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Consumable Online Issue 207
== ISSUE 207 ==== CONSUMABLE ONLINE ======== [April 19, 2000]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill
Holmes, Tim Kennedy, Jon Steltenpohl
Correspondents: Michelle Aguilar, Paul Andersen, Christina
Apeles, Niles J. Baranowski, Jason Cahill,
Matthew Carlin, John Davidson, Andrew Duncan,
Matt Fink, Krisjanis Gale, Jade Hughes, Paul Hanson,
Scott Hudson, Jianda Johnson, Steve Kandell,
Dave Kemper, Reto Koradi, Robin Lapid, Wes
Long, I.K. MacLeod, Al Muzer, Wilson Neate,
Mike Pfeiffer, Linda Scott, Don Share, Scott
Slonaker, Kerwin So, Chelsea Spear, Michael
Van Gorden, Simon West
Technical Staff: Chris Candreva, David Landgren, Dave Pirmann
Address all comments to staff@consumableonline.com ; subscription
information is given at the end of this issue.
==================================================================
All articles in Consumable remain (C) copyright Consumable
and their author(s).
==================================================================
.------------.
| Contents |
`------------'
REVIEW: Travis, _The Man Who_ - Joann D. Ball
REVIEW: Peter Case, _Flying Saucer Blues_ - Jon Steltenpohl
INTERVIEW: Grandaddy - Chris Hill
CONCERT REVIEW: Crosby Stills Nash & Young - Paul Andersen
REVIEW: Reverend Horton Heat, _Spend A Night In The Box_ - Michael
Van Gorden
REVIEW: Kreidler, _Weekend_ - Chris Hill
REVIEW: Mr. Oizo, _Analogue Worms Attack_ - Krisjanis Gale
REVIEW: Peter Searcy, _Could You Please and Thank You_ - Jon Steltenpohl
REVIEW: The Black Halos, _The Black Halos_ ; The Go, _Whatcha
Doin'_ ; Beachwood Sparks, _Beachwood Sparks_ - Joann D. Ball
REVIEW: Transatlantic, _SMPTe_ - Scott Hudson
REVIEW: The Spinanes, _Imp Years_ - Christina Apeles
REVIEW: Robert Bradley's Blackwater Surprise, _Time to Discover_ - Matt Fink
REVIEW: The Breetles, _Writerscramp_ - Paul Andersen
REVIEW: Michelle Tumes, _Center of my Universe_ - Jon Steltenpohl
NEWS: Live / Counting Crows, Jimmy Page / Black Crowes
TOUR DATES: Fiona Apple / Eels, Robert Bradley's Blackwtaer Surprise,
Bush / Moby, Ani DiFranco, Fishbone / Workhorse Movement,
Goldfinger / U.S. Crush, Kelis, Loud Family, Tara MacLean,
Magnetic Fields, Mix Master Mike, Ian Moore, Oasis / Travis,
Red Hot Chili Peppers / Foo Fighters / Muse, Tonic / Third Eye Blind,
Train / Gas Giants, Union
Back Issues of Consumable
---
REVIEW: Travis, _The Man Who_ (Epic/Independente)
- Joann D. Ball
Travis is the current Big New Thing in Britain right now. And at
long last, the band's release _The Man Who_ (Epic/Independente) has been
released Stateside. To support it, Travis has been touring America as the
opening act for Oasis, a band that you may recall was the Big New Thing in
Britain several years ago. While Oasis seems to have somehow stalled in
their ability to capitalize on their initial Stateside success, tour mates
Travis seem much better equipped and prepared to maximize their steadily
increasing critical acclaim and popularity in America.
First things first. Travis is indeed a band, and no, there's no
one named Travis in the Scottish quartet. Singer/songwriter Fran Healy is
the guiding force, though, joined by guitarist Andy Dunlop, bassist Dougie
Payne and drummer Neil Primrose. And the outstanding _The Man Who_ is
actually the band's second release. It was released in Europe last May
and eventually became the best selling album of 1999 in the U.K. By the
way, Travis' debut record _Good Feeling_ (Epic/Independente), was
released in 1997 and is certainly worth (re)discovering. Now that
such crucial background information has been covered, here's the story
morning glory.
On _The Man Who_, Travis showcase an atmospheric and melodic sound
that perfectly suits Fran Healy's sensitive and fluid vocals. While the
band's sound and Healy's songwriting have art school roots, abstraction
and intellectual tendencies influence rather than distract or overwhelm.
As a songwriter, Healy is unashamedly empathetic as he explores the
intimacies of the human condition. And his lyrics, which are often
amazingly poetic, easily evoke emotion and feeling. Travis' is a
kinder, gentler Britpop that emphasizes subtlety, musical textures and
adult acoustic pop sensibilities instead of volume, aggression or
quirkiness.
The essence of Travis is perfectly illustrated on "Why Does It
Always Rain On Me," the catchy and engaging lead American single and video.
Similarly, the record opener "Writing To Reach You" demands attention with
inviting vocals and prominent acoustic guitars incorporated into the rich
instrumentation. On "Driftwood" the band skillfully use acoustic and
chiming guitars to perfectly recreate the dreamy sensation of drifting and
floating. And in the achingly beautiful "Luv," co-written by Healy with
former Katydids visionary and current Pretenders guitarist Adam Seymour,
Travis has crafted one of the most touching ballads in Britpop history.
These four brilliant tracks are among the ten gems which make _The Man
Who_ a classic, cohesive collection of songs.
Having the coveted opening slot on Oasis' tour has certainly helped
Travis (re)introduce themselves and promote _The Man Who_ in the States.
And the tour has provided the essential exposure that the band most
certainly deserves. Will the Stateside trek help Oasis eventually regain
their American success? Maybe. Will wowing American concert-goers help
Travis pass the most difficult test of "breaking" America? Definitely!
---
REVIEW: Peter Case, _Flying Saucer Blues_ (Vanguard)
- Jon Steltenpohl
If you're familiar with Peter Case, there isn't much point in
reading this review. He's got a new album out. It's as great as his
other albums. And it's time to get to a record store and pick it up.
If you're not familiar with Case, well, listen up. Case is a
great "hidden" talent in the same vein as Dylan and Westerberg. He
plays lighthearted music with a very "American" feel. This isn't the
brooding and detached sound instigated by Uncle Tupelo. This is just
fun music that feels fun to listen to. Case keeps it simple and
straightforward. It's all about the song with Case, and there's
liberal use of fiddles, horns, harmonicas, and banjos to go along
with the standard acoustic guitars.
