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Consumable Online Issue 111
==== ISSUE 111 ==== CONSUMABLE ======== [June 3, 1997]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, 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,
Patrick Carmosino, Janet Herman, Bill Holmes, Eric
Hsu, Tim Hulsizer, Stephen Lin, Scott Miller,
P. Nina Ramos, Linda Scott, Scott Slonaker,
Simon Speichert, Jon Steltenpohl, 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.
==================================================================
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| Contents |
`------------'
REVIEW: Nine Inch Nails, _"The Perfect Drug" Versions_ - Lee Graham Bridges
REVIEW: Bis, _The New Transistor Heroes_ - Bob Gajarsky
REVIEW: Paul McCartney, _Flaming Pie_ - Al Muzer
REVIEW: Beth Orton, _Trailer Park_- Patrick Carmosino
REVIEW: Hanson, _Middle of Nowhere_ - Bob Gajarsky
REVIEW: Mighty Mighty Bosstones, _Let's Face It_ - Sean Eric McGill
REVIEW: Mojo Nixon, _Gadzooks!_ - Tim Hulszier
REVIEW: Soundtrack: _Grosse Pointe Blank_ /_Romy and Michele's High
School Reunion_ - Joann D. Ball
INTERVIEW: Tonic - Al Muzer
REVIEW: Material Issue, _Telecommando Americano_ - Bob Gajarsky
REVIEW: Veruca Salt, _Eight Arms to Hold You_ - Eric Hsu
REVIEW: Tuatara, _Breaking the Ethers_ - Joe Silva
REVIEW: Orbit, _Libido Speedway_ - Scott Slonaker
REVIEW: Deadsy, _Deadsy_ - Stephen Lin
REVIEW: Stella, _Stella_ - Al Muzer
NEWS: Jeff Buckley, Rock For Rent, Ian Brown, Spearhead, Stee
TOUR DATES: Buck-O-Nine, Camber, Cellophane, Cheap Trick, Cravin'
Melon, Mary Ann Farley, Five For Fighting, Fluffy, Indigo Girls,
Rickie Lee Jones, Wayne Kramer, Matchbox 20, Moxy Fruvous , My Life
With The Thrill Kill Kult, Ozzfest, Iggy Pop, Q-South, Sevendust,
Silver Jet, Skeleton Key, Todd Snider, Space, Spearhead / 311, Third
Eye Blind / Coward, U2, Vallejo, Vasen
Back Issues of Consumable
---
REVIEW: Nine Inch Nails, _"The Perfect Drug" Versions_ EP (Nothing)
- Lee Graham Bridges
So here it is - the first significant release of Nine Inch Nails
material since _The Downward Spiral_ era. For those searching for the
radio-friendly, single version of "The Perfect Drug," check out the recent
_Lost Highway_ soundtrack. But for those more interested in hearing
instrumental work built to interface with the thematic undercurrents of
the song will be glad to know that five remixes of this song by various
artists have just been released under Trent Reznor's pen name as _"The
Perfect Drug" Versions_ EP.
Similar to _Downward Spiral_'s remix project, _Further Down the
Spiral_, as well as Reznor's musical and otherwise sonic contributions to
the popular PC game _Quake_, the theatrics are as present in _"The Perfect
Drug" Versions_ as in any original material NIN has ever released - but
they rely much more on musical fortitude than harrowing lyrics; only
snippets of vocals from the original are included in these versions. For
this reason, many who adopted NIN as a new favorite merely on the verbal
frankness of songs like "Closer," might be disappointed in this disc.
However, those who appreciate the quality and originality of the
compositions of Reznor and these other top-notch remixers in their
individual studio settings, and those who have recognized the solidly
thematic nature of their better work will also appreciate the work done
here by Reznor and some of his colleagues.
Meat Beat Manifesto, led by Jack Dangers and signed to Reznor's
Nothing Records, contributes the first of the five outstanding remixes,
splicing Reznor's vocals and elements of the original with his
characteristic scratching, kinetic bass sound, and busy, maximized
percussion. The listener, now at takeoff speed, is slowly lifted into the
atmosphere by Plug's fuzzy, darkly ethereal mix. Reznor then lays down a
mix that starts as a whisper, rambles through a drum-and-bass pattern, and
drags through heavy, insistent bass tones and cracking vocals to reach a
quiet end in a dreary, repeated piano melody (much like certain tracks
from _The Downward Spiral_).
The air clears and Spacetime Continuum adds a track that is less a
remix of "The Perfect Drug" than an original composition--an ambient
techno tune - with occasional vocals from said song. Still, it is a nice
break from the brain-scraping before the Orb's bubbly, scary,
acid-infected dub swing provides a perfect ending, distorting the usual
air of sonic stoicism and precision accompanying most work associated with
NIN, and highlighting what seems to be a musical, chronological
progression of the mind - appropriate to the title - from the grounded
motion of the beginning to the skies, through space, and drifting to the
brink of insanity. But beyond the allusion to a physical-mental journey,
and more important, is the suggestion of an emotional journey. For
instance, in the midst of the intensity of the Plug mix, at a key moment,
the original guitar or piano riffs appear as a conveyance of sadness and
lethargy, as Reznor sings "take me with you" over and over again.
Although this disc features a stylistic variety of skilled
remixers, far less overdriven guitar than previous NIN material, and a
slightly more electronic aural quality, it is no less in keeping with
NIN's standard of truth-telling mixed with fantasy, spotless mechanics of
composition, and relentless intrusion of the psyche.
What makes Nine Inch Nails and associated projects (such as _"The
Perfect Drug" Versions_) so exceptional is their inability to be defined
in terms of genre. While the disc certainly emphasizes electronics more
than previous releases, it is hardly a transition to drum-and-bass as
several uninformed, uninterested critics have already proclaimed on the
basis of the original single version. With the aid of the remixers, _"The
Perfect Drug" Versions_ is an amazing testament to Nine Inch Nails'
innovation; Reznor still maintains creative integrity despite his sudden
popularity. In short: it will be more than a little awkward to see NIN's
new material alongside other "alternative" radio favorites, especially if
it is anything like this.
