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Consumable Online Issue 057
==== ISSUE 57 ==== CONSUMABLE ======== [October 15, 1995]
Editor: Bob Gajarsky
Internet: gajarsky@pilot.njin.net
Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Al Crawford,
Dan Enright, Reto Koradi, David Landgren,
Tim Mohr, Jamie Roberts, Joe Silva, John Walker
Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron, Jason
Cahill, Eric Hsu, Tim Hulsizer, Daniel Kane, Mario Lia,
Stephen Lin, Sean Eric McGill, P. Nina Ramos, Linda
Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir
Wallner, Britain Woodman
Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak,
Jason Williams
Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
.------------.
| Contents |
`------------'
SNEAK PREVIEW REVIEW: Therapy? _Infernal Love_ - Martin Bate
REVIEW: God Lives Underwater, _Empty_ - Jamie Roberts
REVIEW: Various, _Super Fantastic Mega Smash Hits_ - Sean Eric McGill
REVIEW: The Twinz / The Dove Shack - Martin Bate
REVIEW: Rocket From the Crypt, _Scream, Dracula, Scream!_ - Eric Hsu
REVIEW: Moonpools and Caterpillars, _Lucky Dumpling_ - Jason Cahill
REVIEW: Nature, _Nature_ - Sean Eric McGill
REVIEW: Spookey Ruben, _Modes of Transportation, Vol.1_ - Tim Hulsizer
REVIEW: Son Volt, _Trace_ - Jon Steltenpohl
REVIEW: Tugboat Annie, _Superfriends*_ - Eric Hsu
REVIEW: Porcupine Tree, _The Sky Moves Sideways_ -Tim Mohr
TOUR DATES: Joan Armatrading, Ash/China, Cake, Lisa Cerbone, Cravin' Melon
Dance Hall Crashers, For Love Not Lisa, Robben Ford,
God Lives Underwater / KMFDM, Kate Jacobs, Letters to Cleo
Natalie Merchant, Ian Moore, Red Hot Chili Peppers / Silverchair
7 Mary 3, Shinebox Tour (Mike Watt + Crew of Flying Saucer), Skirt
Thirty Ought Six, Urge Overkill (dates subject to change), Widespread Panic
Back Issues of Consumable
---
SNEAK PREVIEW REVIEW: Therapy? _Infernal Love_ (A&M Import)
- Martin Bate
Irish trio Therapy? are now a well established part of the UK
music scene, having been one of those rare bands to cross the divide
between indie and rock in both fan and press acclaim. And this, their
fifth album, may see them consolidate their success with inroads into the
U.S.
Their first two mini-albums _Babyteeth_ and _Pleasure Death_
(packaged together outside the UK as _Caucasian Pyschosis_) found an
audience with those who fancied an industrial-edged Big Black noise.
The major-label debut _Nurse_ saw them refining and experimenting with
their sound inside more traditional song structures. But it was the
_Shortsharpshock EP_ which broke them through with its speedy bursts of
pop-punk-metal which was continued with a darker edge on their
_Troublegum_ album. The odd accusation of "cartoon angst" was tossed at
the band as their lyrical matter seemed to jar against their nice-guy
real life personalities and T-shirts declaring "IRONY?" but few could
deny that Therapy?, as the Americans would say, ROCK!
And so to _Infernal Love_, mooted pre-release to be Therapy?'s
happy album and patently nothing of the sort. What it is is Therapy?
mixing the metallic rock of _Troublegum_ with the more moody introspective
down-beat moments on _Nurse_ aided by liberal use of a cello, and chucking
in a few surprises along the way. Linked by dark sound-pieces courtesy of
Irish electronic composer David Holmes this'll do just nicely.
Things kick off with the break-neck "Epilepsy", all full-throttle
guitars and speeding off-kilter drums with a jazz break-down in the
middle. An instant Therapy? classic. As too is the first single "Stories",
a familiar Therapy? pop-punk anthem with added pimp horns and the repeated
assertion that "Happy people have no stories".
Then comes a huge chunk of what could be called power-ballads -
initially worryingly bland it's only after a few listens that the dark
lyrics take a hold and the claws start digging in. You get three in a
row, "A Moment of Clarity", the more mid-tempo soar of "Jude the Obscene"
which could easily take up MTV residence, and the superb Nick Cave/
Tindersticks croon of the latin flavoured "Bowels of Love".
"Misery" re-dresses the balance in favour of rocking out although
proves to be a little too Therapy?-by-numbers with its "Here comes the
misery/Yeah Yeah" hookline. "Bad Mother" is much much better. Reminiscent
of their cover of The Police's "Invisible Sun" there's an echoing white
reggae riff on the verse and a chorus-line that tugs at the heart strings
with Andy Cairn's strong clear voice. "Me Vs You" is another dark tale of
love gone wrong, this time with a western feel, but it can't escape the
feeling of one-ballad-too-many.
