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Consumable Online Issue 075
==== ISSUE 75 ==== CONSUMABLE ======== [May 1, 1996]
Editor: Bob Gajarsky
Internet: gajarsky@email.njin.net
Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim
Kennedy, Reto Koradi, David Landgren, Sean Eric
McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker
Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron,
Joe D'Angelo, Eric Hsu, Tim Hulsizer, Stephen Jackson,
Daniel Kane, Mario Lia, P. Nina Ramos, Linda Scott,
Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner
Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak,
Jason Williams
Also Contributing: Lynna Prue Howard
Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
REVIEW: Cast, _Change_ - Bob Gajarsky
REVIEW: Doug Powell, _Ballad of the Tin Men_ - Stephen Jackson
REVIEW: Amanda Marshall, _Amanda Marshall_ - Bob Gajarsky
REVIEW: The Chemical Brothers, _Loops of Fury_ EP - Lee Graham Bridges
REVIEW: Don Lewis Band, _Miles To Go_ - Bob Gajarsky
REVIEW: Jackyl, Night of the Living Dead - Sean Eric McGill
REVIEW: Rollerskate Skinny, _Horsedrawn Wishes_ - Jon Steltenpohl
REVIEW: Too Much Joy, _...Finally_ - Tim Hulsizer
REVIEW: My Dying Bride, _The Angel and the Dark River_ - Lynna Prue Howard
REVIEW: Poppyseed, _Blue Daze_ - Reto Koradi
EUROPEAN SINGLE REVIEWS: Drugstore, Powder - Tim Mohr
NEWS: CD Universe, Lush, Macintosh New York Music Festival, Mercury
Records, MSO, PM Dawn/White Zombie, Sex Pistols, Smashing Pumpkins,
Sonicnet Chat/Action Ready Singles, Vinyl Devotion
TOUR DATES: Ammonia / Skunk Anansie, Bad Religion / Unwritten Law /
Dance Hall Crashers, Bloodhound Gang, Blue Mountain, Cordelia's Dad,
Curdlefur, Dada, Download / Lydia Lunch / King Black Acid / Difference
Engine, Far, 50 Feet Tall, Goldfinger, Grover, Arlo & Abe Guthrie
Half Hour To Go, Inch/No Knife/Chune, Howard Jones, Killing Joke,
Ottmar Liebert, Life of Agony, Limblifter / Stanford Prison
Experiment / Local H, Liquor Bike, Modern English / 3 Day Wheely
Alanis Morissette, Nada Surf, Nature/Acumen, Nields, No Doubt, O-Matic,
Anders Osborne, Ozzy Osbourne / Type O Negative / Sepultura, Ruby,
Semisonic / Verve Pipe, Shelter, Smashing Pumpkins, Stanford Prison
Experiment, Tears For Fears / Amanda Marshall, V3, Velour, Vitapup,
Wasted Time, Weston
THE READERS WRITE BACK!
Back Issues of Consumable
---
REVIEW: Cast, _Change_ (A&M)
- Bob Gajarsky
Back in 1990, the British group the La's had an alternative
rock smash with "There She Goes". Their self-titled debut garnered
critical praise, but was immediately trashed by their meticulous
lead vocalist, Lee Mavers. While Mavers continues on his Brian
Wilson-like quest for the perfect music album, bassist John Power
has gotten over the La's and recorded a nearly perfect British pop
album as vocalist for Cast, _All Change_.
Nearly six months after its release in their native England,
Cast's debut finally has hit American shores - and it's not a minute
too soon. The first song, "Alright", is one of the year's classic
singles, and if there's any justice in the world, *that* will be the
song that everyone sings this summer.
For people who might remember the Supreme Love Gods several
years back, Cast's "Sandstorm" truly sounds like the SLG "Souled Out";
both tracks clearly take their inspiration from the Beatles "I Am The
Walrus" in a world which meets the 60's British pop. Merseybeat makes
a grand entrance throughout _All Change_, especially on "Fine Time" (not
the New Order song). And, even while bowing to the British
pop of the 60's, traces of Joy Division (on "Reflections") and U2's
wah-wah guitar ("History") can be heard throughout.
Are they Herman's Hermits with the alternative twist for the
90's? Or is it the Who, the Kinks, or Small Faces? It doesn't really
matter; by now, it has become painfully clear that John Power was
the hidden gem from the La's who, with _All Change_, has recorded the
masterpiece Lee Mavers was looking for. Fans of British pop will take
to this like a child takes to chocolates - and keep coming back for more.
---
REVIEW: Doug Powell, _Ballad of the Tin Men_ (Mercury)
- Stephen Jackson
If you're one of those people who tune in to classic rock radio
and get a warm, fuzzy feeling from the rock anthems of Styx or the sound
of Elton John's "Goodbye Yellow Brick Road," then Doug Powell's debut CD,
_Ballad of the Tin Men_ is perfect for you. Powell's assortment of
engaging lyrics, melodic hooks and lush vocal harmony are a throwback
to the days when pop music became synonymous with fully fleshed-out songs
and big production numbers.