---
REVIEW: Bis, _The New Transistor Heroes_ (Grand Royal)
- Bob Gajarsky
The first unsigned band to be featured on Britain's
Top of the Pops, Scotland's Bis have endured a lot of hype throughout
their career. British tabloids such as NME and Melody Maker trumpeted
their arrival on the music scene in a fashion usually reserved for bands
on the way out before their second single ever hits the stores. But,
defying the odds, Bis have not only released their debut full length
album, _The New Transistor Heroes_, but have succeeded in living up
to the hype and accolades.
_The New Transistor Heroes_, released on the Beastie Boys
ultra-cool Grand Royal imprint, is a wild joyride combining the
original party fever of the "Rock Lobster"-era B52s with the
breakneck pace which was a constant with the Sex Pistols, the
Ramones and other bands crucial to the punk movement. Too wild to
be pop, too organized to be truly punk, Bis combine the two genres
with an experience which belies their youth.
Though Sci-Fi Steven, John Disco and Manda Rin have superhero
names, the songs are firmly down to earth. "Tell It To The Kids" is
the punk equivalent of Republica's "Ready To Go", while I'll dare you
to stand still during "Everybody Thinks They're Going To Get Theirs" or
"Sweet Shop Avengers. The eighteen tracks might blend together a bit,
but there's enough standouts here to generate repeated listens.
The Teen-C generation, as the gen which Bis are a part of,
offer hope that the future of fast-paced party punk songs will continue.
There's a certain bit of irony in that the band - who are between the
ages of 19 and 21 - weren't even born when the punk movement was
getting started. Yet they wave the flag strongly today...
---
REVIEW: Paul McCartney, _Flaming Pie_ (Capitol/MPL Records)
- Al Muzer
Not quite the obvious masterpiece many had hoped for, the cutest
old (55) Beatle's umpteenth album since that group's dissolution shines
with a warm, personable, up-front charm similar to that found on his
first two solo albums.
While the normally heavy hand of co-producer Jeff Lynne makes
itself felt on the eight tracks he contributes to (dig the nod to "Don't
Bring Me Down" on "Flaming Pie"), the former ELO frontman is
surprisingly tasteful in his efforts to bring McCartney's vocals into
the front of the mix while he adds a crisp, almost dramatic instrumental
sound to excellent returns-to-form such as the moving look back ("The
Song We Were Singing") that starts the album; a brilliant bit of Nick
Lowe-caliber pop ("The World Tonight"); a low-key, "Messin' With The
Kid" knockabout jam with a bit of "Emotional Rescue"-era Stones
vocalizing, a great Byrds-like 12-string riff and Ringo Starr on
drums ("Really Love You"); and "Souvenir," which cops a minor "I Want
You (She's So Heavy)" groove.
With Macca self-producing "Some Days" (a beautiful "For No
One" update), "Used To Be Bad" (which sounds like a Steve Miller
track), Young Boy" and "If You Wanna" (both written with Steve Miller
and easily the best songs on the record) and George Martin co-producing
"Calico Skies" (which was recorded in 1992 but sounds as if it was
waxed during the same session that produced "Blackbird") and "Great
Day," which was written in the mid-'70s - there are no shortage of
fab-like highlights (relax fans, Paul even tosses in a "luv" on
"Somedays") here for those who grew up with McCartney.
What may surprise more than a few folks, however, is the
fact that there's more than enough vitality, playfulness, excitement,
emotion, honesty and fun contained in these 14 tracks to still qualify
McCartney as a relevant recording artist while also making him one of
the few members of his peer group in recent memory to actually produce
something worth hearing.
---
REVIEW: Beth Orton, _Trailer Park_ (Dedicated/Heavenly)
- Patrick Carmosino
Couldn't think of a much tastier way for top UK indie
Heavenly Records to make its official US debut than with this gem.
Beth Orton's vocals have previously graced efforts from such
electronica boffos as the Chemical Brothers and Red Snapper. This
solo effort finds a basic trio of stand-up bass (played by the
Snapper's Ali Friend), acoustic guitar and Orton's airy vocals
occasionally visited by drums, violin, cello and keyboard, that
dynamically veer around sounds you have and haven't heard before.
Or, in silly critic talk, think Bobby Gentry finding film noir and
yearning to her liking.
There are songs here such as "Live As You Dream", "Sugar Boy"
and "Whenever" which update, in a very comforting way, a certain
subtle early 70's singer/songwriter style that brings to mind early
Carly Simon or prime Carole King. In fact despite her youth and her
current cool placement in the British electronica scene, Orton reveals
some of the sources she draws on, on the Ronettes' classic "I Wish I
Never Saw The Sunshine". Here she brings out as much emotion with
voice and acoustic guitar as the Spector wall of sound did many moons
ago.
"Tangent" and the ten-minute opus "Galaxy Of Emptiness" brings
the world of acoustic, down-tempo trip hop to the edge...oh the
wonderful sounds that a stand-up bass can make.
Dealing with this low-key project is nothing new to producer
Victor Van Vugt (Tindersticks, Nick Cave), who gives the basic sound
plenty of room to breathe and roam with a dubby elegance to boot.
Andrew Weatherall (Primal Scream, Happy Mondays, Slab) comes in on
the trippier tracks to refine their sheen.
Beth Orton draws on international cultural knowledge (I mean
fer fuck's sake, given the title of the album, I find it fascinating
that someone who probably hasn't seen the Jenny Jones show, has that
much interest in American trash culture), intelligent, pretty
steadfast lyrics and an eye on a cutting-edge sound to make _Trailer
Park_ a fine debut effort to sink into as the long hot summer passes
you by.
---
REVIEW: Hanson, _Middle of Nowhere_ (Mercury)
- Bob Gajarsky
Ah, to be young and famous...
By now, the story of Hanson - three songs of oil financier Walker
Hanson who have catapulted to fame, fortune, and countless television
exposure - has been heard by music fans throughout the globe. The
deeper question is: what does their major label debut album, _Middle
of Nowhere_, offer?
The first single, "Mmmbop", has already hit the top
of the charts. The irresistible hook of this song will
immediately send you referencing towards those Jackson 5 songs,
whether towards their cover of "Rockin' Robin" or "I Want You Back".
