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Consumable Online Issue 146
==== ISSUE 146 ==== CONSUMABLE ======== [June 12, 1998]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Tracey Bleile, Lee Graham Bridges, Scott
Byron, Jason Cahill, Patrick Carmosino,
Krisjanis Gale, Emma Green, Paul Hanson,
Eric Hsu, Tim Hulsizer, Robin Lapid,
Linda Scott, Scott Slonaker, Chelsea Spear,
Simon Speichert, Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, Dave Pirmann
Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
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: Garbage, _Version 2.0_ - Joann D. Ball
REVIEW: Charlatans U.K., _Melting Pot_ - Bob Gajarsky
REVIEW: Girls Against Boys, _Freak*on*ica_ - Scott Slonaker
REVIEW: Bill Laswell, _Panthalassa - The Music of Miles Davis
1969-1974_ / Various Artists, _Dubmission 2 The Remixes_
- Joann D. Ball
REVIEW: Scott Thomas Band, _California_ - Emma Green
REVIEW: Liquid Soul, _Make Some Noise_ - Joann D. Ball
INTERVIEW: Evelyn Forever - Al Muzer
REVIEW: Pressure Drop, _Elusive_ - Krisjanis Gale
REVIEW: Push Kings, _Far Places_ - Chelsea Spear
REVIEW: Nadir, _Rust_ - Paul Hanson
TOUR DATES: Connells, Evelyn Forever, Irving Plaza, Ivy,
Paul Kelly, Megadeth / Monster Magnet, Saw Doctors, 12 Rods,
Josh Wink
Back Issues of Consumable
---
REVIEW: Garbage, _Version 2.0_ (Almo Sounds)
- Joann D. Ball
Garbage is on the streets again, this time with record
number two, the ambitious _Version 2.0_. The computer reference is
especially appropriate given how important computer recording
technology is to Garbage's creative process. The Madison, Wisconsin
quartet skillfully enhance the lyrics and basic guitar, bass,
keyboards and drums combination with a variety of loops, effects
and scratching and sucessfully avoid the sophomore slump. Shirley
Manson and her technical wizard counterparts Butch Vig, Duke Erikson
and Steve Marker clearly immersed themselves in the studio while
making this record, taking nearly all of last year to craft the
follow-up to the 1995 debut record. Even though Garbage's eponymous
first release had endless special effects, it still seemed like more
of an adventurous rock effort with a punk edge and a few hip-hop
moments. The follow-up, though, which is a full exploration of
electronic, techno and industrial terrains, makes its predecessor
seem relatively stripped-down in comparison.
Although it seemed to take forever for American commercial
radio to pick up Garbage the first time around, alternative and Top
40 radio has already given "Push It" the momentum needed to make
_Version 2.0_ click with the public. Manson slinks her way through
this somewhat dark and moody lead single until it explodes into the
chorus. "Push It" is also notable for its prominent use of what
Garbage calls an "interpolation" of the Beach Boys' "Don't Worry
Baby." On this and the other tracks, Shirley Manson is up front
and center, but Garbage is clearly a fully functioning four piece.
Her male partners lay the instrumental and technical foundation
to support her stellar vocals and mature, slice-of-life lyrics.
While there's nothing on _Version 2.0_ that surpasses the
raw energy and intensity of "Vow" (the best track on the debut album),
Manson again sings of obsessions and extreme behavior on the first
track "Temptation Waits." During the chorus of "Temptation Waits,"
Manson sounds a bit like Debbie Harry on the Blondie classic "Heart
of Glass." There are nods to other female artists on this record,
including Karen Carpenter on the hauntingly beautiful song "The
Trick Is To Keep Breathing." But it is Chrissie Hynde of the
Pretenders whose style seems to surface throughout the twelve-track
compact disc.
It's common knowledge that Manson and Hynde admire each
other's work, but _Version 2.0_ contains indisputable evidence that
the Edinburgh, Scotland native has been positively influenced by
Akron, Ohio's favorite rock 'n' roll daughter. Shirley Manson sings
the opening lines of "I Think I'm Paranoid" with Hynde's trademark
throaty sultriness. And on "Medication" Manson borrows again from
Hynde's bag of tricks by making her deep breaths audible at the
most strategic moments for full effect. But it is on "Special"
where Manson does her best tribute to the great Pretender. The
very title of this bright, upbeat song is a reference to the
Pretenders' breakthrough single "Brass In Pocket (I'm Special)" and
Manson sings the word "special" with intentional Hynde-infused
flair. In the event this not-so-subtle tribute was somehow missed,
"Special" ends with yet another nod to the Pretenders as Manson
sings "talk of the town" in reference to that band's song of the
same name.
The opening synthesizers on "When I Grow Up" make it sound
like the theme to a psycho thriller film, but it soon bursts into
an catchy pop song on which Manson swears that everything will
change when she finally matures. The guitars and synthesizers
create a childlike spinning sensation around Manson as she sings
the chorus. One of the best songs on the record, this track has
great potential for a hit single with its carefree spirit and
summertime feel. "Hammering In My Head," "Dumb" and "Sleep
Together," on the other hand, are all dancefloor burners with a
techno-industrial feel. "Hammering In My Head" is a standout in
part because of the 100-plus tracks of loops and noises that make
their impact on the song. On "Dumb" Manson's melodic lines resemble
those on "When I Grow Up" and "Special" but are dropped into the
middle of an aggressive, high octane sonic assault. In the end,
though, Garbage brings _Version 2.0_ to a gentle close with the
potential hit "You Look So Fine."
