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Consumable Online Issue 196
== ISSUE 196 ==== CONSUMABLE ONLINE ======== [December 13, 1999]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Managing Editor: Lang Whitaker
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Al Muzer, Joe Silva
Correspondents: Michelle Aguilar, Christina Apeles, Niles J.
Baranowski, Mike Bederka, Jason
Cahill, Matthew Carlin, Patrick Carmosino, John
Davidson, Andrew Duncan, Krisjanis Gale, Paul
Hanson, Chris Hill, Eric Hsu, Scott Hudson,
Steve Kandell, Reto Koradi, Robin Lapid, Wes
Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer,
Linda Scott, Don Share, Scott Slonaker, Kerwin So,
Chelsea Spear, Jon Steltenpohl, 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 their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
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| Contents |
`------------'
REVIEW: Korn, _Issues_ - Mike Pfeiffer
CONCERT REVIEW: Elvis Costello - Tim Kennedy
REVIEW: Sonic Youth, _SYR 4: Goodbye 20th Century_ - Andrew Duncan
REVIEW: Soundtrack, _End of Days_ - Mike Pfeiffer
REVIEW: Papa M, _Live from a Shark Cage_ - Kerwin So
REVIEW: Dream Theater, _Metropolis Pt2 Scenes from a Memory_ - Paul Hanson
REVIEW: Various Artists, _What The Funk You Waitin' For?_ - I.K. MacLeod
REVIEW: Methods of Mayhem, _Methods of Mayhem_ - Joann D. Ball
REVIEW: Idlewild, _Hope Is Important_ - Christina Apeles
REVIEW: Supersuckers, _The Evil Powers of Rock 'N' Roll_ - Andrew Duncan
REVIEW: Tin Huey, _Disinformation_ - Chelsea Spear
REVIEW: Robert Cray Band, _Heavy Picks_ - Bob Gajarsky
REVIEW: Zen Mafia, _California_ - Scott Hudson
REVIEW: Dwight Twilley, _Between The Cracks Volume One_ - Bill Holmes
REVIEW: Evan Olson, _One Room_ - Bob Gajarsky
REVIEW: Outrageous Cherry, _Out There In the Dark_ - John Davidson
REVIEW: Amanda Green, _The Nineteen Hundreds_ / Lauren Hoffman, _From
the Blue House_ - Jon Steltenpohl
REVIEW: The Hang Ups, _Second Story_ - Wes Long
REVIEW: Molotov, _Apocalypshit_ - Christina Apeles
NEWS: Brian McRae
Back Issues of Consumable
---
REVIEW: Korn, _Issues_ (Epic)
- Mike Pfeiffer
For the past few years my brother has been trying to make
a Korn fan out of me. He's constantly sending me tapes packed with
Korn songs insisting that lead singer Jonathan Davis is the voice
for today's angry, rebellious youth. But, being more from the
generation of 80's new wave, I'm not so impressed with most of
today's alternative metal.
At first, I despised the Korn songs barely making it
through a track. But, eventually, they began to grow on me. Their
twisted guitar rhythms and Davis' gutteral, out-of-pitch vocals
have even started to appeal to me. With their latest release
_Issues_ I found myself looking forward to hearing the entire
record.
_Issues_ begins with Korn playing melodically; "Dead"
features bagpipes and Jonathan whispering "All I want is to be
happy." With that unlikely phrase, it's obviously a short track
that leads into "Falling Away From Me" showing Korn hasn't gone
soft, but they have learned a few new tricks.
While Korn may have sounded edgy and jagged in the past,
on _Issues_ their sound is confident and oddly comfortable within
its own unsettling elements. Davis' vocal is all over the place
on every track. He's screeching, whispering, and shouting in the
same verse. It wouldn't work for anybody else, but for Korn it's
perfect. One element notably absent from _Issues_ is the hip hop
beats. Most of the tracks flow along a hip metal pace that only
hints at funk. This would be a disappointment, but Korn plays it
so tight, it's okay that the funk has fallen to the wayside -
leaving powerful chords and hard rhythms to take over.
Overall, _Issues_ is not only a good release for Korn
fans, it's a good release anybody with a little pent up aggression
willing to give this harder edged music a chance.
---
CONCERT REVIEW: Elvis Costello, Brighton, England, November 23
- Tim Kennedy
Elvis has been touring for a couple of years with Steve Naive,
the keyboardist from his old band the Attractions. The crowd here were
almost silent until he took the stage - reflecting the fact that his
widespread audience have gotten maturer with Elvis. Aging punks rubbed
shoulders with chin-stroking intellectuals, many a middle aged couple of
no particular description and amongst them many youngsters came to see
the man who is doubtless the greatest songwriter of his generation and
a giant of popular music. The Brighton Centre is a conference hall used
by British political parties on their annual seaside conferences and more
than a little antiseptic, so atmosphere was always going to be a little
short at the start of proceedings.
The set consisted of a sprinkling of songs from each of his
classic albums, "Man Out Of Time" and "Beyond Belief" from _Imperial
Bedroom_, "Clubland" and "New Lace Sleeves" from _Trust_, "Temptation"
from _Get Happy_, the early classic singles "Watching The Detectives"
and "I Don't Want To Go To Chelsea"; "Alison" and "Red Shoes" from _My
Aim Is True_, "Oliver's Army", "Green Shirt', "Big Boys" from _Armed
Forces_ and "Everyday I Write The Book" and "Shipbuilding" from _Punch
The Clock_. However there were songs from some of the less lauded
albums - "Pads Paws And Claws" and "God's Comic" from _Spike_ were
fine versions of songs with particularly feisty lyrics. There was new
material in evidence too, which fitted in well with Elvis' solid gold
back catalogue. So many great songs have emanated from this artist.
