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Consumable Online Issue 103
==== ISSUE 103 ==== CONSUMABLE ======== [March 22, 1997]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi,
David Landgren, Sean Eric McGill, Tim Mohr,
Al Muzer, Jamie Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron,
Janet Herman, Bill Holmes, Eric
Hsu, Tim Hulsizer, Stephen Lin, Scott Miller,
P. Nina Ramos, Linda Scott, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, Courtney
Muir Wallner, Simon West, Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
INTERVIEW: Shonen Knife - Al Muzer
REVIEW: Rollins Band, _Come In and Burn_ - Sean Eric McGill
CONCERT REVIEW: Matthew Sweet and Fastball - Bill Holmes
REVIEW: u-Ziq, _Urmur Bile Trax Volume 1 Volume 2_ - Joe Silva
REVIEW: Nerf Herder, _Nerf Herder_ - Bob Gajarsky
REVIEW: Sloan, _One Chord To Another_ - Al Muzer
REVIEW: Shudder To Think, _50000 B.C._ - P. Nina Ramos
PORTRAIT/REVIEW: Arno, _Give Me The Gift_ - Reto Koradi
REVIEW: fIVE fOR fIGHTING, _...Message For Albert..._ - Bob Gajarsky
REVIEW: Slush, _North Hollywood_ - Joann D. Ball
REVIEW: Chopper, _Chopper_ - Bill Holmes
REVIEW: Humble Gods, _No Heroes_ - Simon Speichert
REVIEW: The Clarks, _Someday Maybe_ - Linda Scott
REVIEW: Javelin Boot, _Fundamentally Sound_ - Bill Holmes
REVIEW: Various Artists, _Toon Tunes_ - Bob Gajarsky
REVIEW: Vallejo, _Vallejo_ - Scott Slonaker
NEWS: Cause & Effect, Nordic Entertainment, Pseudo Online
TOUR DATES: Archers of Loaf / Engine 88 / Knapsack / Peppercorn, Baby Fox,
Bloodhound Gang, Breeders, Catfish, Churn, Shawn Colvin / Freedy
Johnston, Cordelia's Dad, Coward / Gravel Pit, Cravin' Melon,
Crown Heights, Daddy Longhead, Darlahood, Descendants, Donovan,
Drywall, Funky Green Dogs, Goldfinger / Reel Big Fish, H20,
Susanna Hoffs / Jason Falkner, Horny Toad, Humpers, I'M'L,
Irving Plaza (New York Concert Hall), Jewel, Luciano, John
Mellencamp / Why Store, Metallica / Corrosion of Conformity,
Nada Surf / Candy Butchers / Ditch Croaker / Wrens, Odds,
Orange 9MM, Orbit, Ovum, Plexi, Professor & Maryann,
Rasputina / Cranes, Samples / Stir, Duncan Sheik / Jill Sobule,
Sick of It All, Sissy Bar, Sister Hazel, Stillsuit / Downset /
Earth Crisis, They Might Be Giants, Urge, Volebeats
THE READERS WRITE BACK!
Back Issues of Consumable
---
INTERVIEW: Shonen Knife
- Al Muzer
Sometimes a small step backwards can equal three well placed
giant steps in the right direction.
Take, for example, the sonic contrast between the last two
Shonen Knife studio albums. While 1994's _Rock Animals_ strove for
a hard-edged, riot grrrl roar that, more often than not, fell flat
and was less than convincing; _Brand New Knife_, the Osaka,
Japan-based trio's latest record, marks a welcome return to the
hook-filled jangle of a much simpler place and time.
While it may've been as lyrically naive as the six or seven
records that preceded it, the aimed-at-the-mainstream, arena rawk
sheen plastered all over _Rock Animals_ by co-producer Page Porrazzo
contrasted uncomfortably with bassist/vocalist Michie Nakatani's
and guitarist/vocalist Naoko Yamano's warbled, still-learning-the-language
vocals, enthusiastically-sloppy riffing and simplistic world view.
Shonen Knife as leather-clad, grrrl group rockers was, for the
most part, a concept rejected not only by mainstream listeners, but by
alterna-rock fans who already had a Shonen Knife disc or two in their
collections.
"We were very loud then," comments Naoko about sessions for
the album. "While _Rock Animals_ captured our live sound much better
than anything we had done before, maybe," she ponders, "it was too
loud?"
"People come up to us after shows all the time to tell us how
surprised they are that we play as loud, and as well, as we do,"
chuckles Michie. "Everyone seems to really enjoy our shows, but they
always tell us later how surprised they were that we can 'rock.' "
Formed in 1982 by wide-eyed innocents Nakatani and Yamano with
Yamano's younger sister, Atsuko, on drums; Shonen Knife has spent the
last 15 years carving out a niche for themselves in the pop world by
combining lyrics about simple pleasures such as fishing, bicycling,
ice cream, kitty cats, jelly beans, insect collecting, diet products,
chocolate bars and desert treats with some of the catchiest pop
confection crafted since Redd Kross discovered the Rickenbacker.
"We've always enjoyed writing songs about everyday things,"
says Michie in halting, hesitant English on the afternoon of the group's
sold out performance at L. A.'s recent Poptopia Festival. "Besides,
there are already enough bands out there singing about pollution, war
and poverty. While we all care very much about those things, we also
feel that music should be fun. You should be able to go [trills a few
playful "la-la-la-la-la's"] when you hear your favorite song on the radio."
That simple approach has worked surprisingly well for the group.
While a rollicking version of Karen and Richard Carpenter's "Top Of
The World" (from the 1994 _If I Were A Carpenter_ tribute compilation)
is the closest they've ever come to an actual hit (thanks, in part,
to its use in a Microsoft commercial), the band has enjoyed the
respect and encouragement of their American musical peers since well
before their first U.S. concert in 1990, 1991's attention-grabbing _712_
CD on Gasatanka/Rockville Records, or _Let's Knife_, their 1993
Virgin Records debut.
Adopted by the punk and pop elite and feted by the likes of
Nirvana and Redd Kross early on, the 1989 Shonen Knife tribute
album, _Every Band Has A Shonen Knife Who Loves Them_, showcased 23
of America's hottest alterna-bands (including L7 and Sonic Youth)
doing their very best to capture the child-like magic of Shonen Knife.
While the record went nowhere commercially, the resulting press
exposure helped ensure that there were, at the very least, curious
club-goers waiting for them when Naoko, Michie and Atsuko landed on
these shores for the first time the next year.
After the misguided _Rock Animals_ album and their version of
"Top Of The World" failed to do more than add a smattering of new fans to
the group's cultish following, Virgin Records released the
_Brown Mushrooms and Other Delights_ EP, an 18-track, _The Birds & The
B-Sides_ compilation and, midway through last year, the band itself.