It's no secret that Powell's cultural roots lie in the music of
the late '60s and '70s-- a mixture of Todd Rundgren with Styx, Queen,
Elton John, and a healthy dose of the Beatles, along with social
commentary by Ray Davies, stirred vigorously and voila-- Doug Powell
straight up.
There's nothing new or cutting edge about this album. It
resonates as a homage to pop music of an earlier time, when the buying
public still hungered after well-crafted songs over big hair and
posturing. But the band whose style most often comes to mind is Jellyfish,
who owes its layered harmony to the baroque excess of Queen's "Bohemian
Rhapsody." For me, listening to Doug Powell is like going back into the
past to get to the future. As punk brought rock out of the arena back
into the bars and dives of its youth, Powell's lyrical integrity
brings the song back to rock.
He's a man out of step with his time, but he knows the
boundaries of his craft. He seems to have bypassed completely the
spandex dance scene of the '80s, along with the postmodern angst driven
fervor of today's angry young man. What remains are the essential
ingredients of good pop songs, driven by an intelligence which demands
longer attention spans than Metallica or Madonna are likely to possess.
Avoiding cliches and fads with equal abandon, Doug Powell is a man whose
vision of the possible remains securely anchored in the present - as he
sings on the track "My Goodbyes", "I have tried to live the lies of
tomorrow / Now I just try to be faithful to today."
Although his best songs - "Return to Sender," "It's Not the
Weather," "My Sweet Revolver," and "My Goodbyes," - look more often to
where we have been than to where we are going, one finds, after much
struggle and heartache, a faint hope for the future, whose dim light is
found in the bad memories and old flames that never quite die out...
For Doug Powell, the only possible illumination comes from the
light of experience and the truth of a good song.
---
REVIEW: Amanda Marshall, _Amanda Marshall_ (Epic)
- Bob Gajarsky
Several years ago, there wouldn't have been a place for an
Amanda Marshall in the pages of a 'zine such as Consumable. The top 40
market would have absorbed her whole and spat her back out to the public.
However, with "top 40" becoming a retirement home for the crossover
R&B music, a whole new genre of music developed - adult alternative.
And that's where Marshall's eponymously titled debut perfectly fits.
This 23 year old Canadian singer has already wowed audiences when
opening for Jeff Healey and Tom Cochrane and is currently opening for
Tears for Fears. Imagine Amy Grant completely losing her Christian roots
and gaining just a touch of rock and soul along the way, a la Melissa
Etheridge, and you'll have a good idea of how Amanda Marshall sounds.
The first single, "Birmingham", is already garnering huge radio requests;
this reviewer suspects that "Fall From Grace" and "Let It Rain",
with their similar bluesy/adult alternative sound, will follow a similar
course.
A powerful backup group, including music veterans such as Kenny
Aronoff and T-Bone Wolk, perfectly let Marshall's voice carry the album.
Her raspy, soulful voice is clearly the most valuable instrument
in the repertoire, and Ms. Marshall utilizes it to its fullest.
The only critical complaint with _Amanda Marshall_ is the songwriting;
Marshall only wrote or co-wrote three of the songs, and the others sometimes
fall short of providing the vehicle to launch Amanda into superstardom.
The songs are *good* - but only because of the woman singing them;
subsequent followups should bring in a bevy of talented songwriters
wishing to be associated with Marshall. _Amanda Marshall_ is indeed
a strong debut for a talented vocalist.
---
REVIEW: The Chemical Brothers, _Loops of Fury_ EP (Astralwerks)
- Lee Graham Bridges
This four-song offering by the Chemical Brothers (formerly the Dust
Brothers from Manchester) precedes their sequel to last year's _Exit Planet
Dust_, and while some fans may be interested, those unfamiliar with the band
would be better off starting with _Exit_.
_Loops of Fury_ contains some funky, danceable beats laced with
occasional waves of acid techno. Since that describes the basic sound, it
seems that this EP was designed more for club mixing or DJ'ing rather than
in-home use. And quite a club record it is.
The most interesting track is "Get Up On It Like This," although it
starts out awkwardly and is hard to follow through to the end. The Dave
Clarke remix of "Chemical Beats" is the most fun and easiest to groove to,
worth buying the record for. The title track is very enjoyable, but
probably the least likely to be played in a club, making it one of the few
songs that does not appear to the non-clubber as background music.
Unfortunately, "(The Best Part Of) Breaking Up" could easily lose most
listeners' interest in the first minute.
There are too many techno cliches in the current scene that have
somehow survived from the very stone age of techno and dance music. What
makes the Chemical Brothers so unique is their real-world sensibility, and
their ability to break down such boring traditions--the same things that
make them true leaders of the new techno beat.
---
REVIEW: Don Lewis Band, _Miles To Go_ (Detonator)
- Bob Gajarsky
Named after the lead vocalist, The Don Lewis Band's _Miles To
Go_ is straight ahead, good-time rock and roll. Four guitarists and
one drummer - there's no mistaking what this group does. It's the
rock that's perfect for the summer, and all year round.