He wheeled out "A Good Year For The Roses" from his country covers
album of 1982 _Almost Blue_ but his country song "Stranger In The
House", which he then played, is at least the equal of the old
chestnut. Every now and again he switched into jukebox mode, at one
point playing Van Morrison's "Jackie Wilson Says" (made a hit in the
'80s by Dexy's Midnight Runners).
Elvis is one of the most intelligent and coherent performers
rock has ever had, but tonight he was the bluff Liverpudlian of
yesteryear albeit without the gigantic chip on the shoulder of the
punk years. His bonhomie grew as the night wore on: he egged on the
seated audience to 'fill the dancefloor' and despite halfhearted
objections from the stewards the gap in front of the stage was soon
thronged with people. The atmosphere got substantially warmer from
here on in. The darker side of Elvis provided a particular highlight
as he performed "I Want You", a song of malevolence, seething with
the horror of love gone wrong. He sang several songs from hisuperb
recent Burt Bacharach collaboration including "God Give Me Strength" -
another high point in the proceedings.
Elvis frequently mugged and clowned around the stage, pointing
idiotically around and stumbling about like a Buster Keaton. Clearly,
he really enjoys this style of show, and the rapport between him and
Nieve was telepathic. Nieve clowned about too, occasionally slamming
his piano lid in time with the music and generally ad-libbing like crazy.
At times Elvis was a 50s rock'n'roller hammering out rhythm with
his green and white Gibson semi acoustic. At other times Steve Nieve
would belt out manic blues-jazz-classical piano, or even Kraftwerk-style
synth, proving that he is one of the greatest keyboardists of the modern
rock era. Latterly, Elvis took up his acoustic guitar and Steve left
the stage for a spell - to return shortly before the end.
Elvis occasionally strayed into the lounge club style of singing
as perfected by Tony Bennett with exaggerated vocalising, and even
performed the Charles Aznavour standard "She" - his contribution to
the soundtrack of the tedious micro-celeb vehicle 'Notting Hill'. Of
course he did a good job on it, but such was the momentum of the
evening that he was dragged back three times for encores by the
now-ecstatic crowd, eventually playing for a staggering two and a
half hours.
---
REVIEW: Sonic Youth, _SYR 4: Goodbye 20th Century_ (SYR)
- Andrew Duncan
It's the end of the 20th century kiddies, and Sonic Youth is
going out with a bang with the fourth installment in the SYR (Sonic
Youth Records) series, appropriately titled _Goodbye 20th Century_.
They end the 20th century not with their music (they will
welcome the year 2000 with an album filled with original Sonic Youth
compositions), but with a two-CD collection of covers from some of the
most influential minimalist composers of the 20th century. Remember,
Sonic Youth started their career in the New York minimalist/no wave
scene of the early '80s.
The SYR series, from their homemade label to further experiment
with sound, is known to bring in various guest musicians, but SYR 4 is
the cream of the crop. This time around, Sonic Youth explores music with
the help of William Winant, Jim O'Rourke, Coco Hayley, Gordon Moore,
Christian Marclay and Wharton Tiers, as well as the modern composers
Takehisa Kosugi and Christian Wolff.
Maybe some names ring a bell, maybe some don't. Nevertheless,
this is a historical moment for fans of the band to rejoice as they add
the Sonic Youth touch to songs from John Cage to Yoko Ono.
Note: Place headphones over ears and turn volume up before
embarking on this nearly two-hour estranged journey. Without a good ear,
some sounds may be lost in the shuffle as the band makes good use of
layering and volume.
Christian Wolff's "Edges" begins the first CD as a hauntingly
schizophrenic trip that sexually explores the dark side to mentality
through the use of tones and frequencies. Bassist Kim Gordon adds a
nonsensical word or two.
The band continues with an interesting version of John Cage's
"Six - third take," only to try again with a "fourth take" later on
the second disc.
Yoko Ono's "Voice Piece For Soprano" is a lightweight statement
giving Coco Hayley Gordon Moore (Kim and Thurston's son) 12 seconds of
fame. Finally, Steve Reich's "Pendulum Music" gives proper ado to the
first disc as the sound of a penny whistle and guitars mimmick the
swoop of a pendulum.
For the second CD, John Cage and Christian Wolff returns. The
band explores new territory in songs by James Tenney, Nicolas Slonimsky
and George Maciunas, among others. Cornelius Cardew's "Treatise" ends
the 20th century with freeform expressionism that explores modernism
and vastness through sound (or the lack of).
Casual listening this is not, but Sonic Youth continues to
defy gravity with educational and captivating music, properly reciting
some of the greatest modern composers of the 20th century.
---
REVIEW: Soundtrack, _End of Days_ (Geffen)
- Mike Pfeiffer
Despite all the hype and superstars, critics slammed End of
Days for being another excessive yet lifeless Hollywood action movie,
only this time a bit of horror was thrown in. What the movie lacked
was a plausible plot, and it might have got by with that, if it had a
decent script. But I'm digressing here; what I really want to tell you
about is the soundtrack.
Is it as overblown as the movie? Well, maybe. It does have
some of the biggest names in today's hardest rockin', hip hoppin' music.
Korn, Limp Bizkit, Eminem and Rob Zombie are all present and accounted
for. "Camel Song" by Korn starts it off with a very "korny" track that
should please fans. "So Long" by Everlast is one of the surprises, a
gritty song about violence that rings true. A new band, Professional
Murder Music, play "Slow" which isn't slow and doesn't come close to
matching the menace of their name. Limp Bizkit's "Crushed" has a poppy
rhythm and catchy rhyme that doesn't quite fit the dark theme of the
soundtrack, but Fred Durst's rap and DJ Lethal's beats are impressive
enough to let it pass.
