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Consumable Online Issue 152
==== ISSUE 152 ==== CONSUMABLE ======== [September 2, 1998]
Editor: Bob Gajarsky
E-mail: editor@consumableonline.com
Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim
Kennedy, Reto Koradi, David Landgren, Sean
Eric McGill, Tim Mohr, Al Muzer, Joe Silva,
Lang Whitaker
Correspondents: Tracey Bleile, Lee Graham Bridges, Scott
Byron, Jason Cahill, Patrick Carmosino,
Krisjanis Gale, Emma Green, Paul Hanson,
Chris Hill, Eric Hsu, Tim Hulsizer, Franklin
Johnson, Robin Lapid, Linda Scott, Scott
Slonaker, Chelsea Spear, Simon Speichert,
Jon Steltenpohl, Simon West
Technical Staff: Chris Candreva, 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, _Follow the Leader_ - Sean Eric McGill
CONCERT REVIEW: V98 Festival (Stereophonics, Seahorses,
Morcheeba, Polly Jean Harvey, Ian Brown, Charlatans,
St. Etienne, Green Day, Iggy Pop, Verve and more)
Leeds, England - Tim Kennedy
REVIEW: Rancid, _Life Won't Wait_ - Eric Hsu
REVIEW: Shudder to Think, _High Art_ - Chelsea Spear
REVIEW: Plastiscene, _Seeing Stars_ - Chris Hill
REVIEW: Cracker, _Gentleman's Blues_ - Tracey Bleile
REVIEW: Richard Buckner, _Since_ - Chris Hill
REVIEW: Sinead Lohan, _No Mermaid_ - Dan Aloi
REVIEW: Rob Zombie, _Hellbilly Deluxe_ - Sean Eric McGill
REVIEW: Local H, _Pack Up The Cats_ - Jason Cahill
REVIEW: Howard Jones, _People_ - Paul Hanson
REVIEW: Tommy Keene, _Songs from the Film_ - Joann D. Ball
REVIEW: John Hiatt, _The Best Of John Hiatt_ - Reto Koradi
REVIEW: Culture Club, _Storytellers/Greatest Hits_ - Paul Hanson
REVIEW: Nick Cave and the Bad Seeds, _Best Of_ - Scott Slonaker
NEWS: Punk O Rama , Smoke City, A Tribe Called Quest
TOUR DATES: Tori Amos / Devlins, Anthrax / Grinspoon, Bauhaus,
Beastie Boys, Candlebox, Connells, Creed / Fuel / Finger Eleven,
Dakota Moon, Fear Factory, Flick, HORDE Tour,
Massive Attack / Lewis Parker, Metallica / Jerry Cantrell /
Days of the New, Bob Mould / Varnaline, One Minute Silence,
Vast, Wilco, Josh Wink
Back Issues of Consumable
---
REVIEW: Korn, _Follow the Leader_ (Immortal/Epic)
- Sean Eric McGill
Of all the interesting changes that we've seen in music
in the nineties, Korn has been the one that has probably
interested me the most. Sony marketed the band with the intriguing
tag line of "Time to Vent", but nothing would have prepared me for
what I heard on the album. I've often said that if Anthony Hopkins
was the personification of evil in Silence of the Lambs, then
Korn's sound on their debut was the personification of pure anger,
leaning heavily towards hatred. Needless to say, I liked it a lot.
Then came 1996's _Life Is Peachy_ , which clocked in at
number three on my own top five that year. And while I did like
it as much as I did the debut, I also noted that Korn should be
careful to try the same structure a third time, lest they come to
look like a one-trick pony of sorts.
So, I eagerly awaited _Follow the Leader_ for a couple of
reasons. One, I just wanted to hear some new Korn, and two, I
wanted to see if my prophecy had come to pass. Well, it hasn't.
Of course, the album still sounds like Korn, but it's a
different Korn sound - more experimental than in the past. With
assists from Ice Cube, Tre Hardson from Pharcyde and Fred Durst
from Limp Bizkit, Korn brings more of a - and I really hesitate
to say this, but I can't think of how else to put it - hip-hop
sound to the album. Nowhere is this more evident than on
"Cameltosis", which features Hardson solo through most of the
verses over a rolling bassline, just begging from someone to
take an 808 to it and turn it into a remix.
Ice Cube's contribution, "Children of the Korn" is a
passable attempt to meld the two genres, but it doesn't seem
to progress much farther than the catchy title. But with Cube
going on the road with Korn for their "Family Values" tour
this fall, it should be interesting to see what other
collaborations the two can come up with.
But perhaps the most interesting is when Durst and
Korn vocalist Jonathan Davis square off against one another
on "All in the Family". Imagine the rap showdowns of the
early eighties between the likes of Kool Moe Dee and others,
but with guitars and a little more brutal, with shots being
taken at each other's appearance and their respective talents.
It's much more fun than similar tracks from _Life is Peachy_ ,
where shock value was the key element to adding a lighter
touch to the album.
More highlights on the album include "Pretty", which
counts as the overt child abuse song on the album, or, as a
friend of mine puts it the "someone touched my area" song. If
you heard the first two albums, you know that child abuse played
a major role in the lyrical content, and perhaps Jonathan Davis
can be believed when he said in a recent interview that he has
"exorcised a lot of demons" on the first two albums. This
album is certainly more engaging musically than the previous
two, partly due to the wealth of experimentation the band uses
in getting their music across.
Other tracks of note include the first single "Got
the Life", the epic closer "My Gift to You" and my own personal
favorite "Reclaim My Place". And don't stop the CD after "My
Gift to You", otherwise you'll miss Korn's version of "Earache
My Eye" - complete with guest vocals from Cheech Marin.
_Follow the Leader_ is Korn's best effort to date, and
the perfect way to bring what has been an absolutely brutal
summer to a close.
---
CONCERT REVIEW: V98 Festival, Leeds, England
- Tim Kennedy
The V98 Festival - run by Richard Branson's Virgin
Corporation - covered a good spread of talent old and new -
mostly from the UK. The organisation was pretty good and
the Leeds site was not too remote to cause access problems
yet was rural enough to provide sufficient space for the
vast crowds attending and in many cases camping at the
festival. Security was efficient yet not heavyhanded, as
certain other English festivals have been in recent years,
and likewise policing was light - I didn't see a single
uniform inside the site all weekend and no-one was arrested
anywhere near me. The crowd were very relaxed too, and
in great humour.