Garbage spreads out a bit on _Version 2.0_ and comes up
with yet another collection of great songs. The band is touring
in Europe in support of the record and should turn up Stateside
by the end of the summer. Visit the band's website at
http://www.garbage.com for the latest on Garbage and more details
on how to make the most of _Version 2.0_.
---
REVIEW: Charlatans U.K., _Melting Pot_ (Beggars Banquet)
- Bob Gajarsky
It was 1990 when I first heard the Charlatans (UK).
A tape exchange with a British friend netted me a plethora
of songs which I had never heard before, and one which was
just barely starting to get played on hip American radio
stations, "The Only One I Know". Mixing the wah-wah sound
with a Hammond organ, the Charlatans immediately took hold
of my heart - and for some reason, I instantly felt that
this band wouldn't be another one of the UK 'Bands of the
Week'.
When the debut album _Some Friendly_ was released, I
had to race out and purchase a copy. The organ so
prominently featured on "One" became the band's trademark,
distinguishing them from the Stone Roses, who were stealing
the charts and magazine covers in their native land. And
when their first U.S. show was held in New York at a now-defunct
club (located between 10th and 11th avenues, and leading to the
title of their second album), I, along with a few hundred
other souls, was there.
Moving and swaying to the music, from the never-ending
"Flower" to the great introduction song, "You're Not Very Well",
the Charlatans had the audience in the palm of their hands.
And even if UK wags couldn't hear the difference in their
songs. coyly calling them "The Only Song I Know" (well, they
*were* right with the second single, "Then"), it seemed like
the Charlatans were destined for bigger and better things.
Yet, it didn't happen. While the Stone Roses were on
their self-imposed exile, spending Geffen's millions and
eventually releasing a sub-par second album before imploding,
and the Happy Mondays were fretting about the loss of Bez,
the Charlatans were outshining their compatriots. Tracks
such as "Weirdo" and "Can't Get Out Of Bed" were instant
favorites on the then-burgeoning Modern Rock radio stations,
While critics slowly started chiseling away at the
band, wondering if the band was stuck in the past, lead singer
Tim Burgess looked towards the future. Collaborations with the
now-cutting edge dance bands and remixers such as the Chemical
Brothers ensured that the Charlatans music was welcomed by a
new generation of club goers.
Maybe it was because Ecstasy wasn't as commonly
available in the States as the UK, or because the raves here
only consisted of techno music (as opposed to the Floydian
styles of the UK trilogy), but the Charlatans never quite
caught on in the States. Being lumped in with the Roses and Mondays
didn't help; tbe Charlatans didn't cancel tours or delay
albums with the frequency of Msrs. Brown and Ryder. Any
problems, such as the arrest (and eventual death) of Rob
Collins, were always dealt with in a professional manner,
with the music coming first, rather than as an afterthought.
The focus of the Charlatans never changed during the years, and
as a result, we (the listeners) get to appreciate a band's
growth and maturation without seeing signs of their decline.
_Melting Pot_ isn't the normal greatest hits collection;
B-sides are included (such as the instrumental "Theme From The
Wish") and several big UK hits ("How High", "North Country Boy")
are excluded. But for those who missed out on the Charlatans the
first time around - or, heaven forbid, don't own any of their
albums - here's the time to catch up with the past. Absolutely
essential.
TRACK LISTING: The Only One I Know, Then, Opportunity Three,
Over Rising, Sproston Green, Weirdo, Theme From The Wish,
Patrol (Chemical Brothers Mix), Can't Get Out Of Bed, I Never
Want An Easy Life If Me & He Were Ever To Get There,
Jesus Hairdo, Crashin' In, Just Lookin', Here Comes A Soul
Saver, Just When You're Thinkin' Things Over, One To
Another, North Country Boy
---
REVIEW: Girls Against Boys, _Freak*on*ica_ (DGC)
- Scott Slonaker
"Yeah, I got a taste for the hype." - "Pleasurized"
Girls Against Boys are one of those up-from-the-underground
(in this case, Washington, D.C.'s '80s hardcore scene) acts that is
preceded by much more press and critical approval than sales or
radio airplay. Just about every music magazine has published some
sort of profile or feature on this foursome. So, since a) the
band's history and unique sound (muttered vocals, double-bass
throb, industrial guitar and huge drums) are so well documented
and b) they have been living up to the hype shoveled on them quite
nicely, let's cut said filler and talk about _Freak*on*ica_, their
sixth record and major-label debut.
The advance press has labeled this record a step towards
pop concession (hinting at a "sellout", of which there is no such
thing) and away from the thunderous, locomotive-like grooves on
1996's _House of GVSB_. I beg to differ. Instead, the band is
continuing a trend begun on 1993's _Venus Luxure No. 1 Baby_ and
1994's _Cruise Yourself_, a slow but sure gravitation from the
Grunge-O-Rama Lounge house band to sophisticated, industrial-edged,
beefed-up '80s-era synth-dance-rock.