Guns N' Roses feature a new track "Oh My God," and while they
haven't been heard from years they prove they can still rock hard. The
most appropriate End of Days track is the killer remix of Rob Zombie's
"Superbeast." The bass is thumping and Rob Zombie's vocals are spewing
forth all the evil he can conjure. Eminem does what he does best on
"Bad Influence" a vilely repetitious, but enjoyable rap about what a
bad mutha (watch yer mouth) he is. Stroke, the other unknown band,
with "I Wish I Had" play a strange mix of British pop and alternative
metal that again works well. "Sugar Kane," the oddly placed Sonic
Youth track from a few years ago fits in perfectly. And the final
track, "Wrong Way" by Creed, is your typical brooding hard rock track
that bores me to death.
Other than a couple letdowns, the _End of Days_ soundtrack
succeeds with quality songs and even a few surprises, making it worth
the price of admission.
---
REVIEW: Papa M, _Live from a Shark Cage_ (Drag City)
- Kerwin So
In Haruki Murakami's novel _The Wind-Up Bird Chronicle_, the
main character descends into the darkest recesses of a dried-up well
to battle his personal demons. You might think that David Pajo, the
man behind the moniker of Papa M, lives in a well himself, knowing
some background on his latest musical project. After all, what kind
of artist would constantly change his name from M to Aerial M to Papa
M, thereby making life hell for record store clerks responsible for
alphabetizing the stuff? And who would call his album _Live From a
Shark Cage_ even though it was recorded neither live nor from a shark
cage? Nevertheless, after his groundbreaking work with bands like
Slint and Tortoise throughout the 1990s, Pajo has moved on to create
beautiful music for battling personal demons with Aerial M and now,
the extraordinary Papa M.
The closest visual image my limited mind could come up with to
express this album's simple yet deep majesty is strolling through a
vast green park alone, immediately following a heavy rain, when the
sun is struggling to break through the clouds and everything is
drenched with the heady sense of vitality and potential. There are
enough light touches of banjo and guitar body tapping to give this
album a pastoral feel along those lines, but for the most part, _Live
From a Shark Cage_ is built on splendidly layered guitars and warmly
repeating themes that gently but powerfully draw the listener in, body
and soul.
To dissect this album song by song is to do it a grave injustice,
as it was clearly conceptualized to function as a whole. Yet, nothing
here comes across as pretentious or superfluous. The piano tinkling
of "Bups" midway through may sound like self-indulgent noisemaking in
and of its own, but it works perfectly within the context of breaking
the unitary sound of Papa M's lush guitar soundscapes. Moreover it
serves as the ideal preface to the oddly moving "Crowd of One," a
montage of voice messages culled from the answering machine of a
member of the Pajo family named George. Perhaps the most poignant
moments of this piece belong to Vinnie, apparently a friend of George
who calls several times a day, gently but repeatedly urging him to call
him back, giving the distinct impression that George is, in fact, his
only friend.
With this thought in our heads we are left to contemplate the
album's centerpiece, the epic "I Am Not Lonely With Cricket," a
composition threatening to make David Pajo indie rock's Philip Glass
with its hypnotic, minimalist repetition and interlocking waves of
pulsating harmonics. The pure guitar lines are looped in such a way
as to resemble a sort of organic downbeat music, with the plink of the
strings filling in the percussion role of that genre's subdued electronic
blips, and rendering a future remix all but irrelevant. By the time the
extended reprise of the opening track "Arundel" comes around, with its
quietly anthemic climax of personal triumph, you are left feeling
renewed and ready to emerge from the recesses of that well.
I don't often say this, folks, but there are not enough records
like this being made. Tight yet expansive, linear yet elliptical,
_Live From a Shark Cage_ is simply superb. Surely it was meant to be
listened to in its double-vinyl incarnation, what with its four clearly
delineated "sides" (not to mention Slint's legacy of championing vinyl).
But any way you pick this album up, listen deeply, and listen often.
---
REVIEW: Dream Theater, _Metropolis Pt2 Scenes from a Memory_
(Elektra)
- Paul Hanson
Progressive metal pioneers Dream Theater have come a long way
since their debut album _When Day and Dream Unite_. That album, featuring
such current staples as "The Ytze Jam" and "Light Fuse and Run Away,"
introduced the metal world to a new world with exciting time signature
changes and aggressive musical ideas from drummer Mike Portnoy, bassist
John Myung, and guitarist John Petrucci. Vocalist James Labrie's pipes,
who just completed a solo disc under the name Mulmuzzler, sound better
than ever. Keyboardist Jordan Rudess also contributes some nice counter
melodies.
What will attract fans of the band to this disc, though, are the
pure musical muscle flexing exhibition. "Beyond this Life" is an excellent
example of this. Over a subtle bass groove from Myung, Portnoy throws some
very quick double bass licks and 'tricks' with various cymbal bells and
percussive sounds. Guitarist Petrucci returns to the song with some
elegant melodies. The song changes moods several times and, if not
careful, it can give you a 'jerking' sensation. First it's a thrash song,
then it's not, then it is, then it isn't.
Ultimately, though, it's Dream Theater. "Overture 1928" is a
nearly 9 minute track with a more than 3 minute instrumental introduction.
In classic DT style, this part of the song features lots of melodies,
countermelodies and reminders of why the band is highly-regarded in
progressive circles. Petrucci is in fine form and Myung provides a strong
counter-melody that enhances his part. There are also breaks in Petrucci's
part where he 'rests' for a few measures before rejoining the song. The
synchronized run at the 2:53 mark recalls the musical dominance in "The
Yztze Jam."