Day 1: Sunny
Stereophonics reproduced their excellent debut album
onstage to perfection. However it is much more satisfying
to hear a band who can make their back catalogue work for
them by reinterpreting their old songs. There is no doubt
the Welshmen are one of the premier rock acts in the UK,
but they should check out their countrymen Manic Street
Preachers to see a band generate something unique whenever
they play. In the meantime, theirs was definitely one of
the better performances of the weekend. It will be
interesting to see what they will sing about on the next
album, having now transcended their previous small town
subject matter.
Theaudience singer Sophie plays Barbie Doll in a black
dress to the hilt, and went down quite well with the crowd at
the NME Stage. The band do a reasonable line in Blondie-style
power pop to help advance her claims to the vacant throne of
La Harry. Sadly they still have some way to go in terms of
strong material. They are OK but not great, however
persistence could pay off in the long term although some may
find her presentation a tad to clinical for their taste.
Republica are an act some may find very irritating. A large
degree of their show is generated by backing tapes, leaving the
drummer, underemployed guitarist and a very busy synth/tape operator
to fill in, whilst the admittedly vivacious and pretty Saffron exuded
much energy and bounced around like an 'indie' Janet Jackson. Her
lyrics are cliched in the extreme, It is beyond belief that a
supposedly serious rock act in the late 1990s can without a shred of
irony use phrases like "Ready To Go" or "Drop Dead Gorgeous" in a
song. Despite the rapturous reception by the Leeds crowd one
couldn't help feeling that much of what they performed had been
prepared months ago in the safety of the studio and that we'd been
cheated.
If one is pleasantly stoned and relaxing in convivial company,
the reggae music made by Morcheeba is probably quite the kind of thing
to listen to. Their female singer, whilst having a bewildering sense
of style, is quite sweet and friendly. However their material is a
bit too much of the same thing. Whilst being reasonable, they end
up making you realise that there is actually some great reggae music
about - but this isn't it.
Polly Jean Harvey has had her ups and downs, but her set was
a stunning return to form. She played fierce psych blues filled with
the devil, sex and madness, a truly manic lady preacher. She truly
challenged her audience's preconceptions of what rock music should be
about with a fiery yet happy glint in her eye and grim themes that we
hear precious little of these days. The material was mostly new,
with only "To Bring You My Love" recognisable to this writer. For
someone who supposedly hates performing live, she looked absolutely
terrific by the end.
Ian Brown walked a fine line between 'dying' onstage and
providing a fascinating performance. His voice was out of sorts as
it has been since the final stages of the Stone Roses, and he looked
as before like a dosser in his zipped up anorak and hat, marching on
the spot in a disturbing fashion. Then he opened with Hendrix's
"Little Wing", his slick sidemen demonstrating superb skills, and
left many a jaw slack with amazement as to why the choice. The rest
of the material came from the solo album and he sounded more vengeful
than ever, though fading out on occasion. His adoring legion of
fans cheered him to the echo and roared along to the lyrics, a
somewhat bizarre sight when faced with such a diffident and almost
autistic figurehead. His songs are quite strong - especially when
performed by such good musicians - and at times show a soulful touch,
but the negativity of the lyrics lead one to wonder what he will
write about when he gets over being abandoned by John Squire - which,
incidentally, was more than two years ago.
The Charlatans' set was the climax of the first night and
showed how in their element this band are in a stadium. Their
polished performance wowed the thousands massed before the main
stage. The only downside was that perhaps the anarchy that is part
of true psych music has gone out of the Charlatans forever, now that
they are one of the top-grossing acts in Europe. One wonders where
the band can go from here.
Day 2: Raining
Swedish band Whale had the unenviable task of vibing up
a wet Leeds Sunday early afternoon, but by golly they set about
the task with enthusiasm. Their small, long dark haired female
singer has presence and charm, and the lads backing her
delivered a competent rock barrage. They got a good rapport
going with the medium-sized crowd at the front of the main stage
and the very tall guitarist launched himself from a considerable
height into the crowd below which drew warm applause too.
Smiler delivered a set of fairly anonymous garage fare.
Superstar's connections to the Teenage Fan Club go further
than just that they are Scottish and are friends - their set was
similar the TFC of a couple of albums ago. They were reasonably
melodic in a Neil Young kind of way, and liked to solo in the
time-honoured Crazy Horse manner. Sadly their lead singer (Joe
McAlinden) is short, fat and ugly; and he and his high pitched
voice seem bizarrely paired. Without any charisma, they will
remain well adrift of the goal that their name implies.
The Montrose Avenue are a competent bunch who in all
respects take their cue from the late 60s West Coast guitar bands,
with nods to worthies such as the Byrds, the Association and
Love. The problem is that this path has been well trodden by
R.E.M. and latterly Tim Finn and his old group Crowded House. It
takes an extremely good set of tunes to compete with that lot and
TMA aren't there yet. They do make for a pleasant hour's listening
however and they've certainly got the clothes and hair right. Well,
you've got to start somewhere.
Gomez are much touted in some quarters as this season's
contenders. However it will take more than what sound like outtakes
from Boo Radleys 1993 _Giant Steps_ album to convince the cynics.
They started brightly enough with a puff of coloured smoke and a
whiff of psych guitar but sadly degenerated into directionless
guitar meanderings set to an amateurish reggae beat. Vocals are
performed in turn by most members, one of whom sounds like a
drunk (i.e. more than usual) Jim Morrison circa _Morrison Hotel_ .
Chumbawamba proved that they really only have one song
worth bothering with, and that has worn out its welcome after a
year or so.
A timely reminder was then forthcoming from the father of
punk rock Iggy Pop (he started it all back in the 60s, you know)
to the young and foolish on how to do the deed. He danced like a
demon, sang his heart out, his band rocked like a rocking thing
on a very rocky day, and he even insulted the crowd heartily,
much to everyone's pleasure and amusement. All favourites were
present and most disorderly, plus a few more this writer (admittedly
not a big fan up till now) didn't recognise.
Green Day gave the most amusing set of the weekend. They
took the main stage by storm, with their very derivative material
but highly entertaining style. Anyone who has seen GD in operation
will recall the following : indecency, drum bonfires, smashed
equipment, much running around and crowd invasions (by the band).
They livened up a rather soggy crowd, and were most spectacular if
a little pantomimesque. Cynics may remain unconvinced by the music,
especially those who saw rather too many such also-ran punk outfits
during the tail end of the 70s.
