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Consumable Online Issue 119
==== ISSUE 119 ==== CONSUMABLE ======== [August 19, 1997]
Editor: Bob Gajarsky
Internet: gaj@westnet.com
Sr. Correspondents: Jeremy Ashcroft, Tim Kennedy, Reto Koradi, David
Landgren, Sean Eric McGill, Tim Mohr, Al Muzer,
Jamie Roberts, Joe Silva, John Walker
Correspondents: Daniel Aloi, Tracey Bleile, Lee Graham Bridges,
Scott Byron, Patrick Carmosino, Janet Herman, Bill
Holmes, Eric Hsu, Tim Hulsizer, Jiji Johnson,
Stephen Lin, Scott Miller, P. Nina Ramos, Linda Scott,
Scott Slonaker, Simon Speichert, Jon
Steltenpohl, Simon West, Lang Whitaker
Technical Staff: Chris Candreva, Dave Pirmann
Also Contributing: Derek Langsford
Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
All articles in Consumable remain (C) copyright their author(s).
Permission for re-publication in any form must be obtained from the
editor.
==================================================================
.------------.
| Contents |
`------------'
INTERVIEW: Plumb - Bob Gajarsky
REVIEW: Geneva, _Further_ - Tim Mohr
REVIEW: Spearhead, _Chocolate Supa Highway_ - Joann D. Ball
REVIEW: Morrissey, _Maladjusted_ - Bob Gajarsky
REVIEW: Artificial Joy Club, _Melt_ - Sean Eric McGill
REVIEW: Belle And Sebastian, _If You're Feeling Sinister_ - Patrick Carmosino
REVIEW: 10,000 Maniacs, _Love Among the Ruins_ - Jon Steltenpohl
REVIEW: Hal (feat. Gillian Anderson), "Extremis" - Lee Graham Bridges
REVIEW: Eddi Reader, _Candyfloss And Medicine_ - Lang Whitaker
REVIEW: Various Artists, _Abstract Vibes 2: More Vibes_ - Lee Graham Bridges
REVIEW: My Life Story, _The Golden Mile_ - Patrick Carmosino
REVIEW: Scanner, _Delivery_ - Lee Graham Bridges
REVIEW: Sugar Plant, _After After Hours_ - Tim Mohr
REVIEW: Hazel, _Ariana_ - Eric Hsu
NEWS: Chemical Brothers, HAL, Nusrat Fateh Ali Khan, The Artist
(formerly known as Prince), Rolling Stones
TOUR DATES: Baboon, Bailter Space / Sunday Puncher, Beck / Sneaker
Pimps, Big Top Tour (incl. Juan Atkins, Banco de Gaia, 808 State,
Loup Garou, Moby, and many more), Boston, Meredith Brooks, Common
Sense, Counting Crows / Wallflowers / Engine 88, Cowboy Mouth,
Cravin' Melon, Dandy Warhols / Polara, Danielson/Soul Junk,
Darlahood, Fluke, Life of Agony, Matchbox 20, Megadeth, Sinead
O'Connor, Pie Tasters, Powerman 5000 / Coal Chamber / Sevendust,
Radiohead, Sister 7, Tsunami, Vision of Disorder, Wu Tang Clan /
Rage Against the Machine / Atari Teenage Riot
Back Issues of Consumable
---
INTERVIEW: Plumb
- Bob Gajarsky
While Nashville has been evolving as a writer's and
musician's heaven, much of the sounds emanating from the
Tennessee city have veered somewhere between country or secular
pop. With a hard-edged guitar sound crossing the outer edges of
trip-hop, the foursome known as Plumb hope to show on their
self-titled debut album that their hometown can offer more
than just your typical music fare.
The foundation of Plumb was laid when lead singer Tiffany
Arbuckle was performing the typical low-pay work in the studios -
background vocals for some bands, and additional session work -
when the Nashville-based Essential label offered her the opportunity
to expand on her own - fronting, writing, and leading the band now
called Plumb. This debut was formally released through Essential
and Silvertone Records.