Quickly inking a new contract with Big Deal Records, a New
York-based indie label with an impressive roster of pop acts, decent
distribution and a faultless industry reputation, Shonen Knife wasted
little time before flying to L. A. to record tracks for their tenth
full length album, this time with Buffalo Tom, Lemonheads and Ringo
Starr producers the Robb Brothers behind the boards.
As whimsically preoccupied with the mundane events of
day-to-day life as ever, the 13 new songs on the 20-track (the
seven extras are in Japanese) Brand New Knife finds Shonen Knife
turning their attention to such important topics as love,
relationships, television psychics, sumo wrestling, rock idols,
plastic robots, amusement park rides, fruits and vegetables,
Japanese monuments, Barbie Dolls, Buddha, Twister, Star Trek and
a severe case of Frogphobia.
"That's me," giggles Michie. "I have frogphobia. I just
don't like frogs. There's just something" she pauses in search of
the right word before giving up and stating emphatically. "I really
don't like frogs."
"I don't want to sing about too many bad things or too many dark,
sad things," proclaims Naoko. "I want everyone to enjoy the music of
Shonen Knife. If I write and sing about fun things, Shonen Knife will
make the people listening to us happy."
Graced with simple melodies, driven guitars, inspired harmonies,
skewed-in-translation lyrics, deeper meaning than some of those lyrics
first let on, and a sweetly lilting sense of childlike naivete;
_Brand New Knife_ is a gleaming return to _Let's Knife_-caliber
Shonen-pop with enough of the hard grrrl energy displayed on _Rock Animals_
left over to induce serious bouts of air guitar riffing.
"We don't want to limit where we can go with our music," says
Naoko, "so we try to listen to everything - although I don't seem to
care for 'noisy' music too much these days. I recently started
listening to my Kiss records again. I even have a Kiss jacket with a
cartoon drawing of the band on it," she laughs. "I remember when I was
a child and I went to see my first Kiss concert, I was just soooo
surprised by the show. It made me want to be up there singing and
playing."
"I really love good pop music," offers Michie. "The Beatles,
Beach Boys, The Jam, Redd Kross, Cheap Trick."
"Cheap Trick came to Japan last December," recalls Naoko.
"I went to the show with Atsuko. I remember being very impressed by
Robin Zander's voice, Rick's [Nielsen] many guitars and the way the band
was" she sighs, "when I watch groups like Kiss or Cheap Trick, I'm always
amazed at how much fun they seem to be having on stage."
"Shonen Knife wants people to enjoy our show and our music, too,"
comments Michie. "But, most importantly, we have to be happy being
Shonen Knife. We want to have fun. We want to write songs that make us
happy when we record them, and make us happy when we play them again and
again."
"_Brand New Knife_ has many moments that make us very proud and
very happy to be Shonen Knife," says Naoko. "Michie has good songs,
I have good songs, the music is, I think, very good - it's a good album."
"I really like 'The Perfect World' a lot, but," she adds
sheepishly, "one of my favorite songs on the record is 'Magic Joe.' My
sound concept when I was writing it wasn't 'Hey Bulldog' - which is
what many people seem to think," Naoko laughs, "but Led Zeppelin.
Maybe since I love the Beatles so much, I was subconsciously inspired
by them when I wrote it."
"Another good song is 'Buddha's Face,' " she offers. "We do
that one live a lot because it's loud and fun to play. I was very
angry at, uhm something," Naoko adds cryptically, "when I wrote that song."
"I think the single ["E.S.P."] is very good and I really
like "Magic Joe" a lot," offers Michie, "but, I'm especially proud
of "The Perfect World." I think it's the best song I've ever
written. Naoko plays the Mellotron and a great guitar break on it,
and it has a good feel to it. I also enjoy "Loop Di Loop," she
laughs, "which is about going on an amusement park ride."
"You know, some people try to analyze what we're singing about
and spend too much time trying to figure out, 'who is Shonen Knife?' "
laughs Naoko. "But, as long as we have songs that make us smile when
we play them and make our fans happy when they hear them, who cares if
we sing about bad oysters, chocolate bars or ice cream?"
Look for Shonen Knife on tour at a venue near you this spring.
Learn more Big Deal information (such as Shonen Knife tour dates) by
e-mailing: BIGDEALNYC@AOL.COM.
Join the official Shonen Knife Fan Club by writing to: Knife
Collectors, PO Box 1942, Hoboken, NJ 07030.
---
REVIEW: Rollins Band, _Come In and Burn_ (Dreamworks)
- Sean Eric McGill
The general image of Henry Rollins is simple: a mass of
tatoos and muscle which seem to exist in places most people don't
even have places, screaming into a microphone against the evils
of the world. That's about half right. Since his days with Black
Flag, Rollins has always been one of the more intellectual figures
in the music industry. His eleven books and eight spoken word
releases have shown that this is more than just another screaming
maniac with a band, and it is that sense of intellectualism that
has helped garner his band, Rollins Band, one of the most faithful
followings in the industry.
But, it's been three years since the release of 1994's
_Weight_, the band's most popular release to date. In that time,
we haveve seen what appears to be the death of grunge, the rise of
gangsta rap, and Michael Jackson became a parent (surely one of
the first signs of the Armageddon). Has this changed Rollins Band?
Well, yes and no.
_Come In and Burn_ is their first release for Dreamworks,
and from the first few seconds in, you get an idea of what you
should be prepared for. "Shame", the album's lead-off song, starts
off slow enough, with Rollins more-or-less speaking the lyrics,
then he and the band kick in to shove the chorus down your throat.
Rollins is known for a lot of things, but being one of the world's
best vocalists isn't one of them. Which is why, like on _Weight_,
if he isn't screaming (which he is very good at), he's delivering
his lines with a certain cadence that calls to mind his spoken word
material, but works well with the songs.
The songs on _Come In and Burn_ are a mixed bag of "anger
against society" songs like "During a City", and personal songs
like "The End of Something" and "Saying Goodbye Again". The latter
batch are the best on the album. Rollins' spoken word material has
always been at its best when he is riding that fine line between
performer and stand-up comedian, choosing to deal with the
inter-personal relationships of himself and others instead of
rallying against the world as a whole.
As far as the sound of the album goes, it's important to
note that Rollins Band is one of the only (if not the only) band I
know of that lists their soundman, Theo Van Rock, as part of the
band. One of the things that originally caught my ear on _Weight_
was the rolling basslines of Melvin Gibbs, and how that complemented
the guitar work of Chris Haskett and Sim Cains drumming. The same
sound is intact on _Come In and Burn_, with no changes whatsoever,
save for those that come from the songwriting itself.