Lyrically, this is a concept album, complete with characters
and an interesting storyline. Compared to 'classic' concept albums like
Rush's _2112_ and Queensryche's _Operation: Mindcrime_, this story holds
up. In all, I get the feeling from the band that this is a disc that was
conceived as being 100% for the fans of the band. There are no singles
here, nothing radio can sugar coat. The one track that is close to a
radio station's time allotment, is 5:29 in length, but it doesn't have
a hook that you can hum. Therefore, if you are looking for a band in
their prime, get a hold of this. Musically and lyrically, Dream Theater
is on the mark.
---
REVIEW: Various Artists, _What The Funk You Waitin' For?_ (V2)
- I.K. MacLeod
Clocking in at just under 74 minutes, these eleven, hand-picked,
electronically funkified tracks will rock the party people from New York
to Munich. In their original form, each song certainly could cause heads
to nod and toes to tap, but with the help of remixers like Bob Sinclair,
new artists such as Italy's Leena, and even a twist on the Style Council's
"Shout To The Top," we are treated to a set of dance-enhanced tunes
perfect for your favourite DJ's stocking.
Moby's "Bodyrock (Olav Basoski's Da Hot Funk Da Freak Funk Remix)"
sounds less like a Fatboy Slim outtake and more like a underground house
12-inch, while the Jungle Brothers' "Get Down (Mark!'s Boogie Hard Dub)"
is far more groove oriented than some of the work they have done with
Aphrodite. The somewhat toned down and focused "Jumbo (Future Shock
Worlds Apart Mix)" is set to appear on an upcoming limited edition
Underworld three CD set, and N'Dea Davenport's "Oh Mother Earth (Live
Element Remix)" actually began spinning as a UK club bootleg. Other
notables mixes include the cut strings of Hell's "Copa (Phats And Small's
Mutant Disco Mix)" and the haunting vocals on Mandalay's "This Life
(Cevin's Main Frame Dub)."
I should point out that this is not a DJ mix CD with songs that
cleverly flow into each other. It is merely an old fashioned compilation
that might lack as an overall challenging listen, but makes up the
difference in pure fun and non-stop drive. If this sounds like your kind
of vibe, then _What The Funk You Waitin' For?_
---
REVIEW: Methods of Mayhem, _Methods of Mayhem_ (MCA)
- Joann D. Ball
"Hello, this is the operator with a collect call from the L.A.
County Jail from Tommy. Will you accept the charges?"
With this plain and simple operator message, Tommy Lee opens
_Methods of Mayhem_ , the eponymous debut from his new band. Confronting
his recent troubled past head on and without reservations, the former
Motley Crue drummer wants to set the record straight once and for all.
Whether it's considered Lee's version of primal scream therapy or his
wicked musical imagination gone wild, _Methods of Mayhem_ is definitely
an intense and aggressive techno-infused hip-hop/hard rock hybrid that
brings the noise.
Tommy Lee credits a record by Josh Wink as the inspiration for
his new musical direction. But clearly, it was his well publicized prison
stint that transformed a sound idea into reality. Using the time behind
bars to rethink his life and his career, Lee was also able to record his
thoughts, lyrics and melodies thanks to an outgoing message accepting
collect calls on his home answering machine. From these humble origins
Lee developed the project and record that is Methods of Mayhem. Making
the great leap from heavy metal drummer to all-around musician, Lee sings,
raps, drums and creates the beats, and also plays keyboards and guitars
on _Methods of Mayhem_. With some help from rapper TiLo (Tim Murray),
formerly a member of the punk-rap group Hed PE, producer Scott Humphrey
and a new crew of friends, Lee delivers one of the freshest releases of
the year.
The lead track "Who the Hell Cares" kickstarts _Methods of
Mayhem_ with a furious guitar riff that's as heavy as anything his old
band ever delivered but with the added flava of Snoop Dogg's signature
rhyming skills and some choice sampling. With its simple lyrics and
memorable chorus ("who the hell cares where the fuck you come from"),
"Who the Hell Cares" is also guaranteed to be a live concert favorite.
On the next track, "Hypocritical," though, Lee poses the questions "Who
sets the standards? Who sets the lines? Who you? Or do they rule your
mind!" So, it's quite clear that Methods of Mayhem is as much about
big badass sounds and phat beats as it is about deeper thoughts and
serious issues. The point is driven home again on "Anger Management"
where Lee explores the consequences of his behavior and also on
"Proposition Fuck You," where Lee enlists the help of rappers Filthee
Immigrants to explore social policy and appropriate resonses to it.
"Get Naked," the lead single from the release, is an explicit
call to get busy. Part commentary on his infamous video adventures and
part celebratory anthem for a favorite pastime, Lee fills it to the
brim with guitar riffs, special effects and samples over a rock steady
rhythm. Lee raps and sings the vocals on the track and gets extra help
from George Clinton, who extols the virtues of doing it doggy-style,
and from Limp Bizkit's Fred Durst who adds the nookie treatment. And
proving that getting naked and doing the nasty is an equal opportunity
activity, Lil' Kim makes it hot by contributing a trademark tell-all
raunchy rhyme about what she needs and how she likes it. And topping
it all off, Mixmaster Mike from the Beastie Boys adds his special
magic touch.
In addition to the excellent "Get Naked," other standouts among
the 11-tracks on _Methods of Mayhem_ are the introspective "New Skin"
and "Metamorphosis" on which Lee addresses personal change and growth.
On both songs, Lee's straight from the heart vocals provide the perfect
complement to the textured layers of sound. "New Skin" is particularly
effective in conveying the dimensions of change as it shifts from a
dark electronic and synth opening which recalls Nine Inch Nails to an
acoustic guitar-based rock number with a hip-hop middle which features
a guest rap from Kid Rock.