St Etienne are really an elaborate joke played on gullible
pop-pickers. Singer Sarah Cracknell's style takes precociousness
to lengths not seen outside of junior school musical productions.
Her sidekicks are music paper journalists who obviously kill
themselves laughing in private. Their ditties are recycled 70s
naffness personified. You keep expecting her to burst into "I've
Got A Brand New Pair Of Rollerskates" a la Melanie. Her carefully
groomed appearance - long blonde hair and white suit, is one
strange sight in a crowded muddy field outside Leeds. But they've
been at it so long now (8 years if you include their first single
which didn't feature Cracknell) with their clever-clever titles and
fey semi-tunes that they're now accepted as old timers on the music
scene. A bit of a waste of everyone's time, their critics would
say. They would never catch on in the U.S. (Ed. Note: Sub Pop
sure hopes they do!), where such inconsequential fare would be
seen for what it is. Rearrange the words 'clothes', 'emperors'
and 'new' to form an appropriate phrase.
Seahorses were the highlight of the weekend. The band took
the stage to exultation from the thousands at the main stage and
did not disappoint. Former Stone Rose John Squire demonstrated what
it is to be the only cult guitar hero in an 'indie' band. He
paraded in psychedelic finery (the same stuff he's always worn,
as is his floppy fringe). He soloed a la Page. He strutted up and
down the stage with consummate arrogance. Chris Helms voice was
in superb form and he also looked cool and confident with cropped
hair and smart casual attire. He had his solo spot with an acoustic
guitar and passed with flying colours. The new material sounded
great and the stuff off the last album sounded so much better live.
They strike a superb balance between the pure pop of Squire's early
days in the Roses and the rock guitar machismo that he developed
latterly. The band look set to be the best band in Britain,
especially in the light of subsequent events on this night...
Tonight's headliner was to be the glorious highlight of
Verve's astonishing year and a half in which they have outstripped
their friends Oasis to become the top UK rock act. But instead,
the departure of guitarist Nick McCabe looks to have wrecked
everything. Ashcroft took the stage looking even more mournful
than usual - but now he really has something to look upset about.
The quality of his singing was not in question, but the absence
of lead guitar and the predominance of the slide guitar in its
place left the Verve's set sounding bedraggled. They began with
the more spaced out and ambient tracks from _Urban Hymns_ ,
emphasising the lowkey performance further. The crowd had clearly
looked forward to seeing them, stood ardently by their campfires
in the gloom and mud, and would not be robbed their moment, so
their reaction was still adulatory, but it was clear to anyone
but a blind fanatic that the Seahorses had blown them off stage.
Sure enough the following day Ashcroft announced that Verve were to
split (again).
All in all then a good festival, with some ups and downs
but some clear pointers as to who to watch in the next few months.
It wasn't possible to see everyone - James Brown made an appearance
as did Catatonia and the Jesus & Mary Chain plus many more, but
sadly I couldn't catch up with them.
---
REVIEW: Rancid, _Life Won't Wait_ (Epitaph)
- Eric Hsu
"What you are about to hear may well revolutionize your
way of thinking," begins Rancid's new record (recalling NWA's
album opener "You are about to witness the power of street
knowledge!" ), before the single "Bloodclot" charges in the
door. On the first listenings, it sounds like just another
recent Rancid song: dual vocals, energy to spare, big chorus
singalongs, and "Hoover Street" follows with a fuzzed up intro
that promises more of the same old, and suddenly the song becomes,
dare I say it, delicate. Sure, the song kicks in with loud guitar
chorus, but these sound halfhearted somehow, and it's the hypnotic
and quiet "it's a glass pipe murder" phrase that stays with you.
And the chorus singing "oh yeah!" actually sounds tempered with
sadness about drug abuse and not the wall of marching soldiers
chanting of "Salvation".
It's enough to take the edge off of Lint Armstrong's
annoyingly stylized slurring (has it gotten worse?!) which turns
relatively passionate words into a big glob of spit. Consistently
great singing from Lars helps too, as well as guest vocals from a
lineup of (presumably) from ska and dancehall all-stars (from the
Specials, Hepcat, Buju Banton, even the Mighty Mighty Bosstones! )
scattered throughout. I'm not qualified to judge their credibility,
but their presence uniformly adds variety and texture to the
record. And, I find the pseudo-authentic stylings of old-school
ska and dancehall here to be way more appealing and bearable than
the toiling masses of punk-ska bands, probably because I don't
personally have any notions of ska-authenticity and just listen
to the pretty sounds. And of course the playing is sharp
throughout and the singing gravelly and energetic.
Despite the opening warning of a revolution, this record
traces an evolutionary path. After "Hoover Street" Rancid serves
up a great string of songs that progressively strays from their
mastered _Out Come the Wolves_ sound: "Black Lung", words spilling
out dreaming of a workers revolt and the end of day; "Life Won't
Wait", a medium paced ska with the chant "the vision is a new world
order" (I think) which implants itself into your brain; "New
Dress", a rather pretty song... bellowing vocals backed with
restrained guitar and vocals; "Warsaw", Rancid doing a Pogues
song (not literally); "Hooligans", another infectious speedy ska
song busting into "Crane Fist", the most hypnotic and looping and
unusual and braingrabbing song on the record. "Leicester Square"
finishes off a great run of music with energy and a great sounding
guitar riff - Rickenbackers, according to the press release.
Most of the second half of the record hasn't grabbed me
nearly as much as the first. "Backslide" and "Who Would've
Thought" are huge letdowns after the great run. "WWT" sounds
like a rewrite of "Ruby Soho" minus the excitement and even the
pretense of street poetry. The snare sounds good, at least.
Anyway, you'll probably get to judge for yourself since I have a
horrible feeling they're going to release this song as a single.
Then follow "Cocktails", pretty ordinary; "The Wolf",
as little of a departure from the last record as the title
suggests; and "1998" could have been an average Rancid song in
1994. "Wrongful Suspicion" is a bit better with return to a ska
sound, but then follow a string of unobjectionable songs ending
with Lint's vocal at its irritating worst in "Corozon de Oro".
"Coppers" seems like a weak and weary end to a long affair. It's
probably made worse by Long Record Syndrome- 22 songs is a lot
to handle - but I do think the second half is not as strong,
interesting, memorable, or good as the first.