Rollins Band is a group to be reckoned with, much like their
frontman. _Come In and Burn_ isn't really an album for the Marilyn
Manson set - the songs don't make any attempt to hide their true
meaning, and the vocalist isn't anywhere near as flashy - but if
you appreciate good songwriting, good musicianship, and a nice, fat
sound that will leave you shaken after the CD has left your player,
then this album is for you.
---
CONCERT REVIEW: Matthew Sweet and Fastball, Rochester, NY
- Bill Holmes
Matthew Sweet has to be one of the most unassuming pop stars
on the planet. Most bands will remind you before, during and after
every song that there is a new album on the way. Aside from one
innocuous comment, the only clue that concert patrons had was Ric
Menck's bass drum head which bore the phrase "Blue Sky On Mars",
and if you were more than twenty feet away you would have missed
that, too. With the album a month away, this was more of a flexing
of the pop muscle than a full fledged dog and pony show to move discs.
As usual, Sweet showed up with a stable of professionals.
Besides stalwart Menck on drums, fellow Velvet Crush member Paul
Chastain played guitar, keyboards and just about everything else he
could get his hands on. Ex-Cruzados bassist Tony Marsico straddled
the front line along with guitarist extraordinaire Ivan Julian, who
has been a dominant creative axeman for over twenty years and still
looks like a fresh face. Although they may still have been working
on some arrangements for the newer songs or even the set list
itself (two songs were added since the previous week), the band
was certainly well-oiled and ready. As was the crowded club.
Kicking the evening off with "Dinosaur Act", the band roared
through twenty songs with hardly a break for air. Sweet has a wealth
of killer material to draw upon and relied on much of it to fill
the show, launching only four songs from the new record. No
complaints from me! When you can slap a new killer like "Over It"
in between "We're The Same" and "Sick Of Myself", that's a roll
few artists can match. The crowd was familiar with the songs culled
from _Girlfriend_ and _Altered Beast_ and responded with appropriate
enthusiasm, and the new songs were met with deserved appreciation as
well. The songs sounded much the same as they do on record (except
for some of Julian's explorations), but probably the highlight of
the show was a high-octane version of "Girlfriend", his breakthrough
hit, played at a much faster tempo. Although not a "greatest hits"
show by any means, after hearing "Winona", "Time Capsule" and "Come
To Love", even long time fans were reminded just how prolific a pop
songwriter Sweet has been in this decade.
As expected, the crowd really caught fire whenever Sweet
turned Julian loose for some aural pyrotechnics. Besides adding a
needed edge to Sweet's pop songs (like fellow New York wizards
Robert Quine and Richard Lloyd before him), Julian got a chance to
stretch out and do his best Mick Ronson impression on a cover of
Bowie's "Moonage Daydream", one of the encores. Also treated with
reverence was the Kinks classic "Waterloo Sunset", a well-played
homage to one of Sweet's heroes.
This is the third time I have seen Matthew Sweet with a
band, and while each was a fulfilling experience, they have also
been among the loudest shows I have ever seen. Knowing them, I can
rule out the clubs and the sound engineers, so I can only surmise
that the shy popster feels safer behind a wall of noise. Pity - he's
a supreme talent whose songs would shine in any arrangement, and an
occasional break from ear-bleed territory would be a welcome
respite. Much of the texture that Paul Chastain added was lost in
the mix (his keyboards were almost inaudible) and the background
vocals were sometimes drowned out by the thick wave of guitar. The
closest the evening came to "unplugged" was when Sweet and Ivan
Julian performed "I Thought I Knew You" as a duo - on ringing
electrics, of course. But volume aside, it was a remarkable evening.
Opening act Fastball was a real scene-stealer. Clearly the
crowd was there to see the headliner, but they didn't care - they
reared back and kicked ass for their entire set just the same.
Pounding out hard crunchy pop and roll like a wittier Green Day,
they fleshed out several songs from their major label debut, and
even tossed in a spirited version of Tommy Tutone's classic
"Jenny". Too bad there was no product of any kind in the house;
they made a lot of friends that night. If and when this double bill
hits your burg, better get there on time or you'll miss a real comer
in Fastball.
---
REVIEW: u-Ziq, _Urmur Bile Trax Volume 1 Volume 2_ (Caroline)
- Joe Silva
What generally doesn't work for me about jungle and its
suspiciously analogous cousin drum n' bass (have you ever seen
the two together at the same time?) is that I can't imagine the
quantity of ephedrine-based goods that it would take to keep an
entire club's worth of revelers moving along to its sputtering
rhythms for any extended length of time. As a vehicle for dancing,
it seems far too demanding an exercise. And while I haven't become
acquainted with the new Orb platter yet, another player of some
consequence in the techno arena has taken to jungle's hyper-paced
realm.
u-Ziq (pronounced "music") is the principal nom de techno
that 25 year old Mike Paradinas uses while cranking out prolific
amounts of his electronic whirs and gurgles. A bedfellow of sorts
to the Aphex Twin (his debut releases were on the Twin's Rephlex
label), u-Ziq came to be know for wonderful digital etchings that
combined otherworldy motifs with fluid structures and drum tracks
cranked up to where they were distorted, but just enough to be a
true signature move rather than simply becoming annoying or
gimmicky. True melodies seem to always be something of a
concern (!!), and Mike P.'s sense of knowing how to wring his
sampler for sounds that bear both charm and distinction is far
more than keen.
Now Mike has copped a vision of the jungle world on _Urmur
Bile Trax Vol. 1&2_. But the challenge here is not whether the
BPMs meet or surpass recommended daily allowances, but how to
traverse the aesthetic and not weigh in like so many other faceless
knob tweakers. The Twin did it (more or less) on his recent
_Richard D. James_ LP, and u-Ziq's slant is also fairly convincing
and near or about the mark.
The tracks here are long (the shortest coming in at 6:14)
and the beats unmercifully torqued. The title cut sets the
template for what's to follow; long atmospheric breaks in otherwise
dense rhythm flourishes and ear-catching samples. But unlike his
other work, there is no option for gently wading your techno
sensibilities onto his canvas. Once immersed, you must flail along
with the masses to keep abreast of all that's going on. By the
third on fourth listen the subtle colours of the material begin
to surface, but until then the driving gait of the tracks doesn't
lose its neon sheen.
When he does back off somewhat, the haunting and cryptic
feel of what's laid down temporarily seduces your attention span.
It's as if when all of a sudden the drum machine quits hammering
(or overheats), you are drawn to the interesting asides that waft
in. For instance, when you've come 6:20 into "The Hydrozone,"
you're fed a swirl of spacey Kraftwerk-isms that are dead-on
enchanting. By 9:35 the jungle reasserts its hold, but for the
duration of the lull, you're reminded of Mike P.'s true strong suit.