However, while Motown guided the careers of Michael and his
brothers - and the Jacksons could only sing - these three siblings form
a harmonizing group who not only write their own songs, but also
play their own instruments. So, 11 year old Zac is sitting back, playing
the drums - not at the level of a Vinnie Colaiuta, but competently enough.
And with the Dust Brothers contributing production efforts, even with
a nonsensical refrain, this will be one of the top singles of the year.
Hanson is no one-hit wonder. Assisting in the writing of
their songs are some of the most prominent names in the business - Barry
Mann and Cynthia Weil, as well as Desmond Child - to put the finishing
touches on this threesome's work. "Where's The Love" is an obvious
followup single likely to duplicate the top-of-the-charts success of
"Mmmbop", but it's not all a one trick pony. The bonus track "Man
From Milwaukee" is a tale of a homeless man set to a pop backing,
"Speechless" owes an awful lot to the Beatles' "Come Together" and
"Madeline" steals some ideas from the Jackson 5's "ABC". The ballads
such as "Weird", "Lucy" and "I Will Come To You" don't do anything for
me, but are guaranteed to make the pre-pubescent girls swoon. "Yearbook"
could be a hidden smash as well, of a schoolmate who is no longer with
them.
Where will Hanson go from here? Possibly down the road of power
pop; the track "A Minute Without You" foregoes the usual lead vocals of
Taylor Hanson for the older, more mature voice of brother Isaac. The
switch is quite effective and is the song most likely to click with
folks who don't want to engage in flashbacks to Motown and bubblegum pop,
although it doesn't depart much from the path which Hanson are walking.
Michael Jackson was once a child prodigy, turned into the self
proclaimed King of Pop, and many would now say that the letter "o" should
be added to that title. The gloved one would do fine to take a listen
to _Middle of Nowhere_ to hear what pop really sounds like. Guaranteed
to be on the top of the charts for a long time in 1997.
---
REVIEW: Mighty Mighty Bosstones, _Let's Face It_ (Mercury)
- Sean Eric McGill
The Mighty Mighty Bosstones really don't fit into any easy
categorizations. Even with the rash of ska-ish bands currently
permeating the music scene, they still seem outside of all of it. Part of
it may be because they've been around longer than most of their
now-popular genremates. They're a lot like the kid who decided to have a
party, then didn't really seem to want to join in.
Which is not to say that their new album, _Let's Face It_,
isn't enjoyable - it is. While 1993's _Don't Know How to Party_ proved
to be an ironic title (most of the songs were basically party songs in
musical style and more often than not lyrical content), and 1995's
_Question the Answers_ put more of a serious lyrical attitude to the
Bosstones' style, _Let's Face It_ bridges the gap and emerges as the
band's best release to date.
Your first indication that something is a bit different is the
vocals of Dicky Barrett. On the earlier releases, Barrett's came off like
Henry Rollins in plaid - either he was screaming the lyrics, or on the
verge of it. On _Let's Face It_, however, he actually sings - and sings
well. Songs like "The Impression That I Get" (featured on a benefit
album and in the film Chasing Amy) and "Another Drinking Song" show off
Barrett's new vocal stylings especially well.
The album is a quick listen, with twelve songs that clock in at
under forty minutes in the best punk/ska tradition (the longest, "Another
Drinking Song" comes in at just under a whopping four minutes). The
arrangements are tight, the lyrics fluid, and when it's time for a song
to end, the band does just that, instead of grandstanding.
Of course, this is perhaps in response to the sheer size of the
band - seven members in all, including a dancer - which would make
grandstanding seem to be a lost cause. This leaves you never being
overwhelmed by the size of the band because the music all flows so
naturally. I've heard cover bands try to do Bosstones tunes without the
horns and with keyboards filling in the horn parts, and both times it
has seemed phony. The musicians which make up the Mighty Mighty
Bosstones are a unique unit. And while their style and sound may now be
acceptable in musical circles (thanks to bands like No Doubt), it
would do us all well to check them out.
---
REVIEW: Mojo Nixon, _Gadzooks!_ (Needletime)
- Tim Hulszier
Mojo Nixon has paid his dues. For more than 10 years, he
has been releasing albums that garnered him plenty of popular acclaim
and some good critical notice, but not the greatest record sales. He
has also built up a pretty hefty fan base, particularly in college
radio stations where his music has met with the most airplay.
His early albums with Skid Roper and without (self titled,
_Frenzy_, _Get Out Of My Way!_, and _Bo-Day-Shus!!!_) depict a portrait
of a man at war with popular culture while living day to day in the
confines of an MTV reality. It's no accident that his song "Stuffin'
Martha's Muffin" is all about that Neutrogena pitchwoman herself, MTV
alumnus Martha Quinn. Mojo has had one eye (heh heh) cocked (double
heh heh), casting a baleful glance at the idiosyncracies of living in
the U.S.A.
His lyrics have always mixed up the clever with the absurd,
and his sense of satire is always in attendance. He has sung about
tabloid topics ("The Amazing Bigfoot Diet", "Elvis Is Everywhere", etc.),
government ("I Ain't Gonna Piss In No Jar", etc.) and of course,
Christmas (the must-own album, _Horny Holidays_). Mojo has spread the
word as well, playing dates in the far corners of the world and right
here in that BBQ you had last summer in the backyard. He is a man of
the people who knows that the best way to say something is the direct
way. Thus, he has told us that "Don Henley Must Die", something we
probably already knew in our hearts, but which we were no less the
wiser from hearing it from the prophet's lips.
What remains? After dozens of records that skewered the
stupidity of McDonald's and the presidency, what should the Man do for
an encore? Why, release the rarities of course! As 1997 dawned, Mojo
Nixon released the hounds on an unsuspecting populace, and _Gadzooks!!!_
was born. The latest CD is subtitled "The Homemade Bootleg", and it
comprises unreleased stuff, compilation tracks, and some amazing album
leftovers. It starts off Mojo enough, with the truck-driving classic
"UFO's, Big Rigs, & BBQ", recorded with the World Famous Blue Jays.