*Then* we get the happy song. _Loose_ is a breezy piece of
summer-time love with an upbeat Husker Du/Sugar feel. A deserved hit. The
fact that it precedes the sick chill of Diane heightens the effect of
both. A cover of the Husker Du song which Kurt Cobain *must* have heard
before writing "Polly", it's a dark somber love song from a rapist here
given a choral feel. Whether or not it's a brave or a stupid move I'm
still not sure, leaving them as it does open to misinterpretation but for
sure it's the most disturbing 3 minutes you'll endure for quite some time.
Things draw to a close with the bitter anger and vicious spaghetti
western tremolo of "30 Seconds" but in amongst the bile they offer a
life-line with the mantra that "There is a light at the end of the
tunnel". And coming from the man who wrote the line "With a face like this
I won't break any hearts", the assertion that "I look at myself in a
sober light/I'm not Elvis but I'm alright" just makes you want to give
him a big hug and a smile.
_Infernal Love_ is one of those all too rare albums which *feels*
like an album rather than just a collection of songs. It's initially
disappointing - too rock, too *normal* - but soon starts digging in its
hooks and revealing all its clever touches and dark edges. Certainly
their most accomplished album if not their best but definitely one that
could yet see them rule the world.
Note: This will not be released in the United States until early
1996 with possible extra tracks.
---
REVIEW: God Lives Underwater, _Empty_ (American)
-Jamie Roberts
They've got the proverbial fuzzbox and they certainly put it to good
use! Laying it all out comparable to the likes of Machines of Loving Grace or
Filter, GLU creates a dark, brooding sonic view of the world. With titles
like "No More Love" , "Fool", and "Scared" the thematic collection would be
depressing were it not for the well-crafted grooves and faster pace of many
of the tracks.
Adam Kary, Andrew Mcgee, David Reilly and Jeff Turzo are God Lives
Underwater, Turzo and Reilly being the 'brains behind the musical mayhem'
(ie. writing the songs). They released a self-titled EP not too long ago
that was brilliant. Their performance at the "Sextasy Ball", about a month ago
in New York, with Thrill Kill Kult and Lords Of Acid was equally brilliant.
Taking this as a hint of what was to come, I braced myself for the
full-length effort.
The most glaring oversight in the compilation of the aforementioned
first full-length release was the omission of the in-your-face opening
track to the EP, "Drag Me Down". It seems as if only a couple of the EP
songs carried over to the album. It's a shame, because some of the tracks
that didn't carry over, moved a bit better than some we got on _Empty_. The
EP is worth checking out as an addition to the album, not instead of it.
_Empty_'s brightest tracks are "All Wrong" and "No More Love",
providing contrast for the dimmer "23" and "Scared". What the dim tracks do
provide is a showcase for a technologically augmented band's singing ability.
The lead is well taken, and translates to live sound well unlke many of their
contemporaries. Talent!? What a concept!
---
REVIEW: Various, _Super Fantastic Mega Smash Hits_
(Pravada/Backyard Records)
-Sean Eric McGill
In one of the latest signs that I'm getting older, eight of the
ten people I questioned after listening to _Super Fantastic Mega Smash
Hits_ don't remember K-tel Records. Too bad, because not since those
fun-filled K-tel albums of the seventies and early eighties has there
been a compilation of songs as eclectic as _Super Fantastic Mega Smash Hits_.
The concept of the album, alternative artists covering songs that
wound up on K-tel and Ronco albums with great regularity, is an
intriguing one. But what makes this more than just a gimmick-laden album
is that the majority of the tracks are extremely well-done and all of
them are likeable. The artists range from alternative favorites like
Smashing Pumpkins to lesser-known acts like The New Duncan Imperials -
with each providing their own take on the great (and some not-so-great)
songs of yesteryear.
One of the things that made the K-tel and Ronco albums so cool
was that there wasn't any one genre of music represented, but whatever
songs were hip at the time wound up on the album. It was quite possible
that you would find Kool & The Gang right next to James Taylor, and
_Super Fantastic Smash Hits_ follows the same path. For example,
Southern Culture on the Skid's blues version of "Venus" runs right before Vic
Chestnut's appropriately dark cover of Vicki Lawrence's "The Night the Lights
Went Out In Georgia" (of course, with the lyrics adapted to fit a man's point
of view, now the song is *really* confusing). Like a really cool radio
station where you don't know what they're going to play next - but you
know it will be good and the album keeps your interest.
In one of the finest moments on the album, Rex Daisy remind us
that television theme songs were popular long before Friends with a
cover of "Welcome Back". Other tracks, like Fig Dish's "Kung-Fu Fighting"
and The Slug's "Hooked on a Feeling" instantly pull you in and serve as
either a interesting bit of history or a journey back to your youth -
depending on your age.
Now, some of the songs take a little while to grab your ear. bo
bud greene's version of "Don't Go Breaking My Heart" seems to have more
in common with Yoko Ono than Elton John and Kiki Dee on first listen.
