldon Hall
Apr. 9 Lawrence, KS Liberty Hall
Apr. 10 Rolla, MO Rolla Auditorium
Apr. 11 Des Moines, IA Val-Aire Ballroom
---
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