"All I Need (Forever Mine)", the album's leadoff track, is
a perfect candidate for single release with its catchy melody and
its radio-friendly refrain. Hoyt Axton's "Never Been To Spain" echoes
reminiscent to slower Bon Jovi ("Wanted Dead or Alive"), and the band
also covers Patty Smyth's "All I Want". And, just as good rockers
do, Lewis includes an irresistible ballad, "Somebody Please", which
helps make this collection complete.
At a recent New York City performance, the group showed
they've got the mettle necessary to take their debut effort on the
road. With a tightness uncommon in most acts, the five man unit
showed they sure know how to rock and roll.
Some could compare the group to early Springsteen without the
horns section. Don Lewis' vocals himself turned periodically towards
traces of Bryan Adams and Don Henley...or was that Jon Bon Jovi with a
refined voice? I don't know, but if this was the mid 1980's, they'd be
a perfect candidate to fit into the "Jersey Shore" sound.
Roll the windows down and crank up the volume - rock and roll
is back, and the Don Lewis Band are the men responsible.
---
REVIEW: Jackyl, Night of the Living Dead (Mayhem Records)
- Sean Eric McGill
In the early days of rock 'n roll, Fats Domino lost his thrill on
Blueberry Hill and we were all invited to play with Chuck Berry's
"Ding-A-Ling". And for the most part, rock 'n roll has always been
somewhat attached to the concept of fun, be it from women, alcohol, etc.
But in the past decade or so, rock music hasn't been about fun as much as
it has been about anger, rage, angst, and about one hundred other
adjectives that mean roughly the same thing: bitching.
Sometime after Michael Stipe sent one out to the one he loved and
the one he left behind, hordes of musicians have used their music to
express their own inner hatred towards a variety of subjects. Not that
this is bad, mind you - music has always been about giving a voice to
what's in your heart - it's just not all that much fun.
Which brings us to the case of Jackyl. Their 1992 self-titled
debut sold over a million copies worldwide on the strength of four hit
singles and vocalist Jesse James Dupree's affection for power tools (the
lead-off single for the album _The Lumberjack_ featured what is probably
still the only known recording of a chain saw solo). But their follow-up,
1994's _When Push Comes to Shove_, barely sold well enough to even chart,
and Jackyl found themselves in the unique position of being a second-album
dinosaur.
It seemed that in the new world of rock music, there wasn't room
for a band that built every single song around the concepts of getting
drunk, women, getting drunk with women, getting drunk and being without
women, penis size, etc. But, undaunted, Jackyl switched labels and
released the one thing that will always be a constant in the loud rock
genre - a live album.
_Night of the Living Dead_ is that live album - and it's a live album
in every meaning of the word. The sound is as raw as their live show, with no
overdubs whatsoever. Recorded on New Year's Eve in Dallas, Texas, Dupree
plays his audience like a instrument in and of itself - getting the screams
and howls of the crowd when he wants them and using them to full effect
Nobody pulls off a flawless live show, and _Night of the Living Dead_
is a testament to that - guitar parts that are mixed too low, vocals that fade
with Dupree's movements, and other such gaffs are fairly commonplace on the
album. And while songs like "Redneck Punk" and "Mental Masturbation"
(featured on the _The Beavis and Butthead Experience_ compilation album) hold
up well in their live translations, other songs like "Rock-A-Ho" and "The
Lumberjack" don't do so well.
But despite their occasional failings, Jackyl is a tight unit live,
and it shows. Dupree, along with guitarists Jimmy Stiff and Jeff Worley,
bassist Tom Bettini and drummer Chris Worley give the audience a damn good
show for their money and you can hear the appreciation from the crowd.
Jackyl isn't concerned with the environment, or politics, or social issues
of any type - they just want to have a party, and that's fine with me.
Dupree has called Jackyl rock music's "turd in the punch bowl" -
and he's got a point. Too much of rock music today requires you to think as
much as you possibly can in the space of a four to five minute song. But all
things come in cycles, and even if it means that we have to return to the
"big hair rock" days of the eighties, the time for this music will come
again. I only hope Jackyl will still be having their party - cuz they throw
a helluva good one.
---
REVIEW: Rollerskate Skinny, _Horsedrawn Wishes_ (Warner)
- Jon Steltenpohl
With the glut of polished "pop" alternative bands on the market,
it's nice to hear a band that strides past the normal boundaries.
Rollerskate Skinny is definitely a band that is wiggling its toes past
the radio friendly limits. Fans of Lush who are bemoaning the "loss" of
the band to commercial forces might find that _Horsedrawn Wishes_ renews
their faith in the major labels. Rollerskate Skinny fills their songs to
brim with shimmering guitars, subdued vocals, and a beat that isn't in
such a hurry to get wherever it's going. The first track, "Swingboat
Yawning", is reminiscent of the whole "shoe gazer" genre that Lush typified
in the early 90's, and it sets the tone for the entire album.