It would be tempting to call the music Case makes as "true
folk" music, but so many elements of pop, rock, blues, and rockibilly
weasel their way in that it wouldn't do Case justice. Like the
electric Dylan, Case proves that "folk" music isn't just about a
stereotype. Instead, Case simply makes music which is organic.
"Black Dirt & Clay" is a perfect example. It's two main instruments
are lap steel guitar and fiddle. Should be a country western song,
right? Well, not really. It's more like an upbeat travelling song,
and the beat has a little Zydeco feel to it. The lyrics are actually
an innocent memory of digging a whole as a kid and then wishing he
was back with his old friends. Case manages to be simultaneously
excited about reliving his memories and melancholy about his lost
childhood.
The first track of the album, "Paradise Etc," is filled with
similar contradictions. Written like a triumphant lullaby, Case
captures the essence of childhood in one verse. "She says so what &
I don't care / laughs at the mention of underwear / gets mad & pouts
when it's time to eat." Sings Case, "I'm afraid she'll run out in
the street." But, dispite the silly mood, underneath the surface is
an undertone of not knowing what direction life gives us.
Of course, most of Case's songs share such split
personalities. "Cold Trail Blues" isn't a blues song at all.
Instead, it's a soft song about a lost love. "It's almost like you
never came," reflects Case. "I swear I almost lost your name / once
you meant so much to me / I though your love would set me free."
Another track, "Blue Distance", relates the bittersweet memories of a
love that nearly was. Case, in a perfect example of the "folk
process", uses parts of a melody often borrowed by both Dylan and
Guthrie, and extends it with a sad chorus of pedal steel and
harmonium. The comparisons to Dylan are even stronger with the
extended, rambling ballad called "Two Heroes". Similarly, the
cynical "Walking Home Late" evokes Paul Westerberg and "Lost in your
Eyes" sounds similar to Elvis Costello's "Let em' Dangle".
Still, despite the similarities, Case remains uniquely
original and fresh. He is a peer with some of America's best
songwriters and performers. His lyrics are both insightful and
aloof, and him musical style is free and unencumbered. _Flying
Saucer Blues_ is another great album in Case's discography.
---
INTERVIEW: Grandaddy
- Chris Hill
Grandaddy recently played a well-appreciated Seattle show
that, for their relatively small catalog, felt like a greatest
hits extravaganza. The band mixed favorites like "A.M. 180",
"Everything Beautiful is Far Away", "Levitz", and "Taster" with
tracks from the upcoming album (_Sophtware Slump_)for a
memorable show that ended all too soon. Prior to the show,
Aaron Burtch (drummer), Jim Fairchild (guitarist), and Jason
Lytle (singer, guitarist, and keyboards) sat down with
Consumable for a relaxed chat.
CO: Do you guys like talking about themes for the album?
JL: I was thinking the other day that, me being the most
qualified to talk about it, I still feel totally unqualified to
talk about it.
JF: Even when he's told me what he specifically had in
mind when he wrote the song, people will come up all excited, and
go, "Yeah, I heard this, and you're talking about this...". It's
totally off-base from what he had in mind, but it's almost neater
in that they come up with their own interpretation.
JL: Especially when you end up liking other people's
versions more than what could have been the original version.
CO: Do you ever discover something you didn't realize
you'd put into a song? Something that worked its way in
subconsciously?
JL: Yeah, I think that every now and then. A lot of that
comes out from talking to other people about it. Other people's
interpretations end up being pretty therapeutic, because I end up
finding things out. "Whoa, shit, maybe that's what was going on
there." A lot of times, it is pretty neat.
CO: "Everything Beautiful..." seemed like it was right
out of a Ray Bradbury story: man on a Martian landscape, looking
out.
JL: That song, I'd actually just got done with this long
drive through the desert. Finally, you just go "I can't stand it
anymore. I need to be a part of this." Pull over the car and
you get out and start heading towards what it is you're looking
at, and next thing you know you're traipsing through sticker
bushes and it's hot outside and you're worried about losing your
car and the next thing you know, you might as well just get back
in your car, and look at it from a distance. And then my mind
started racing, and I started all these comparisons with that
basic idea. But the actual story is pretty similar to a movie I
saw when I was a little kid. I took like a little snippet, a
remembrance of that movie, and then just kind of ran with it, my
own version of it. This movie called "Robinson Crusoe on Mars".
(laughs) I only saw it when I was a little kid and I vaguely
remember it, but I just remember being totally mystified by it.
CO: Don't watch it again.
JL: I know. I think I've decided if the opportunity
comes, I'm not going to watch it. I've already built it up too
much in my head.
CO: _The Sophtware Slump_, you guys have been working on
for how long? Six months? A year?
JF: It took about four months to record.
JL: Yeah, it happened in spurts: chunks of productivity,
then total disinterest. Let it rest, take off, then chunks of
productivity, then disinterest.
CO: I have an image of you [Jason] having taped hours of
noodling just to find these sounds that make it onto the record.
JL: Yeah, there's a lot. I wish I had better knowledge
of wave synthesis and the manipulation of synthesizers and all
that, but I do do a lot of sound design, I guess. It's really
hearing the original sounds and maybe hearing like a shred, maybe
10% of it, which is something nice, so let's retape this and work
with it for a while, and maybe see if we can't get it to have 65%
more human being to it, and maybe 35% machinery. Or vice versa.
So there is a lot of time spent noodling and messing around. Not
being in a hurry and just listening to sounds.
JF: Jason doing that has inspired all of our creativity,
too, just in everything. Just constantly writing stupid, little
ideas, or whatever. Some little visual or something, because you
have to embrace that shit. Because not only do you not know when
it's going to pop up again, but also you don't know when you're
going to be able to actually execute it.
CO: Do you find hard to motivate yourself out in Modesto?
JL: Yeah, totally. There's something to be said for
surrounding yourself with like-minded people and that's very much
not the case out there. That whole "going against the grain"
thing only works so much.
JF: I think it has worked against us. It seriously took
us a long time to do anything. The _Signal to Snow Ratio_...
CO: I love that cover.
JF: Thanks. We had to fight to get that cover.
CO: Seriously? Couldn't you just say, "'Fargo'! 'A
Simple Plan'! It works."
JF: See, you got it! It's a fuckin' stupid cartoon. You
can make your own story up out of the sequence of pictures.
JL: I had to try to modernize it and put it in
comprehensible, digestible terms: "Blair Witch Project". You
start attaching some sort of huge chunk of money and how much
money that movie made, and all of a sudden it becomes okay.