The only standout song for me from the second half is
"Cash Culture and Violence" which proves that if you start with
a great title, take Matt Freeman playing his usual precise and
ornate bass, annoying vocals saved with a brilliant sounding
echo, and toss in a chorus that makes your heart soar, it doesn't
matter if you can't understand the words, it could be just a
jumble of protest-type words and phrases, but it rocks. I prefer
to imagine that Rancid released a brilliant single record (the
first ten tracks) which ends with "Cash Culture and Violence",
and then threw in eleven bonus tracks. And, thanks to the magic
of CD programming, you can imagine it too,
---
REVIEW: Shudder to Think, _High Art_ (Velvel/Bottom Line)
- Chelsea Spear
Shudder to Think create music that demands attention. Their
blend of raucous grunge guitar, primal rhythm and operatic vocals
high-pitched enough to make Pavoratti cross his legs makes for great
theatre, but isn't exactly the kind of thing you'd expect to hear as
a film score. So it was anyone's guess what director Lisa Cholodenko
was thinking when she cast the theatrical trio as the braintrust
behind the score for her hallucinatory and disarmingly fresh
examination of the art world, _High Art_.
Surprisingly enough, StT pull off their star turn with
admirable aplomb. However, in listening to the score for _High Art_,
you'd hardly guess that this is the same power trio whose spectacular
live sets opening for Pavement breathed new life into the intriguing
but much-maligned genre of psychedelic prog rock. Instead of taking
the velvety approach that first turned heads, score artists Craig
Wedren and Nathan Larsen don a slinkier coat and use a trip
hop-influenced manse to provide the background music for the film.
Thus, their extensive contributions to the _High Art_ soundtrack bear
more resemblance to Luna's use of pure, droney guitar riffs set to a
loping drum loop on their most recent album, _Pup Tent_, than to any
of Shudder's previous musical output. However, where Luna's sound is
more crystalline and dispassionate, Shudder's music suggests someone
strung out in the corner, heavy eyelids lowering; someone who once
cared, but can't bring themselves to feel anything anymore. Perfect
music for a movie whose molasses-slow pacing and limpid, burgundy-tinted
cinematography gives a shimmering exterior for someone trying to kick
their craving for horse, but can't help but feel seduced by the
sublime numbness it offers.
---
REVIEW: Plastiscene, _Seeing Stars_ (Mojo/Universal)
- Chris Hill
The Dandy Warhols' were touted by Rolling Stone as "the
best British group to come from America". Well, not anymore.
LA band Plastiscene appropriates the crown with cocksure ease.
Maybe they have an unfair advantage - British-born singer Roger
Gisborne oozes a 90s Ziggy Stardust air, all impertinent style
and confident swagger. However, the six-member band rates high
on musicianship as well. Fuzzed-out guitars, a tight percussive
backbone, & lively organ/keyboards combine for a thickly-layered
opus.
Gisborne, the primary writer for the group, has a knack
for short, bursting couplets: "You'll go down/Boy, you'll live
underground/Yeah, you live in today/It's the American way"
on the first single, "Lemon Yellow". The terse, infectious
lyrics are quickly ingrained in the consciousness.
"What are you gonna do? What are you gonna say? When
it all comes down to you?" ("Sundial") - personal awareness is
a strong theme on the record ("Who Are You", "Big Wheel"), but
there's room for pure fun, as well.
The effervescent "Around the World" has a Herman's
Hermits/Beatles lively joy to it. "On Your Own Time" hits the
Oasis target squarely on the head, while "Times Don't Change" has
a vocal hook vastly superior to the _Dawson's Creek_ theme.
In keeping with 60s influences, _Seeing Stars_ also has
its share of psychedelic imagery ("Super girl is scary green",
"The superglue man with the shiny hand", "When the spaceship
lands/You know I'm going on"), yet the album avoids foolishness
or parody.
If they aren't huge within the year, it's the result of a
market glut. I actually wanted to dislike the band on first
listen - they're accomplished and precise, with a maturity
that belies their youth. But with every listen, a euphoric glow
sparked and flamed, upon recognition of a consistency I haven't
heard since School of Fish's _Human Cannonball_. Much credit
must go to producer Rich Costey for crafting such a cohesive
release.
As Kelly LeBrock said, "Don't hate me because I'm
beautiful". Okay. There's plenty of room at the table for
another good band. Give Plastiscene a chance. Set a place and
crank the amp to 11.
---
REVIEW: Cracker, _Gentleman's Blues_ (Virgin)
- Tracey Bleile
The master of sad, ironic humor has come back to the
campfire to spin his yarns about the unkind and highly amusing
thing that is David Lowery's alter-ego life. Yup, Cracker's
back. And they've brought a whole circus with them. Lowery
is the hobo clown, scary and funny once more and he's got Don
Smith as his ringleader, back in as producer/engineer. What's
resulted is a glowing patch of swampfire for us to stumble
onto in the dark with _Gentleman's Blues_. Lowery's back with
his own brand of sneaky savagery after doing it someone else's
way (1996's _The Golden Age_) which drills the industry in the
bitterest and best track on the disc, "Star". "Gonna make you
a star../We'll blow you through the door/into a million bits /
We'll even sample it/That's how we'll make a hit/And make you
a star..." Insert one chill down one spine here.
The current Cracker state of things draws on the circus
analogy of long roads and freak shows on more than one track,
and it's no cute Barnum & Bailey big top...more like the carnival
from "Something Wicked This Way Comes". Do you dare peek between
your fingers at the "unholy circus camp...a drunken trapeze act"
featuring many guest musicians on the first single "The Good
Life"? Do you dare ride the psycho-calliope brawl of "I Want
Out of the Circus"? Get on kids, there's more where that came
from. It's easy to forget you're screaming your head off when
you're laughing at the same time...
There are touches of hootenanny, gritty Southern twang
and a fair amount of desert rock to be found all through
_Gentleman_. Johnny Hickman, faithful guitar player and rodeo
clown keeps the wild animals moving in a circle and not escaping
to eat the audience. The tasty swamp blues (the smoldering
title track) with more than an edge of gospel ("Lullabye" and
the mercifully easy-to-get-to hidden track) gives him a place
to stretch out. A lot of the mid-tempo stuff is way more
accessible and bouncy like mid-era Camper Van and earlier
Cracker, and much more readily enjoyable, "Waiting For You Girl"
and "Wild One" keeps the show on the road. I would even venture
so far as to say he could have pulled "I Hate My Generation"
from _Golden Age_, replaced one of the more repetitive numbers
that does drag this release a bit ("The World Is Mine" is a
pale imitation of "Teen Angst (What The World Needs Now"), and
probably could have dispensed with the previous album altogether.