When they veer away from the "shoe gazer" sound, the band strikes
of Love and Rockets in the way they experiment in the studio. Instead
of just recording a song and mixing the levels in right, Rollerskate
Skinny pokes and twists the basic tunes to a new musical plane. There
isn't an instrument or voice which hasn't been echoed, distorted, or
tweaked. In "Man Under Glass" and "Shimmer Son like a Star," alien
whistles flutter peacefully underneath a thick layer of buzzing guitars.
The ethereal vocals and acoustic guitars of "All Morning Break" are a
welcome change from the full sound of the rest of the album and is the
type of song which could have been an outtake from Love and Rocket's
classic _Earth Sun Moon_ album.
Other songs continue the studio exploration. "One Thousand
Couples" reminds one of a Beatles psychedelica song, and "Thirsty
European" even has hints of The Doors with a modern twist. "Bell jars
away" is a faint throwback to the type of music Peter Gabriel made in
the late seventies. It's a tender song softened with synthesized flute
and punctuated with triangle chimes. The mood rises until it blooms
near the end of the song in an impassioned display of layered vocal
phrases. Lyrics like "I have thrown myself into your warm hold where
you bless away the shivering" and "I'm weak with the rush of the chance
I've taken" help make the song the silent gem on _Horsedrawn Wishes_.
Rollerskate Skinny definitely has an audience out there, and you
know who you are. This is an excellent album that reveals something new
on every repeat listen. Unfortunately, a new band like Rollerskate
Skinny will have a tough time nudging it's way onto the radio. But,
with the recent airplay of new songs by Lush and Love and Rockets, they
might have a chance.
WWW users can check out _Horsedrawn Wishes_ by pointing your
browser to the Rollerskate Skinny site at http://www.rollerskateskinny.ie
(click on "current release" icon).
---
REVIEW: Too Much Joy, _...Finally_ - (Discovery)
- Tim Hulsizer
A few years back, Too Much Joy released their fourth album
_Mutiny_ , which was unfortunately largely ignored. Our heroes proceeded
to chill out for awhile, playing live only minimally at best as they worked
on songwriting and drinking beer. Cool. Enter Discovery Records last year
and a beautiful partnership was formed. Now the TMJ boys have a new
contract, a new album, and they're touring like weasels on speed. This
is a good thing.
The new album is everything the old stuff was and more. The
first thing I worried about was the band losing their sense of humor, but
upon seeing the album artwork, a young couple naked in bed after sex
simultaneously thinking _...Finally_ , I knew they were still in peak
form. Inside you get the usual great booklet full of silly comments from
the band, fun artwork, and clever lyrics. The band is listed not only by
the instruments they play, but by the reviews they've received in various
music magazines. As for William Wittman ("as yet unreviewed bass and
singing") let me go on record right now as saying the man can power his
way through a bassline better than most, and his falsetto puts Tiny Tim
to shame.
Which brings me to the music itself. The band is rocking harder
than ever, but with the same great sense of melody and fun they've always
shown. On the opening track, "You Will", they comment on those AT&T
commercials where Tom Selleck tells us about what we'll get to do in the
future: "Have you been faxed at the beach? / You Will-and you will not be
scared / Have you felt our awesome reach? / You Will-and you will not be
scared.../ Have you worshipped at our feet? / You Will..."
The whole album is great fun to hum and sing along with, and the
lyrics cover everything from love to confusion about the world in
general. I can't stress just how fun this album is; to understand one
must experience it for themselves. Fast-paced, interesting, and well
worth your cash. Let's hope the general public gets exposed to Too Much
Joy this time around. The only unfortunate thing is that their previous
albums are now out of print, a problem which will hopefully be solved in
the near future. For the time being, get _...Finally_ , fall in love with
it, and then search those used CD shops near you. Over and out.
---
REVIEW: My Dying Bride, _The Angel and the Dark River_ (Fierce)
- Lynna Prue Howard
The hype that came to this reviewer with _The Angel and the Dark
River_, the latest recording from goth daemons My Dying Bride,
characterizes Aaron as "the band's carefree vocalist." Here are some of
the carefree lyrics to which Aaron gives voice: "I will make them all lie
down / Down where hope lies dying / With lust, you're kicking mankind to
death / We live and die without hope..."
I guess it's a matter of interpretation.
Throughout this album, the band strums epic sturm and drang,
whipping up a Wagnerish and cinematic mix of storytelling and a muscular
blur of guitar-laden noise. It could be good, but it's a little short.
Lacking the dynamic range of ancestors like Sisters of Mercy, and the
lyrical facility of the likes of Metallica, My Dying Bride fall back on
their one strong point, endurance.
In a few shining moments, the explosion of sound works. Aaron
sings "This terrible journey, oh, that no-one knows" against a backdrop
of tortured guitars and, for a moment, the band wrings a little more
pathos from the sound -- taking us into their angst. In "Your Shameful
Heaven" some primitive, but effective violin coaxes meaning from each
note. The plaintive violin is subjected to a predictable, brutal assault
by the other instruments, but while it struggles to survive the onslaught,
the violin becomes an instrumental metaphor for the lyrics.