Likewise, Poster Children's take on Donna Summer's "I Feel Love" is
rather annoying, but eventually grows on you, supported mostly by the
strength of the entire album.
_Super Fantastic Mega Smash Hits_ could have been a horrible
attempt at camp. But, by not falling into campiness so deep that it would
impossible to get out without platform shoes and polyester pants, it
makes for a great group of songs that you probably haven't heard in
awhile...unless, of course, you think "K-tel" are the call letters for
your local AM talk radio station.
---
REVIEW : The Twinz _Conversation_ (Rush Associated Labels)
The Dove Shack _This is the Shack_ (Rush Associated Labels)
- Martin Bate
Two albums from Warren G protogees here, both of which featured on
Warren G's _Regulate...The G Funk Era_ last summer. You *all* know what
G Funk sounds like by now, so lets cut to the chase.
Nobody produces G Funk better than Warren G, so The Twinz are off
to a good start with the deepest bass, sweetest soul background vocals and
lushest funk guitar and needling synths that money can buy.
The Twinz are more yer straight G Funksters - the lyrics little
more than a series of slint-eyed threats with a straight flow that
sacrifices show-off skills for calm, chilled clarity. If anything, it's
all a little bit too familiar - G Funk, by definition, being a
self-limiting genre. But whilst there's crystalline beauty like "Eastside
LB" with its poignancy above and beyond the call of duty which reeks of
end-of-summer nights, the inspired female rap of The Five Footahs' Neb
and Jah Skillz who trade lines with the boys and win hands down, and the
lush orchestration and paranoid synth whine of "1st Draft Pick", there
isn't too much to complain about.
The Dove Shack aren't (with the exception of the one track)
produced by Warren G, but the variety of people that get their hands on
the beats give this one a more varied feel and move it away from G Funk on
several occasions, throwing up a few surprises with a nice dark edge. The
band claim they're coming from a freestyling background but it sounds a
little like a grasp at extra credibility rather than 100% truth.
Still, they can flow when they try and there's a handful of top
stuff like the west-coast meets horror-core vibe of "Bomb Drop", the
pleasantly upbeat "East Side Party", and pleasantly dark "Rollin Wit a
Gang". What spoils the overall vibe though is enough mysoginistic
bullshit to make Dr Dre sound like Germaine Greer with songs such as
"Fuck Ya Mouth", and a surfeit of skits such as the advert for a device
called "Slap-a-Hoe". Worst of all though is supposedly humorous "The
Train" skit which basically amounts to gang rape of an unsuspecting
girlfriend and for which we can only hope the lads themselves get raped
in jail one day.
The G Funk sound is still lush, and for fans of the West Coast
this'll be like a birthday, but its hard not to think of G Funk as last
year's sound. I know that, personally, the blunted paranoia of the East
Coast - people like Mobb Deep, The Wu-Tang Collective, The Gravediggaz,
Nas, and Jeru the Damaja and the rest of the Gang Starr clique - say far
more to me about the city I live in than this low-ride malevolent
sunshine. But that's just me. If G-Funk's your thing, prepare to bob
your head.
---
REVIEW: Rocket From the Crypt, _Scream, Dracula, Scream!_ (Interscope)
- Eric Hsu
This disc has a tremendous number of things going for it (sound,
performance, hooks galore), so many that I'm not quite sure why I don't
like it more. RFTC is the most popular band out of the San Diego scene, and
_Scream_ is their second major label release (third overall). _Circa
Now!_, their major label debut, showed off an R&B-tinged loud semi-punk
sound developed in reaction to the violent hardcore of the late 80's San
Diego punk scene. Their big guitar attack was supplemented with a small but
excellent horn section, and the album was a college radio hit.
_Scream_ takes each aspect of _Circa_ and magnifies it. The songs
are even hookier. The singing is bigger and more confident. The playing is
tighter. The guitars and horns are bigger and fatter and fit beautifully in
the mix. The backup harmonies and sing-alongs come more often and louder.
And the R&B tinge has become the dominant color. Without exaggeration,
it's easy to imagine almost any of the 14 songs on _Scream_ being a
commercial breakthrough mainstream hit.
Listening to the record, you feel like you are hearing a band
hitting its stride, achieving exactly the sounds it wants. So the curious
thing is that I feel strangely unsatisfied with the record. I'm not
usually one to turn down pure pop pleasures and I can't argue with the
pleasantness of the hooks, but these are hooks that don't bring me back for
more. Here are two possible complementary reasons:
One possible reason? When you take R&B tinged punk and rev up the
rhythm and blues, and try for a Phil Spector-like bigness of sound, you end
up with Bruce Springsteen songs sung by Elvis Costello. When you throw the
fact that this is a self-proclaimed party band and _every_ chorus on this CD
is a (potential) sing-along, you get a formula for getting frat boy party band
sounds out of an independent band with genuine punk scene roots.