But that's what you get when you take a clown out of his element
and try and make him be the star of the show. But leave it to
him to make it his own show once again, it is as it should be;
part sideshow, part revival meeting, all entertaining.
---
REVIEW: Richard Buckner, _Since_ (MCA Records)
- Chris Hill
"Faith, hope and courage, all that, it's a scam to keep
people on their toes. I don't believe in any of that; what
happens happens, and that's it", said Richard Buckner in an
interview with William S. Burroughs. This resigned fatalism
underscores the simple beauty prominent throughout his impressive
third album, which mines the country, folk, and alternative
veins with polydextrous ease.
There's a cathartic quality to the soul-baring honesty
unapologetically bleeding from Buckner's words: "All cure and
comfort/Where's the bed I called you for?" ("Hand @ the Hem"),
"Honey, I can hear your heart from here/It hasn't always seemed
to be the truth that lays us down/Well, the truth is tonight I
truly want you/But I'll still slip away somehow" ("Jewelbomb").
We sympathize with the pain in the words, and perversely,
experience pleasure through the music.
The 16 songs are divided almost equally between lush and
spare instrumentation. Some ("Slept", "Boys, The Night Will
Bury You") evoke deep South back-porch sing-a-longs, while
others ("Goner w/ Souvenir", "Jewelbomb", and the viscerally
powerful opener "Believer") employ a full-band sound. There's
no awkwardness in this - Buckner's comfortable in both arenas.
Depending on the mood, his voice is rough-hewn then fragile,
tender then merciless, a whisper then a roar.
Listen with headphones. Small sonic gifts are scattered
through the record: an eerie, slithering stereo effect opens and
closes "Coursed", a wood block clocks in on "Believer", strings
swell on "10-Day Room", bongo drums keep time on "Lucky Buzz".
Buckner's previous efforts, _Bloomed_ and _Devotion +
Doubt_ made multiple "year-end best" lists. Odds are good
_Since_ will make it a threepeat.
---
REVIEW: Sinead Lohan, _No Mermaid_ (Interscope)
- Dan Aloi
Sinead who?
At first I was skeptical about this Irish singer-songwriter's
American debut, given the hype she's received. And not just in the press
clips -- the fates were somehow determined to make me hear this album.
I was handed a 2-song sampler by a Lilith Fair vendor a few weeks ago
(a date she wasn't on the tour, by the way), then I had an advance
album to review. (The fully finished product arrived a few days ago.)
Once I had the advance CD, I kind of half-listened, warily. No
response. A few days later, I'm working around the house, taping a
Neil Young album. After Neil, Sinead creeps on the changer. And...
Wow.
"I am no mermaid, I am no mermaid..." Lohan's voice carries
over waves of distant drums and guitar strums on the opener; the
oceanic folk is a nicely atmospheric but forceful background. The
song seems to be a statement of empowerment. Joan Baez even sang it
on the recent Newport Folk Festival tour, an endorsement of this young
Irish talent.
Lohan and producer Malcolm Burn must have sensed that it could
become tiresome if all the songs sounded like this, so they mix it up.
So "Loose Ends" is a cabaret blues, while other tracks use just voice
and guitar to stark effect. Percussion and keyboards layer into a
modern femme-rock arrangement (in terms of beats), on "Hot On Your
Trail."
A lot of the advance word had her compared to that other
Sinead, but to me, Lohan's singing and songs are closer to Suzanne
Vega, particularly on "What Can Never Be," a plainly arranged ballad
of powerful emotion that doesn't need the angry-grrrl treatment to
get its point across.
At the end of the album, "Diving to Be Deeper" has a fun, new
wave beat, a nice poppy little summer single on its own, a further
reward for listening. Sinead Lohan has all the artistic vision and
personal grit of Vega, the grandeur of fellow Celt Van Morrison, and
the incise mastery of words and music of a Richard Thompson or a Paul
Kelly.
And did I say hype? Damned if it's not deserved. I'm going to
turn my 15-year-old daughter on to Sinead Lohan -- the most promising
voice from the British Isles I've heard, at least since Beth Orton and
_Trailer Park_ .
---
REVIEW: Rob Zombie, _Hellbilly Deluxe_ (Geffen)
- Sean Eric McGill
Rob Zombie has become the Roger Corman (or Fred Olen Ray,
the choice is yours) of rock music. The music of White Zombie and
his new solo album _Hellbilly Deluxe_ have the same sort of
schlock to them that makes them the sonic equivalent of a B-Movie.
There's something to the overall spookiness of it that makes you
realize that the music (or its creator) isn't taking itself all
that seriously, so why should you? At least, that's what I hope.
Because if Rob Zombie isn't the freaked-out carnival
barker that he seems to be and is truly serious about not just his
music, but its lyrical content, he might well be headed into a
claymation deathmatch ring to challenge Marilyn Manson for the
title of "Most Evil Man Alive". _Hellbilly Deluxe_, Zombie's first
solo album, is full of song titles like "Demonoid Phenomenon" and
"The Ballad of Resurrection Joe and Rosa Whore", and my own
personal favorite "Dragula" (named after Grandpa Munster's car).
And even without the actual band White Zombie (save for drummer
John Tempesta), Rob Zombie and fellow producer Scott Humphrey put
together a band and a sound that adds a more industrial flavor to
Zombie's past efforts, but still maintains the core that lets you
know who the creator is.
Outside of Tempesta, the lineup for the album is fairly
simple, including Charlie Clouser and Danny Lohner from Nine Inch
Nails and Prisoner No. 896876 himself, Tommy Lee, who plays on
"Meet the Creeper" and "Resurrection Joe".
And now, here's the problem. This is the part in the
review that you usually use to describe the sound of a band. But
the biggest problem I've always had with White Zombie, and am
having again with _Hellbilly Deluxe_, is that I've never been able
to pin down what it was about their sound that I liked so much. It
is a full, rich mixture of different genres (mainly hard rock and
industrial) that I particularly enjoy, but perhaps the concept of
the band struck me as much more interesting.
And the concept that Zombie started with the band White
Zombie continues here with _Hellbilly Deluxe_ . Much like the old
A.I.P. pictures like The Raven with Vincent Price (or newer A.I.P.
fare like Hollywood Chainsaw Hookers with Linnea Quigley),
_Hellbilly Deluxe_ delivers cheap thrills that don't really leave
any lasting substance behind with them. Of course, that's not bad -
that's what entertainment is for sometimes. Not every song on
every album by every band should be loaded with deep meaning, and
I just hope these songs aren't. Then, I would be truly frightened.