Most of the tracks on this ambitious debut emphasize Tommy Lee's
talent as a lyricist. But on the liquid techno dance track, "Narcotic,"
Lee simply repeats the line "forget about rehab" and allows samples and
sound bites to tell the story. And "Spun," a fluid, rave-appropriate
instrumental which also features Scott Kirkland of Crystal Method,
closes the record with a positive vibe and suggests a promising future
of Methods of Mayhem.
At long last,Tommy Lee has broken free of all that has confined
him in the past few years: the hard rock band he co-founded, the media
that hounded him about his various exploits and the personal problems
that threatened his marriage and landed him behind bars. And as a
result, Lee has developed hidden and untapped talents as a musician
and songwriter and has chosen to fully express himself through the
innovative musical project that is Methods of Mayhem. By collaborating
with a diverse group of artists, Lee has crafted the noteworthy debut
record _Methods of Mayhem_ which is a truly creative effort that
cleverly combines musical styles and sounds. For information about
the mad adventures of Methods of Mayhem, be sure to check out the
official website http://www.methodsofmayhem.com
---
REVIEW: Idlewild, _Hope Is Important_ (Odeon/Food)
- Christina Apeles
The only competition in the British music press to fellow UK
band Gomez for best newcomer, Idlewild is young and unruly, thus an
inclination for punk rock antics, going mad on stage with the lead
singer Roddy Woomble losing the same tooth on one tour. Curt and fraught
tunes scattered between catchy, laggard pop, _Hope Is Important_ is for
the schizophrenic music enthusiastic that enjoys teetering between pop
and punk. Idlewild packs 12 songs in just under 36 minutes, moving from
one disposition to the other with such flair, in the release as a whole
and within the songs themselves.
With angst-ridden punk to prankish pop, Idlewild conjures the
likes of Sugar, the Pixies, Sonic Youth, and, on the lighter side,
Aztec Camera with worthwhile lyrics, plenty of shrieks, and music that
is infectious. Opening the release with Woomble's screams marking each
musical break, "You've lost your way" is all reverb, mosh pit mayhem,
as is "You don't have the heart," with heavy bass lines, soft vocals
turning into screaming, and meter in overdrive.
But not all happens in under two minutes. "I'm a message" is
an honest, almost heartfelt tune, that has the inspirational feel of
Bob Mould's perfect pop songs with Sugar. And the Roddy Framesque song,
"I'm happy to be here tonight" trades an electric for an acoustic, with
harmonies taking center stage and romance in the air, "You and me talk
freely tonight, this is my chaos..." showing they can do ballads with
the best of them.
Confused and bitter sentiments imprint most of _Hope Is
Important_, though with a bit of humor as well as lyrics like "You
don't like holding hands, you don't play guitar" in "Paint nothing,"
ending with "I'm calling the art school...I'm in the art school" and
"I laugh at my conversational skills, or lack of" in "When I argue I
see shapes." Both are whimsical straightforward pop songs, have
compelling tempos with each beat and riff just where you want them
to be. Then they throw all that out the window ending the release with
their longest track, "Low light," a song of endless changes in Woomble's
pitch, screaming out the same two verses over and over again, relentless
guitar playing, spanning five minutes, that heightens into a cacophonous,
psychotic mesh of sound.
---
REVIEW: Supersuckers, _The Evil Powers of Rock 'N' Roll_ (Koch)
- Andrew Duncan
"Don't mess with Texas!"
That famous Texas motto goes beyond the environmental context
and refers to the state's big and brassy attitude. Serial killers,
cultists, John Wayne and The Supersuckers are big business in the big
state.
But the Supersuckers?
Yesiree pardner, The Supersuckers define the big Texas sound
and provide a wake up call with the rebellious sounds of rock and roll.
Repent sinners, because _The Evil Powers of Rock 'N' Roll_ shows
a more mature and experienced Supersuckers. Blame their traditional
country release "Must've Been High" for growing up. And it's not a bad
thing.
With their latest excursion, the band reverts back to the early
days, as the title track sounds like a bar brawl with screaming guitars
and flying drumsticks as Eddie Spaghetti sings, "Do you feel it; yeah,
I feel it too."
"Cool Manchu" drops down to a steady pulse as the band
concentrates more on rocking out than packing a punch. However, the band
quickly takes a relapse with the punk rock of "I Want The Drugs." And
there are other great song titles, like "My Kickass Life" and "Fisticuffs."
Nothing compares to their classic releases including _The Smoke
of Hell_ or _La Mano Cornuda_, but this is a step in the right direction
and a pick-up from the downfall of 1995's _Sacrilicious_.
With 13 songs screaming the sign of Satan, who could not resist
fitting into tight dirty jeans and playing air guitar to some great
feel-good tunes that proves that rock and roll is here to stay? The
cover says it all, showing the band surrounded by Marshall stacks proudly
making rock poses Ted Nugent would be proud of.
---
REVIEW: Tin Huey, _Disinformation_ (Future Fossil)
- Chelsea Spear
Have you ever seen a group of MENSA members do the frug? A
wild mass of intellectuals slowly breaking free from their framework
and dancing joyously?
Of all the things I've written about in my reviews for
Consumable, this is probably the only one I haven't experienced
personally. However, if there's anything that could instigate
this sight, the Tin Huey reunion album _Disinformation_ would probably
do the trick.
The five men that comprise Tin Huey might balk at this
comparison - after all, the popular mental image of intellectuals is
that of stuffy, boring people who wear lots of starched clothing.