JF: Everyone at the label is really nice and we get along
really well with them and they're understanding of our ideas.
But I think sometimes they're just so used to people bending
pretty easily. They called me - "The cover has us really
worried", 'cause it was after the Columbine shooting, and they
said, "We need to change it." I'm looking at it, going "I gotta
talk to everybody else, but my first response is there's no
fuckin' way we're changing it. This is not reprehensible in any
way."
CO: Do you read the press before you get to a town? In
"The Stranger" [a Seattle weekly], one of their comments is that
you won't be in a small place like this next time.
JL: You can only be told all these nice things and be
sincere with your thank-yous so much, and then you just finally
shift into this whole other mode. You never quit appreciating
people's compliments, but almost for your own peace of mind, your
own self-defense, you just gotta kinda only give away so much
anymore. You gotta save some for yourself.
JF: I think all the attendant stuff is the freaky stuff
for me. The other night, a girl was asking me about it. She
said that two or three years ago she had written to us. She was
pretty touched by the fact that I wrote out this letter back to
her and said, "Thanks." Once again, I'll never take that stuff
for granted, but it increases step by step by step and then
eventually, now we get enough letters, to where I remember it
would seriously drain me to sit down and write back to a bunch
of people by hand. Exactly what Jason said, I felt like I didn't
really have much left to myself.
JL: It would actually be nice if the stuff showed up and
they made their point, and they expressed their appreciation, but
it's usually the last ten lines go, "So, anyway, I was wondering
if I could get this and get that..."
JF/AB: (laugh)
JL: I mean, not always. But it would just be nice if it
was just "This is my appreciation." Put it out there, and that's
it, because that is nice. Because it does get read, and it does
get appreciated, and it does make a difference to hear that.
CO: So you're still including the post office address in
the album?
JF: Yeah, they wouldn't let us put our own fuckin' URL on
there. [http://www.grandaddylandscape.com] It just became this
fight. We just went "You know, we're not going to deal with it.
We're just going to promote it on our own as much as we possibly
can." It's a really provincial attitude they have. They almost
consider us an opponent.
CO: Who designs the website? Is that anybody's baby?
JF: Primarily, him [Aaron] and Kevin, our bass player,
and myself.
AB: I'm actually a little scared. Kevin's reading up on
how to do a website, because we started from scratch, with
absolutely no knowledge of how to do it. So we were doing stuff
you're not really supposed to do, as far as layout and design.
I'm afraid we're going to lose some of that. So I'm actually
telling Kevin to back off from learning too much about it, so it
can stay kind of a little bit undesigned.
CO: Why "grandaddylandscape"? "grandaddy" was taken?
JF: It was. Our old manager had it. He actually offered
it back, but "grandaddylandscape" is a nice, evocative... That's
another thing that's weird about technology. People have gotten
impatient. I tell people it's "grandaddylandscape" and they'll
go "It's so fuckin' long." It's eighteen letters! It takes
seriously, four seconds to type "grandaddylandscape.com". People
don't want to do that. Barnes & Noble, their URL is "bn",
because it's got to be simple.
JL: I remember thinking about that when I was trying to
think of what the title of the album made me think of. It's like
there's almost this slow extinction of this individual - like the
Tom Joad character of "Grapes of Wrath" - the honest, polite,
hard-working, "it's going to take a while for us to get through
this, but we'll get through it". It's the fading away of that
sort of individual. What it's being replaced with is that which
doesn't encourage problem solving and patience and figuring
things out. That to me is really a shame.
CO: Are you finding that more money coming in equals more
tools to play with? Or are you trying to keep it lo-fi and
closer to your roots?
JF: No, there's ever been a deliberate "keep it lo-fi".
Like keep it grounded and maybe organic, but certainly not lo-fi.
JL: My biggest problem with that is that when I think
static, static to me means... I think of plotting the music in
visual terms. It's like an organ could easily be water, and
scratchy, dotted guitar notes can be looking at a freeway from
the top and seeing all the dots being cars. And static is one of
my favorites, because static can be anything. Rain, dust flying
up, whipping leaves. But automatically, if there's static on the
album, it's considered lo-fi. But it's just a texture. It's a
great texture and tool. I've always thought that Hammond organs,
that bubbly sound, sounded like an organ underwater. As if
somebody were to actually tape the keys down and throw it in the
water, and it kept playing. Always thought that was a real neat
description. "You just sunk that organ!"
CO: It almost sounds cinematic.
JL: There was a big emphasis put on just disappearing, I
think. Music being a key to getting the hell out of here. I
just remember if there was ever one thing that kept popping up,
maybe being stumped production-wise, going "Okay, where does this
song need to go? What can we do with this?", and saying, "Well,
above all else, it needs to have that transportable quality, to
take us the hell out of here."
Amen. _The Sophtware Slump_ is due out May 15 in
the U.K. and May 16 in the U.S. Web surfers can check out the
label at http://www.v2music.com/ and for the
band, http:/www.grandaddylandscape.com .
---
CONCERT REVIEW: Crosby Stills Nash & Young, Arrowhead Pond,
Anaheim, Calif.
- Paul Andersen
Supergroup is a label that is too often bandied about by pop music
critics to describe bands that don't really qualify for the term.
Occasionally, though, there are times when it is the only description
possible. When speaking of the sporadic union of David Crosby, Stephen
Stills, Graham Nash and Neil Young, it is a term defined.
One of the amazing things to consider is the fact that over the
course of the last 30 plus years, the foursome have released a grand
total of only five albums, a number that includes a greatest hits
collection and a live concert set. In reality, their latest album,
_Looking Forward_, released this past October on the Reprise label, is
only their third set of new material, their first since '88s _American
Dream_. It is just proof that when these four artists get together, it
is indeed a rare occasion.
The trio of Crosby, Stills and Nash has long been a staple on
the concert trail, but the addition of Young, Stills' partner in the
legendary Buffalo Springfield, is one that has been officially missing
from the concert stage since '74. When news that the four were going to
tour in support of the new disc broke, it was met with glee from
longtime fans.
The group's show at Anaheim's Arrowhead Pond, the second of two
Southern California dates, was much more than a nostalgia fest, which
probably would have sufficed for many fans. Instead, it showcased a
band that has drawn together some wonderful new material, which they
generously shared, playing nine of the album's twelve tunes.
Interlaced throughout the show, the new tunes provided the impetus
for the tour, giving proof that this band still has something important to
contribute to the world of music. Songs like Crosby's "Stand and Be
Counted," Nash's "Someday Soon" and Young's title song are as good as
anything the group has done in the past, which is saying quite a lot.