Another possible explanation: ultimately, the hooks hook by
familiarity, not surprise. This is party music and this party is not an
adventure because only your close friends are there. Singer Speedo openly
said that he saves his experimenting for his other band Drive Like Jehu (also
on Interscope...a package deal) and "wimpy pop songs" for RFTC, and it
shows. Drive Like Jehu songs provoke twisty thought and insights, and RFTC
songs offer fat-bottomed comfort and warmth.
I can imagine their live show being quite fun, what with the
crowd singing along with every song. If you want hooky
R&B/Punk songs that are skillfully written, played, and arranged, you
should definitely check out this disc. Just be warned that if your tastes
are like mine, you will admire this record but not ever _need_ to hear it.
And in the absence of adventure and discovery, and in the absence of
addiction, music can only offer familiarity and comfort, which may be just
what you need right now - but then again may not.
---
REVIEW: Moonpools and Caterpillars, _Lucky Dumpling_ (EastWest)
- Jason Cahill
Every time I re-listen to a great album, I wish I could re-live the
moment when I heard it for the first time. The emotion it elicits, the
wonder it inspires and the absolute excitement of knowing you are
listening to greatness cannot be replicated. The feeling diminishes
with each subsequent playing, but it's the first listen that one never
forgets. It's a rare reaction, one where the emotional response is
unforgettable and, unfortunately, sometimes unrepeatable.
_Lucky Dumpling_, the major label debut by the California
quartet Moonpools and Caterpillars, elicits such a reaction. The
moment this album begins you realize you are listening to something
very special, very unique. So much so, in fact, that to describe this
band as eclectic might be a tremendous understatement. Moonpools
and Caterpillars display a range and maturity so rare in fledgling
bands, experimenting with both vocal and musical styles such that
each song is fresh and inventive while never seeming out of place.
In terms of current bands, Moonpools and Caterpillars seem
to be heavily influenced by the ethereal and wistful sounds of both
Edie Brickell and The Sundays, with vocalist Kimi Ward Encarnacion
emulating both the imagination and honesty of the former and the
simple beauty of the latter. Unlike many young bands, however,
Moonpools and Caterpillars are not reduced into being merely an
extension of the bands which have influenced them. Instead, the band
seems to thrive where their predecessors have been held back by
musical limitations.
The songs on _Lucky Dumpling_ range from energetic and
pulsating to gentle and rhythmic without losing any momentum. The
album opens full-throttle with the catchy and infectious "Hear", a
song which could easily be one of the finest singles to be released
this year. From there, the album changes gears a bit, as Kimi's
sweet textured vocals blend with intricate and soulful sounds on
"Ren". Rather than disrupt the album's flow, however, the band's
juxtaposition between soft and hard is what makes _Lucky
Dumpling_ such an amazing record, at times grabbing the listener
with rapid fire guitars and strong melodies and at others bringing
things down a notch to reveal resplendent and delicate melodies, a
mix of quiet twists and expressive turns. There are no throwaways
here, just a fifty minute package of miniature pop gems.
If one were to attempt to find a theme running through each
of _Lucky Dumpling_'s thirteen tracks, it would be that of a journey.
The band's lyrics describe the journey one takes through life, love
and sorrow, always poignant, yet never bordering on the generic, a
mistake many other songwriters fall into far too often. Moonpools
and Caterpillars show how ideas can be expressed in vivid and
original fashion with brilliant use of metaphors and imagery. This
is never more apparent than on "Crazy Old World", the beautiful
and delicate track which closes out the album with lyrical maturity
and unusual depth.
Intricate records like this are all too rare, which makes a
band like Moonpools and Caterpillars all the more special. _Lucky
Dumpling_, in lyrical fashion, takes the listener on an odyssey of
sorts, being both dynamic and pulsating, contemplative and
brooding, infectious and fun.
---
REVIEW: Nature, _Nature_ (Zoo Records)
- Sean Eric McGill
I love a good sub-reference. So when I looked at Nature's
self-titled debut and found songs entitled "Z-Man's Party" and "Z-Man's
Lounge," I was very intrigued. "Z-Man" was one
of the characters from _Beyond the Valley of the Dolls_ perhaps the most
critically acclaimed X-rated movie this side of _Midnight Cowboy_.
As for the music itself, Nature could be best classified as
"post-industrial" in the vein of Filter and My Life With the Thrill Kill
Kult. The album opens with "You Only Live 2X," a much better remake of a
James Bond theme than Guns 'n Roses did a few years back with "Live and
Let Die." Nature's version - while still being similar to the original -
manages to have the band's distinctive mark on it.
Songs like "Justine" (which finally bridges the gap between the
Marquis De Sade and Justine Bateman) and "Zodiac '99" both go all over
the map in terms of music and lyrical content, proving that Nature are
accomplished in not only being able to do the songs of others, but write
their own material, as well. Mr. Bolton, are you paying attention?.