Next up is a modern-day classic, "Bring Me The Head of David Geffen"
('Why David Geffen? Because he brought back Aerosmith and the Eagles,
that's why!'). Oh my, seldom has vitriol sounded so sweet. Third on
the album is "I Like Marijuana" from the compilation a few years back
called _Marijuana's Greatest Hits Revisited_. The rest of the album
continues on in fine Mojo Nixon tradition, with a funky vibe that
sometimes includes an accordion. Included on the album is even Mojo's
earliest song recorded, "Death Row Blues", and plenty of songs about
liquor. Hearing is believing.
So now Mojo Nixon has done it all. He's given us an album of
holiday classics and radical interpretations, he's made several
albums that defined college radio in the 80's and 90's, he's vented
his spleen on every subject that's near and dear to a trailer family's
life, and he has released his rarest gems for public consumption.
Should we want more? Can he possibly have anymore to say? Hell yes!
Here's a hearty slap on the back for Mojo, and a wish for many more
albums and live dates to come. His songs go down smoother than "two
toads fornicating in a bucket of mucous membrane", and they say
something to boot. Elvis may be everywhere, but Mr. Nixon is the
real King of rock'n'roll.
---
REVIEW: Soundtrack, _Grosse Pointe Blank_ (London) /
Soundtrack, _Romy and Michele's High School
Reunion_ (Hollywood)
- Joann D. Ball
These days, one doesn't have to have a good memory to remember
the music of the 1980s. All one has to do is turn on the local
commercial "alternative" radio station for an 80s flashback, or pop
into the nearest record store for an 80s compilation of some sort.
Obviously, there's much money in old school memories and it was only
a matter of time before Hollywood film producers cashed in on the trend.
At long last, reunion movies for those of us who came of age
with John Hughes films and the Brat Pack in the form of _Grosse Pointe
Blank_ and _Romy and Michele's High School Reunion_. Both were
released earlier this Spring, and although they both feature a 10
year high school reunion, they are as similar as night and day. The
Class of 1986 can accompany John Cusack back to his old school and
old flame in _Grosse Pointe Blank_. And the Class of 1987 is invited
to join Mira Sorvino and her friend Lisa Kudrow as they make a fashion
statement in _Romy and Michele's High School Reunion_. Since these
movies about twentysomethings would be incomplete without lots of
music, each has a soundtrack which captures the essence of the back
to the future experiences featured therein.
The plot of Cusack using his 10th reunion to rethink his job
as professional hitman is more a comment on the human condition than
a chronology of decade specific events. Thus, the 13 tracks tracks on
the _Grosse Pointe Blank_ soundtrack are thematically relevant without
regard to actual release date. The collection opens with the original
version of the crafty "Blister in the Sun," and includes the blissful
"I Can See Clearly Now" and smart "Absolute Beginners." The recurring
theme of pressure surfaces here on "Under Pressure" and "Pressure Drop."
And a slower, more introspective version of "Let My Love Open the
Door" is followed by an acid jazz tinged update of the opening track,
which is renamed "Blister 2000."
Contrast the thinking man's _Grosse Pointe Blank_ with the
bubbleheaded bleach blonde silliness of _Romy and Michele's High
School Reunion_. While The Clash appears twice on the former
soundtrack, two songs by The Go-Go's and Belinda Carlisle's "Heaven
Is A Place on Earth" take center stage on this celebration of young
womanhood. Flashbacks are prominently featured in the movie, and the
soundtrack includes such 80's no-brainers as "I Want Candy," Venus,"
"Turning Japanese," and "Dance Hall Days." The only misfit on this
11 track "remember when" adventure is The Smithereens' "Blood and
Roses," which seems too advanced to be in such company.
Like the main movie characters, the soundtracks from _Grosse
Pointe Blank_ and _Romy and Michele's High School Reunion_ succeed
in what they set out to do. The former takes life and music
seriously while the latter celebrates adult silliness and musical
youth. But that's precisely the bizarre coexistence that made high
school and the music of the 1980s so special. So, whether you're
preparing for your own 10th reunion or just having a get together
with friends, just put both soundtracks in the cd changer, hit random
and let the music play!
TRACK LISTING: _Grosse Pointe Blank_ Blister in the Sun - Violent
Femmes, Rudie Can't Fail - The Clash, Mirror in the Bathroom - The
English Beat, Under Pressure - David Bowie and Queen, I Can See
Clearly Now - Johnny Nash, Live & Let Die - Guns & Roses, We Care
A Lot - Faith No More, Pressure Drop - The Specials, Absolute
Beginners - The Jam, Armagideon Time - The Clash, El Matador - Los
Fabulosos Cadillacs, Let My Love Open the Door - Pete Townshend,
Blister 2000 - Violent Femmes
TRACK LISTING: _Romy and Michele's High School Reunion_ Our Lips
Are Sealed - The Go-Go's, Venus - Bananarama, (There's) Always
Something There to Remind Me - Naked Eyes, Dance Hall Days - Wang
Chung, Turning Japanese - The Vapors, Blood and Roses - The
Smithereens, Karma Chameleon - Culture Club, I Want Candy - Bow Wow
Wow, Everybody Wants to Rule the World - Tears for Fears, Heaven Is A
Place on Earth - Belinda Carlisle, We Got the Beat - The Go-Go's
---
INTERVIEW: Tonic
- Al Muzer
Yet another shining example of the return of good,
melody-based songwriting and deep, thoughtful lyrics that come
straight from the heart; the success of Tonic's 12-song Polydor
Records debut, _Lemon Parade_, really shouldn't come as too much of
a surprise.
With the first single, "Open Up Your Eyes" holding its own in
the Billboard Rock Radio Top 10 charts for more than 25 weeks; the
second single, "If You Could Only See," threatening to surpass those
figures on the Alternative, Rock Radio and AAA charts; and the album
itself netting the group Billboard's top New Alternative Artist title
two weeks in a row while rocketing up the magazine's Top 200 charts -
_Lemon Parade_ has already been named to year end Top 10 lists by
several critics and should reach a sales figure far beyond the wildest
childhood dreams of singer/guitarist Emerson Hart.