Ms. Arbuckle exposes much of her soul through _Plumb_'s
lyrics - witness the haunting and touching "Willow Tree". Based on
an aunt who made alcohol the most important aspect of her
life, the chorus of the song - 'Take the second right at the second
light / Pass Cherry Street, go left / It's the second house with a
willow tree / I'll be there waiting' - is almost verbatim directions on
how her returning husband could get back to their house.
"She (my aunt) put alcohol in the #1 spot of her life,"
Arbuckle recalls, "in turn putting everything else, including her
marriage, below that. It's a song reminding you that alcohol addiction
or addiction of any sort isn't good. The top priority, next to your
Maker, should be a spouse then family, etc. - not booze. When
anything gets in the way of that, the outcome is pain."
The breathy and soft "Endure" recalls some of Arbuckle's
inspirations - the Sundays' Harriet Wheeler and Natalie Merchant
(while in 10,000 Maniacs). In the wake of the successful Lilith
tour, this radio-friendly track could be the song which propels
Plumb into the spotlight.
"Unforgivable" is a rocker which alternately moves from in
your face guitar to a more passive, relaxed atmosphere and (to me)
stands out, even if it's not the first single. The lyrics are
written from the viewpoint of Arbuckle's best high school friend,
and her stepfather's constant deriding comparisons to his
'natural' daughter.
"He (her stepfather) tore her down verbally and emotionally.
Somehow, this abuse played a molding part in who she is today. But
the hope in the song is the bridge - it's forgiveness. Nothing you
have done, or has been done to you is unforgivable. Whether it is
the father or the daughter - everything can be forgiven through
the grace of God."
Another alterna-rock track with pop sensibilities is the
leadoff single, "Sobering (Don't Turn Around)". Imagine Garbage
or Sneaker Pimps moving the loops to the background, and turning
up the amplifier, and you'll have an idea of how Plumb is taking one
of the musical flavors of the month and turning it 45 degrees.
Through it all, Plumb and Arbuckle try to look towards the
future. "We try to encourage people based on the pain we have
experienced. With every valley, there is a mountain top to look
forward to; that hope is in each song, and is what we're all about."
Plumb will be on tour with labelmates Jars of Clay throughout
late 1997.
---
REVIEW: Geneva, _Further_ (Nude/550 Music)
- Tim Mohr
To their credit, Geneva are one of the few recent bands to
aspire to make music of truly epic quality, music capable of
inspiring awe and passion. Even more extraordinary, perhaps, is
the fact that their efforts in this direction are proven entirely
successful on their debut, _Further_. Geneva make music that soars
and swoops, music with a tragic beauty and sense of catharsis only
found in masterpieces like Radiohead's _The Bends_ or Ride's _Nowhere_.
Opening with cascading guitars, "Temporary Wings" explodes
with rolling bass, drums, and more layers of guitars like the start
of a lost Ride album. Then the vocals careen in from above, a choir
boy striving for some otherworldly release.
The second track is one of the pre-album singles, "Into The
Blue," and has the sense of drama and sweeping, wide-screen
aspiration of Radiohead. A smooth bass and jangle guitar intro
yields the lyrics, "On a day like today, nothing gets better, come
what may/I could just disappear...into the blue" before a crescendo
of guitars is unleashed alongside, "Can't you show me what to do?
Won't you?"
The boyish male vocalist Andrew Montgomery never reverts to the
near-spoken-word passages that Radiohead recently used on parts
of _OK Computer_. Certainly, he has a sense of dynamics that
flow with the song structure and words, but he is always singing.
Because of this, the album has a melodic consistency that, even
without the harmonies that Ride used to put together on their
early recordings, rivals almost any of the current British bands.
Musically, _Further_ is almost a throwback to the early 90s heyday
of bands such as Slowdive or, again, Ride, though the variation in
guitar tones and effects leaves the album difficult to date. In
addition, some of the arrangements are left very open, then
supplemented with live string parts.