As a sidelong adventure for young upstart, _Bile Trax_
bubbles along just fine, but as anything more than a "phase" in
his trajectory, the average devotee might find their tolerance
levels dwindling over time.
---
REVIEW: Nerf Herder, _Nerf Herder_ (Arista)
- Bob Gajarsky
The Ramones meet Weezer on the self titled debut album from the
Santa Barbara, California trio known as Nerf Herder.
The song which thrust Nerf Herder into the national spotlight
is "Van Halen". Played coast-to-coast (and a favorite of Howard Stern's),
this track takes laments the David Lee Roth/Sammy Hagar debacle through
the eyes of one of VH's devoted fans. A cute novelty hit, this is the
type of track that would normally wind up on a Dr. Demento compilation
years down the line.
However, Nerf Herder deftly avoids the novelty trap, and has
produced a collection of simple, but eminently hummable, songs. The
key track here is the rollicking "Sorry". A tale of an obsessive apologetic
ex-boyfriend, this typifies the "geek rock" attitude which most recently
came to light on Weezer's debut album. With "Sorry", lead singer Parry
progresses from the realistic ("Sorry I puked up on your bedspread")
to the slightly ludicrous ("Sorry I jacked off outside your window / While
you were sleeping / I thought you'd never know").
But whereas Weezer's lyrics skirt gently around the subject, Nerf
Herder's come full strength at the listener, talking to the geek inside
nearly everyone (at one time or another). Parry tells us on "Golfshirt"
that "I'm not the one you want to be seen with" and reassures himself with
the knowledge that "When you're tired of being hurt, you'll long for the
comfort of my golfshirt".
Nerf Herder's name comes from a line in "The Empire Strikes Back"
- and Luke Skywalker (Mark Hamill) appears in the video for "Sorry".
With ten songs packed into just over thirty minutes, the joke
doesn't grow old too quickly. So even when the lyrics resort to
material which would be better found in Weird Al Yankovic's outtake
pile ("Nose Ring Girl" - the only song to truly miss the mark),
it's soon over, to take the listener on another journey through
bouncy tunes such as "Down On Haley" and "Annalee".
If Nerf Herder were still on an independent label, critics would
be spooging over them - but now that they're on a major label with their
simple guitar chords, it might be a different story. Nerf Herder is
likely to draw widely differing reactions of love or hate from music
fans. But the one thing that they're unlikely to do is generate
indifference.
---
REVIEW: Sloan, _One Chord To Another_ (The Enclave)
- Al Muzer
The third full-length release from Nova Scotia's Sloan
finds Geffen's former next-big-things relaxed, confident and in
full control of their musical destiny on a brand new label.
Elevating the assured pop brilliance explored on 1994s
_Twice Removed_ to a near-genius level with this release, the
four very distinct singer/songwriters that make Sloan one of
the few working democracies in existence all share mutual musical
roots that include artists such as the Zombies, the Hollies,
T-Rex, _Pet Sounds_-era Beach Boys, Raspberries, the Move, Beatles,
Steelers Wheel and AM radio bubble-gum by artists like the
Strawberry Alarm Clock, the Archies and the Flying Machine.
While potential hits like "The Good In Everyone," "Take
The Bench," "G Turns To D," "Autobiography" and "Everything You've
Done Wrong" recall their classic influences, a musical nod in the
direction of modern seekers of the perfect jangle such as Matthew
Sweet, Teenage Fanclub, Velvet Crush, the Spongetones and The
Vandalias helps Sloan continue to carve a distinct pop niche of
its own.
---
REVIEW: Shudder To Think, _50000 B.C._ (Epic)
- P. Nina Ramos
Just as the flame has dimmed on Shudder To Think's last
album, _Pony Express Record_ along comes _50,000 BC_. Shudder
To Think has taken a 180 degree turn back to their well earned
roots. With a little Spanish spice and hard core sounds they
still come forth as one of the best rock bands around.
The entire record seems like a joy ride inside of a
haunted house. At times dark and mysterious, the next bend can
shed the most detail you'll see through the entire journey.
Moving, romantic, pop and soul are all poured with honesty and
feeling by Craig and the boys.
Suprisingly enough, "Red House" (the first single on
radio, previously released), has stood the test of time. Proving
once again the bad boys from Dischord could very easily slip into
the Epic family without many scratches.
As an added bonus, Shudder has included a Multimedia treat.
The main gist of it is a collection of sounds, images and surprises
you will go back for again and again. Stroll down to your nearest
Internet cafe or your own room to experience this lovely collage
that is Shudder to Think with their latest release, _50,000 BC_.
---
PORTRAIT/REVIEW: Arno, _Give Me The Gift_ (Citizen X)
- Reto Koradi
It's been almost 10 years, but the memory of the first
sighting of Arno is still fresh: He was performing his minor hit
"Tango de la Peau" in a TV show. Dressed all black, very pale,
messy dark hair hanging into his face, eyes closed all the time.
A perfect match for the slow, intense song, obviously an artist
who lives his music. The next step was buying his album
_Charlatan_, and listening to it countless times. If this man
needed a label, it would have to be "the European answer to Tom
Waits".
Even if he never made the big headlines outside Belgium,
at least he always sold enough to release album after album, and
to always remain present. Seeing him live for the first time a few
years later raised the level of appreciation even more. It is rare
to see an artist who would put so much into his performance; he
does not just sing with his mouth, but with every fibre of his
body, soul and mind. With a brilliant band, and the capability to
vary the pace between slow ballads and tough rock songs, it is no
wonder that he attracts a larger audience than the hypes of today,
and some die-hard fans follow him during his tours.
So now comes the next step for Arno: _Give Me The Gift_ is
his first US release, packing tracks from his past six albums
together with a few new ones. Due to that concept, the album covers
a wide range of material. A handful of songs, like the title track,
"Watch Out Boy", or "Les Yeux de ma Mere" are in his genuine style:
slow, sparse, with lots of accordion, often with a touch of tango
rhythm, and very intense with his unique, raspy voice. His talent
for driving rock songs is shown in tracks like the strong "Meet
The Freaks", and "Putain Putain" brings his old punk days back to
mind. Other highlight tracks are his dark rendition of Bobby
Womack's "It's All Over Now" and the collaboration with dEUS on
the haunting "I'm Not Myself". Zap Mama also make a guest
appearance on "Seul".
The variety of songs drawn from different albums makes
_Give Me The Gift_ have a less clear concept than some of his
earlier work, like the wonderful _A la Francaise_ from '95, which
almost entirely concentrated on songs close to the French chanson
style. Even if this could be considered a negative feature, _Give
Me The Gift_ is a perfect vehicle for introducing Arno to the
American market, showing his full range, and with a wealth of
excellent tracks. Like he sings in one of his most important
songs: "stoned, stoned, stoned, stoned, let's get stoned, music
is the dope."