Formed in Los Angeles by Hart and New York guitarist Jeff Russo
with bassist Dan Rothchild (son of the fabled Doors producer) and native
Californian Kevin Shepard on drums; Tonic began sharing the bill at the
Kibbutz Room in Canter's Deli with the then up-and-coming Wallflowers
not long after Russo walked into an L.A. pool hall where Hart was
working one afternoon in 1993.
Practicing constantly and playing at just about any club that
would let them, the band plastered the town with flyers, recorded a
few demos and wound up with a six month-long Sunday night gig at the
Mint that eventually drew the attention of A&R representatives from a
slew of major labels.
Deciding to cast their fate with Polydor, the group hit the
studio in 1995 and spent the next seven months writing and recording
what would become _Lemon Parade_.
Released in the summer of '96, the opening track, "Open Up
Your Eyes," immediately began receiving airplay and Tonic soon found
themselves supporting Semisonic on a national tour that segued into
another North American trek opening for Dishwalla and The Refreshments.
Returning to L.A. for a short break that found them with barely
enough time to do their laundry and throw out the spoiled milk and
moldy Chinese take-out festering in their refrigerators; Rothchild
left the band under friendly circumstances and was replaced by Jersey
boy Dan Lavery, videos were shot, the tour bus was gassed up, the beer
cooler was replenished - and Tonic hit the road with The Verve Pipe for
yet another chapter in their seemingly endless "see all of America"
tour. In the midst of that tour, Hart spent some time answering a
few questions...
C: It seems as if Tonic has been on tour almost non-stop since
the album was released - do you enjoy life on the road? Has the grind
begun paying off for you as far as crowds and a fan base goes?
Hart: Oh yeah. Our label and manager are both really behind the
idea of us touring as hard as we have been - and so are we. When we
were first signed we told them, 'We don't care what clubs we do or
what tour we're on, just get us out on the road.'
We've been touring almost non-stop for about a year now. I
think I might've had, maybe, four weeks off total over the last year
and most of those days off still had something to do with the record.
You know interviews, photo shoots, video shoots, breaking in a new
bassist. It's all been worth it, though. We're really trying to build
up our fan base and get people involved in the band because we're not
just thinking about this one record, we're in this for the long haul.
It's not just about one song for us. It's about writing and recording
as many good songs - and as many shitty ones [laughs], as we can.
When we started out it was like, 'Tonic, taking America three
people at a time.' But the hard work seems to be paying off, I think,
because each time we come through parts of the country we've played
before, we see more and more people out there in the crowd who're
obviously there for us.
C: Tonic was signed in late-1994/early-1995, right? The group's
sound isn't really typical of what's commercially popular now, and it
certainly wasn't what was popular at the time you landed the deal - did
you have trouble attracting labels at first?
H: Oh, yeah. We definitely weren't in the running for any of
the 'big bidders' because we really weren't what was happening
commercially at the time. Our A&R rep at Polydor [Tom Storms] was,
thankfully, totally behind us and totally into what we're doing musically.
We were even a little surprised by his interest at first, [laughs] but
he was like, 'Look, it's good songwriting and that's what we're into,
that's what we want.'
C: That's one of the first things that grabbed me about the
album as well - the songwriting on_ Lemon Parade_ really is top notch.
So much of what's popular these days seems to be little more than
sound-bites thrown over a cool riff whereas with Tonic...
H: I do like to draw from my Irish heritage when I write. You
know, we're constantly being called a 'guitar' band and are often
compared to, like, Led Zeppelin or Boston by music critics, which is
cool, I guess. I think that's just the fact that critics need to put a
label on something or offer something to their readers as a basis for
comparison. I mean, sure I listened to those bands when I was a kid,
but I also listened to bands like the Cars as well, you know?
We are what we are, we're into melody and we're into songs. I
always hoped there would be a few people who liked the record, who
understood where we were coming from - but I didn't expect it to do
this well.
C: What's it like for you to be featured in the music magazines
and on the video channel you grew up devouring?
H: It's really hard to say yet. On one hand you're like 'Hey,
wow, that's me!' and you're pretty excited about it all. After a while
though, it's kind'a like, 'Wow! I look really ugly in that photo.'
The whole MTV thing is fairly strange as well. I mean, I
understand the need for a good video, you know? But it's really weird
seeing myself up there on television. I'm like, 'Oh my God! I look like
such a dork.' You kind'a get used to seeing yourself - but we try our
best not to dwell on the magazine and TV stuff because we don't want
that to effect us as a band.
We don't want all that to distract us from what we're trying to
do and have always tried to do, as a band - which is simply to make
music that we believe in.
---
REVIEW: Material Issue, _Telecommando Americano_ (Rykodisc)
- Bob Gajarsky
With only one album hitting Billboard's album chart, a music
fan could be excused for not following the career of Material Issue
closely or knowing their significance in the rock and pop scene.
But to those people who witnessed Material Issue's Jim Ellison in
his natural habitat - performing live in concert - Ellison's taking
of his own life was nearly a death knell to the breathtaking pop
scene which Material Issue was helping to keep alive.
After three national releases on Mercury (with _International
Pop Overflow_ cracking the top 100), the band and the label severed
ties with each other. Ellison expressed his displeasure with his
then-label's lack of promotion in a 1994 issue with Consumable while
on tour for the band's final Mercury album, _Freak City Soundtrack_.
Yet just three years earlier, a huge push had been given to the debut,
which turned out to be in the wrong place at the wrong time. So,
rather than dwell on what could have been and why, it's time to focus
on Rykodisc saving the remnants of the posthumous (and final) Material
Issue album, _Telecommando Americano_.
The opening "Satellite" recalls all the reasons why Material
Issue's fans couldn't seem to get enough - electrifying guitars,
simple yet catchy lyrics, and hooks that leave you humming and coming
back for more.
Ellison, who usually wrote about cars and girls, continues the
tradition on the guitar-exchange filled "What If I Killed Your
Boyfriend". This time, however, he doesn't lament of a past love, or
how some guys get all the breaks; now Ellison wonders 'What if I killed
your boyfriend...What if I shot him down...maybe then you'd want me
around.' Just slightly off-kilter for a love song, but then again,
Material Issue didn't always produce the expected results.