---
REVIEW: Local H, _Pack Up The Cats_ (Island)
- Jason Cahill
When Local H released their breakthrough album, _As
Good As Dead_, two things happened. First, the song "Bound
For The Floor" pushed the word 'copacetic' back into the pop
culture lexicon and, more importantly, attention was called
to a band equally adept in creating both hard rock diatribes
and softer, more acoustic based songs. "High-Fiving MF" and
"Eddie Vedder" fell on opposite ends of the musical spectrum,
but fit nicely on that album, a diverse and eclectic hodgepodge
of sound. The only question which remained was which direction
the band would take with their next effort. Well, with the
recent release of _Pack Up The Cats_, Local H have provided
us with the answer, showing that a perverse maturity does indeed
fester behind the band's hardened exterior.
_Pack Up The Cats_, the third release from the Chicago
based duo, seems to be a more cohesive album than 1995's
_Hamfisted_ and more focused than _As Good As Dead_ . The album
opens with the band's concert staple "All-Right (Oh, Yeah)", a
noisy rocker with Local H's trademark blend of overpowering
drums and nonsensical lyrics. From there, it's on to the pure
unfiltered rock of "'Cha!' Said The Kitty" and "Hit The Skids
Or: How I Learned To Stop Worrying And Love The Rock", both
laced with Local H's effective blend of cynical sarcasm and
testosterone filled beats. But, unlike on their debut album,
_Hamfisted_, the band shows their maturity here by switching
moods, playing with styles and trying their hardest to make an
album that screams of diversity and musical growth. It works.
"Lead Pipe Cinch" is nothing short of breathtaking in
its pure stripped down simplicity, "Stoney" is an instrumental
which takes its cue from Van Halen's "1984" (the song, not the
album), eventually leading into one of the album's better songs,
"Laminate Man", a straight rocker which owes more to Chris Mars
than perhaps Local H would care to admit.
Lyrically, Local H are the same playful bunch they've
always been. There are times when the album's lyrics are
completely nonsensical ("sickle cell anemia, carpal tunnel and
bulemia") and downright strange ("I don't know where I'm at / I
think I killed my cat"); word phrasings which give one the
impression that Local H are somewhere laughing hysterically at
what passes for lyrics these days. Yet start to write them
off as lyrical hacks and Local H will begin to surprise.
Because underneath all the inside jokes and utter silliness,
the band can be downright touching. From the gentle beauty of
"Lead Pipe Cinch" ("something in my mind won't let my heart and
head and mouth connect") to the simplistic, yet dead-on "All
The Kids Are Right" ("All the kids, they hold a grudge, you
fail them and they won't forget it"). Like the Replacements
before them, Local H have discovered that a sense of humor
coupled with a sarcastic irony can be a wonderful thing.
In all, _Pack Up The Cats_ represents the maturation
of Local H's sound. It's an album filled with the band's blend
of playful sarcasm, hyperactive energy and, in its simplest
form, fierce melodic rock.
---
REVIEW: Howard Jones, _People_ (Ark 21)
- Paul Hanson
As an 80s child, I grew up with Jones' syrupy synthpop songs.
"No One Is To Blame" always seemed to be on the radio, blasting through
the speakers at the roller rink and even the local record stores. Then,
magically, I grew up. Jones' dominance on the American Top 40 dried up
like ice in the desert as words like "grunge" and "Seattle sound" took
over. I didn't mourn Jones losing his status as a major player in the 80s
pop scene - - I barely noticed his absense or the absense of bands like
Culture Club and Human League, two other 80s bands that have released
"new" releases.
So, on holding the 1998 release _People_ from Howard Jones, I
expected an 80s sounding disc, with fluffy vocals and silly synthesizers
puncturing Jones' appealing voice. This is, though, definitely a 90s disc
with sophisticated drum programming, outstanding background vocals and a
scorching electric guitar on disc opener "You're the Buddah." The next
track, "Tomorrow is Now" screams out "Top 40 comeback!" to programmers
willing to give qualified songs a chance. "Everything" dips into a reggae
groove while "If you love" - which gives me goosebumps - is the closest
Jones gets to his "No One Is To Blame" vein.
What strikes me most about this disc is Jones' unpredictablility.
My preconceived idea of "Wedding Song" was a full-blown drippy ballad.
Jones takes the words of a could-be ballad and puts them into a mid-tempo
track with success: "I need you to help me to find the strength to walk
with me all through my life/ my lover, my husband, my wife/ Share this
journey with me/ Write our story with me" are some of the great lyrics here.
This disc surprised me a great deal. I am equally surprised with
how often I find it in my CD player while other discs find less air time.
---
REVIEW: Tommy Keene, _Songs from the Film_ (Geffen)
- Joann D. Ball
More than ten years after its initial issuance, Geffen Records
has finally released Tommy Keene's major label debut _Songs From the
Film_ on compact disc. For those who have treasured Keene's unique
brand of power pop since the record's critically acclaimed 1986
release, having _SongsFrom the Film_ on CD is a wish come true.
Finally, there's no need to worry about how to replace a well-worn
vinyl or cassette copy of what was a hard-to-find musical gem. After
relishing _Songs_ on disc, one can only hope that a re-release of
Keene's second and final long-player for Geffen, 1989's stellar
_Based on Happy Times_, is also planned. Even though the CD
revolution was well underway when _Based on Happy Times_ hit music
stores, few discs turned up in the racks because Keene was dropped
from the major label around the same time.
But let's go back to the mid-1980s, when the snap, crackle
and pop of records was a common experience, when portable cassette
players were still somewhat new and when college radio was energing
from campus basements. Back then, Tommy Keene was hearalded as The
Next Big Thing and it seemed as though a pop revolution was just
around the corner. Coming out of the same Southeastern U.S. scene
as college radio faves R.E.M. and Let's Active, Keene attracted a
host of major labels majors by virtue of the strength of the
EP's _Places That Are Gone_ and _Back Again (Try)_, his two
releases on North Carolina's Dolphin Records. Geffen eventually
signed Keene, and recognizing that his sound was descended from
the classic pop of the Beatles, sent him and his band off to
Beatles' producer George Martin's Air Studios in Montserrat to
record. The magical result was _Songs From the Film_, produced
by the Fab Four's old engineer Geoff Emerick, who captured the
essence of Keene and company's sound and the spirit of unfettered
and straightforward pop. The record's title itself is Keene's
nod to his Liverpudlian forefathers' influences as it refers to
the way the movie soundtracks to "Help" and "Hard Day's Night"
were prefaced by the unforgettable phrase "Songs From the Film."