Geneva also turn in some quieter songs, following the lead of
Nude label owners, Suede. Even on these pieces, though, there are
interesting bits to distinguish their pensive moments from other
bands': the papery drums on "God Of Sleep" provide a good example.
In short, Geneva are doing something quite unique in many
respects, while yielding a rending universality as a result of the
efficiency with which they articulate the emotional foundation of
each song.
The restrained desperation with which the lyrics are delivered,
the catharsis that musically is invoked, the incongruity of the
high-pitched voice before a hailstorm of sound, and the waves with
which the songs build all make _Further_ an instant classic destined
to contend with _The Bends_ for most affecting album of an era.
---
REVIEW: Spearhead, _Chocolate Supa Highway_ (Capitol)
- Joann D. Ball
Spearhead's mastermind, Michael Franti, creates, narrates
and delivers in the African-American musical tradition of Gil
Scott-Heron and Curtis Mayfield. He also updates the 411
disseminated by hip-hop pioneers KRS-One of Boogie Down Productions
and Chuck D. of Public Enemy.
Along with Spearhead members Ras I. Zulu, Carl Young,
David James and Trinna Simmons, Franti tells it like it is over
serious grooves and beats on the band's second release, _Chocolate
Supa Highway_. On this 15-track session, Franti and company prove
that hip-hop is more than the CNN of Black America as Chuck D. once
suggested.
With _Chocolate Supa Highway_, Franti loudly proclaims
that "hip-hop is our world-wide Internet...about inspiration, not
information." And this inspiration network connects hip-hop to
soul, funk and jazz, as well as to reggae, folk and African rhythms.
The cultural and musical internet session begins after a successful
log-on through the brief intro "Africa On Line." On the title
track, Franti raps in a deep, rich baritone about his observations
of African-American life and the contradictions of American society
on the eve of the Year 2000.
The reggae vibe on _Chocolate Supa Highway_ is the direct
result of Spearhead's slot on the 1996 Smokin' Grooves tour.
Spearhead particularly connected with Ziggy Marley and the Melody
Makers, and Franti reunited with Melody Maker Stephen to produce
the record. "Ganja Babe" is a hot, slow, sexy groove celebrating
herbs and women that is filled with references to 70s songs (among
them "Sweet Thing," "Close to You," and "Summer Breeze") and
nursery rhymes. And Stephen Marley's guest appearance on "Rebel
Music (3 O'Clock Roadblock)" is in many ways a nineties variation
on father Bob's "I Shot the Sheriff."
Other delights here are the folk-tinged, acoustic
guitar-based "Tha Payroll," and "Wayfarin' Stranger." On the
latter, guest singer Joan Osborne does an incredible job
contributing folk purities in the tradition of Joan Baez.
Musically, the _Chocolate Supa Highway_ is a smooth ride
at a comfortable speed, not too fast or slow. The bass pumps hard
and smooth under the messages on "Keep Me Lifted," "Food for Tha
Masses" and "Madness in Tha Hood (Free Ride)." The record's first
single, "U Can't Sing R Song" is a particularly sweet offering
filled with Isley Brothers' influenced backing vocals, saxophone,
strings and other seventies R&B stylings. The Isleyinfluence is
also present on "Gas Gauge (Tha World's in Your Hands)" which
samples the classic "Groove With You."
Take a 65-minute ride on the Spearhead's _Chocolate
Supa Highway_. Then visit the band's Capitol Records website at
http://www.hollywoodandvine.com/spearhead
---
REVIEW: Morrissey, _Maladjusted_ (Mercury)
- Bob Gajarsky
Every time that Steven Patrick Morrissey has faced a crossroads
in his career, the enigmatic vegetarian has risen to the challenge and
produced a blockbuster album. When there were questions following the
breakup of the Smiths, Morrissey blew away critics and stunned fans with
the spectacular _Viva Hate_ and its Smiths-like single "Suedehead".