The remainder of the thirty-song, three-hour-plus show was a body
of work that still sounds as wonderful now as it did all those years ago.
A mix of songs drawn from the Woodstock era when the group was laying
the groundwork for the Eagles and other Southern California bands to come,
along with some staples from Young's solo career and a pair of Stills
classics, including perhaps the archetypal protest song from the '60s,
"For What It's Worth," the group gave an incendiary performance that
should be a case study for musicians who too many times just go through
the motions on stage.
So far on the tour, many reviewers have focused chiefly on Young's
contributions to the show, virtually dismissing the work of the other
three. They have also called into question the amount of nostalgia
generated onstage, and the fact that, except for Young's "Rocking in the
Free World," there is nothing representing the years between the band's
last tour and the new album.
I'd like to rebut those points. It is true that Young is playing
with a fire and a playfulness that is nothing short of amazing, but
don't discount the guitar dueling that he has once again generated with
Stills, something that goes back to their days together in the Buffalo
Springfield. Though Stills might not be as animated a performer as the
bounding-across-the-stage Young, nevertheless his fretwork and
passionate playing were equal highlights of the show. And it is true
that he doesn't hit the higher notes vocally that he once did, but
Stills is crafty enough to realize his limits, and play within them.
The revelation that I came away with was the contributions by
Crosby and Nash. For all of Crosby's trials and tribulations that he has
been through over the past, including the recent revelations of his
'parental contributions' to Melissa Etheridge, it was Crosby who
provided many of the show's highlights. His version of "Almost Cut
My Hair," which has never been a particular favorite song of mine,
turned into a passionate affirmation of life. And Nash, whose harmonies
with Crosby have always been one of the sweetest sounds in rock, has
seemingly frozen in time when it comes to his voice. Of the four, his
singing has emerged the most unscathed by the passage of time.
As for the nostalgia factor, the past has always been a place for
plundering in the world of pop music. The list of artists who have
remained mired in the past is an extensive one. Instead, Crosby, Stills,
Nash and Young have chosen, like the album says, to also look forward, to
generate something for the past yet to come. The nostalgia they invoked in
Anaheim was one of joyous celebration as they looked back to their roots.
The fact that it skipped past a 25-year gap became incidental, but also
reflective of their sometime-stormy history.
It will be interesting to see if any of the current generation of
bands ages as gracefully as these four old timers have. Regardless of how
you view it, they struck a resounding blow for the geezers of the world.
Thanks, guys.
---
REVIEW: Reverend Horton Heat, _Spend A Night In The
Box_ (TimeBomb/Arista)
- Michael Van Gorden
A confession: I have to admit that I have never heard a note
of The Reverend's music. For different reasons I always dismissed him
and his music and just never paid it any mind. But when I listened to
_Spend A Night In The Box_, I knew this album was hot. From the first
note to the last, I could not stop moving, and dancing and regretting
I had ignored the Right Reverend for so long.
The album kicks off, and I do mean kicks off, with the title
track "Spend A Night In The Box", a song inspired by the movie Cool
Hand Luke and detailing the punishment our hero receives if he steps
out of line with his little lady.
Of course the obligatory songs about truck drivin', drinkin',
and lovin' are all present and accounted for. But the Reverend and his
band inject a newness and most importantly a sense of humor to themes
and sounds done many times before. In "Sue Jack Daniels" the protagonist
lets us know that "I'm gonna sue Jack Daniels for hittin' me / With
the trunk of a big old oak tree...he pushed me into a thorny old bush /
Pulled about a hundred needles out of my tush".
Great literature? No. Fun, good time rock and roll? You bet. In
fact from start to finish the Reverend and his congregation deliver. On
"The Bedroom Again" they slow things down slightly for a little old time
country pickin' which finds the singer longing for the lovin' that used
to be, a longing made even more pathetic by the fact that the couple are
now divorced.
Bassist Jimbo Wallace keeps the soon to be classic truck drivin'
anthem "Sleeper Coach Driver" moving right along with his staccato on
speed bass line, never missing a beat as Heat describes the ultimate
rig: "45 feet long and 11 feet tall / 14 televisions, shower and all /
two refrigerators and a satellite dish / I'll drive this sleeper coach
wherever this wish."
Seems after all this time the Reverend and I have a lot in
common, his favorite song on the CD, same as mine is the cool, slick
ballad "The Girl In Blue". Using spring reverb to give the song its
back room 60's feel, the Reverend once again is preaching about the
evils of the Girl in Blue, all the while wishing from afar that things
were a little closer.
The album draws to a close with even more hot guitar and
irresistible boogie with the instrumental called "the millionaire".
Perhaps not a true instrumental as the one line "Now you're the
millionaire" echoes in the background from time to time, Heat still
scorches your ear drums with some of the hottest, greasiest guitar I
have heard in a long time. Jimbo Wallace and Scott Churilla on drums
hold down the fort, driving the Reverend into a guitar frenzy. Not
giving you anytime to breathe "Unlucky In Love" is the sad tale of a
man who can't seem to find his true love, and he has tried many times:
My first love she left me alone / my second love she cut me to the bone /
my third, fourth and fifth lord tell me up above / why am I unlucky in
love".
The music was recorded outside of Austin, TX, in Willie Nelson's
Pedernales Studios, and was produced by ButtHole Surfer's Paul Leary. In
fact, the Reverend feels this album at times sounds like the Surfers
mixed with Jerry Lee Lewis, an apt description indeed. This disc proves
that not everything you hear has to have some deep meaning, nor does it
have to break new experimental ground to be enjoyable. Sometimes it just
has to be Rock and Roll. Honest, from the gut rock and roll. On _Spend
A Night In The Box_ The Reverend Horton Heat delivers.
---
REVIEW: Kreidler, _Weekend_ (Mute)
- Chris Hill
The German avant-garde band Kreidler trace their genesis back to
a 1994 evening when Thomas Klein, Andreas Reihse, and Stefan Schneider,
performing as three-piece Deux Baleines Blanches (Two White Whales),
met DJ Detlef Weinrich (a.k.a. DJ Sport). Mutual admiration followed,
and Kreidler was born, with Weinrich's turntable talent added to the
trio's existing bass, drums, and electronic structure. Over the group's
history, its members have explored sonic landscapes within and outside
the band, most notably Schneider, who's also part of To Rococo Rot, the
palindromic German experimental group.