On drums, Rick seems to rouse armies of the dead and set them to
war again. The war is for a single soul and all the soldiers are the tortured and
divided personalities of a single man. A storm, if not present, is always on
the horizon. Sometimes this is good, but other times the repetition comes close
to boredom.
Best recommended for the goth/metal fan, who wants to angst in
a bash 'em, slash 'em world.
---
REVIEW: Poppyseed, _Blue Daze_ (C & S)
- Reto Koradi
Close your eyes and imagine walking through a mysterious landscape.
It's foggy, almost dark, and raining. That's the atmosphere for listening
to the debut album of the New York City band Poppyseed. It's not music for
a Saturday night (unless you hold your parties in a cave and dress all
black), but perfect if you get into a psychedelic mood on Sunday morning.
The atmospheric and dreamy soundscapes that Poppyseed create could
be compared to the Red House Painters, with a dose of industrial sounds in
a NIN style. The tracks are long, and partly flow along carried mainly by
very nice guitar sounds. Other parts feature restless, expressive vocals
and interesting percussion rhythms. Apart from "In My Heart", which borrows
the basic pattern of Lou Reed's "Walk On The Wild Side", the songs are well
written, and show a band with a clear and quite unique concept.
Poppyseed is not a bad name for this new band, there's definitely
a poppy seed in the more melodic parts of _Blue Daze_. What's growing out
of this seed is absolutely worth listening to: an expressive (and
impressive) album that creates an almost spiritual atmosphere.
---
REVIEW: Drugstore, "Injection" single (Go!Discs Europe)
- Tim Mohr
A choppy riff similar to REM's cover of Wire's "Strange" opens
the new Drugstore single, which then splays into that murky Drugstore sound.
Lyrically, "Injection" continues the themes explored on their debut
album. Isabel Monteiro laments her naive illusions of well-being: "Once upon
a time I was so small, I had a silver plane and it looke so perfect from a
distance - but all the walls were closing in and I was living in between..."
Reflecting on her misconceptions, she tries without succes to convince
herself and the listener that "It was perfect for a day."
The B-sides are equally engaging. "Heart of Honey" is a noisy, fast,
bittersweet ballad that would not be out of place on a Jesus & Mary Chain
album. The cd also includes a cover of the Flaming Lips' "She Don't Use
Jelly," a song that is particularly well-suited to Drugstore's strengths. The
band is joined by members of the Flaming Lips for this rendition.
Finally, Terry Edwards successfully remakes "Gravity," from the
album, as a string quartet.
---
REVIEW: Powder, "Deep-Fried" single (Parkway Europe)
- Tim Mohr
Joining the swelling ranks of Britpop bands fronted by women
(Elastica, Sleeper, Echobelly, to name a few), Powder seem finally to have
found an identity that distinguishes them from the rest of the field.
On their previous single, "Afrodisiac," Powder came across very
similar to Elastica, except that the Powder single, at nearly four minutes,
was twice as long as most of Elastica's. A barely audible organ added to the
searing guitars, and Powder's unidentified female singer was both more
breathy and huskier than Justine Elastica or Louise Sleeper. The B-sides were
equally well put together, with "Shave Me" particularly worthy of attention.
The careening bass on "Fever" and the relentless guitars on all three tracks
showed Powder to be very professional, but the work, while very catchy,
failed to expand much on the Britpop canon.
The latest single, however, sees Powder carving out a unique niche.
"Deep-Fried" is introduced with a tense string part, starts with a jarring
guitar riff, and then the band kicks into a quick song that nods to Joan
Jett's early albums of no-nonsense rock. Powder's vocalist sounds very
similar to Jett on this track, belting out her lyrics in an unrestrained
growl. This can no longer be confused with other current bands, and the
confidence evident on the single may signal that Powder themselves have
realized this.
A further sign of independence comes with the B-sides: a dub-
influenced cover of the Rolling Stones' obscurity "Memo From Turner" and an
acoustic ballad, "Sold Out," that seems to equate consumerism with drug
addiction. Since the Stones are not well regarded in the Britpop movement,
which reveres the poppier and less blues- and American-influenced groups from
the 60s over the Stones, and since the virtually unknown song has little
commercial potential (when Oasis or Gene cover the Beatles they make their
singles more attractive), Powder displays a newly-found disregard for the
scene around them. Unfortunate, however, that in opting to concentrate on the
fuzz bass of the Stones' version for a dubby effect, they jettison the slide
guitar of the original.
---
NEWS: > Joining the CD sales world on the web is CD Universe,
another site with (according to their claims) 180,000 discs and
cassettes available for purchase on-line. Their WWW address is:
http://www.cduniverse.com
> All these people who are so disappointed with the Lush album
should check out some of the European single b-sides - particularly
"Tinkerbell" from the first CD (of 2) of "Single Girl." It sounds like
the old classics and throws in a wooden flute (ala Troggs' "Wild Thing")
just for good measure. - Tim Mohr
> The upcoming "Global Internet Gathering, featuring the Macintosh
New York Music Festival" will showcase live music from around the world
at more than 30 events (including 15 New York City clubs) as well as live
audio, video and chat streams. Musicians can post performance information
and users can chat with artists at the fest or find out upcoming
performance dates. The festival is July 14-20; the Web page for it is at
http://www.thegig.com
> Mercury Records can be found on the World Wide Web; their
site is at: http://www.mercuryrecords.com/mercury
> The public relations offices of MSO (Mitch Schneider Organization)
has recently jumped online and is on the web at http://www.msopr.com
> P.M. Dawn will remix "Blood, Milk & Sky", a track from
the forthcoming album by White Zombie containing remixed versions
of songs from _Astro Creep: 2000 Songs of Love, Destruction_.