---
REVIEW: fIVE fOR fIGHTING, _...Message For Albert..._ (EMI)
- Bob Gajarsky
While industry rags have been touting - or forcing - 1997
to be the year of electronica, it may be the "old fashioned"
instrument of the piano which is one of the year's most celebrated
instruments.
Ben Folds Five's approach to the piano has been similar to
Joe Jackson and Squeeze, taking an alternative to the Billy Joel/Elton
John rock-piano combination. While the key member of fff, John Ondrasik,
has less in common with Folds than with either Billy or Elton, he also
takes a unique approach to re-introducing the piano as a instrument
which can be used to rock.
"I don't consider myself a pianist," Ondrasik notes, trying to
separate himself from the stereotyped perception. "I consider myself
a songwriter who can use the piano as a writing and performing tool."
And on cuts such as the first single "Bella's Birthday Cake",
Ondrasik and fIVE fOR fIGHTING do exactly that. The cake is
for the 50 year old woman who is the centerpiece of the song. And
the lyrics, while open-ended to interpretation, probably hit home to
many people. "Love Song" is about divorcing parents through the eyes
of an innocent youngster, with a pace that strikes memories of
10,000 Maniacs' "What's The Matter Here", while other tracks touch
on human emotions with a sensitivity seldom seen in most rock songs.
The music on _...Messsage For Albert..._ also is distringuishable
from most other acts. Check out the strings on "Day By Day", "Ocean"
and "White Picket Fence", which blend eloquently with Ondrasik's piano
and the sound which fIVE fOR fIGHTING is trying to create. "Wise Man"
utilizes backup vocals such as those used by Crosby, Stills, Nash &
Young with guitars of the 1990s, and other tracks such as the
aforementioned "Bella's Birthday Cake", "2 Frogs" and "Happy" evoke
comparisons to Queen, The Who, and many other classic rock favorites
of the 1970s.
Because of Ondrasik's raspy voice a la Mother Love Bone's Andrew
Wood, the band sometimes bears much in common (with the addition
of piano and harmonies) to some of Seattle's better known grunge
bands. And as some of those Pearl Jam fans grow older, it wouldn't
be surprising to see them take to the lyrical and musical talents of
fIVE fOR fIGHTING.
---
REVIEW: Slush, _North Hollywood_ (Discovery)
- Joann D. Ball
You just kinda find yourself in the middle of
_North Hollywood_, the debut release from Slush. The
in-your-face lead track, "Throw Me A Line," might cause
you to wonder whether you've made a serious wrong turn, but
don't mistake the aggression, energy and volume. There's
really nothing dangerous or threatening here. It's just
four young dudes expressing themselves.
Slush guides you through a neighborhood of grunge-inspired
alternarock and garage pop on this twelve block tour. It's the
same type of commercial territory which Bush roams, but infused
here with Southern California quirks, sunshine and a sense of
humor. Perhaps it's no coincidence, though, that Slush also
makes mention of its urban, metropolitan roots - like the
respective inner suburbs with which both bands identify, the
surroundings are accessible, familiar and identifiable.
"Mercury De Sade," the first single from the release,
is a highly fueled burst of guitar-driven energy. Variations
on this power performance formula appear throughout the disc,
most notably on "Stumble," "Milla," and "Last Drop." And when
Slush switches gears and slows down a bit, as on "So Volatile"
and "Sleep Forever," frontman Johnne Peters showcases his vocal
range over an intricate and textured layer of sounds. Peters
also has a knack for the bizarre, hence "Amoeba," a psychedelic
groove which periodically mutates into mosh pit thrash. With
all sincerity, he woos an object of desire by comparing himself
to the microscopic, one-celled creature. Amazingly, it's a
pickup technique that not only makes you take notice, but actually
works.
For the record, _North Hollywood_ has character, grit
and spark. There's quite a bit happening here with enough hip
and interesting spots to warrant frequent visits. Yours to discover.
---
REVIEW: Chopper, _Chopper_ (Big Deal)
- Bill Holmes
I know I shouldn't blame the band for the jewel case
stickers that hype them to the prospective buyer. But somebody must
answer for a disc that's trumpeting such fizz as "power pop at its
finest" and "the purest of pop bands in the style of Big Star,
Badfinger and The Byrds...it boggles the mind to try and imagine how
Chopper might progress from this". Sure I was excited, wouldn't you
be? Now on to reality: Great pop bands need to have the big
three - vocals, songs and chops, and Chopper is one leg shy right
now. What they lack is a dynamic singer.
That's not to say that I wouldn't be pogoing in place to
crunchy pop like "You're Tearing Me up" or "Bloodspill", I would be
doing my best Gabba Gabba Hey in a second. Musically, they usually
feature that fat-bottom, crispy top power pop sound, but on songs like
"Nice Girls (Don't Explode)" they prove they can flat out rock.
Although the four piece is fronted by writers/guitarists/singers Steven
Deal and Robert Dietrich, it's the rhythm section of Dean McNulty
(bass) and Furgis Allen (drums) that propel those power chords with a
solid, no-frills style.
Three of the thirteen songs are covers, and I'm glad to see
any band include a chestnut like "Itchycoo Park" as a bonus track.
hopper captures the essence of the song beautifully, and despite a
screw up (it is a live cut), they pick it back up at the chorus and
meet at the end. It's obvious that these guys consider 60's AM pop a
strong influence; also on the "extra" list is a cover of George
Harrison's "The Inner Light" in all its psych-pop glory, also live.
Pretty impressive, even though Homey don't do Yogi. The originals are
pretty solid as well; Steven Deal knows how to line the hooks up like
a pro.
Overall I like Chopper, but if I were giving anyone the CD I'd
rip that sticker full of hype off the jewel case and let the band be
judged on their own merits. I like them a lot better ego-deflated, and
so will you.
---
REVIEW: Humble Gods, _No Heroes_ (Hollywood)
- Simon Speichert
When I first recieved Humble Gods' CD, _No Heroes_, I was
skeptical. Will this be like some of the other punk music I've heard,
vague and unoriginal? Or will it change my view of punk and be a
refreshing change? I'll let you answer that question.
Humble Gods' debut CD is a nice contrast to other punk music,
making a place for itself. I've heard other songs by other punk groups
that, sometimes, give hints to what they are talking (or in this case
singing) about. Not Humble Gods. They're quite straightforward. In fact,
the first words sung on the CD are "Fucked up/drunk/outta tune again."