The songs on _Weekend_, an album originally released in 1996, now
seeing a 2000 U.S. release, entertain in an ambient, post-rock fashion,
progressing like a Mobius strip around central, repeated rhythmic
patterns, relying on the listener for the majority of the forward momentum.
This is not to say Kreidler takes a clinical and precise approach
to their adventures. "La Capital" is a Mr. Freezy ice cream truck careening
to avoid a yelping bunch of keyboard puppies. "If" bubbles to life with
rich, oily notes, mixing vinyl scratching with a high hat for Krell lab
ambience. "Lio" is a synth kitchen floor waxed to mirror shine, its notes
and slapped drums sparkling in the afternoon sun.
"Reflections", one of two favorite tracks, doles out its elements
(cycling keyboard, softly brushed drums, methodical bass) piecemeal until
the combination falls from the sky at terminal velocity. It's one of the
few tracks where the drums feel integral to the pacing, versus being
atmospheric and colorful. This is the song that I'd pull as an
introductory sample: "The first one's free, but the next one will cost
you."
That second dose for the future addict would be "Shaun", a song
where an eerie keyboard appears and disappears like Carel Struycken in
"Twin Peaks", fading in to impart a revelation or a warning, then out
with his mystery still intact.
_Weekend_ is split between the familiar, classical arena of bass
guitar and drums, and the electronic realm of keyboards and samples, for
a simultaneously inviting and benevolently alien experience. Take a
listen, and hear why Momus, David Bowie, and Stereolab number among
their fans.
http://www.mute.com, for Mute Records, the band's U.S. label,
http://www.freibank.com/kreidler/ for their German home.
---
REVIEW: Mr. Oizo, _Analogue Worms Attack_ (Mute / F-Communications)
- Krisjanis Gale
Following production of two EP's released via F-Communications,
"#1" and "M-Seq," and several videos for techno legend Laurent
Garnier, including "Crispy Bacon", "The Hoe," and "Flashback,"
artist/musician Quentin Dupieux was to become best known for his
single "Flat Beat," used in a series of Levi's TV spots featuring
his own sock-puppet creation "Flat Eric." Although the single
garnered him 2 million sales of the single and a top spot
in Euro charts, the artist now known as Mr. Oizo declined offers
for more remixes, ads, and videos.
Instead, he entered the studio to record _Analogue Worms Attack._
Scribbly purple worm creatures on the front cover, a sticker
with a sock puppet claiming "this is music i dance to," and a first
track entitled "Bad start" are all clues that Mr. Oizo is an odd
being who doesn't take himself too seriously - which is good because
it's that attitude that has lead to the production of the fun,
flightly, experimental bit of electro funk _Analogue Worms Attack._
Diced up with clever breaks, blips, and some fabulously monstrous
basslines, the album journeys into a vast expanse of twisted,
distorted, minimal hip-hop beatbox experimentalism. In much the same
way as the latter half of Daft Punk's _Homework_ and Howie B's album
_Music for Babies,_ the focus is not on well constructed tapestries
of perfect audio, but rather, firing up the samplers and synths
with half an idea and seeing what develops.
Deciding which of the fifteen tracks to highlight is
a daunting task, but here goes...
The title track is a bit too long, but it has merit. Extreme
distortion, a slow fat chunky break, and a looming synth defines
the term "Analogue Worms," and the manner in which they "Attack."
This tune is developed later on in the nearly nine minute track
fourteen - the "Sequel" delves further into raw synthetics, effect
and filter wizardry.
"Monophonic Shit" sounds at first like Autechre's "c/pach"
on Tri Repeatae, with a snappy, klacky rhtyhm, and then at 1:23,
it kicks into something akin to Aphex Twin's Window Licker, as if
remixed in a "less is more" frame of mind.
"Inside the Kidney Machine," though highly repetitive, features
a snarling, nasty pit bull of a bass synth which twiddles its way
around an unchanging beat loop. The beat complements it perfectly,
contrasting the dirt of the synth with clean, high end hi hat
and snare.
"Last Night a DJ Killed My Dog" reminds me of Stardust's "Music
Sounds Better With You," with its chopped guitar twangs, but better
done and with more clever beat and bassline work. Some definite
funk on this one.
"Feadz On" gives DJ Fabien Feadz Pianta, responsible for all
the scratchwork on the rest of the album, a little more than a
minute to flex his incredible fader swapping, deck fumbling talent.
The now famous "Flat Beat," which appears dead last,
and "Flat 55," on track 12, are lighter and simpler than the other
tracks, with quick, clean rhythms and pure, unadulterated
bass synth. It seems these tracks are unrelated to the ominous
noise-music Mr. Oizo has grown more accustomed to creating.
Nevertheless, the included video for "Flat Beat," featuring "Flat
Eric" the puppet as a desk-bound executive making calls and
bopping his head along to the tune, is truly hysterical.
To conclude: if you enjoyed the roots of oldskool hip-hop
and early electro, and lust after funk bass and noisy breakbeat,
Mr. Oizo does an excellent job of mixing all those elements
in totally chaotic form and futurist vision. _Analogue Worms
Attack_ may not be pretty, but remember what a mess your baking
soda and vinegar volcano made of your mother's kitchen? And how
much fun that was? Mr. Oizo does the same with music.
---
REVIEW: Peter Searcy, _Could You Please and Thank You_ (Time Bomb)
- Jon Steltenpohl
Peter Searcy's publicists know what they need to do. They've
already positioned a little ditty called "Hateful" in the background
of _Dawson's Creek_ soundtrack and are pimping "Losing Light Fast" as
the next big video. It could happen. Anything could. Searcy's latest
album, a solo effort, is called _Could You Please And Thank You._ It's
a fairly average recording of spunky, toe-tapping pop music with a bit
of angst and guitar crunch thrown in along the way.
Unfortunately, it doesn't all seem kosher. See, Searcy is the
former leader of Big Wheel. Big Wheel was one of my favorite "sounds
kinda like R.E.M. or The Replacements" indie bands from the '90s along
with The Connells, Goo Goo Dolls, and Dharma Bums. Unfortunately, those
bands came almost 10 years too early for _Dawson's Creek_, and with the
exception of the Goo Goo Dolls, all were completely ignored on the
radio. Now Searcy, finds himself in the middle of a radio landscape
that sounds remarkably like what he and groups like The Connells were
making years ago, only dominated by bands like Third Eye Blind who are
produced into pure pop perfection. So, what's a guy to do? Make an
album that will sell records, right?