And as intriguing as Nature is in their use of sub-references and
song topics, the most intriguing thing about Nature is the band itself.
Brian Threatt (guitars, vocals), Hugh Bonar (bass), Andrew Parsons
(guitar) and Brendan Etter (drums) mesh together perfectly. Many of the
songs go from one hundred miles an hour to a dead stop, and their musical
ability is undeniable. _Nature_ is one of the most entertaining albums of
the year, and one of the best new bands to come around in some time.
---
REVIEW: Spookey Ruben, _Modes of Transportation, Vol.1_ (TVT)
- Tim Hulsizer
So who the Hell is Spookey Ruben? Good question. I've been told it's
his real name, but who is he really? He lives in Canada, but has grown
up in the USA and parts of Europe as well.His artistic talent manifested
itself as a youth when he took up the guitar and started opening for some
well-known rock bands with his group at the time. However, he started to
gain an interest in different pursuits, and now Spookey has a solo
career, and a debut album on TVT Records. I think the best way to get in
touch with the Spookey Mindset is to view the brilliant video he made
some years back for the song, "These Days Are Old." He was given a grant
by MuchMusic, the Canadian equivalent of MTV, and he used it to make what
turned out to be a bizarre statement about life in general. Indeed, the
entire album is a series of statements, Spookey-style, about everything
he finds himself thinking about. The video combines footage of him being
beaten up and slamming his face through a sheet of glass with lyrics
about how pointless yet important life can be. I'm doing a poor job of
explaining, but the video itself is pretty indescribable.
The album is equally offbeat, as Spookey creates individual
bizarre pop nuggets of musical originality. The songs are usually
miniature epics, performed all by Spookey, using genuine and synthesized
sounds to obtain a unique sound that is...well, in a world all its own.
To compare Spookey Ruben's sound to another band or person's would be
doing him a disservice. It literally has to be heard to be believed. My
favorite songs include the song from the video, "These Days Are Old," as
well as "Wendy McDonald," which dissects the fastfood industry quite
nicely. I also grooved on "Welcome to the House of Food," a song with a
meaning that still escapes me, though I love the tune. In fact, the
tunes are my favorite part about the album, weaving original-sounding
melodies with Spookey's voice, which can be a high-pitched falsetto one
moment, and a low rumble the next. The songs may not hit you at first,
and in fact you might dislike some of them. But a few listens later,
you'll be humming along and trying to figure them out, just like I did
(and still am). Finally, an album that doesn't rely on a carbon-copy
sound of feedback to get its message across.
Even the album artwork is cool, with a little picture to go along with
each song. My favorite, the picture for Wendy McDonald, appears on TVT's
promo Spookey shirts, and if you happen to see one of these bright yellow
attack shirts, grab it quick. The picture is the Wendy's logo, with that
little Pippi Longstocking girl, but Ronald McDonald's face has been
pasted nicely over little Wendy's ugly mug, creating a cool little image
that will have people walking up to you all day going, "Hey, nice shirt.
What's a 'Spookey Ruben'?" Also, the cover of the album portrays Spookey
in a spacesuit, exactly like the movie, The Boy in the Plastic Bubble.
I highly recommend this album. It's adventurous, gorgeous to look at
and hear, and won't leave the CD player after 2 listens like some other
stuff. Check it out.
---
REVIEW: Son Volt, _Trace_ (Warner Bros.)
- Jon Steltenpohl
When Uncle Tupelo broke up in 1994, fans felt as if they had lost one
of the few decent bands to come across the alternative countryside in recent
years. But, just a year later, Uncle Tupelo fans have a pleasant surprise.
Just like twin phoenixes rising from the ashes, both Wilco and Son Volt
have spread their wings and are soaring as high as Uncle Tupelo ever did.
Jay Farrar fronts Son Volt along with help from Tupelo drummer Mike
Heidorn, and _Trace_ might as well be another Uncle Tupelo album. Like
Farrar's previous work, _Trace_ is an impeccable collection of country
ballads, quiet folk songs, and straight-forward midwest rock. Brothers Jim
and Dave Boquist fill out the band with bass, backing vocals, fiddle,
banjo, and dobro, and they fit in with Farrar and Heidorn as if Son Volt
had been around for years.
Farrar wrote most of the songs for _Trace_ on his road travels through
the midwest up and down the Mississippi River "Tear Stained Eye" is a
reflection on the floods that threatened St. Genevieve, and "Ten Second
News" is a slow, melancholy song that captures the emotions of driving past
the dioxin poisoned remains of a town that was once Times Beach, Missouri.
In other songs, the cheesy cliche's of country music are boiled down to
direct truisms like "Too much livin' is no way to die." from "Loose String"
and "You'd better find your focus or you'll find yourself out of the
picture" from "Out of the Picture."