"2 Steps" is an updated version of their own "Chance Of A
Lifetime", while "Young American Freak" contains a guitar riff just
slightly higher than the Jam on "Start". And "Carousel" is just pure
bliss. Sure, the Ramones meets Cheap Trick sound of the band is still
there, but _Telecommando_ ultimately witnesses the Chicago band retaining
their pop roots while reverting to more of a garage band sound.
As a final bonus, Material Issue's 1987 six song EP is tacked
on to the end of _Telecommando Americano_. Although "16 Tambourines"
was not included on this EP (and still remains a key find in the
collection of any M.I. completist), most fans can now have the initial
pre-Mercury Ish releases that helped get the band signed in the first
place. As if to demonstrate the quality of those songs, three of the
six tracks - "She's Going Through My Head", "Chance of a Lifetime" and
the E.L.O.ish "Very Good Thing" - eventually wound up on the band's
first three albums.
With this release, we close the door on Material Issue, with a
look back at what had been, and a glimpse forward to what might have been.
Jim Ellison, you're sorely missed.
---
REVIEW: Veruca Salt, _Eight Arms to Hold You_ (Outpost)
- Eric Hsu
"I told you about the Seether before..." goes the middle
section of "Volcano Girls", "Here's another clue if you please... the
Seether's Louise!" Throw in the Beatles reference in the title, and I
took it as a sign that the band was going to take advantage of their
initial success and explore musical frontiers. They had a hit with
"Seether" by combining a grungy wall of fuzzy guitars with aggressive
girl-group harmonies.
And in fact there are a number of rewarding songs, especially
when they submerge the cliche grunge guitar and concentrate on the
poppy catchiness and sharp harmonies: "Awesome" has a beautiful
melody and striking chorus harmony, and "One Last Time" has yelling
and dissonance that conveys an actual emotion. Throughtout there is
some play with sound, some flange, some slide guitar, some undistorted
guitar, whispering, some backwards guitar: at least an attempt at
atmosphere, which is unfortunately lost under the dual distorted
guitars playing in unison.
The grunge sound and the constant harmonies (admittedly sharp)
give the entire record an undistinctive homogeneous feel. You hear
little hooks rising up, fighting against the fuzz, and some occasionally
stick in your head. But it's surrounded with a number of more average
songs harder to like, whose real but less powerful charms are crushed
under the waves of fuzz. In fact, it's the use of fuzzed up guitars on
the quieter songs that does the most damage to the album listening
experience, because it really locks in the feeling of sameness. It's
distracting at best, numbing at worst. By the time you hit the last
song, "Earthcrosser", which begins with soft guitar and quiet vocals,
you hold out a little hope that the inevitable wall of guitars won't
pile in, and when they do double volume, it almost sounds like a joke.
The first three songs use a metal-heavy sound on what are
actually pretty good songs whose subtleties are somewhat buried in
the heavy-handed arrangement. "Straight" is actually about wanting a
boyfriend to stay straight, but at maximum volume it just sounds like
an anonymous sneer. "Volcano Girls" also survives this treatment,
and "Don't Make Me Prove It" makes it too (barely), but the sequence
is a little tiring.
I can see that they might want to avoid the trap of becoming
tame acceptable female product, but their strengths unfortunately are
towards the pop end and not the heavy end. There's plenty of room
between this record and pop fluff: it's like finding the line between
expressing a furious and real anger and incoherent screaming.
This record reminds me of Nirvana's _In Utero_, on which Kurt
Cobain felt like he had to adhere to the soft-loud grunge formula he
pioneered. His next record was to be acoustic and more like the
_Unplugged_ segment. In some way I hope Veruca Salt's next record is
unplugged. They have lyrics that aren't trivial, and a real flair for
short, sharp, catchy pop songs with the occasional killer harmony.
But the sound they've adopted really detracts from their many
positives, and I come away from this record feeling exhausted and
regret for wasted melodies and songs.
So, if you still like the grunge sound, you may like this record
better than I did. The second side is significantly weaker than the
first. The first five songs are the best, so sample those in your
local record store, and don't miss the sparkling "Awesome".
---
REVIEW: Tuatara, _Breaking the Ethers_ (Epic)
- Joe Silva
It's usually a fairly suspect proposition when a clutch of
various rock folk decide to commit their otherwise idle time to
tape. But Tuatara's maiden release may gain back some of the
respectability lost to the years when the supergroup devolved
into...well, Asia for instance.
Longstanding pals Barrett Martin and Justin Harwood (of
Screaming Trees and Luna, respectively) extended invitations to
left-coast, multi-instrumentalist Skerik and full-fledged rock
God Pete Buck to add their sentiments to various tracks for a side
project. Coalescing into a four piece over a year, each member was
able to parcel out time between day jobs to seeing _Breaking The
Ethers_ to a common birthing.
Where Tuatara delivers in just under an hour's time is
fully-baked vision of modern musical aestheticisms couched in old
world flavours and smooth melodies. It's what you might drop into
the CD player after the evening's bout of hardcore lounge has seen
you through your first sheaf of cocktails and there's a requirement
for something of similar audio depth but with decidedly more sonic
intrigue.
Laced with everything from elegant marimba lines and
free-flowing exotica like the udu, tabla, and a Taos thunder
drum (!!), a major opportunity for monotonous wanking over a
faux world-music premise is actually wrestled into a sound and
experimental tryst amongst earnest musicians. Skerik's sax lines
and Harwood's upright bass give much of the material its twentieth
century footing, while Martin's percussion and various other
flavourings (cello, tibetan horns, congas) are the true font of
the Tuatara vibe. The spaces left for Buck to protrude from are
not as obvious as the rabid R.E.M.-fan might hope for, but
six-string bass and slide guitar contributions ("Land of Apples")
once again shows the breadth of his sensibilities and how easily
he can morph skills as need be. Also seen onboard are Pearl
Jam-mer Mike McCready trading opposing guitar passages with Buck,
Young Fresh Fellow Scott McCaughey adding steel drum ("Eastern
Star"), and some fantastic bass penny whistle brought in by Los
Lobos-man Steve Berlin ("Saturday Night Church").