Not that the first single, "Park Avenue", shows much of
that. The leadoff track's buzzsaw crunch might just get GVSB filed
next to Korn at some of the more clueless hard-rock radio stations.
But "Pleasurized", track two, brings in some of the more recent
additions to the ever-expanding GVSB canon. Star Trek phaser-ish
blippy synths and the occasional odd turntable scratch meld with
the more familiar elements to create a potent edge-of-apocalypse
disco tune. Tracks like "Exorcisto" and "One Firecracker"
showcase the band's expert rhythm section of bassists Johnny
Temple and Eli Janney and drummer Alexis Fleisig. The sound they
create is positively monstrous. There may not exist a more potent
rhythm section in current rock music.
Then, there is "singer" Scott McCloud's raspy, debauched
voice, which is able to walk the line between muttering and singing
like no one since Lou Reed and Leonard Cohen. Lyrics, however,
are more for atmosphere than much else, utilizing futuristic and
pop-culture references ("You do yourself insane Disneyland, NYC",
"You're thinking Calvin Klein") that do functionally little to
flavor the potent soundscapes created by the music. No matter,
though- GVSB is about the groove. This is not intended to be
brain food.
Girls Against Boys possess immense talent and a distinctive
sound. _Freak*on*ica_ may not be able to match _House of GVSB_'s
sheer sonic impact, but it displays a developing pop sense that
manages to walk the line squarely between the Cure and Ministry
without sounding even remotely derivative; the band is much more
real and raw than the former, and more flexible and seductive
than the latter. If they hit the big time, they'll deserve it.
Such a talented and unique band belongs in the spotlight.
---
REVIEW: Bill Laswell, _Panthalassa - The Music of Miles
Davis 1969-1974_ (Columbia) / Various Artists,
_Dubmission 2 The Remixes_ (Qwango/Island)
- Joann D. Ball
Summer means construction time again on America's highways
and byways. In the world of music, though, it's the perfect
season for reconstruction. High on the summer listening
reconstruction projects list are Bill Laswell's _Panthalassa: The
Music of Miles Davis 1969-1974_ and a various artists compilation
called _Dubmission 2: The Remixes_ . Laswell proves with his
reconstruction and mix translation that there's much more to jazz
that the watered down stuff that commercial smooth jazz stations
play. And while _Dubmission 2: The Remixes_ was released a few
months ago, this Jamaica hot reggae dub and remix collection
warrants your attention because it's solid proof that there's
much more to reggae than Bob Marley.
Reconstruction and remixes are two of the most innovative
projects within the world of electronica and dance music. Much
like old school hip-hop which sampled forgotten or overlooked
soul and rock tracks, reconstruction and remixing allows
electronic artists to pay tribute to classic jazz and reggae
artists while creating new music from these rich sources. In
this way, reconstruction and remix projects effectively turn on
new audiences to jazz and reggae and provide new support and
energy for these often ignored genres. To their credit,
reconstructionists and remixers are very explicit about their
inspirations, sources and intentions as they take jazz and
reggae classics to another level. Such honesty and integrity
deserves to be recognized and credited, particularly given the
history of rock and roll which was largely built upon the
shameless white-washing of blues and "race records" for profit.
Additionally, the creativity that is involved in reconstructing
and remixing jazz and reggae exceeds that which is all too
typical of contemporary Top 40 remixes which are designed to
prompt additional record sales for artists who are already popular.
Producer and bassist Bill Laswell captures the essence of
Miles Davis' exceptional work during the experimental period of
1969-1974 and breathes new life into the jazz master's intricate
and complex pieces. Davis was exploring unknown territories
nearly decades ago, and it is here that Laswell returns with
his reconstruction tools. Laswell connects diverse and
multi-faceted Davis classics and give them an incredible flow
and eveness, making _Panthalassa: The Music of Miles Davis
1969-1974_ a captivating hour-long listening pleasure in the
process.
_Panthalassa_ is divided into four sections or tracks and
each weave a textured soundscape that is detailed and vibrant.
Track one includes "In A Silent Way/Shhh/Peaceful/It's About That
Time," and Laswell begins this reconstruction by highlighting the
gentle tenderness of Davis' work. About midway through this almost
fifteen-and-a-half minute piece, Davis' horn surfaces along with
percussion and bass and the instruments eventually overflow with
an incredible richness and fullness. Clocking in at slightly
over sixteen minutes, track two includes "Black Satin/Pete
Cosey/Agharta Prelude Dub." This piece should immediately appeal
to fans of acid jazz band Liquid Soul which is no coincidence
since that band's musical director Mars Williams has previously
worked with Laswell. Track two also includes hints of the
direction the late Jimi Hendrix was taking before his untimely
death, as distorted guitar sounds are prominently featured in
the first two-thirds of this psychedelic piece. Track three
contains "Rated X/Billy Preston" and the first half of this
fourteen-and-a-half minute piece is notable for its tight,
precise polyrhythms which are a prototype for jungle music. In
contrast, the second half of the piece has an urban grittiness
thanks to a throbbing and pulsing bass and Davis' melodic horn.