_No Heroes_ rocks, for several reasons. One reason is that it is
the last recording of late Pennywise bassist Jason Thirsk, whose music I
really enjoyed. Another reason is that it is forty-nine minutes of pure
original punk music, with one exception. Lastly, that exception is a
balls-to-the-wall cover of Tom Petty's "American Girl".
_No Heroes_ is a vital peice of punk. It has a bunch of great
songs from a bunch of talented people. If you want to know what all-around
punk is, pick it up. You'll be amazed at what some would call "just
another band from Orange County" can do.
---
REVIEW: The Clarks, _Someday Maybe_ (Way Cool Music/MCA)
- Linda Scott
Pittsburgh music fans will be likely to re-title the latest
release by the Clarks _Local Boys Make Good_. The city dotes on
hometown heroes, and The Clarks have given them something to brag
about. Well known and loved for soldiering on the small club circuit
for ten years, building up and extending their fan base, The Clarks
now have a big time record contract to show for it.
The Clarks are four nice guys named Scott Blasey (vocals,
guitar), Greg Joseph (bass, mandolin, vocals), Robert James (guitar,
vocals), Dave Minarek (drums, vocals). The Pennsylvania/Ohio area
is their region with Pittsburgh at its heart. Using their own
label, they released four albums and built their following up to
40,000 unit sales worth - enough for Way Cool to pick them
up. _Someday Maybe_ , the band's self-released 1996 collection
was remastered, rearranged and reissued by Way Cool.
The record company gave The Clarks a big push by throwing
some experienced talent to work on their recording. Tim Bamba
(Rusted Root, Gilby Clarke) produced; John Siket (Soul Asylum, Dave
Matthews Band) was the engineer.
The Clarks style is a song-oriented, grassroots Americana
guitar band. Their stock in trade are uptempo road songs, rocking
love songs, acoustic serenades and always those catchy choruses.
Cited influences include The Replacements, The Rainmakers, The
Rave-Ups, and Tom Petty. The single, "Caroline", can be heard all
over Pittsburgh radio, and it is the first single off the new album.
But the 13 tracks include other possibilities and other local
favorites, notably "One Day In My Life" and "Cigarette".
Not every song is a winner of course. If The Clarks have a
fault it may be in lyrics which can tend toward the juvenile, e.g.
"Courtney". Several of the songs have been remixed from the 1996
collection, and there are several that could have benefited. In
some cases, the vocals are mixed so high that you wonder if the
rest of the band is down the street. The album is uneven, but the
high points reflect what has endeared the band to the 'burgh.
The Clarks are not currently on a national tour, but are
continuing to develop their growing fan base in Pittsburgh and make
the same national breakthrough as city-mates Rusted Root. This is
a band worth trying if you like rocking, upbeat music. You can keep
up with The Clarks story on their web site at
http://www.clarksonline.com. Tip: Click on the Harley.
---
REVIEW: Javelin Boot, _Fundamentally Sound_ (Pravda)
- Bill Holmes
I really wanted to like this one. Texas trio Javelin Boot are
one of those bands that you think you'll like before you even crack
the shrink wrap on the disc. Good song titles, nice packaging, and
they look like guys who don't take themselves too seriously. You know,
three guys you'd go to the pub with and have a couple of beers.
That's how I see _Fundamentally Sound_. If I walked into a college
bar and they were playing, I'd probably start tapping my foot, then
nodding my head, and eventually thinking "hey - these guys aren't
bad!". But away from the beer and the atmosphere, with my focus
strictly on the disc in the player, it isn't holding up. All three
sing, but of the three only Blake Patterson possesses a voice that
has the commanding presence you'd expect from a band on this level.
Drummer David Mider is a little on the flat side, and guitarist Dan
O'Neill's nasal tone can get a little tiring if you're impatient about
these things - and admittedly, I am. Ironically, the three part
harmonies are very, very good.
The melodies are pleasant, ranging from folk-pop to surf
instrumentals, with the standout clearly being the upbeat "It's All You",
with "Jiffy" and "Go" other possibilities (although the Gin Blossoms might
have to get some of the royalties). Lyrically, it's a crapshoot. When
the band writes about relationships, like O"Neill's "Self-Inflicted",
some of the lyrics approach poetry. But other times the metaphors are
laid on with a trowel, like "Down" and "Under The Big Top". Still, you
have to like a band that can write a song about women's work plights and
include the phrase "Her nose pressed against the glass ceiling/She's
trying to smell success/But they let her climb the corporate ladder/So
they could look up her dress".
I'll bet that Javelin Boot are probably likable on stage and
use that approachable aura to their benefit. If they do, they're probably
touring a lot of small clubs and college towns, which is where I'd expect
them to be with _Fundamentally Sound_ as their benchmark. Hopefully
they'll show us what else they have up their sleeve, tighten their
sound, and take it to the next level.
---
REVIEW: Various Artists, _Toon Tunes_ (Kid Rhino)
- Bob Gajarsky
Fifty theme songs, spanning sixty years of animated fun,
are the focus of this _Toon Tunes_, from Kid Rhino.
The definitive collection of cartoon classics, this collection
sounds like a "Who's Who" of the the hall of fame of cartoons.
There probably isn't a soul in the country who hasn't watched
"Popeye", "Tom & Jerry", "Woody Woodpecker" (appearing in its
full length form) and "Mighty Mouse". Continuing on through the
late 50s and early 60s, four songs from the vastly popular "Rocky
and Bullwinkle" show appear - the theme, "Dudley Do-Right", "Fractured
Fairy Tales" and "Peabody's Improbable History" - highlight the
third decade of cartoons.
Each theme also includes a little blurb besides its entry.
For example, can you name the show which had only 24 episodes
produced from 1962-1984, before another 51 episodes were produced
for syndication? The answer appears later in this column.
For the people who have only seen Schoolhouse Rock (represented
here with possibly its most famous song, "Conjunction Junction") in
repeats, 90s themes such as "The Simpsons", "Animaniacs", and
"Rugrats" may get multiple repeats on the disc player.
With so many themes across the ages - many of which are
classics and familiar to everyone - there is slight room to
quibble. "Wacky Races" fails to show up on here, but the spinoff
from that series (Dick Dastardly & Muttley, "Stop That Pigeon"), does.
Oh, the answer to that trivia question is the Jetsons. Funny,
as a youngster, I never realised there were so few episodes produced.
And, although targeted for the youngsters on the Kid Rhino label,
_Toon Tunes_ is really for the child inside all of us.