Not ostentatiously fashioned for the widespread consumption
like other "supergroup" outings, Tuatara manage to keep their
respectability about them while prancing gingerly through the
world music garden. Together they kick up a bit of smart mystique
for those who occasionally tire of the 4/4 dominion.
---
REVIEW: Orbit, _Libido Speedway_ (A&M)
- Scott Slonaker
An initial description of _Libido Speedway_ as an 'archetypal
Replacements/Pixies neo-tribute channeled through the modern
four-lane highway of post-Nirvana guitar-rock' is likely to
turn off this piece's more musically adventurous readers.
Still, read on. Orbit's approach and attitude injects some
kick into an overly well-represented genre.
Miscellaneous, confused garage chatter and an abortive
attempt at a guitar riff begin "Yeah", the album's first
track, but the simple, driving step-rhythm and rattletrap
vocals are nevertheless endearing. Singer Jeff Lowe
Robbins eventually reveals himself to sound a lot like
Paul Westerberg minus the whiskey rasp (in other words,
the Goo Goo Dolls' Johnny Rzeznik). This is evidenced
in the now-traditional soft-loud (and also very radio-
hooky) arrangements of "Bicycle Song". Drummer Paul
Buckley and bassist Wally Gagel are both fluid and
rock-solid, and the band's own clean, polished
production leave everything easily palatable to the ear
without squashing effect. "Medicine (Baby Come Back)",
the first single, updates Better Than Ezra's "Good",
adding some blistering guitar crunch and subtracting
the cheesy 'Uh-oh!' (In other words, a well-deserved,
if familiar, radio hit.) Interesting fuzzed-out bass
distortion and clean, Afghan Whigs-ish guitar leads
drive "Wake Up". (A tad like a grunge-rock remake of
"Roxanne" might be a good parallel.) "Amp" revisits
the fast-loud fun of "Yeah", with Robbins doing his
best raw-throat punk posturing. "Rockets" strikes a
compromise between the pop contours of "Medicine"
and the garage grime of "Amp".
The endearing thing about _Libido Speedway_ is the sense
of fun it carries. Normally, one would expect the lyrical
accompaniments to such musical patterns to be self-obsessed,
semi-therapeutic, oblique teenage poetry. Not so for Orbit.
'We're gonna drive tonight! Oh, yeah!' exhorts Robbins in
"Motorama", a rollicking, careening romp through Stoogedom
(as in Iggy and the). 'Don't know why you won't dance with me,'
he wonders in "Why You Won't." Sensitivity also
occasionally peeks through the Bachman-Teenage Overdrive,
as evidenced in "Medicine" ('She's a car broken down on
the highway/She's a good little girl, but her daddy don't
know.') But, for the most part, cars and girls are the
common lyrical themes, even managing to reign prominently
without resorting to overheated, AC/DC panting or macho,
Jon Spencer-like posing.
So, while Orbit does not sonically distinguish themselves
(initially, at least) from acts such as Everclear and the
Foo Fighters, do not discount them as copycats. On _Libido
Speedway_, Orbit more than prove themselves worthy of their
own recognition.
---
REVIEW: Deadsy, _Deadsy_ (Sire)
- Stephen Lin
Wow, where to begin on this one? I must say that Deadsy
virtually sounds like nothing else on the market. However, the
individual characteristics of each song could be attached to one
influence or another; some current, some dating back fifteen years ago.
I'm still not sure how I feel about the drastic blending of similar, yet
conflicting styles.
The first thing I noticed were the synthesizers used throughout
the album. They sound like they were picked up at a yard sale along with
an Atari and a Big Wheel. Remember Gary Numan's "Cars?" Same
synth-sound. Add to this a healthy portion of big-thick Korn-like fuzz
bass. Two cups of early 80s goth (a la Bauhaus and Sisters of Mercy).
A dash of Marilyn Manson and Crash Test Dummies vocals. And perhaps,
occasionally, a smidge of Bush-esque lead guitar.
For one thing, the synths stick out like sore thumbs. But
they're terribly nostalgic and almost refreshing in comparison to the
daily sludge we often receive from mainstream radio. The drums and
percussion are fairly lethargic at times, but perfectly apt for the
surrounding layers of music. The droning baritone vocals of Elijah Blue
are surprisingly animate considering their eerie and methodical delivery.
"The Elements" is the first single off of _Deadsy_. Knowing that
it is being geared for College and Alternative radio, I wonder if it has
enough mainstream potential for success. The hooks (if they are even
hooks) aren't very memorable. It isn't something I could see myself
humming in the shower. This is not to say that it isn't a good song;
only that in a crowded rotation of hook-oriented alterna-pop, "The
Elements" may get lost.
The one major gripe I have about the album is that, as a whole,
the album has no dynamics. Every song is mixed approximately the same.
The vocals are produced the same. The fuzz bass is always ready for
more. The Gary Numan synths seemingly never stop wailing over the course
of the nine track album. If I had a penny for every song that sounded
somewhat the same well, Id have eight cents.
The song that stands head and shoulders above all others is
"Future Years." It's an epic, ballad-y, depressing song which slowly
builds strength over a simple yet absolutely beautifully orchestrated
chord progression. "Future Years" has such a basic structure; the simple
progression allows the natural aesthetics of the actually song to shine
through the gloom. This song alone makes the album more than worthwhile.
---
REVIEW: Stella, _Stella_ (Beggars Banquet)
- Al Muzer
"California" incorporates lots'a Cheap Trick-style energy and
rocks in a way Bush merely wish they could while "The Sun" swaggers
mightily and features a dramatic, Sonic Youth-like guitar riff
plastered to over-the-top vocals. A third track adds a bit of
psychedelic Beatle-fuzz to the proceedings, while "Azure" is a
haunting, Radiohead-caliber acoustic ballad and yet another reason to
rush out and pick up this Nashville by way of Charlotte, NC four
piece's debut.
---
NEWS: > Although still officially missing, it is believed that Jeff
Buckley has drowned last Thursday evening in a Memphis, Tennessee marina.
Memphis authorities believe that an undertow caused by passing boats
swept Jeff away from his original location and, ultimately, underwater.