_Panthalassa_ ends with the thirteen-plus minute "He Loved Him
Madly" which is instrumentally layered for a peaceful, laid
back, meditative effect.
As Laswell's _Panthalassa: The Music of Miles Davis
1969-1974_ suggests, the world of electronica, with its hybrid of
cultures, styles and sounds, complicates the meaning of "new." In
addition to using jazz as critical resource, some of the most
intriguing electronic offerings also draw heavily on dub reggae
for inspiration and direction. This approach is skillfully
represented on _Dubmission 2: The Remixes_ .
Conceived by Tomas of Umoja Soundsystem, _Dubmission 2:
The Remixes_ includes new interpretations of some reggae and dub
classics. A number of British and American new school drum n'
bass producers pay their respects to some of the most famous of
Jamaican reggae artists. Among the classics that get the dub
and remix treatment here are Gregory Isaacs' "Night Nurse," "Eye
Market," "Chill Out" and "Fleetyfoot" by Black Uhuru, Burning
Spear's "Slavery Days," and the Tamlins' "Baltimore." An
informative history of dub reggae and its relationship to drum
n' bass is included in the CD jacket, and an extremely helpful
chart listing the details about the original, dub and remix
versions is included on the back of the CD case.
There are a total of ten reconstructions here which run
a total time of about an hour, and several of them are simply
outstanding. Cottonbelly, the alter ego of Sade band member Stuart
Matthewman, remixes "Night Nurse" and accents the percussion for an
erotic effect. The Thievery Corporation, based in Washington, D.C.
stir up a magical remix of Black Uhuru's "Eye Market." Retitled
"Boof N' Baff N' Biff," it creates the sensation of a wonderful
high. Also destined for repeat play are the two remixes of Sly
and Robbie's "Demolition City." The Riddim Twins' masterpiece
"Demolition City" is actually a dub version of the Tamlins'
classic "Baltimore." On _Dubmission 2_, original dubsters Sly &
Robbie get the remix treatment by Smith & Mighty who show off a
"Dread City Mix" and Tom Chasteen who digs up and offers
"Graveyard City-The Skull Valley Remix." The repetition of the
phrase "slave in the graveyard" gives the latter version an
irresistibly wicked yet funky vibe on what is definitely the
best club/dance number here.
When you are stuck in miles of traffic this summer, be
sure to use the occasion as a prime opportunity for enjoying some
reconstruction projects. Bill Laswell's _Panthalassa: The Music of
Miles Davis 1969-1974_ on and the various artists collection
_Dubmission 2: The Remixes_ will lower your stress level and lift
your spirits. And when the traffic clears you may even want to
take a trip to your local record store to check out the jazz and
reggae sections and further enhance your CD collection.
---
REVIEW: Scott Thomas Band, _California_ (Elektra)
- Emma Green
Imagine an album opening with an acoustic step-around
reminiscent of "Hotel California" before evolving into its
own repetitive riff, ironically titled "California." Then
imagine alternative-country, straight-ahead rock, and surf
sound morphing into each other for a few songs before Jeff
Buckley's ghost descends down to mumble and gently float through
a closing ballad. Such is the first impression of the
_California_, a debut from the Scott Thomas Band.
Scott Thomas is a natural explorer; it's just not clear
if he's searching for love, purpose, or himself. "Sad Girl"
almost perfectly captures the essence of the disc as Thomas
wails in his warm husky voice, "Please somebody notice me."
If his songs were a little more original, the friendly DJ might
give them a second spin. While _California_ is a solid
collection of hearty meat-and-potatoes West Coast rock, it
adheres to the verse chorus verse syndrome more closely than
Casablanca follows the classical Hollywood paradigm. There's
a little surf rock ("Happy"), a dark and morbid "Black Valentine"
("She shares my blood with everyone"), a powerful compelling
"Full Moon Painter," leading down towards the finale, a gentle
lullaby ballad ("Goodnight baby").
Once again, the opening riff syndrome returns with "Days
of Hours," which vaguely recalls Air Supply's 1980s ballad "All
Out of Love." But once Thomas catches the listener's attention
with his melodic riffs, he takes the notes and orchestrates them
into songs of his own. Good, solid rock songs... but nothing
particularly striking. Vocally, one can easily locate Thomas
somewhere between the melodic hookiness of Tom Petty and
Nashville alternative-country rocker Todd Snider; at times
harsh, warm and raspy, and other times impassioned, particularly
on the catchy "Full Moon Painter," the only real standout track.
Thomas co-produced _California_ with guitarist Andrew
Williams (The Williams Bros., Peter Case), who together seem to
march to the beat of the Tom Petty's resonating drum. It seems
so conventional these days.
---
REVIEW: Liquid Soul, _Make Some Noise_ (Ark21)
- Joann D. Ball
Put Liquid Soul's _Make Some Noise_ (Ark21 Records) in
your CD player and imitate the sounds on the instructive opening
track, "Intro." Yes, that's right, go ahead and throw some ice
cubes in a big glass tumbler, pour some libations into it, and
take a nice long sip. Then allow yourself to groove along freely
with Liquid Soul as the acid jazz scenesters pay homage to the
legends of jazz.