However, Tin Huey do have some of the best aspects of intellectualism
in their music - elaborate arrangements and odd time-signatures not
often heard outside classical music and the occasional Scott Miller
album. The Hueys punch up this combination with a startling sense of
inventiveness and ingenuity, and a great sense of humour. They
reflect some of the greatest things about brainy pop music, and then
make it accessible enough that anyone could join the dance.
_Disinformation_ is the second album in the Hueys existence,
and by far the most surprising reunion album since...well...ever,
maybe. While the band was popular among pockets of discerning pop/punk
fans on their original grouping in the late 1970s, a combination of
poor sales and indifference on the part of their record label
threatened to keep the Cleveland Five a cult favourite forever.
_Disinformation_ takes a great many of the hallmarks of classic-rock
reunion albums (the production so crisp and clean you could eat off
its floors, the big, ringing chords and power-ballad centerpiece) and
turns it on its head with a good deal of Huey charm.
The opening track "Cheap Mechanics", with its descending
melody and power-chord procession so catchy you just can't say no to
it, will have listeners humming for days, and "The Tin Huey Story,
Pt. 2" relates a more specific, but still ambiguous tale of why
success never came to be for the Hueys. The requisite power ballad,
"Lovely Little Thing", is just that - surprisingly subtle and beautiful
for the genre. There's even a live track from 1978, "Seeing", which
proves that, the more things change, the more they stay the same.
While some songs work well within the traditional song-structure,
others stand out for their weirdness - pretty much everything Ralph
Carney's byline appears on will see to that. The only real
disappointment with this is the lack of material from Chris Butler,
the one Huey who achieved post-Huey mainstream success with the
wonderfully quirky new-wave ensemble the Waitresses. "Wise Up" is
a new version of a track from the Waitresses's first full-length, and
while it was enjoyable it seems a bit rooted in the time it was
originally written and recorded.
However, these are but small quibbles with an album as
thoroughly likable as _Disinformation_. Put it on at your next shindig
and watch out for dancing geniuses.
---
REVIEW: Robert Cray Band, _Heavy Picks_ (Mercury)
- Bob Gajarsky
When Robert Cray's 1986 breakthrough album _Strong
Persuader_ launched him from small clubs to sharing international
stages with stars such as Eric Clapton, Joe Cocker and Tina
Turner, some of his longtime blues fans deserted him. Replaced by
fickle pop audiences, Cray soon went from 'rookie' superstar
(though the band had been performing and recording for more
than 12 years) to sophomore jinx (_Don't Be Afraid Of The
Dark_) to minimal sales and, ten years and a huge corporate
merger later, off the Mercury label.
The commercial 'hits' from the late 80s ("Right Next
Door", "I Guess I Showed Her" and of course "Smoking Gun")
still stand out strong, but what comes through the loudest
on this collection are some of Cray's earlier songs; "The
Dream", "Bad Influence" and a cover of Willie Dixon's "Too Many
Cooks".
_Heavy Picks_ takes a healthy look at the best of
Cray's career - fortunately, including his pre-Mercury
years - and the conclusion? Vastly overlooked by the commercial
public, and with a new release on Rykodisc, Robert Cray has never
stopped producing quality records.
---
REVIEW: Zen Mafia, _California_ (RCA)
- Scott Hudson
Victor Murgatroyd worked as an A&R executive with Epic Records
shepherding such acts as Ian Astbury, Masters of Reality, Buckcherry
and American Pearl. Multi-instrumentalist Chris Johnson worked as a
producer for a wide variety of acts, with his most notable credits
including producing the Trey Parker/Matt Stone and Goldfinger cuts on
the BASEketball soundtrack as well as John ("Bisexual Chick") Oszejca's
debut album for Interscope.
Murgatroyd and Johnson's paths crossed six years ago when the
two worked together on Epic recording artist Kate Gibson's album. From
that experience, a professional relationship turned into a personal
friendship, and Zen Mafia was born.
When the two recorded their first song together, "Sweet Home
California," it was given to a friend, who played it for her friends -
friends who just happened to be in the record industry. Zen Mafia were
promptly signed and sent to the studio to record their debut album,
_California_.
Murgatroyd and Johnson enlisted members of Blind Melon, Immature,
Buckcherry, Goldfinger and American Pearl to complete the project. The
finished product is a work that defies categorization.
_California_ is a conglomeration of dance music, hip-hop and rock
that meshes perfectly with Murgatroyd's Lou Reed narrative-styled vocals.
The aforementioned "Sweet Home California" is a shuffling
blues-rock/hip-hop anthem that utilizes Lynyrd Skynyrd's "Sweet Home
Alabama" as it's infectious chorus. Three other songs include re-creations
of classic choruses, like the Willie Dixon/Foghat hit, "I Just Want To
Make Love To You," Free's "All Right Now" and Bad Company's "Feel Like
Makin' Love."
"Another Way" is an acoustic-driven rocker replete with Latin
American horns, while "I Keep Comin'" is propelled by classic wah-wah
rhythms amidst a turntable frenzy. The record is also graced with two
outstanding tracks in "Hold On" and "Show Me" that showcase the bands'
penchant for writing great hooks behind a scrim of wonderfully layered
harmonies.
All in all, _California_ is a record that features top-notch
production, clever, yet very personal, lyrics, and brisk arrangements
which makes for a strong freshman effort for Zen Mafia.
Because it defies categorization, it may be difficult to decide
which bin your favorite record store will house this one in. But when
you find it - Grab it! You won't be sorry!
---
REVIEW: Dwight Twilley, _Between The Cracks Volume One_ (Not Lame)
- Bill Holmes
A collection of fifteen unreleased tracks from across Twilley's
career, _Between The Cracks_ is a godsend to fans (along with _Tulsa_, a
brand new release on Copper Records). From his mercurial beginnings with
partner Phil Seymour through the frustrations of trying to succeed
against tides of indifference and just plain bad luck, Twilley's history
is spotted with brilliant work that is criminally underappreciated.