> On June 6 at 8 pm, six New York City performers - Brenda Kahn,
Agnelli & Rave, Bianca Bob, George Usher, Kirk Kelly and Gene & Mimi -
will be performing acoustic music at that city's Sidewalk Cafe at a free
concert for Rock For Rent. Proceeds & donations benefit The NYS Tenants
& Neighbors Coalition, a leading tenant advocacy group fighting to
preserve rent laws for all New Yorkers.
> Former Stone Roses lead singer Ian Brown is at work on
his solo debut album, tentatively titled _Under The Pavement At The
Beach_. Other ex-Roses, bassist Mani and drummer Reni, are
expected to contribute to several of the tracks.
> Spearhead has gone on the web with a site inspired by the film
Willy Wonka and the Chocolate Factory. 'Michael Franti and the Spearhead
Factory' covers not only Franti's music, but social issues close to his
heart. The site is located at http://hollywoodandvine.com/spearhead
> Steve Winwood will be performing a live concert at the
Los Angeles Sunset Boulevard Virgin Megastore on June 8 at 6 pm PST.
The concert will also be broadcast live over the Internet at
http://www.liveconcerts.com
---
TOUR DATES:
Buck-O-Nine
Jun. 8 Charlotte, NC Fat City
Jun. 10 Dallas, TX Orbit Room
Jun. 11 Austin, TX Emo's
Jun. 12 Houston, TX Fitzgerald's
Camber
Jun. 12 Hoboken, NJ Zell's
Cellophane
Jun. 8 San Francisco, CA Pier 32 (ESPN Extreme Games)
Cheap Trick
Jun. 8 Baltimore, MD Bohager's
Jun. 10 Scranton, PA Tinks
Jun. 11 Pittsburgh, PA Metropol
Cravin' Melon
Jun. 12 Greenville, SC Characters
Mary Ann Farley
Jun. 11 New York, NY Hotel Galvez
Five For Fighting
Jun. 10 Cambridge, MA Middle East
Jun. 11 New London, CT El N Gee
Jun. 12 Washington, DC Bayou
Fluffy
Jun. 5 Seattle, WA Crocodile Cafe
Jun. 6 Portland, OR EJ's
Jun. 8 San Francisco, CA Pier 32
Jun. 11 San Diego, CA Casbah
Jun. 12 Tempe, AZ Gibson's
Indigo Girls
Jun. 12 Cuyahoga Falls, OH Blossom Music Center
Rickie Lee Jones
Jun. 9 Santa Cruz, CA Catalyst
Jun. 10 San Francisco, CA Fillmore
Jun. 12 Seattle, WA Showbox
Wayne Kramer
Jun. 10 Austin, TX Electric Lounge
Jun. 11 Houston, TX Fitzgerald's
Jun. 12 New Orleans, LA Howlin Wolf
Matchbox 20
Jun. 3 Atlantic City, NJ Hard Rock
Jun. 4 Sea Bright, NJ Tradewinds
Jun. 5 Washington, DC 930 Club
Jun. 6 Roanoke, VA Valley Country
Jun. 7 New York, NY McGathy Convention
Jun. 8 Boston, MA Great Woods
Jun. 10 Columbus, OH Ludlow's
Jun. 11 Cincinnati, OH Yoatsman Cove
Moxy Fruvous
Jun. 12 Baltimore, MD Bohagers (w/ Billy Bragg)
My Life With The Thrill Kill Kult
Jun. 10 Denver, CO The Ogden
Ozzfest (Ozzy Osbourne / Type O Negative /
Machine Head / more)
Jun. 8 Philadelphia, PA Blockbuster Entertainment Center
Jun. 10 St. Louis, MO Riverport
Jun. 12 Detroit, MI Pine Knob
Iggy Pop
June 10 Pittsburgh, PA Starlake
Q-South
Jun. 5 Asbury Park, NJ Saint
Sevendust
Jun. 10 Pittsburgh, PA Three Rivers Stadium
Silver Jet
Jun. 4 San Antonio, TX Sneakers
Jun. 6 Dallas, TX Deep Ellum
Jun. 7 Austin, TX Liberty Lunch
Jun. 8 Houston, TX Numbers
Jun. 10 Memphis, TN Six-One-Six
Jun. 11 New Orleans, LA House of Blues
Skeleton Key
Jun. 4 Portland, ME Zootz
Jun. 5 Cambridge, MA Middle East
Jun. 6 Providence, RI Met Cafe
Jun. 8 Portchester, NH 7 Willow St.
Jun. 12 Asbury Park, NJ The Saint
Todd Snider
Jun. 12 Put In Bay, OH The Boathouse
Space
Jun. 3 Detroit, MI Shelter
Jun. 4 Chicago, IL Metro
Jun. 6 Denver, CO Bluebird
Jun. 9 Vancouver, BC Starfish ROom
Jun. 10 Seattle, WA Moe
Jun. 11 Portland, OR La Luna
Spearhead / 311
Jun. 10 Seattle, WA Showbox
Jun. 11 Vancouver, BC Rage
Jun. 12 Portland, OR La Luna
Jun. 13 San Francisco, CA Maritime Hall
Third Eye Blind / Coward
Jun. 4 New York, NY Westbeth Theatre
U2
Jun. 8 Philadelphia, PA Franklin Field
Jun. 12 Winnipeg, MN Winnepeg Stadium
Vallejo
Jun. 8 San Francisco, CA Pier 32
Jun. 12 Tahoe City, CA Humpty's Lake Tahoe
Vasen
Jun. 8 Monterey, CA Fairgrounds World One Festival
Jun. 11 Seattle, WA Tractor Tavern
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
To get back issues of Consumable, check out:
WWW: http://www.westnet.com/consumable
FTP: ftp.quuxuum.org in the directory /pub/consumable
ftp.prouser.org
(URL) http://www.westnet.com/consumable/Consumable.html
(Delphi) Music Fandom forum; GO ENT MUSIC
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serving Westchester County, NY.
Address any written correspondence to Bob Gajarsky, Consumable Online,
409 Washington St. #294, Hoboken, New Jersey 07030
===