The Chicago-based Liquid Soul blend the best of hip-hop,
rock, salsa and Mediterranean dance with jazz in order to serve up
an intoxicating musical cocktail. The ten-piece band is led by
Mars Williams, a classically trained saxophone player who has more
than paid his dues on the jazz and rock circuits. Williams has
played his unique brand of saxy funk in the free jazz group NRG
Ensemble, and has served time with number of rock bands including
the Psychedelic Furs, Bill Laswell's Massacre, and the Waitresses.
A major supporter of the diverse Chicago music scene, Williams has
also contributed his talents to the rock/pop band Social Act, one
of the Windy City's best kept musical secrets.
But it is as Midwestern acid jazz pioneer and musical
director of Liquid Soul that sax maniac Mars Williams will make his
biggest splash. Joining Williams in the band are premier Chicago
DJ Jesse De La Pena, guitarist Tom Sanchez, bassist Rick Showalter,
drummer Dan Leali, rapper Dirty M.F., keyboardists Frankie Hill and
Chris "Hambone" Cameron, trumpeter Ron Haynes, and John Janowiak on
trombone. Together they produce a potent mix of grooves that has
knocked out audiences across the country. These ready for
prime-time players have made a scene at Chicago Bulls player/
personality Dennis Rodman's birthday party and the 1996
Presidential inauguration. Recently, Liquid Soul was also one of
the first acid jazz groups to play the esteemed Newport Jazz
festival.
The funky, hi-energy vibe of Liquid Soul's live marathons
are fully captured on _Make Some Noise_, the group's second studio
release on Miles Copeland's Ark21 Record label. Produced by Mars
Williams, this thirteen track freestyle trip samples rap cuts,
jazz masterpieces, soul classics and spoken word performances.
Liquid Soul does the impossible on the secondtrack "Threadin'
The Needle" and blends the best of old school jazz and old school
rap with samples of "The Breaks" by Kurtis Blow. These two styles
are mixed once again on "Salt Peanuts/Chocolate Covered Nut" as
samples from Dizzy Gillespie's "Salt Peanuts" are sweetened by
Dirty M.F.'s chocolate flavored rap. Dirty M.F. keeps the rhymes
flowing and turns up the heat with soulful female vocalist Omega
on "I Want You To Want Me," while Williams showcases his sax
skills on the jumpin' Latin tinged number "Ricky's Hat." And
Dirty M.F. adds much flavor to "Cabbage Roll" which is filled
with bits of James Brown's "More Peas" and K.C. and the Sunshine
Band's "Let It Go." The Godfather of Soul's "Say It Loud, I'm
Black and I'm Proud" is prominent on "No Cents" while "My Three
S.O.B.'s" contains spoken elements from jazz legend Eddie Harris
over a salsa beat. Liquid Soul bring the set to a close with the
hot and steamy "Opium Jacuzzi," and the CD ends with the sound of
footsteps walking down Chicago's gritty streets with the famous
"L" train in the background.
Liquid Soul keeps its promise and delivers on _Make Some
Noise_. From start to finish, the record is a refreshing,
invigorating and energizing combination of hot jazz and
streetwise hip-hop with a splash of rock and twist of salsa and
other exotic sounds. Like George Clinton and the P-Funk
All-Stars, Liquid Soul crosses all known boundaries to create a
completely new and unique sound which is filled with positive
energy. One can only hope that Liquid Soul will flow for at
least as many years as the Mothership has sailed.
---
INTERVIEW: Evelyn Forever
- Al Muzer
In a world of "Sex And Candy," "Flagpole Sittas," folks
that wanna fly, "Wannabes" who claim to be a little "Torn" and
"Bittersweet Symphonies" that've made a bunch of rich wrinkles
richer - you can't get much more simple, honest, basic or direct
than the urgent plea Evelyn Forever give voice to on "What I
Need," the lead single on their 1997 Airplay Label debut,
_Nightclub Jitters_.
Nothing fancy. No résumé required. Photo optional. No
description asked for or expected. Just a girl. Any girl. Nothing
more and nothing less.
Sportin' four (count 'em!) truly unforgettable, radio-ready,
potential hits - the Beatles-inspired "Rock 'N' Roll Girl"; the
brilliant, Cure-ish blast of "17"; a peppy burst of sing-along
angst ("What I Need"); and the ringing pop attack of "Double Dip" -
the obvious singles are bolstered by strong support tracks (the
rollicking "Wonderful," the giddy rush of "Never Once" and the
full-bore assault of "Telephone" earn special mention) that are
the sonic equivalent of what passes for "A" tracks on countless
major label releases. A young band clearly destined for something
bigger.
A large part of the charm, appeal and undeniable
catchiness of New Brunswick, New Jersey's Evelyn Forever - and
one of the things that should land the group a major label deal
before the year is out- is the fact that this young four-piece
ignores the tongue-in-cheek, by-the-numbers, overly-reverential
approach to Beatle-, Badfinger-, Cars-, Records- and Cheap
Trick-inspired pop taken by groups such as Weezer, Teenage
Fanclub and Fountains Of Wayne and, instead, play their
less-than-trendy, but always irresistible, fresh-faced jangle
straight from the heart.