Not that there's really anything wrong with that. It's just
that _Could You Please and Thank You_ sounds and feels a bit
pre-fabricated. Maybe cookie cutter is a better phrase? Need a
punchy, high powered track? Ch-kunk... try "Bored." What about the
mellow, heartfelt song? Ch-kunk... how about "Nothing"? And on and on.
Big Wheel had a refined and earnest sound to them years ago. Back then,
Searcy seemed to be releasing parts of his soul on each song. But
_Could You Please and Thank You_ doesn't have time for that. It's
got an edge. It's driven. The melodies aren't bad. And that's about it.
Take the lead track, "Furniture". It starts off up-tempo and
with a crunchy guitar riff and stays that way through the whole song.
Every instrument is turned up loud, and even though there's a good
beat, the effect is that the song feels forced. Lyrically, it makes the
point that even though life is boring, if you change things around it
"might not change your life, but then again it might."
Which, is pretty much how you might approach _Could You Please
and Thank You_. You might not like this album, but then again you might.
This is straight forward pop/rock that doesn't move much beyond the
genre. Hints of Searcy's past skill at writing great songs and
insightful lyrics are seen here and there in some of the tracks, but
there isn't really even a single song that stands out on the album.
Maybe I'm just overreacting because Searcy solo isn't the same as Big
Wheel, but I don't think so. The sample track at
http://www.timebombrecordings.com of "Bored" represents the entire
album fairly well. It's got an urgent beat with ringing guitars, and,
well, that's about the end of it. If "Bored" grabs you, the rest of
the album will too because, frankly, the songs are pretty much all
interchangeable. So, if the tracks seem a bit repetitious, don't say
I didn't warn you.
---
REVIEW: The Black Halos, _The Black Halos_ (Die Young Stay
Pretty); The Go, _Whatcha Doin'_ (Sub Pop); Beachwood
Sparks, _Beachwood Sparks_ (Sub Pop)
- Joann D. Ball
To those who rock on Sub Pop , we salute you! Sub Pop Records has
always had a knack for having its ear to the ground, and it proved that
point at an impressive South By Southwest (SXSW) showcase last month.
Rock, in its various forms, is definitely not dead-it's thriving on both
Sub Pop and its sizzling imprint Die Young Stay Pretty. Need proof?
Check out these stellar new debut releases from SXSW pleasers The Black
Halos, The Go and Beachwood Sparks.
The Black Halos are definitely among the rock stars on Sub Pop's
Die Young Stay Pretty roster. Formed in 1994 as the Black Market Babies,
the Vancouver, Canada band rechristened itself three years later and swore
allegiance to old school hard rock. Led by the energetic and intensely
animated Billy Helpless, the Black Halos perform with reckless abandon on
stage and capture that super turbo charge on their self-titled debut.
_The Black Halos_ is a latter day rock album of classic proportions, with
Helpless shouting out ferocious anthems like "Fucked From the Start,"
"The Ugly Truth," and the lead track "Shooting Stars" The latter sonic
supernova, is propelled by Zepplinesque drums and scorching guitars, and
rolls right into the glam, punk and pop (!) infused sing-along "Retro
World." The band may sound and look the part of New York's mid-1970s
seedy, trash and thrash rock underground. But there's no mistaking the
Black Halo's sensibilities on "Tracks" which has the memorable chorus,
"tracks were all you left for me after you o.d." The Black Halos gave it
their all and then some on this twelve song record, and in the process
produced one of the best rock songs recorded in ages. The stellar "No
Road of Dreams" is simply irresistible with a big crackin' sound launched
by soaring guitars and driven home with killer riffs, power chords, hand
clapping, and an all-together-now group chorus finish.
The Go are from Detroit, and that says volumes about their
dedication to the kind of no-frills, straightforward rock and roll made
famous by hometown forefathers the MC5 and Iggy Pop. The Go is also
extremely faithful to the spirit of late 1960s garage rock, so much so
that it's easy to forget that _Whatcha Doin'_ was released a few months
ago. Guitarist John Krautner, drummer Marc Fellis and lead singer Bobby
Harlow are the core of the recently formed Motor City quintet, and they
generate some serious garage infected maximum R&B on their debut record.
_Whatcha Doin'_ is an amazing lo-fi affair, with The Go effectively
using the studio to magically recreate the comforting sound and feel of
vinyl. Sonic guitars and a rumbling rhythm section lay the grooves on
the record's twelve short-but-sweet tracks. Among the highlights are
the boomy record opener "Meet Me At the Movies," the barely two-minute
garage pop treat "You Can Get High," the psychedelic-laced "It Might Be
Bad," and the hard and ballsy "Get You Off."
Southern California sunshine, the country/folk rock sounds of 1970s
and the spirit of Gram Parsons fill _Beachwood Sparks_. On this brand new
self-titled debut, Beachwood Sparks offer a warm, breezy, laid back, and
easy going collection of tunes. While the lap-steel guitar twang of the
bouncy opener "Desert Skies" is clearly American, the song also suggests
that klassic Kinks sound thanks to its musical arrangement and Ray
Davies-like vocal. But Beachwood Sparks is most obviously indebted to the
Byrds, and freely incorporate that band's classic 12-string guitar sound
into its own. Especially Byrdsy are "The Calming Seas" and the "Something
I Don't Recognize," and the "Silver Morning After" particularly echoes the
beautiful "Born to Follow" which was featured in the film "Easy Rider."
"Silver Morning After," preceded by the eerie "Ballad of Never Rider"
which sounds like a hidden message played backwards, is clearly a tender
ode to the film's fallen motorcycle heroes. "Sister Rose," on the other
hand, alternates between the hippie vibe of the Grateful Dead's
"Truckin,'" and the full on pop-rock of _Revolver_ era Beatles.
Beachwood Sparks generate a one-of-a-kind brand of neo-country/folk
rock which emphasizes soft harmonies and sweet melodies and also updates
the original genre by adding the occasional pop jangle and some spaced
out ramblings. Goin' up the country never sounded so good.
---
REVIEW: Transatlantic, _SMPTe_(Radiant/Metal Blade)
- Scott Hudson
When Neal Morse (Spock's Beard) got a call from Mike Portnoy (Dream
Theater) about the possiblity of doing a project together, not only were
the wheels quickly set into motion, Transatlantic was born. The addition
of bassist Pete Trewavas (Marillion) and guitarist Roine Stolt (Flower
Kings) solidified this lineup of exceptionally talented musicians from
both sides of the Atlantic. Their debut release, _SMPTe_ is a prog/rock
lovers dream.