Thanks to releases like these, Twilley might enjoy another well-deserved
shot at the brass ring.
"Black Eyes," the leadoff track, could well have fit on any of
his releases, especially the first two. With trademark quavering vocals
and the always-stellar Bill Pitcock IV on guitar, this sounds like the
perfect follow-up to "I'm On Fire," although it was recorded years
later. Susan Cowsill's harmony vocals graced many Twilley tracks at
the time and she sounds almost as good as Phil Seymour. Similarly, "No
Place Like Home," recorded in 1990, could and should have been radio
smash.
Some of the early tracks like "Living In The City" and "Too
Young For Love" have that same primal pulse that many tracks on
_Sincerely_ do, and "Round And Around" is a stark, Lennon-esque balled
(played on an out-of-tune piano) with a great vocal from Dwight. Despite
the cloudy production (or perhaps the horrible shape some of these tapes
might have been in) they are fascinating glimpses into Twilley's early
era. And if songs like "Why You Wanna Break My Heart" are more your
speed, "Reach For The Sky" and the amazing "Oh Carrie" (maybe the best
song on this set) will give you the two follow-up hit singles that never
happened.
The whole package is first rate - Kent Benjamin's heartfelt
liner notes are excellent and Dwight contributes song-by-song comments
that are informative and witty. As much as I look forward to his revived
career and new material, I also hope Twilley continues to mine the vault
to share his past with us. Oh, what might have been
( http://www.notlame.com ).
---
REVIEW: Evan Olson, _One Room_ (Cherry Entertainment / Universal)
- Bob Gajarsky
Prior to a few months ago, the main selling point of Evan Olson
outside of North Carolina was "former lead singer of Majosha, early group
for Ben Folds". But with the national release of his second solo
disc, _One Room_, Olson hopes to make his name stand out on his own.
The first single from _One Room_, "So Much Better", takes a
Macarena-style rock-rap and fuses it with Bono-esque vocals. But much of
_One Room_ has a 70s AM radio feel, much like Folds' own influences.
"A Million Things" tosses around a lightweight, airy sound, while
"Falling" recalls mid 70s Chicago (the band) music, sans horns. The
guitar-heavy "Deep In You" serves as a deviating harder edge break in
the middle of the disc - not as sharp as a "25 Or 6 To 4", but still
displaying Olson's skills.
While not for everyone, Evan Olson's _One Room_ offers a new
look into some old twists. And with any luck, maybe some of the BFF
clique will look into his music as well.
---
REVIEW: Outrageous Cherry, _Out There In the Dark_ (Del-Fi 2000)
- John Davidson
How can _Out There In the Dark_ be one of the best albums of the
1999 when it sounds so 1965? It's something about the jangle of
Byrdsian guitars. It's something about starched vocals with heavy
reverb and harmonies that would impress the Hollies. It's something
about minimal drums that whisper in the background. It's something
about bittersweet hooks that stick hard. Simply put, Outrageous Cherry
has hit the nostalgia jackpot without sounding stale.
As with recent bands like Brian Jonestown Massacre, Outrageous
Cherry shows no fear of confronting their influences head on. Yet,
rather than rote replication of the British Invasion, they pick up
where groundbreakers like the Zombies left off, and push the album
into the new millenium. To wit, their baroque pop sound is reminiscent
of the Byrds with a decidedly '90s twist, as if some sort of My Bloody
Valentine were backing up the Beach Boys. Still sound too dated for
your indie leanings? Think of the psychedelic pop leanings of Yo La
Tengo or even Wilco-esque bands that Outrageous Cherry has opened for.
Their fourth LP opens with the plaintive romp of "Georgie Don't
You Know," a throwback with dry drums and way up front vocals that sets
the modish mood. Like many pop greats of a bygone era, Outrageous Cherry
lets their voices carry the hooks, as opposed to building the song on a
catchy guitar or piano riff. Not that the instrumentation is invisible
(check out the feedback break in "Eclipsed"), but it's a far cry from
the three-chord foundation in much of modern rock. Also, as the album
progresses, songs gradually become more dense, culminating with the
full-on wigout guitarscape of "There's No Escape From the Infinite"
an eleven-minute opus that faintly traces the happier footsteps of
Sonic Youth.
Highlights run aplenty, from the lyrical wandering of "Where Do
I Go When You Dream?" to the brief genius of "Corruptable," but really,
_Out There In the Dark_ is one long, contagious melody. Retro though it
may be, it doesn't stoop to the worn out subjects of flower power,
disco, or even the saccharine pop that floods Top 40 today. More brave
than Hanson (where did they go, anyhow?), more catchy than Big Star,
and more clothed than N'Sync, it's hummable music for anyone tired of
uninspired radio schlock. If DelFi has more in the hole like Outrageous
Cherry, the millenium looks quite promising indeed.
---
REVIEW: Amanda Green, _The Nineteen Hundreds_ (Y&T Music) /
Lauren Hoffman, _From the Blue House_ (Free Union)
- Jon Steltenpohl
There was a time, back in the early 90's, when girls were going
to take over the world. Juliana Hatfield, Kristen Hersh, Tanya Donnelly
and Kim Deal were ready to bring gritty girl pop back from where the
Bangles, the Go-Go's, and Blondie left it. Unfortunately, that movement
withered into the rather tepid pop stardom of Paula Cole and Jewel.