Girls, telephones that go unanswered, unrequited love,
girls, serious crushes, rules that don't make sense, romantic
heartbreak, wimmin again, the frustrations of youth, things
that suck, dangerously-surging hormones and more girls - Evelyn
Forever concentrate on the things that matter and don't waste
time on babes who date bikers, sweaters that unravel, shirts
that get tight or love as a high concept.
Boasting four very distinct, extremely likable
personalities (hmmm, just like the Beatles) in vocalist/guitarist
Mark Sanderlin, vocalist/bassist Eddie Yoo, drummer/vocalist Matt
Lewis and guitarist/vocalist "Reef" Fanous; brilliant two-,
three- and, occasionally, four-part harmonies (like the Beatles);
two primary lead vocalists and two not-quite-as-primary harmony
vocalists (insert Beatles comparison here); two primary
songwriters (hello JohnPaul); a ton of "whoa-oh-ah's," "ooh's,"
"na na na's" and "ahhh's" (ditto); a tendency to keep their tunes
under the four-minute mark (yeah, yeah, yeah); and an instant
classic ("Rock 'N' Roll Girl") that kicks off with damn-near the
same intro as the Fab Four's "When I Get Home" - the only obstacles
in the way of E4E's inevitable climb up the national pop charts
are a major distribution deal and one lucky break.
An unabashed Evelyn Forever fan and a Beatle fanatic from
way back, Al Muzer babbled with bassist/vocalist Eddie Yoo while
the rest of the band lugged equipment from their Belmar-based
practice space to Matt's parent's garage in Piscataway in order to
avoid the summer rent hike.
Consumable: The band is starting to get some choice
gigs (opening for the likes of Pee Shy, Soul Asylum and Letters To
Cleo) and is beginning to accumulate an impressive stack of press
clippings (Billboard, Option, Pop Smear, Jersey Beat and, of
course, this magazine); are you feeling a momentum kind'a thing
happening?
Eddie: You know ... it's [success] such a monstrous
mountain for any band to have to climb - let alone a pop band.
But, we can definitely feel, like, a gradual build-up going on
behind us ... almost like a train starting to pick up speed. [Yoo
chuckles at his own cliche'] It's been a very slow, very
deliberate kind'a thing, so it doesn't really seem like such a
big deal to us yet.
We have spurts of days or weeks where every minute
seems to be occupied by something related to the band. On the
other hand, we also have the luxury [laughs] at this stage in
our career of days and weeks where the only band activity is
rehearsal or hanging out together.
CO: You're also beginning to land more out of state
gigs [including Los Angeles' International Pop Overthrow
Festival this August] - what sort of reaction do you get playing
away from home?
E: We've got this great thing goin' on in 'Jersey,
right? ... but, if we go play a show in, say ... Rhode Island,
Connecticut or Boston, we're virtually unknown. It's almost
like we're given a fresh start each time we play somewhere.
There is, apparently, some word of mouth happening, which
translates into ... well, a few people anyway.
I really think the 'road' is the best thing about
all this. I mean, there are gigs where people really could
care less about what's up on stage, ya' know? Then there are
those other shows where people who've never heard anything
about us seem to enjoy what we're doing and wind up hanging
with us afterwards.
It's also pretty cool when people tell us, 'Oh, I
heard about you guys from so-and-so who saw you at the Metro
Cafe' [Washington, DC] and I had to come and check you out
for myself.'
CO: Everyone in the band is in their early- to
mid-20's, right? Which means you should be trying to cop some
eighth-generation ska influence, borrowing liberally from
Matchbox 20 or trying to mold a Chili-funk riff to a
programmed techno-cluster. How'd ya'll get so heavily into
stuff that I grew up listening to?
Eddie: It is kind'a strange, isn't it? I know that
Mark was always into really cool shit and I've been into music
since I was really young - first or second grade, I think -
anyway, when I first started listening to music it was the
stuff that was all over the radio at that time. Evelyn
Forever's music ... there really aren't that many people in
our age group we know of who are into the same thing.
The thing that is really surprising me lately,
however, is that there's this whole contingency of young kids
I was never aware of who are, like, totally into pop music to
the point that they're actually listening to the Beatles
again! These are 15-, 16- and 17-year-olds, which I find
completely incredible because I figured they would feel the
same way so many other people seem to feel about it - that
it's an old person's music. It's nice to know there's an
audience out there for the music we love to play. I mean,
we'd be playing it with or without fans ... but, it definitely
helps knowing we're not alone.
CO: Do you have any long-term goals as a band, or are
the four of you just sort of playing it as it goes?
E: The usual, you know? Limos, money [laughs] ...
actually, my ultimate thing is for us to have even one song
that lasts forever, you know? A song that'll sound fresh and
timeless throughout the decades regardless of record sales,
how famous you are, whatever - to've written a song that
still reaches people years after you wrote and recorded it ...
let's just say that there are bands who've written songs
that'll last forever, songs that'll always be there and will
always be sung along to - I want Evelyn Forever to be
remembered as one of those bands.