> The Sex Pistols may be playing on several continents
this summer, but don't look for a stop in Greece. Greek promoter
Niko Sachpasidis passed on booking the group because "the music
and audience the band associates to (sic) is the punk audience and
they are the ones that will cause problems to the extent of riots."
Mr. Sachpasidis went on to explain, "We have been very careful
over the years with bands that we promote and with the precautions
we take, we have succeeded in establishing high standards. I do not
want, therefore, for the sake of one band to risk ruining the live
industry in Greece, as it will take a long time for the concert goers to
regain their faith in live shows. For this reason, I personally ask that
you do not offer this show to any other promoter in Greece, as I do
not believe that anyone will be able to foresee or prevent any major
problems which shall be inevitable."
> The Smashing Pumpkins will be broadcasting their May 11 concert
in Dublin, Ireland live across the Internet, as well as conducting a live
chat that same night. In addition, a contest will be held, with the lucky
winner being flown to a Smashing Pumpkins concert and to meet the band.
For further information, check out IMusic at http:/www.imusic.com and
Virgin (U.K.) Records site at http://www.vmg.co.uk
> Chats on Sonicnet (http://www.sonicnet.com/sonicore/chat)
in the near future include: May 1, Don Fleming of Gumball, 7:30 pm
and May 2, Afrika Bambaata, 7:00 pm.
> Sonicnet's Action Ready Singles, Volume 4 has been
put on the Web at http://www.sonicnet.com/feature/ars4 It contains
upcoming tracks from Bob Mould, Kelly Deal and New Kingdom as
well as tracks from The Butthole Surfers and Cracker that will be
unavailable in America, plus more.
> The San Francisco band Vinyl Devotion has gotten its own
Web page, located at: http://www.interbridge.com/vinyl/vinyl.html
---
TOUR DATES
Ammonia / Skunk Anansie
May 1 Detroit, MI St. Andrews
May 4 Nashville, TN Riverfront Park
May 5 Boston, MA Paradise
May 9 Portchester, NY 7 Willow Street
May 10 Washington, DC 930 Club
May 14 Providence, RI Babyhead
May 15 New York, NY Wetlands
Bad Religion / Unwritten Law / Dance Hall Crashers
May 3 Portland, OR La Luna
May 4 Vancouver, BC Plaza of Nations
May 6 Davis, CA Freeborn Hall
May 8 San Francisco, CA Warfield Theatre
May 9 Santa Cruz, CA Santa Cruz Civic
May 10 Fresno, CA Wilson Theater
May 11 San Bernardino, CA Citrus Pavillion
May 12 Phoenix, AZ Mesa Amphitheatre
May 14-15 San Diego, CA Soma
Bloodhound Gang
May 5 Augusta, GA The Capri Cinema
May 6 Columbia, SC Rockefeller's
May 7 Athens, GA 40 Watt Club
May 8 Chapel Hill, NC Cat's Cradle
May 10 Atlanta, GA BLT
May 11 Jacksonville, FL Moto Lounge
May 12 Pensacola, FL Sluggo's
May 14 Dallas, TX The Galaxy Club
May 15 Houston, TX Fitzgerald's
Blue Mountain
May 4 Memphis, TN Beale St. Music Fest
Cordelia's Dad
May 3 Northampton, MA Iron Horse
Curdlefur
May 3 New York, NY CBGB
Dada
May 1 Norfolk, VA Town Point Park
May 3 Philadelphia, PA Middle East
May 4 Washington, DC Bayou
May 5 New Haven, CT Toads Place
May 7 Boston, MA Mama Kin
May 9 New York City, NY Mercury Lounge
May 10 Long Branch, NJ Metro
May 11 Providence, RI Lupo's
May 13 Ann Arbor, MI Rick's
May 14 Chicago, IL Park West
Download / Lydia Lunch / King Black Acid / Difference Engine
May 4 Vancouver, BC Penthouse
Far
May 3 Brockport, NY SUNY Conservation Club
May 5 Asbury Park, NJ Stone Pony
May 6 New Haven, CT Toad's Place
May 7 Portland, ME Bad Habbit's Live
May 8 Boston, MA Axis
May 9 Providence, RI Strand
May 10 Springfield, MA McKars
50 Feet Tall
May 6 New York, NY Continental
Goldfinger