Even without the lyrics, the music of Son Volt is a reflection of the
Midwest itself. The essence of the songs is a fundamental simplicity that
is engaging and vital. Farrar's voice has a slight Illinois twang to it
which is as captivating as Michael Stipe's southern drawl. In the acoustic
tracks, six-string guitar and lap steel play off the drum set in a simple
two-step that would have made Hank Williams proud. When Son Volt turns up
their amps, the laid back feel of the quieter songs gives way to a driving
determinism. The remarkable thing about Son Volt is that the tracks go
from soft to loud with any break in pace or mood.
That proper combination of country and rock is hard to find. Bob
Mould came close with his first solo album, _Workbook_, and The Eagles made it
big with their L.A. version. Matthew Sweet made it work with his
breakthrough album, _Girlfriend_, and R.E.M. rode it until they got bored
and famous. But, although, Jay Farrar has perfected the incredibly
enticing mix of sweet harmonies and chiming guitars, he hasn't gone on to
other things. Son Volt continues where Uncle Tupelo left off, and Farrar's
ability to capture the feeling and mood of the Midwest makes one wonder if
the title, _Trace_, refers to a fleeting glimpse or a perfectly painted
portrait.
---
REVIEW: Tugboat Annie, _Superfriends*_ (Sonic Bubblegum)
- Eric Hsu
Now that all the distortion and flannel is settling, there are
enough bands with a "grunge" sound to see the outlines of factions. Roughly
speaking, there is that grunge faction characterized by an
interchangeability with Pearl Jam, and hence also characterized by guitar
soloing and a distinct Led Zeppelin cock-rock aura (e.g. Silverchair). This
faction tends to dominate the "alternative" part of the new hybrid
classic-rock/modern-rock station playlists.
Buffalo's Tugboat Annie does NOT fall into this category (which I
personally consider a point in their favor); instead, they fall into the
camp of grunge rockers that use three-note (at most) guitar parts and four
chord grooves for verse and chorus. This faction tends to sound a lot like
_Doolittle_-era Pixies, and Tugboat Annie is no real exception. This is the
kind of record you might love after seeing a band put on a great live show
as some kind of memento, but in itself it's unremarkable though it suggests
untapped potential. Your best bet would be somehow sampling their single
"Jack-Knife", or their album cuts "Circus" or "Adaptor" before buying. If
these songs stick in your head, buy the album.
Most of the songs are mellow and quite accessible. The songs are
produced cleanly and the guitars ring with a distortion that soothes rather
than provokes. Singer Mike Bethmann sings with a pleasant rasp, a grungy
Peter Gabriel who uses his limited range well and with conviction. The band
plays with a certain integrity and the production of this record is very
clean and clear.
They display a good ear for a simple guitar lines and a few catchy
hooks. Their songs generally have an genuinely downtrodden air, although
they sometimes undercut it with oddball lyrics sung completely deadpan (the
title comes from a song comparing the League of Nations to the Justice
League). Their songs manage to avoid sounding identifiably derivative,
which is also a plus, but they never transcend their side of the grunge
genre.
---
REVIEW: Porcupine Tree, _The Sky Moves Sideways_
(Delirium/C & S Records)
-Tim Mohr
It is difficult to start a description of Porcupine Tree without the
words pink and floyd. But it would also be unfair to leave it at that, as the
band's musical milkshake is blended with ambient beats, spacey samples, lush
new wave keyboards, and - unlike latter day Pink Floyd - decent songs.
Porcupine Tree's third and latest release, their first American
release, is pastoral and serene while hinting at underlying melancholy.
Building from sparse synthesizers into a Pink Floyd billow in the opening
track, the album then progresses largely uninterrupted through lengthy chill-
out excursions, organic jams, and shorter meditative songs. An other-worldly
space capsule aesthetic pervades the album, derived from the open-ended
guitar work, gurgling keyboards, and inter-steller lyrics and samples.
_The Sky Moves Sideways_ could in fact become a favorite of
planetarium owners, bridging the musical gap between Pink Floyd laser shows
and the intentionally spacey music that accompanies normal programs. The
sample of Richard Nixon's call to the Apollo 11 crew even has pseudo-
documentary value in such a context.
Relaying on live instrumentation, this English band occupies stages
in a way that most current ambient bands can never aspire to; fortunately,
they don't descend into epic soloing and art-wank experimentation that
generally plagues progressive rock acts. The result is an interesting
combination of British shoe-gazing, the neo-prog rock of bands like
Levitation, electronic atmospherics of early 80s groups like Ultravox or
Visage, and contemporary post-Orb ambient.
Head Porcupine Steve Wison obviously loves middle-period Pink Floyd,
but thankfully shies from other sections of the prog rock canon, with no
traces of Yes, Marillion, etc. The experimental edges of Pink Floyd have also
been shaved away; Porcupine Tree keeps the unmistakably Gilmore guitars,
sultry background singers, and layers of keyboards but ditches the wobbly Syd
Barret material and angular elements Roger Waters might have added. Porcupine
Tree's take on Pink Floyd is shimmering, comfortable, etherial.