For more information on Evelyn Forver, contact The
Airplay Label at PO Box 851, Asbury Park, NJ 07712. The
disc _Nightclub Jitters_ is available for $10 + $2 s/h.
E-mail only? Try gimchipop@aol.com.
---
REVIEW: Pressure Drop, _Elusive_ (WORK)
- Krisjanis Gale
This Is Art. Outspoken, blatantly honest creativity.
Aching, piercing beauty. The sheer, bleeding edge of The
New Jazz. Whole orchestras of sound skillfully controlled
by two mere men, quite intent on painstakingly serving up
dark and jazzy illbient backgrounds truly befitting a barrage
of spoken word, driven to evolve the human condition beyond
its current state of capitalist dogma. This is Pressure Drop.
The men in total control of soul are The Blood Brothers
Justin Langlands and Dave Henley. The talented possessors of
satin vocal cords are Anita Jarrett, Constantine Wier, and
Martin Fishley. Joining them, with a passionate love of music,
are Scott Garland on saxophone and flute, Duncan McKay on
trumpet, Godhead on harmonica and clarinet, and Chris Taylor
on drums. All of them have somehow managed to get it together
and produce one of the most beautiful albums of the decade,
perhaps even the century, seamlessly blending old and new, and
succeeding in creating something utterly timeless.
Imagine attending an open mic poetry session. Imagine
an army of musicians, arriving one by one, each sitting down,
then playing along with a perfect understanding of the poetic
atmophere, each contributing their own views on it, with music,
not words. Imagine two DJ's in the background, giving life to
it all with deeply moving breakbeat, droning basslines,
soaring orchestras, and an arsenal of effects. Imagine that
each element complements another in a way only true musicians
can comprehend. Imagine yourself listening to it all, finding
yourself no longer confined to a chair, but free to move
through that vast expanse of your own mind, experiencing both
intense joy and pain; not only swimming through the murky
depths of distant memory, discovering lost emotional treasure,
but also flying high above your own past, seeing your future
unfold on the horizon. Now imagine that this does not even
begin to describe the mind expanding process of listening to
this album.
When you see _Elusive_ on record store shelves, please
disregard where it may have been classified, put aside any and
all prejudice you may have against "electronica" because it is
so much more than just that. If you love music, if you love
art, or if you love life itself, on this fair and endangered
blue planet, you must give this album a listen. It will haunt
you until the end of your days.
---
REVIEW: Push Kings, _Far Places_ (Sealed Fate)
- Chelsea Spear
Early last year, the Push Kings released their first
album, a debut filled with melodic songwriting and Carnaby Street
style. True, their songs paid tribute to favourite albums in their
collection as opposed to helping them sharpen their approach and
find their own musical style, but the guys had energy and pop smarts
with which to engage an audience.
I bring this up not as some form of indie-pop history lesson,
but as Exhibit A in examining the new album by Boston's Crown Princes
of Pop, _Far Places_. The melodies you grew to love on their previous
creative output are in full abundance here, but there's not much to
recommend it beyond that.
Okay, the songs are here too, but not in as full force as the
band's last album. Three slices of teenage symphonies to girls and candy
stand out on their own beneath the layers of production and stylistic
overload -- a far cry from the first album, where every song was a keeper.
Beyond that, there are some good ideas that aren't explored far enough or
meanderings that just don't work, like the ditty with an extended
electronica noodling.
The most disturbing thing _Far Places_ reveals is that the Push
Kings still haven't developed their own style. While I was listening to
this record, I kept wondering: if you took away the band's record
collection, stripped them of their mod garb and left them on a desert
island with nothing more than their love of music and desire to play, what
would they sound like? I don't think even they have an answer to that
question.
What's more, this album offers evidence that the band views
artistic evolution as changing the era of emulation from album to album.
The first album tipped its hat to the mod era, conjuring up an image of
what would happen if Herman's Hermits were the house band in the movie
_Blow-Up!_. _Far Places_ finds the band trying a new decade on for size
by aligning their sound with Motown soul and the teen-angel croonings of
David Cassidy. Their connection with Motor City soul feels forced and
smacks of derivation. The band's output has been nothing if not
derivative, but listeners got the feeling with the previous releases
that the band had a real affinity for mod pop and shuffley Pavement
rock. The soulful approach in particular feels less like an honest
passion and more like another stylistic disguise to hide behind.
On their previous releases, Eric Masunage proved an adept hand at
production with an appealing, back-to-basics approach. Unfortunately, he
takes a confusing, cluttered approach to _Far Places_. Bizarre
instrumentation and other elements fight for space, and the overall effect
leaves the listener dizzy and a little confused.
The real kicker with this is that the band released a 7" single,
presumably from the same sessions. The difference between the songs that
appear on the single, while not a drastic, night-and-day dissimilarity,
offer an interesting contrast. "Blowin' Up!" finds the band stripped of the
cramped production, playing two simple pop songs and letting the energy
come out. While the songs seem like tunes that didn't make it to the
recording sessions of the previous PKs effort, this is what I enjoy
listening to when I throw on an album by the band.