May 1 Rochester, NY Water Street
May 3 New York, NY Tramps (w/Lunachicks)
May 4 Asbury Park, NJ Metro
May 5 College Park, MD Univ. of MD
May 7 Richmond, VA Twisters
May 9 Augusta, GA Capri Cinema
May 10 Jacksonville, FL Milk Bar
Grover
May 8 Tampa, FL The Rub
May 12 Ft. Myers, FL Pyramids
May 14 Raleigh, NC The Grove
May 15 Fayetteville, NC Flaming Mug
Arlo & Abe Guthrie
May 8 Alexandria, VA Birchmere
May 9 New York, NY Alice Tully Hall
May 10 Glenside, PA Keswick Theatre
Half Hour To Go
May 1 Chapel Hill, NC Local 506
May 2 Asheville, NC 31 Patton
May 6 Orlando, FL Sapphire Supper Club
May 7 Jacksonville, FL Spike's Dog House
May 8 Montgomery, AL Head on the Door
May 9 Tallahassee, FL Waterworks
May 12 San Antonio, TX DMZ
May 15 Houston, TX Urban Art Bar
Inch/No Knife/Chune tour
May 1 Dallas, TX Galaxy
May 4 St. Louis, MO Side Door
May 5 Lawrence, KS Bottleneck
May 6 Omaha, NE Cog Factory
May 8 Denver, CO Bug Theatre
May 9 Salt Lake City, UT Bar & Grill
May 10 Boise, ID Neurolux
May 11 Seattle, WA Moe
May 12 Portland, OR Satyricon
May 13 Chico, CA Juanita's
May 14 San Francisco, CA Bottom of the Hill
Howard Jones
May 1 Austin, TX Cactus Cafe
May 2 Dallas, TX Arcadia
May 3 Memphis, TN Beale St. Festival
May 5 Atlanta, GA Midtown Music Festival
May 7 Asheville, NC Be Here Now
May 8 Raleigh, NC Newbar
May 9 Pittsburgh, PA Rosebud
May 10 Toronto, ON Lee's Palace
May 11 Ottawa, ON Barrymore Theatre
May 12 Montreal, QC Club Soda
May 14 Burlington, VT Club Metronome
Killing Joke
May 5 Florence Auditorium
May 6 Milan Rainbow
May 7 Geneva L'usine
May 8 Bulle Ebulittion
May 9 Munich Charterhouse
May 10 Vienna Szene Wien
May 12 Frankfurt Batschkapp
May 13 Nurnberg Hirsch
May 14 Berlin Huxley's
May 15 Cologne Live Music Hall
Ottmar Liebert
May 1 St. Paul, MN Fitzgerald Theatre
Life of Agony
May 1 Lubbock, TX Depot
May 2 Houston, TX Millenium
May 3 Oklahoma City, OK Bricktown Live
May 4 Wichita, KS Rock Island
May 7 Shreveport, LA Malibu Beach Club
May 8 St. Louis, MO Mississippi Nights
May 9 Nashville, TN 328 Performance Hall
May 10 Raleigh, NC Players
May 11 Johnson City, TN Nightmoves
May 14 Wilmington, NC Mad Monk
May 15 Winston-Salem, NC Ziggy's
Limblifter / Stanford Prison Experiment / Local H
May 7 Boston, MA Axis
May 8 Providence, RI Lupos
May 9 New York, NY Tramps
May 10 Asbury Park, NJ Stone Pony
May 11 Philadelphia, PA Trocadero
May 14 Washington, DC 9:30 Club
May 15 Pittsburgh, PA Metropol
Liquor Bike
May 1 Huntsville, AL Planet Rock
May 2 St. Louis, MO Cicero's
May 3 Toledo, OH Whit's End
May 4 Newport, KY Southgate House
May 5 Cleveland, OH Euclid Tavern
May 6 Kalamazoo, MI Club Soda
May 7 Columbia, MO Down Under
May 8 Madison, WI O'Cayz
May 9 Milwaukee, WI Unicorn
May 10 Omaha, NE Cog Factory
May 11 Des Moines, IA Safari
May 13 Kansas City, MO Grand Emporium
May 15 Salt Lake City, UT Cinema Bar
Modern English / 3 Day Wheely
May 1 Philadelphia, PA Theatre of Living Arts
May 3 New York, NY Irving Plaza
May 4 Providence, RI Lupo's
May 5 Boston, MA Mama Kin
May 7 Hartford, CT Webster Theatre
Alanis Morissette
May 31 Portland, OR Rose Garden
Jun. 1 George/Seattle, WA The Gorge
Jun. 3 Salt Lake City, UT Delta Center
Jun. 5 Denver, CO Red Rocks
Jun. 7-8 Berkeley, CA Greek Theatre
Jun. 9 Sacramento, CA Cal Expo
Nada Surf
May 1 New York, NY Brownie's
Nature/Acumen
May 2 Atlanta, GA Masquerade
May 3 Charlotte, NC Tremont Music Hall
May 4 Fayetteville, NC Neo
May 5 Norfolk, VA The Baitshack
May 7 Springfield, VA Jaxx
May 8 Pittsburgh, PA Cloud 9
May 9 Philadelphia, PA Dancing Ferret
May 10 New York, NY Coney Island High
May 11 Long Island, NY Nostradamus
May 12 Portland, MA Bad Habits