Wison vows he'll bring progressive rock into the 90s. Porcupine Tree
is more engaging than earlier attempts at this task, such as the Darkside or
Levitation. The use of some modern equipment makes the album actually
progressive, while the live instruments give the album more substance than
prog-rock-influenced purveyors of ambient house. Wison's deep space probes
are more stimulating than the infinitely looped beats and samples of your
wholly electronic ambient group, but he also jettisons the dub influence and
therefore situates himself in rock territory. The result is worth hearing -
though if you absolutely hate Pink Floyd the album is probably too far from
the Orb, Global Communications, et al to appeal to you.
---
TOUR DATES
Joan Armatrading
Oct. 31 Portland, ME state Theatre
Nov. 1 Burlington, VT Flynn Theatre
Nov. 2 Rochester, NY Water Street Music Hall
Nov. 4 Boston, MA Orpheum
Nov. 5 Portmouth, NH Portmouth Music Hall
Nov. 6 Washington, DC Lincoln Theatre
Nov. 7 West Long Branch, NJ Pollak Auditorium
Nov. 8 New York, NY Beacon Theatre
Nov. 9 Philadelphia, PA Keswick Theatre
Nov. 10 Buffalo, NY Riviera Theatre
Ash/China
Nov. 4 Boulder, CO Club 156
Nov. 8 Phoenix, AZ Mason Jar
Nov. 9 San Diego, CA Casbah
Cake
Oct. 21 Denver, CO Bluebird Theatre
Oct. 24 Salt Lake City, UT University of Utah
Oct. 27-28 Sacramento, CA Cattle Club
Oct. 31 San Francisco, CA Great American Music Hall
Lisa Cerbone
Oct 26 Richmond, VA Flood Zone
Oct 27 Richmond, VA Border's
Oct 28 Atlanta, GA Scrap Bar
Nov 2 Carlisle, PA Dickinson College
Nov 9 Dayton, OH Canal St. Tavern
Cravin' Melon
Oct. 24 Chapel Hill, NC UNC
Oct. 26 Wilmington, NC Mad Monk
Oct. 27 Raleigh, NC NC State
Oct. 28 Boone, NC ASU (Legend's)
Oct. 31 Columbia, SC Elbow Room
Dance Hall Crashers
Oct. 21 Milwaukee, WI Globe
Oct. 22 Minneapolis, MN 7th Street Entry
Oct. 23 Grand Rapids, MI Intersection
Oct. 24 Detroit, MI The Shelter
Oct. 26 Cincinnati, OH Garage
Oct. 29 Cleveland, OH Agora Ballroom
Oct. 31 Providence, RI Lupo's Heartbreak Hotel (with All)
Nov. 1 Boston, MA Axis (with All)
Nov. 2 Philadelphia, PA Trocadero (with All)
Nov. 4 Washington, DC Black Cat (with All)
Nov. 5 New York, NY Coney Island High
Nov. 7 Atlanta, GA Masquerade
Nov. 9 Orlando, FL Junkyard
Nov. 10 Pompano Beach, FL Club Impact
For Love Not Lisa
Oct. 30 Washington, DC 9:30 Club
Oct. 31 Old Bridge, NJ Birch Hill
Nov. 1 Cambridge, MA TT The Bear's
Nov. 2 New York, NY Wetlands
Nov. 3 Philadelphia, PA JC Dobbs
Nov. 4 Cleveland Heights, OH Grog Shop
Nov. 6 Dayton, OH McGuffy's
Nov. 7 Detroit, MI St. Andrew's
Nov. 8 Chicago, IL Metro
Nov. 9 Milwaukee, WI University of Milwaukee
Robben Ford & Blue Line Tour
Oct. 17 New Orleans, LA Howlin' Wolf
Oct. 18 Houston, TX Rockefeller's
Oct. 19 Austin, TX Steamboat
Oct. 20 Bryant, TX Third Floor Cantina
Oct. 21 Fort Worth, TX Caravan of Dreams
Oct. 23 Kansas City, MO Grand Emporium
Oct. 25 Minneapolis, MN Cabooze on West Bank
Oct. 26 Madison, WI Barrymore Theatre
Oct .27 Chicago, IL Legends
Oct. 28 Pittsburgh, PA Graffitti
Oct. 29 Ann Arbor, MI Blind Pig
Oct. 31 Toronto, ON Phoenix Concert Theatre
Nov. 1 Ottawa, ON Barrymore Music Hall
Nov. 3 Montreal, QC Spectrum
Nov. 4 Burlington, VT Club Metronome