---
REVIEW: Vallejo, _Vallejo_ (TVT Records)
- Scott Slonaker
Take Collective Soul-esque '70s riffing, add glammy
vocals (a la Jellyfish/Imperial Drag singer Eric Dover, or
Mother Love Bone's late Andrew Wood) and garnish with hearty
doses of Santana-style Latin percussion and feel-good lyrics,
and one might have the approximate recipe of the Austin, Texas
quintet Vallejo. TVT Records snapped up the band after watching
Vallejo's eponymous debut sell 5,000 copies locally, bringing
the album to national shelves.
Like so many other bands, Vallejo is a family affair.
The band features not one, not two, but three brothers;
singer/lead guitarist A.J., drummer Alejandro, and bassist Omar,
all bearing the surname that gives the act its name. Guitarist
Bruce Castleberry and percussionist Steve Ramos fill out the rest
of the act.
It is hard to believe that _Vallejo_ was produced for a
local indie label, as the bright and clean production stands out
as having the production values of a record with a much larger
budget. Kudos to producer Steve Peck (and the band, who get
co-credit) for his excellent work.
The opening track, "Shining Sun", kicks _Vallejo_ off in
grand style, its muscular riffs and smooth vocal harmonies marking
it as one of the record's best tunes. "Life Story" and "Nomad"
slide into easier, midtempo Spanish grooves. "Omega", "Sangre'",
and first single "Just Another Day" follow the chunky rock-oriented
stylings of the opening track. "Just Another Day" stands out as
most distinctive, due to its "voicebox" vocals, harmonica,
wah-wah riffing, and handclapped chorus.
Too bad there aren't more songs quite as distinctive on
_Vallejo_. While the album is extremely well-played and produced,
the songs do tend to run a bit together, especially towards the
end. This happens despite the generally good variance of tempos
throughout. I'm going to have to place the emphasis on the
somewhat one-dimensional vocals and lyrics, which are not
particularly weak or strong, being mostly good-natured invitations
to party, elementary discourses of life on the road, and life's
joys and hardships. The other songs that stand out in particular
do so due to an injection of an additional element, as evidenced
by the wicked funk of "House (Casa De Amor)" or the chugging
soft-hardcore riff and clanky bass of "Boogieman".
Still, _Vallejo_ is an impressive debut, and one that
could see success in both the United States and Mexico. The
musically illiterate may try to lump Vallejo with 311, but the
two acts deal with two completely different ethnicities of music.
The band is most likely lots of fun live (and probably touring a
college campus near you), and stand only to improve with their
next effort. Recommended for fans of any of the bands mentioned
as reference points, and also for those who enjoy their light,
fun, collegiately-themed rock with some chips 'n salsa, chunky style.
---
NEWS: > The band Cause and Effect ("Another Minute") has its
own web page located at http://www.oz.net/alien/cause_and_effect
> Nordic Entertainment Worldwide has recently started selling
CD quality music directly through the Internet, with no shipping
costs. The label sells its music on a song-by-song basis, so users
can download digital copies of songs. Check out http://www.nordicdms.com
for more information.
> The Psuedo Online Network has Real Audio shows on a weekly
basis including one geared to fans of the 1980s (Rock N Roll Hangover),
indies (Desert Flower Indie Hour), hip hop, NYC bands, and more. Check
out http://www.pseudo.com for more information.
---
TOUR DATES:
Archers of Loaf / Engine 88/ Knapsack / Peppercorn
Mar. 22 Cleveland, OH Euclid
Baby Fox
Mar. 24 Miami, FL KGB
Bloodhound Gang
Mar. 23 Dallas, TX Galaxy
Mar. 24 Houston, TX Urban Art Bar
Mar. 26 Atlanta, GA The Point
Mar. 28 Vail, CO Dobson Ice Arena/Transworld Event
Mar. 29 Providence, RI Living Room
Breeders
Mar. 22 Philadelphia, PA Middle East
Mar. 24 Pittsburgh, PA Metropool
Mar. 26 Albany, NY Bogies
Mar. 27 Northampton, MA Pearl Street
Mar. 28 Providence, RI The Living Room
Mar. 29 Boston, MA Paradise
Catfish
Mar. 26 Saginaw, MI On Stage
Mar. 27 Grand Rapids, MI The Rocker
Mar. 28 Goshen, IN The Body Shop
Mar. 30 Westland, MI Mosquito Club
Apr. 1 Louisville, KY Coyotes
Churn
Mar. 24 New York, NY Mercury Lounge
Mar. 27 Madison, WI O'cayz Corral
Shawn Colvin / Freedy Johnston
Mar. 22 Chicago, IL Chicago Theatre
Mar. 23 Indianapolis, IN Murat Theatre
Mar. 25 Madison WI Barrymore Theatre
Mar. 26 Minneapolis, MN State Theatre
Mar 28-29 Denver, CO Paramount Theatre
Mar. 31 Salt Lake City, UT Kingsbury Hall
Cordelia's Dad
Mar. 22 Anaheim, CA Living Traditions
Mar. 24 Sonora, CA Coyote Creek Cafe
Mar. 25 Oakhurst, CA Oakhurst Lutheran Church
Mar. 26 Mariposa, CA High Country Cafe
Mar. 29 San Diego, CA Thomas Paine Coffeehouse
Coward / Gravel Pit
Mar. 22 Troy, NY McNeil Room/RPI
Cravin' Melon
Mar. 22 Asheville, NC Be Here Now
Mar. 26 Danville, VA Sir Richards
Mar. 27 Lynchburg, VA Cattle Annies
Mar. 28 Charlottesville, VA Trax
Mar. 29 Richmond VA, Alley Cats
Crown Heights
Mar. 22 Cleveland, OH Euclid Tavern
Daddy Longhead
Mar. 22 Tallahassee, FL Cow Haus
Mar. 23 Jacksonville, FL Moto Lounge
Mar. 25 Gainsville, FL Covered Dish
Mar. 26 Ft. Lauderdale, FL Rock Candy
Mar. 27 Tampa, FL The Rub
Mar. 28 Savannah, GA Bay St.
Mar. 29 Atlanta, GA Masquerade
Darlahood
Mar. 22 Toledo, OH Frankies
Mar. 24 Huber Heights, OH The Sanctuary
Mar. 26 Springfield, MO Juke Joint
Mar. 27 Columbia, MO Blue Note
Mar. 28 Carbondale, IL Copper Dragon
Mar. 29 St. Louis, MO Mississippi Nights
Descendants
Mar. 22 Winston-Salem,NC Ziggy's
Mar. 23 Norfolk,VA Riverview
Mar. 25 Lancaster, PA Chameleon Club
Mar. 26 Northampton, MA Pearl St.