Listening to it now, it's not too hard to figure out why
there was much talk about Keene and the heightened anticipation
about the release of _Songs_. Keene's unmistakable pure powerpop
stood out amidst the New Wave of the period and recalled a pre-MTV
era when songs were memorable without the aid of a video. Keene's
sincere and emotional vocal presence is wrapped in and around
irresistible melodies and textured, chiming guitars on songs like
the opener "Places That Are Gone," "In Our Lives," "Call on Me" and
"As Life Goes By." And as the record's first US single, the bass
and beat driven swirls of "Listen to Me" put Keene on the airwaves
of hip commercial FM stations and cool college stations. Remember
how great "Places" sounded next to David & David's "Welcome to the
Boomtown" and 'til Tuesday's "What About Love," two other great
singles from stellar 1986 releases?
The 1998 version of _Songs From the Film_ features 21 tracks,
including the original 12 cuts (slightly altered here by the
previously unreleased "Take Back Your Letters" slipped in as track
#11) plus bonus songs. Resurfacing here are five of the six cuts
(minus the live version of "Kill Your Sons") from the _Run Now EP_,
which was released almost a year after the long-player. The song
"Run Now" has the electricity and charge that has always been one
of Keene's most distinctive features, and the stories that are
"Back Again" and "They're In Their Own World" capture the quirks
of relationships and friendships. Rounding out the musical
flashback are three other previously unreleased tracks including
the cover of The Flamin' Groovies' "Teenage Head", which Keene and
his band often performed live.
The resurrected and enhanced version of _Songs From the
Film_ has a musical flow that takes the listener on a memorable
sonic journey. It works amazingly well, because it has an
inherent balance between Keene's softer introspective songs like
"Underworld" and "The Story Ends" and more aggressive and upstart
assaults from that are "Papaer Words and Lies" and "Gold Town."
Geffen was wise to release _Songs_ in such a way that it captures
a critical moment in Keene's career and in pop music history.
While one wonders what would have happened if Geffen had stuck by
Keene almost a decade ago, releasing _Songs_ at a time when
power-pop once again emerges as a viable option for listeners
otherwise burned out by the latest music fads may finally give the
sound the push it needs to finally breakthru from the underground.
Despite the meteoric rise and subsequent crash and burn of
his major label excursion, Keene persevered and continued to ride
the rock 'n' roll roller coaster by returning to his indy label
roots and playing the clubs. Since the early 1990s, Keene has looked
back not in anger but with true dedication to his passion by releasing
a collections of old and new material. And actually his Spring 1998
effort _Isolation Party_ on Matador Records - bristles with the same
kind of promise of his two major label records. Perhaps once and for
all, the long overdue CD release of _Songs From the Film_ will get
Keene's name up on the big, bright marquee of rock and roll.
---
REVIEW: John Hiatt, _The Best Of John Hiatt_ (Capitol)
- Reto Koradi
With a career that has been spanning 25 years, John Hiatt
never really got out of the twilight zone between stardom and
well-kept secret. His music always had the potential to appeal to
a wide audience, and he is arguably one of the most gifted
singer/songwriters in business. The latest attempt comes in the
form of this compilation covering mostly his work from the 80s and
90s, his earlier output having been collected before on albums
including _Y'All Caught?_ and _Living A Little, Laughing A Little_.
Not surprisingly, _The Best Of_ has a heavy focus on Hiatt's
most successful phase during the second half of the 80s and his
career with Capitol. His masterpiece album _Bring The Family_
from '87 is represented by 3 songs: the groovy "Memphis In The
Meantime", probably his strongest upbeat song, the essential ballad
"Have A Little Faith In Me", and "Thing Called Love". _Slow Turning_
from '88 makes 4 appearances with the title track, "Drive South",
"Tennessee Plates" and "Feels Like Rain". A number of other albums
are represented with mostly one song only, starting with "Take Off
Your Uniform" from the '79 release _Slug Line_ up to "Cry Love"
from the '95 album _Walk On_.
The previously available material is completed with two
new songs, the ballad "Love In Flames" and the catchy midtempo
number "Don't Know Much About Love". Both of these neither stand out
or fall off compared to the older songs. The only real
disappointment is that some songs are presented in re-recorded
versions; "Have A Little Faith In Me" was pretty much slaughtered
in this process, adding drum machines and unnecessary background
vocals.
Alternative track selections would certainly have been
possible in some cases, but the choice of 17 songs from such a
wealth of material must always leave some gaps. If you missed out
on John Hiatt so far, this CD is a good opportunity to change that.
People with a dislike for compilations and a preference for
original version of all songs may instead consider picking up
_Bring The Family_ and _Slow Turning_ from the mid-price section
of their favorite record store.
---
REVIEW: Culture Club, _Storytellers/Greatest Hits_ (Virgin)
- Paul Hanson
I lived through Culture Club vocalist Boy George being called
everything from "talentless skinny transvestite" to "odd" with zillions
of other adjectives in between. Whatever your adjective, the fact that
Boy George and Culture Club enjoyed a plethora of success on the
American Top 40. This two CD collection, one a full-fledged Greatest
hits the other from VH1's Storytellers, therefore, captures the best
moments of the band's 80s success with 28 total pop gems. Unfortunately,
there seems to be a marketing ploy in the works. If you strip away the
songs found on both CDs, you end up with seventeen tracks, the perfect
amount for ONE CD. But since no one would buy a full-fledged box set (or
would you), this two CD collection will have to do. Don't be misled into
thinking that CC had 28 greatest hits.
When you get past the statistics, however, you begin to really
hear how catchy this music is. I think the lead-off on the Greatest Hits
"Do You Really Want to Hurt Me?" epitomizes what the band was about. A
simple reggae rhythm with simple lyrics and a simple intent. The band
never claimed to be musical geniuses - - they would have been laughed off
the planet. The hypnotic drumbeat, though, is catchy. "Time (Clock of the
Heart)" is equally appealing. "I'll Tumble 4 Ya" is probably my favorite
song on this collection. "Church of the Poison Mind" rang out numerous
times on Sunday afternoons at the skating rink. "Love is Love" is perhaps
their finest ballad, complete with lyrics like "Love is every second we
speak" and "Open up your eyes and you will see/ Love is love is everything
to me."