May 14 Albany, NY Qe2
May 15 Grand Rapids, MI Reptile House
Nields
May 3 Geneva, NY Smith College Folk Fest
May 3 Syracuse, NY Onandaga College
May 4 Albany, NY Eighth Step
May 5 Amherst, MA Amherst College
May 9 Camden, ME Camden Opera House
May 10 Somerville, MA Somerville Theatre
May 11 Alexandria, VA Birchmere
No Doubt
May 1 Boise, ID BSU Pavillion
May 2 Salt Lake City, UT Delta Center
May 4-5 Morrison, CO Red Rocks Amphitheatre
May 15 Hollywood, CA Palladium
O-Matic
May 10 Chicago, IL Fireside Bowl
May 11 Toledo, OH Whit's End
Anders Osborne
May 1 New Orleans, LA Tipitina's
May 3 New Orleans, LA Tipitina's / also Jazz & Heritage Festival
May 5 Atlanta, GA Music Midtown Festival
Ozzy Osbourne / Type O Negative / Sepultura
May 1 Lubbock, TX Lubbock Coliseum
May 3 Corpus Christi, TX Sky Park
May 4 Austin, TX South Park Meadows
May 5 Dallas, TX Deep Ellum Live
May 7 Shreveport, LA Hirsch Memorial Center
May 8 Jackson, MS Coliseum
May 10 Birmingham, AL Oak Mountain Amphitheatre
May 11 Biloxi, MS Gulf Coast Coliseum
May 14 Charlotte, NC Blockbuster Pavillion
Ruby
May 1 Raleigh, NC The Brewery
May 3 Atlanta, GA Cotton Club
Semisonic / Verve Pipe
May 1 San Francisco, CA Slims
May 3 Portland, OR Barbati's Pan
May 4 Seattle, WA Crocodile Cafe
May 5 Vancouver, BC Town Pump
May 9 Boulder, CO Fox Theater
May 10 Denver, CO Bluebird theater
Shelter
May 1 Providence, RI Babyhead
May 2 Boston, MA Axis
May 3 New Haven, CT Toad's Place
May 4 New York, NY Irving Plaza
May 5 Asbury Park, NJ Stone Pony
May 7 Pittsburgh, PA Grafitti
May 8 Philadelphia, PA Troacdero
May 9 Washington, DC Capital Ballroom
May 10 Richmond, VA Twisters
May 13 Detroit, MI Shelter
Smashing Pumpkins
Jul. 9 Washington, DC US Air Arena
Jul. 12 New York, NY Madison Square Garden
Jul. 14 East Rutherford, NJ Continental Arena
Aug. 17 San Francisco, CA Cow Palace
Aug. 18 San Jose, CA Shark Tank
Aug. 21 Los Angeles, CA Forum
Stanford Prison Experiment
May 2 Milwaukee, WI The Rave
May 3 Cleveland, OH Euclid Tavern
Tears For Fears / Amanda Marshall
May 1 Denver, CO Paramount Theatre
May 2 Salt Lake City, UT Abravenal Hall
May 4 Seattle, WA Moore Theatre
May 5 Portland, OR Roseland Theatre
May 7 San Francisco, CA Warfield Theatre
May 9 Los Angeles, CA Wiltern Theatre
May 10 San Diego, CA 4th & B
May 11 Las Vegas, NV The Joint/Hard Rock Hotel
V3
May 2 Vancouver, BC Commodore Ballroom
May 3 Seattle, WA Moe's
May 4 Portland, OR Barbatis Pan
May 7 San Francisco, CA Great American Music Hall
May 10 Los Angeles, CA Whiskey
Velour
May 6 New York, NY Brownie's
Vitapup
May 1 New York, NY Brownie's
May 2 Baltimore, MD Memory Lane
May 3 Philadlephia, PA Upstairs At Nick's
May 4 West Chester, PA Rex's
May 8 Philadelphia, PA Queer Show
May 9 Washington, DC Black Cat
May 10 West Warwick, RI The Met
May 11 Boston, MA T.T. The Bear's
May 15 Huntington, WV Drop Shop
Wasted Time
May 12 Huntington, NY YMCA
Weston
May 2 Norfolk, VA Basement
May 3 Chapel Hill, NC Lizard & Snake
May 4 Columbia, SC Rockafella's
May 7 Jacksonville, FL Spike's Doghouse
May 8 Fort Pierce, FL School House
May 11 Pensacola, FL Nite Owl
May 12 New Orleans, LA Fauborg Center
---
THE READERS WRITE BACK!
That Warren Cucurrulo review convinced me to buy the album. It was
great! It really exposed me to a whole different side of him; I always
thought of him as this trend-band kind of guy, when it turns out all
along that he's a musically thoughtful, talented master. - N.G., New York City
---
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Engleski Jezik/Music/Consumable or
Hrvastki Jezik/Glazbena Rubrika/Consumable
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===