All in all, the Push Kings' melodic tunes would be a feather in
anyone else's cap. On _Far Places_, excessive production and their own
affectations overshadow what they could be doing. Though I loved the debut,
I can't say I particularly like the places they're taking themselves in on
this record. I hope the third album by these occasionally infectious
popsters finds them cutting back on the frills and coming into their own.
---
REVIEW: Nadir, _Rust_ (Self-Released)
- Paul Hanson
No, you probably haven't heard of New Zealand's Nadir.
Their disc _Rust_ offers an "alternative to the alternative
metal bands" cluttering up the national AOR stations. Playing
a groove metal likened to Tool, Alice in Chains and even the
Deftones, Nadir know how to rock. And, more than being just
another heavy metal album, that is what strikes me about this
disc: they actually rock. They don't try and amaze you with
a riff played at 1000 mph - they'd rather produce a mid-tempo
groove and let the music speak for itself.
A case in point is opening riff of track 3, "Why Me?".
In a cool Alice in Chains mode, guitarists Nathan Newumann and
vocalist/guitarist Rob Lambert set up that good mid-tempo rock
groove. As Lambert holds his vocals over the guitar riff, the
song completes a metamorphosis closer to Tool as the song
rides that motif out. The tempo increases its speed.
"Killer of All Things" stands out as well for its chorus
full of "Fuck you's." Lambert sounds peeved as he disses all the
people that didn't believe in him: "Believing our time was free /I
laid out my roses/ Fuck you you left me no choices/ Fuck you fed
me that same shit/ Fuck you reigned on my pride/ Fuck you, and
killed my defences." Obviously, Lambert does not hold back his
emotions.
All in all, Nadir needs to come to the United States,
latch onto a festival tour and get some recognition for the music
they are creating. Since the Ozzfest '98 lineup has yet to
impress me, I'd vote for a second stage slot for them. If that
happened, there might suddenly be a lot more fans of Nadir than
the Deftones.
For more information on Nadir, check out their website at
http://www.nadir.co.nz
--
TOUR DATES:
Connells
Jun. 18 W. Hollywood, CA Troubador
Jun. 19 San Francisco, CA Great American Music Hall
Jun. 20 San Diego, CA Brick By Brick
Evelyn Forever
Jun. 17 Richmond, VA Alley Katz
Jun. 18 Freehold, NJ Freehold Fest
Jun. 20 New York, NY Arlene's Grocery
Jun. 21 Cambridge, MA T.T. The Bear's
Irving Plaza (NYC concert hall - www.irvingplaza.com)
Jun. 17 Slayer / Clutch
Jun. 19 Jazz Is Dead
Ivy
Jun. 16 Cleveland, OH Peabody's Down Under
Jun. 17 Detroit, MI Shelter
Jun. 18 Chicago, IL Metro
Jun. 19 Minneapolis, MN First Avenue
Jun. 22 Seattle, WA Crocodile Cafe
Jun. 23 Portland, OR Roseland Annex
Jun. 25 San Francisco, CA Slim's
Jun. 27 Los Angeles, CA Troubadour
Paul Kelly
Jun. 15 Washington, D. C. Metro Cafe
Jun. 16 Cambridge, MA TT the Bear's
Jun. 17 New York, NY Wetlands
Jun. 18 Philadelphia, PA Pontiac Grill
Jun. 22 Atlanta, GA The Point
Jun. 24 Austin, TX Stubb's
Megadeth / Monster Magnet
Jun. 16 Billings, MT MetraPark Arena
Jun. 17 Casper, WY Casper Event Ctr
Jun. 19 Sioux Falls, SD Sioux Falls Arena
Jun. 20 Fargo, ND Memorial Aud
Jun. 21 Deluth, MN DECC Auditorium
Jun. 22 Cedar Rapids, IA 5 Season Ctr
Jun. 24 Des Moines, IA Supertoad
Jun. 25 Peoria, IL Madison Theater
Jun. 27 Buffalo, NY Agri HAll
Saw Doctors
Jun. 17 Rochester, NY Water Street
Jun. 18 Buffalo, NY Lafayette Square
Jun. 20 Chicago, IL Arlington Racecourse (Fleadh)
Jun. 22 Minneapolis, MN First Avenue
Jun. 23 Kansas City, MO Hurricane
Jun. 24 Denver, CO Bluebird Theatre
Jun. 26 San Juan Capistrano, CA Coach House
Jun. 27 Portland, OR Oaks Park
Jun. 28 San Jose, CA Spartan Stadium (Fleadh)
12 Rods
Jun. 15 Kalamazoo, MI Club Soda
Jun. 16 Chicago, IL Metro
Jun. 18 Madison, WI Mango Grill
Jun. 20 St. Louis, MO Cicero's
Josh Wink
Jun. 15 Philadelphia, PA HMV
Jun. 16 Los Angeles, CA Viper Room
Jun. 17 Los Angeles, CA Firehouse
Jun. 19 San Francicsco, CA Live 105 at Shoreline Amphitheater
Jun. 20 Minneapolis, MN One Off
Jun. 21 Columbus, OH Red Zone
Jun. 27 Miami, FL Zen Festival at Bayfront Ampitheater
Jun. 28 Orlando, FL Firestone
---
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