"All Of The Above" in typical prog fashion clocks in at just over
30 minutes in length and is actually six tunes carefully meshed together
amidst a frenzy of rapid-fire syncopations, stop-on-the-dime tempo changes
and plenty of Wakemanesque keyboard flourishes. Of the six tunes, it is
the haunting "October Winds" carried by Trewavas' melodic bass lines that
stand out among the others.
"Mystery Train" is by far the best and most inspired track on this
record. It also happens to be one of the shortest of the five tracks (at
almost seven minutes), proving once again that good things come in small
packages. Seriously, this song has a density and drive that makes it worth
the price of the whole CD. The funky guitar and bass lines are augmented
by thickly-synthesized strings. The song is also fresh; it doesn't hint at
all to a rip-off of older prog dinosaurs, although the vocal harmonies are
pleasantly reminiscent of King's X in their prime. "Mystery Train" is as
good as contemporary prog gets.
"My New World" opens with beautifully arranged cellos. The song
also tells a fascinating story about a lost love: boy meets hippie girl,
boy goes off to Nam, girl gets more fried, relationship flounders when he
comes home. Here, at least, the musical drama legitimately carries the
story. In fact, one of the historically pervasive problems with prog was
that the lyrical content seldom justified the thematic excesses. Here, the
blend between words and music is finely meshed. An engrossing story, with
some of the prettiest musical passages (including Stolt's lovely
volume-knob guitar interlude, a la Steve Howe) on the record.
Those unfamiliar with the prog/rock genre or those who lack the
discipline required to sit through its musical discourse would find
Transatlantic's _SMPTe_ to be not only palatable, but downright engrossing.
For those diehard prog-heads, never mind; you probably already own
it!
---
REVIEW: The Spinanes, _Imp Years_ (Merge)
- Christina Apeles
If you are new to The Spinanes and are one of those unlucky
folks that consistently stumbles upon a great band just before they
break up, I'm sorry to inform you it already happened years ago. The
_Imp Years_ serves as their adieu, an encore release of hits that
will forever keep them imprinted on college radio playlists and among
faithful, adoring fans. Utter gratitude goes to the people at Merge
for giving us one last release from this talented two-piece outfit of
vocalist/guitarist Rebecca Gates and drummer Scott Plouf, who left
the band in 1996 to play with fellow indie favorite Built to Spill.
The divine "Hawaiian Baby," is reason enough to rush to your
local record store. One of the hardest singles to find, "Hawaiian
Baby" is simply one of finest indie rock ballads, sure to set your
heart afloat in that bittersweet kind of way. It is one of the
longest singles from the band stretching over 5 minutes, with Gate's
acoustic guitar in tow and Plouf's soft drumming accompanied by harsh,
sentimental lyrics, "Santa Claus with the baby that you brought me /
this is the taste of your right earlobe can't you hear me / it's my
heart and it doesn't fit yours." The first four tracks, which includes
"Hawaiian Baby" and "Suffice," were among their first releases
beginning in '92, released on Imp Records, thus the title. Another
hard-to-find, "Messy Shitty," released on a compilation put out by
Schizophonic records also in 1992, is an upbeat number with their
trademark harmonies and the sound of a full piece, backed by another
guitar, bass and pull.a.tune. The release closes with the elegant,
previously unreleased "Handful of Heart," validating the personal and
genuine nature of The Spinanes music. Their lo-fi pop pairing has been
unmatched and will sure to be missed but with _Imp Years_ you can get
a taste of their early greats one last time.
---
REVIEW: Robert Bradley's Blackwater Surprise, _Time to
Discover_ (RCA)
- Matt Fink
At first glance, it might seem that the story behind the
formation of Robert Bradley's Blackwater Surprise would make a good
idea for a bad sitcom. The plot line would follow a middle aged blind
street singer meeting up with four kids from the alternative rock scene
after they happen to hear him singing through an open window while
they are in the recording studio, and after asking said street singer
to join their band, hilarity ensues. Luckily, the factors that
determine the quality of television and music aren't the same.
_Time to Discover_, the second offering from Alabama born Robert
Bradley and his Detroit bandmates, is an excellent mix of soul, Motown,
R&B and funk grooves. And while much of the hype around this band
centers on the eclecticism of their music, they are really a fairly
straightforward R&B band. Without a doubt, Bradley possesses one of
the richest, most soulful voices to be heard in recent memory, with
comparisons to Lenny Kravitz, Richie Havens, Seal, and Marvin Gaye all
being more than warranted. Most surprising might be his backup band
and their talent in turning out soulful riffs and tight grooves.
Strangely, the album kicks off with one of its weaker tracks,
the plodding funk groove of "Higher," on which Kid Rock appears to toss
out some annoying background raps. "Ride" sounds like something that
could have very easily come off a Sly & the Family Stone album, with
classy brass arrangements and ringing organ. Where Bradley shines the
most is on shimmering soul ballads such as "Baby" and the laidback
"Ultimate Sacrifice," the former bearing more than a passing resemblance
to the work of Al Green. The ghost of Marvin Gaye even turns up on the
gospelish, "You & Me" and the falsetto drenched "Mr. Tony." The slightly
countrified melody of "Tramp 2," co-written by Bradley and Kid Rock,
makes sure that the latter's cameo is not a total loss.
Occasionally, on tracks like the bluesy "Gambler," the formula
of building to an emotional repeated chorus doesn't work, as the lyrics
aren't really strong enough to merit so much emphasis. If anything,
this is where the majority of the complaints could be directed. Still,
Bradley is such an excellent singer that even if he doesn't have all
that much to say, he sells it enough that you'll believe he does. The
bouncy piano driven finale, "Uncle John" sounds enough like a lost John
Lennon track that it makes one consider that it could be some sort of
homage to the former Beatle.
All in all, Robert Bradley's Blackwater Surprise have crafted
a solid and satisfying effort. Though it is doubtful that this kind of
music is going to find a massive following, as an oldies audience is
probably going to receive it about as well as the MTV crowd, _Time to
Discover_ is a well-rounded collection that is no doubt the product of
considerable talent. Even if their story would make for a corny sitcom,
it would still be worth watching for the music.
---
REVIEW: The Breetles, _Writerscramp_ (Permanent Press)
- Paul Andersen
Okay, I bet you are thinking the obvious: what is this, a take on
the Beatles? The answer is, well, maybe a little bit yes, but there are
others at play here also . . .