Mar. 27 Syracuse, NY Lost Horizon
Mar. 28 Buffalo, NY Showplace
Mar. 29 Pittsburgh, PA Metropol
Mar. 31 Indianapolis, IN Emerson Theater
Donovan
Mar. 22 San Francisco, CA Bimbos
Drywall
Mar. 27 San Diego, CA Brick By Brick
Mar. 28 Ventura, CA Nicolby's
Mar. 29 San Francisco, CA Slim's
Funky Green Dogs
Mar. 28 Pensacola, FL The Office
Goldfinger / Reel Big Fish
Mar. 22 San Felipe, MX Rockadile
Mar. 27 Ventura, CA Ventura Theatre
Mar. 28 San Diego, CA Soma
Mar. 29 Hollywood, CA The Palace
H2O
Mar. 29 Wash DC the old Safari Club
Susanna Hoffs / Jason Falkner
Mar. 28 San Juan Capistrano, CA Coach House
Mar. 29 Santa Monica, CA McCabe's
Horny Toad
Mar. 22 Chicago, IL ireside Bowl
Mar. 23 Indianapolis, IN The Patio
Mar. 24 St. Louis, MO The High Pointe
Mar. 26 San Antonio, TX White Rabbit
Mar. 27 Austin, TX Emos
Mar. 28 Dallas, TX The Orbit Room
Humpers
Mar. 22 Albuquerque, NM Dingo Bar
Mar. 23 Tucson, AZ Club Congress
I'M'L
Mar. 24 New York, NY Lion's Den
Irving Plaza (New York Concert Hall - http://www.irvingplaza.com)
Mar. 22 Status Quo
Mar. 28 Downset / Earth Crisis / Crown of Thornz / Stillsuit
Mar. 29 Zap Mama
Jewel
Mar. 22 Kansas City, MO Memorial Auditorium
Mar. 25 Denver, CO Paramount
Mar. 28 Seattle, WA Paramount
Mar. 29 New Westminster, BC Massey Theatre
Mar. 30 Portland, OR Theatre of the Clouds
Luciano
Mar. 22 Toronto, ON Scooter Roller World
Mar. 23 Rochester, NY Harro East
John Mellencamp / The Why Store
March 22-23 Boston, MA Orpheum Theater
March 28-30 Indianapolis, IN Murat Theater
Metallica / Corrosion of Conformity
Mar. 25 Buffalo, NY Marine Midland Arena
Mar. 26 Pittsburgh, PA Pittsburgh Civic Arena
Mar. 28 Montreal, QC Molson Centre
Mar. 29 Quebec City, QC Quebec Colisee Arena
Mar. 30 Ottawa, ON Corel Centre
Nada Surf / Candy Butchers / Ditch Croaker / Wrens
Mar. 28 New York, NY The Knitting Factory
Odds
Mar. 23 Vancouver, BC The Rage
Orange 9MM
Mar. 22 Omaha, NE Ranch Bowl
Mar. 23 Denver, CO Bluebird Theatre
Mar. 25 Minneapolis, MN First Avenue
Mar. 26 Chicago, IL Fireside Bowl
Mar. 28 Knoxville, TN Mercury Theatre
Mar. 29 Atlanta, GA Masquerade
Mar. 30 Jacksonville, FL Milk Bar
Mar. 31 Fort Lauderdale, FL Prop Room
Orbit
Mar. 22 San Diego, CA Casbah
Mar. 29 Denver, CO Snake Pit
Mar. 30 Lawrence, KS Granada
Mar. 31 St. Louis, MO Side Door
Ovum
Mar. 23 Miami Beach, FL Groove Jet
Plexi
Mar. 22 Austin, TX Emo's
Mar. 25 Tucson, AZ The Cellar
Mar. 29 Los Angeles, CA Moguls
Professor & Maryann
Mar. 22 Hoboken, NJ Maxwell's
Mar. 28 New York, NY Hotel Galvez
Rasputina / Cranes
Mar. 22 Chicago, IL Metro
Mar. 25 Austin, TX Electric Lounge
Mar. 26 Houston, TX Urban Art Bar
Mar. 29 Denver, CO Ogden Theater
Mar. 31 Salt Lake City, UT DV8
Samples / Stir
Mar. 29 Denver, CO Denver University
Duncan Sheik / Jill Sobule
Mar. 22 Toronto, ON C'est What
Mar. 24 Indianapolis, IN Patio
Mar. 25 Chicago, IL Park West
Mar. 26 Minneapolis, MN Fine Line
Mar. 28 St. Louis, MO Mississippi Nights
Sick of It All
Mar. 22 San Diego, CA Soma
Mar. 23 Las Vegas, NV The Huntridge Theatre
Mar. 26 St. Louis, MO High Pointe
Mar. 28 Chicago, IL The Metro
Mar. 29 Detroit, MI St. Andrew's Hall
Mar. 30 Cleveland, OH Agora Ballroom
Sissy Bar
Mar. 24 Hollywood, CA Opium Den
Sister Hazel
Mar. 22 Atlanta, GA Chameleon Club
Mar. 25-26 Orlando, FL Pleasure Island
Mar. 27 Miami, FL Stella Blue
Mar. 28-29 Key West, FL Hammerheads
Stillsuit / Downset / Earth Crisis
Mar. 22 Old Bridge, NJ Birch Hill
Mar. 23 Philadelphia, PA Trocadero
Mar. 25 Clinton, MA St. John's Gym
Mar. 26 Providence, RI Lupo's
Mar. 27 New Britain, CT Sports Palace
Mar. 28 New York, NY Irving Plaza
Mar. 29 Syracuse, NY Hungry Charley's
They Might Be Giants
Mar. 22 Sydney, AUS The Metro
Mar. 25 Adelaide, AUS Tivoli Hotel
Mar. 27 Perth, AUS Planet
Mar. 30-Apr. 1 Osaka, JP Club Quattro
Urge
Mar. 22 Asbury Park, NJ Stone Pony
Mar. 23 Washington, DC Bayou
Mar. 25 Virginia Beach, VA Nocturnal Cafe
Mar. 26 Winston-Salem, NC Ziggy's (w/The Roots)
Mar. 27 Columbia, SC Elbow Room
Mar. 28 Atlanta, GA Masquerade
Mar. 29 New Orleans, LA Tipitina's
Volebeats
Mar. 22 Lansing, MI Mac's
---
THE READERS WRITE BACK!
> I wanted to let you know that there is a Stina
Nordenstam mailing list. You can subscribe by sending a message
to: majordomo@maillist.il.ft.hse.nl with "subscribe stina-list" in the
BODY of the message.
Also, to hear (another) different side of Stina Nordenstam,
she does vocals on the new YELLO single. - Daniel P., Netherlands
> (In regards to Marilyn Manson's cover of "I Put
A Spell On You"), this was done originally by Screamin' Jay Hawkins.
- Lee W.
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
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===