Well, Amanda Green and Lauren Hoffman have both popped up on
indie releases to capture some of the spirit that Hatfield and the
Breeders had while still fitting into today's current pop mold. Both
artists have a little bit of folk, a little bit of grunge, and a whole
lot of fun music on their discs.
Green's _The Nineteen Hundreds_ is a collection of 19 eclectic
tracks that range from "Silver Dollar" with Police styled guitar to an
interesting cover of Devo's "Gut Feeling/Slap your Mammy". She can be
mellow as on the piano driven "Me and My Wife". At times, she evokes
the Sheryl Crow style of two step country beat married to a decidely
pop sound. The guitar on "Secret Song" is downright reminiscent of the
Eagles, but one track later, "Jericho" dirty guitar and slacker sound
would fit in just right on a Juliana Hatfield album.
Hoffman is a bit more sparse than Green. She fits the acoustic
mold, and _From the Blue House_ is a nice, low key album. Some tracks
are lazy and loopy like the opening track titled "Heavy Scene" and the
sweet "Sugarpie". At times, Hoffman's music reminds you of Victoria
Williams. While no one has a voice quiet like Williams', the airy,
reserved style Hoffman exudes is similar. With the exception of a
trumpet on one track, Hoffman's accompaniment usually goes no further
than herself on guitar and an occasional bass player and drummer.
Hoffman's melodies are similar to Tanya Donnelly in their singalong
quality, but more like Kristen Hersh in their quiet intensity. "Magic
Stick" has a nice little crunchy guitar to go along with its catchy
chorus, but the best song is a dusky, whispered tribute to another
singer called "Look Like Shit".
There isn't a single, radio-ready track on either _The Nineteen
Hundreds_ or _From the Blue House_ that will launch these albums into
the national spotlight. But, both are great little releases on indie
labels that are worth checking out. If your record collection is
littered with various alternative girls from the past decade, either
Amanda Green or Lauren Hoffman would fit right in.
(You can find more information on these artists at
http://www.amandagreen.com and http://www.forlauren.com )
---
REVIEW: The Hang Ups, _Second Story_ (Restless)
- Wes Long
Take a once wistful harmony saturated pop band, add a front man
busily digesting Kinks vinyl and playing his new extra-"squonky" Epiphone
Riviera guitar, throw in a pair of producers whose last collaborations
resulted in two of the better recordings of the '80s and you've got the
Hang Ups latest effort, _Second Story_.
In 1997, the Hang Ups released _So We Go_, an amazing collection
of Carpenter-pretty, harmonious pop tunes that somehow went largely
unnoticed by everyone with ears. It's a damn shame that this highly
polished recording wasn't chatted up to the heavens and back; it's
that good. I'm talking hair standing up on the back of your neck good.
Once perfectly bittersweet songs like "Top of Morning," "So We Go,"
"Clouds" and "Sweet Tooth" penetrate your skull, no matter how thick
it may be, you'll soon discover yourself humming them through a mouth
stuck in permanent idiot grin.
Two years removed from that confectionery treat is the Minneapolis
band's _Second Story_, their third full length CD, enlisting the
formidable producing talents of Mitch Easter and Don Dixon. Hey, anyone
remember the last time these guys worked together on a full-length album?
Ever hear of REM? They last joined forces aiding Stipe and company with
_Murmur_ and _Reckoning_, arguably the band's two best recordings.
_Second Story_ was quickly put together at Easter's North Carolina
farmhouse/studio, an abrupt detour from the full year spent meticulously
carving _So We Go_, resulting in a somewhat ragged and far edgier sound
than their wonderfully saccharine sweet prior effort.
The Hang Ups harmonies appear all the lovelier surrounded by
white-knuckle, bar room, Pixie-like riffs; like cracking open a geode
and marveling at its shiny innards. Easter and Dixon have infused in
this band a newfound sense of urgency, an immediacy that may deliver
them from obscurity. Teetering somewhere between jangling breezy
self-reflective pop and compelling fisticuffs bravado, the Hang Ups'
_Second Story_ is a balancing act worth catching.
---
REVIEW: Molotov, _Apocalypshit_ (Surco/Universal)
- Christina Apeles
Rage has no language boundaries, especially in music. Mexico
City's Molotov brings their brand of hip-hop/metal/rock/latino vibe to
the States with their second release, _Apocalypshit_, and it feels like
a storm just hit. Without a bit of fluency in Spanish, one can still
sense the sarcasm, frustration and humor underlying their lyrics, which
means they had no problem whatsoever being the only Spanish-speaking
band on the recent Vans Warped Tour, especially since their music has
the potential to appeal to the metal heads, hip-hop fans and wawa pedal
lovers alike. You could say if The Red Hot Chili Peppers had Mexican
cousins, they would be Molotov.
Mixed at the Beastie Boys' Grand Royal studio, _Apocalypshit_
takes Rock-en-Espanol into a more diverse front utilizing the musicians'
Latin roots, groove-flavored rythyms, and love of rabid guitar playing.
The mix of different influences manifest themselves in several songs,
from the raggae feel of "Rastaman-dita," belligerent guitar rock in "No
manches mi vida," and impish rapping, set to bass heavy rhythms, in
"Parasito." Molotov has already had significant acclaim around the
globe for their Grammy-nominated 1997 release _¿Donde Jugaran Las
Ninas?_, in Rolling Stone, Vibe and listed among the Top Ten Albums of
the Year in the New York Times, and you can count on their latest
release expanding their audience, especially with a title like
_Apocalyptshit_. Who wouldn't be curious?
---
NEWS: > Drummer/percussionist Brian McRae, of the
Sally Taylor Band, has officially joined the Freddy
Jones Band and will pound the skins for FJB at their
hometown New Year's Eve gig at the Vic Theatre in
Chicago.
---
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===