The Breetles consist of New Jersey native Chris Breetveld (hence
the name, though one gets the feeling that it is just an excuse to pay
tribute), a true pop music genius. And that's it; the Breetles are
basically a one-man show. On this, their (his?) sixth recording, he has
once again brought along a few guest artists to flesh out the sound --
Dennis Diken of the Smithereens and a few members of the "East Coast Pop
Mafia," including R. Stevie Moore, Chris Butler and Lane Steinberg, all of
whom, like Breetveld, usually go it alone. But this is Breetveld's
showcase all the way, and he utilizes it to display a songwriting craft
that harkens back to the Beatles, as well as the Beach Boys, the Kinks,
XTC and 10 cc, also. In fact, the latter group's Godley and Creme could
easily be Breetveld's patron saints. It is their music and lyrical wit
that resonates more than any other influence through this recording.
The 16 tracks on _Writerscramp_ share a constant: they are as
melodically memorable as they are cleverly worded. Grounded in the
history of his inspirations (which he even alludes to in "My Sense of
Wonder"), Breetveld builds a sound that he describes as "voltage
enhanced pop," a sort of power pop for the new millennium. This is
confectionery music that doesn't float away like cotton candy when it
meets the tongue. Rather, it is a sweetness that will draw you back
again and again.
---
REVIEW: Michelle Tumes, _Center of my Universe_ (Sparrow)
- Jon Steltenpohl
Michelle Tumes is one of the new breed of Christian artists
whose appeal goes far beyond religion. _Center of My Universe_ is an
album that sounds much like Enya without the Celtic influences. Tumes
creates an engaging "percolating" beat which bubbles under the surface
and she layers her vocals in airy, pristine harmonies. _Center of My
Universe_ is an upbeat and hopeful album that is consistently quiet
and glistening from start to finish. It is frequently touched with
small piano parts which quietly echo in the background and other
similar small, but important touches.
Tumes really doesn't follow the typical "Amy Grant" mold of
Christian artists. She is not a pop singer or a diva, and she doesn't
bother with sermons. Instead, she makes quiet, pretty music with
orchestral touches and simple, heartfelt lyrics. _Center of My
Universe_ sounds as if it might be bundled with an aroma therapy candle
or something. This is soothing music that borders on new age
pretentiousness.
Fortunately, the album limits itself pretty well, and doesn't
cross into cliches. At the worst, some of the synthesized orchestrations
sound a bit canned. "Missing You" is a good example, where the
violins sound electronically produced. However, it doesn't distract
much, and many listeners probably won't even notice. At best, the
programmed sounds are incredible. "Chant", a simple four line song,
is stunning in both its simplicity and its studio production. Tumes
and guest vocalist Chris Beatty are transformed into a small vocal
group performing with a string quartet in a cathedral with the help
of David Leonard's programming and production.
The only problem one might have with _Center of My Universe_
is that it's too mellow and too "nice". But, in reality, that's one
of its strengths. There is only one song, "Do Ya", which is fast
paced and upbeat with louder guitars. But, it manages to fit it by
sharing the harmonies and orchestral touches of the more subdued
tracks. Otherwise, the album is consistent in its tone and style,
and it ebbs and flows within those limits without going beyond.
Michelle Tumes' _Center of My Universe_ is a nearly perfect album
to listen to because from start to finish, it maintains its style
and focus. For those who enjoy Tumes' musical style, _Center of My
Universe_ offers no gotchas or groaners. Consistency is a virtue,
and it makes listening to this album a pleasure.
---
NEWS: > Live and the Counting Crows will be co-headline a major
summer tour beginning July 28 in Kansas City, MO.
> Jimmy Page and the Black Crowes will be launching a major
concert tour this summer beginning June 24 in Chicago. Tickets for
each of the three legs of the summer tour will be going onsale on
April 29.
---
TOUR DATES:
Fiona Apple / Eels
Apr. 22 Knoxville, TN Knoxville Civic Auditorium
Robert Bradley's Blackwtaer Surprise
Apr. 22 New York, NY Hammerstein Ballroom
Apr. 27 Indianapolis, IN Vogue
Bush / Moby
Apr. 22 Las Cruces, NM New Mexico State
Apr. 24 Tucson, AZ U. of Arizona
Apr. 25 La Jolla, CA U. Cal San Diego
Ani DiFranco
Apr. 22 Phoenix, AZ Phoenix Celebrity Theatre
Apr. 25 Albuquerque, NM Kiva Auditorium
Apr. 26 Vail, CO Dobson Arena
Fishbone / Workhorse Movement
Apr. 20 San Francisco, CA Hemp Festival
Apr. 21 San Diego, CA Cane's
Apr. 22 Las Vegas, NV Huntridge Theatre
Gas Giants
Apr. 20 Springfield, IL Spot
Apr. 23 Nashville, TN 3rd & Lindsey
Apr. 25 Champaign, IL Highdive
Goldfinger / U.S. Crush
Apr. 25 Allentown, PA Crocodile Rock
Apr. 26 Washington, DC 9:30 Club
Apr. 29 Indiana, PA Indiana University
Kelis
Apr. 23-24 New York, NY Bowery Ballroom
Loud Family
Apr. 26 Austin, TX Stubb's BBQ
Tara MacLean
Apr. 25 Cleveland, OH Liquid
Magnetic Fields
Apr. 22 New Orleans, LA Tipitina's Uptown
Apr. 25 Carboro, NC The Artcenter
Apr. 26 Charlotte, NC The Artcenter
Mix Master Mike
Apr. 22 Hartford, CT Expo Center
Apr. 23 Northampton, MA Pearl Street
Apr. 24 Washington, DC 9:30 Club
Apr. 26 Orono, ME University of Maine
Apr. 27 Winooski, VT Higher Ground
Ian Moore
Apr. 22 Baton Rouge, LA Varsity
Apr. 26 San Antonio, TX Sunset Station
Apr. 27 Kileen, TX Sandy's
Oasis / Travis
Apr. 22 Indianapolis, IN Murat Center
Apr. 25 Pittsburgh, PA Palumbo Center
Apr. 26 Philadelphia, PA Tower Theatre
Apr. 27 Boston, MA Orpheum Theatre
Red Hot Chili Peppers / Foo Fighters / Muse
Apr. 25 Omaha, NE Civic Auditorium
Apr. 26 Iowa City, IA Carver Hawkeye
Tonic / Third Eye Blind
Apr. 24-25 Boston, MA Orpheum Theater
Train / Gas Giants
Apr. 26 Davenport, IA St. Ambrose
Apr. 27 Detroit, MI St. Andrews Hall
Union
Apr. 22 Worcester, MA Lucky Dog
Apr. 26 Baltimore, MD. Daytonas
Apr. 27 Allentown, PA Crocodile Rocks
---
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