As aforementioned, the _Storytellers_ disc is from the VH1
special. Recorded live, the upbeat Motown-influenced "Church of the
Poison Mind" features a delectable gospel singer (not Helen Terry this
time around) who compliments Boy George's rushed vocals. This disc proves
that calling the band "talentless" is a gross misstatement. I gained a
greater appreciation for the band as musicians through these two discs.
For the 80s enthusiast, most of these songs can be found on the
"Best of the 80s" series advertised on television. For the casual listener,
this collection serves as a memory jogger to the days of synthesizer pop
and roller skating. For me, it served as a springboard to remembering a
simpler time. Judging by the crowd's applause on the _Storytellers_ disc,
it springboarded a lot of people.
---
REVIEW: Nick Cave and the Bad Seeds, _Best Of_ (Mute/Reprise)
- Scott Slonaker
In case you've ever been interested in the music of Nick
Cave but didn't know where to start, he's got his first US best-of
compilation (can't really call it a "greatest hits") that does an
excellent job of sampling Nick's ten or so studio albums, from the
primal wail of the title track to 1984's _From Her to Eternity_ all
the way up to the elegant, spare UK single "Into My Arms", from last
year's _The Boatman's Call_. Gorgeous duets with Polly Jean Harvey
("Henry Lee") and Kylie Minogue ("Where the Wild Roses Grow") are
also included. Since the closest any of Cave's music has ever come
to the mainstream in the US outside of a 1993 Lollapalooza spot and
the placement of "Red Right Hand" (included) in several movies and
episodes of _X-Files_, he tends to appeal more to a cult audience.
That said, however, he's one of the most eloquent songwriters of
the last twenty years. No one, excepting maybe Leonard Cohen or
Elliott Smith, covers life's dark underbelly like Nick Cave.
Highly recommended, particularly for Nick neophytes.
---
NEWS: > Epitaph has released _Punk-O-Rama 3_ , a
compilation of 25 songs from groups including Rancid,
Bouncing Souls, Wayne Kramer and unreleased tracks
from Pennywise and NoFX
> Smoke City's "Underwater Love", a top 5 UK hit which
was featured in a Levi's ad, has finally been released in the
States - with remixes by David Morales, Aphrodite, and
Lionrock - by Jive Records.
> After having been together for more than a decade, A
Tribe Called Quest, which consists of Q-Tip, Phife and Ali Shaheed
Muhammed, has decided to disband.
The group will release their last album, _The Love
Movement_ , on September 29 and are currently on tour with the
Beastie Boys.
---
TOUR DATES:
Tori Amos / Devlins
Sep. 2 West Valley, UT E Center
Sep. 9 Vancouver, BC General Motors Place
Anthrax / Grinspoon
Sep. 3 Cincinnati, OH Bogart's
Sep. 4 Kansas City, KS Sandstone
Sep. 6 San Antonio, TX White Rabbit
Sep. 8 Memphis, TN Daisy Theatre
Sep. 9 Atlanta, GA Masquerade
Bauhaus
Sep. 2 Toronto, ON Warehouse
Sep. 3 Washington, DC 9:30 Club
Sep. 10-11 New York, NY Hammerstein
Beastie Boys
Sep. 2 Atlanta, GA Lakewood Amphitheater
Candlebox
Sep. 2 Oxford, MX Grove
Sep. 4 Kansas City, KS Sandstone
Sep. 5 Maryland Heights, MO Riverport Amp.
Sep. 6 Oklahoma City, OK All Sports Stadium
Sep. 7 Springfield, MO Holiday Drive-In
Sep. 10 Minneapolis, MN Quest Club
Connells
Sep. 5 Virginia Beach, VA American Music Festival
Sep. 6 Manteo, NC Roanoke Island Festival
Creed / Fuel / Finger Eleven
Sep. 2 Kansas City, KS Memorial Hall
Sep. 3 Wichita, KS Cotillion
Sep. 4 St. Louis, MO American Theatre
Sep. 9 Cleveland, OH Nautica Stage
Sep. 10 Pittsburgh, PA Light Amph.
Dakota Moon
Sep. 6 Oakland, CA Oakland Col.
Fear Factory
Sep. 2 Rochester, NY Armory
Sep. 3 Montreal, PQ Verdum Auditorium
Sep. 4 Quebec City, PQ The Agora
Sep. 5 Worcester, MA Palladium
Sep. 6 Asbury Park, NJ Convention Center
Sep. 8 Hartford, CT Webster Theatre
Sep. 9 Baltimore, MD Michael's 8th Avenue
Sep. 10 Philadelphia, PA Electric Factory
Flick
Sep. 5 Bonner Springs, KS Spirit Fest
Sep. 7 Springfield, MO Edge Fest
Sep. 10 Columbia, MO The Bocomo Fall
HORDE Tour (Blues Traveler, Barenaked Ladies, Alana
Davis, Ben Harper, and many others)
Sep. 3 Boise, ID Idaho Center Amph.
Sep. 4 George, WA The Gorge
Sep. 5 Portland, OR Portland Meadows
Massive Attack / Lewis Parker
Sep. 3 Miami, FL Cameo Theater
Sep. 4 Ybor City, FL Ritz Theater
Sep. 6 Atlanta, GA Roxy Theater
Sep. 10 Washington, DC 9:30 Club
Metallica / Jerry Cantrell / Days of the New
Sep. 3 Portland, OR Portland Meadows
Sep. 4 Vancouver, BC Thunderbird Stadium
Sep. 5 Quincy, WA The Gorge
Sep. 7 Ogden, UT Stewart Stad.
Sep. 8 Englewood, CO Fiddlers Green Amphitheater
Bob Mould / Varnaline
Sep. 10 Fargo, ND Playmakers Pavilion
One Minute Silence
Sep. 4 Newburgh, NY The Avalon
Sep. 5 Amityville, NY Dr. Shea's
Vast
Sep. 2 Oklahoma City, OK Boar's Head
Sep. 4 Denver, CO Bluebird Theater
Sep. 6 Salt Lake City, UT Holy Cow
Sep. 8 Portland, OR Roseland Theater
Sep. 9 Seattle, WA RKCNDY
Wilco
Sep. 5 Columbus, OH WWCD - Radio Show
Josh Wink
Sep. 5 Orlando, FL Zen Festival
Sep. 6 Columbus, OH Red Zone
---
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