Nov. 5 Boston, MA Mama Kin Music Hall
Nov. 6 Northampton, MA Pearl Street
Nov. 7 Portland, ME Morganfield's
Nov. 9-10 New York, NY Bottom Line
God Lives Underwater / KMFDM
Oct. 22 Philadelphia, PA Trocadero
Oct. 24 Raleigh, NC Ritz Theatre
Oct. 25 Knoxville, TN Electric Ballroom
Oct. 26 Atlanta, GA Masquerade
Oct. 27 Orlando, FL Embassy
Oct. 28 Miami Beach, FL Cameo Theatre
Oct. 29 Tampa, FL Masquerade
Oct. 31 New Orleans, LA House of Blues
Nov. 1 Houston, TX Abyss
Nov. 2 Dallas, TX Bomb Factory
Nov. 3 Albuqerque, NM El Rey Theatre
Nov. 4 Phoenix, AZ Party Garden
Nov. 5 Hollywood, CA The Palace
Kate Jacobs
Oct. 19 Bellmore, NY Brokerage
Oct. 25 Princeton, NJ Bucks County Coffee
Nov. 7 Atlanta, GA Eddie's Attic
Nov. 9 Charlotte, NC Moon Room
Letters to Cleo
Oct. 22 Denver, CO Bluebeard Theatre
Oct. 24 Larence, KS The Bottleneck
Oct. 25 Minneapolis, MN First Avenue
Oct. 31 New York, NY Irving Plaza
Natalie Merchant
Oct. 21 Cleveland, OH Music Hall
Oct. 22 Detroit, MI Fox Theater
Oct. 24 Milwaukee Riverside Theater
Oct. 25 W. Lafayette, IN Purdue University
Oct. 27 St. Louis, MO Fox Theater
Oct. 28 Chicago, IL Rosemon Horizon
Oct. 29 Minneapolis, MN Northrup Auditorium
Ian Moore
Oct. 21-22 Syracuse, NY Lost Horizon
Oct. 27 Burlington, VT Club Toast
Red Hot Chili Peppers / Silverchair
Nov. 13 Denver, CO McNichols Arena
Nov. 15 Kansas City, KS Municipal Auditorium
Nov. 17 St. Louis, MO Kiel Center
Nov. 18 Chicago, IL United Center
Nov. 21 Minneapolis, MN Target Center
Nov. 22 Milwaukee, WI Mecca Arena
Nov. 25 Detroit, MI The Palace
Nov. 26 Cleveland, OH Gund Arena
Nov. 28 Cincinnati, OH Riverfront Coliseum
7 Mary 3
Oct. 22 Austin, TX Liberty Lunch
Oct. 23 Houston, TX KLOL Show
Oct. 24 Dallas, TX Trees
Oct. 25 Tulsa, OK Ikon
Oct. 27 Memphis, TN New Daisy Theatre
Oct. 28 Atlanta, GA 99X Halloween Show
Oct. 29 Carrboro, NC Cat's Cradle
Oct. 31 Wilmington, NC Mad Monk
Nov. 1 Winston-Salem, NC Ziggy's
Nov. 3 Melbourne, FL Brevard County Fair
Shinebox Tour (Mike Watt + Crew of Flying Saucer)
Oct. 22 Atlanta, GA Masquerade
Oct. 23 Birmingham, AL Zydeco
Oct. 24 Memphis, TN New Daisy Theatre
Oct. 25 New Orleans, LA Tipitina's
Oct. 27 Dallas, TX Trees
Oct. 28 Austin, TX Liberty Lunch
Oct. 30 Santa Fe, NM Club Alegria
Oct. 31 Tempe, AZ Gibson's
Skirt
Nov. 2 Auburn, AL Litle Ireland's
Nov. 4 Chattanooga, TN Metro
Nov. 8 Washintgon, DC 9:30
Thirty Ought Six
Oct. 20 Seattle, WA Weathered Wall
Oct. 21 Pullman, WA Wash. State University
Urge Overkill (dates subject to change)
Oct. 20 Kalamazoo MI State Theatre
Oct. 21 Toledo OH The Asylum
Oct. 22 Pittsburgh PA Metropol
Oct. 24 Guelph, Ont Univ of Guelph
Oct. 25 Toronto, Ont Phoenix Concert Theatre
Oct. 26 Providence RI The Strand
Oct. 27 Rochester NY Harro East Theatre
Oct. 28 Montreal, QC Le Spectrum
Oct. 31 Boston, MA Avalon
Nov. 2 New York, NY Roseland
Nov. 3 Washington, DC Capitol Ballroom
Nov. 4 Philadelphia, PA The Trocadero
Nov. 5 Norfolk, VA The Abyss
Nov. 7 Raleigh, NC The Ritz
Nov. 8 Charleston, SC The Acme
Nov. 10 Atlanta, GA Roxy Theater
Widespread Panic
Oct. 21 Little Rock, AR Riverfront Amphitheatre
Oct. 26 New Orleans, LA State Palace Theatre
Oct. 30-31 Athens, GA Classic Center
---
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