After stumbling sharply with _Kill Uncle_, Mozz returned in top form,
with a touch of the hat to T-Rex, on _Your Arsenal_. So, with the
disappointing showing of _Southpaw Grammar_, it was hoped that
_Maladjusted_ would showcase the return to the top of the alternative
heap for Mr. Morrissey.
Unfortunately, it just wasn't meant to be.
I'll admit by stating that I have a huge affinity for Morrissey,
back to his days with the Smiths and his solo career. All his
B-sides remain in my collection, some of which stand out (just as
Oasis') as 'just as good as the A-sides'. So my feelings on previous
Morrissey albums have usually fallen under the category of "It's not
the Smiths, but it's still real good'. This time, on all fronts,
he has produced a lackluster effort.
The first single, "Alma Matters", would be widely talked
about among Morrissey fans - if it was one of those B-sides. It
lacks any of Morrissey's well-known verbal witticisms, and musically
forms a bridge between "Break Up The Family" and the B-side "Swallow
Round My Neck". The only other potential single, "Ammunition",
also moves at a similar pace.
A bellweather track for Morrissey fans to determine their
fondness for _Maladjusted_ would have to be "I Know It's Gonna
Happen Someday", from 1992's _Your Arsenal_. Most of the songs
on _Maladjusted_ proceed at the same slow pace which made "Someday"
either loved or hated among Morrissey's devotees.
The biting "Sorrow Will Come In The End" is an apparent
snipe at his former Smiths bandmates who won court damages against
Morrissey and Marr. Unfortunately, Steven expresses his venom at
the cost of foregoing any sense of musical interest - the closest
comparison would be to a failed attempt at spoken word. Similar lyrical
misadventures occure on "Roy's Keen", which could be "Hairdresser
On Fire", part 2, while the title track extends on "Late Night,
Maudlin Street"; musically, however, both lack passion and creativity.
The final track, "Satan Rejected My Soul", stands out as a _Southpaw
Grammar_ reject, but at least brings up the pace of _Maladjusted_ to
tolerable.
On a new label (Mercury in the States; Island in his native
land), Morrissey has delivered an album which will not only avoid
bringing any new fans into his camp, but likely will drive some
loyalists away. It's too bad that a man who has produced fifteen
years of brilliant work could release a non-descript, even boring,
album known as _Maladjusted_.
---
REVIEW: Artificial Joy Club, _Melt_ (Interscope)
- Sean Eric McGill
I've just spent about three hours listening to _Melt_,
Artificial Joy Club's first album on Interscope Records. During
those three hours, I've enjoyed all the songs and even started to
learn most of the words, but couldn't figure out what exactly it was
about the band I liked so much. I couldn't exactly review the band
by saying "They rock!", could I? Then, it finally hit me like a
Nuke Laloosh (the character portrayed by Tim Robbins in Bull Durham)
fastball. It was the words - or more specifically, the sub-references
that attracted me.
Of course, a lot of bands use sub-references in their songs.
Just as many put their lyrics behind catchy, almost radio-friendly
alterna-pop. But what separates Artificial Joy Club from those bands
is that they do both - and do both so well. And _Melt_ is certainly one
of the better releases I've heard this year.
Led by vocalist Sal, Artificial Joy Club's sound is, for lack
of a better description, somewhere along the lines of Fiona Apple and
Liz Phair. Sal's lyrical work, however, doesn't follow the usual
route of bludgeoning you over the head with the meanings. There are
more sub-references in this album than the entire Tarantino
filmography, with references to everyone and everything from the
infamous Dr. Kevorkian to Steve Austin to lesbian porno and yes,
even Tarantino, showing up at various points in the album.
This isn't to say that the album is lightweight, by any means.
While the songs are all catchy and well-crafted, songs like "I Say" and
"Cheeky Monkey" especially show a sense of lyrical depth mixed with
wit that you don't find everyday. And while that lyrical imagery can
throw you a little at times (the line "crusty as a worn out
Penthouse" caused me to laugh audibly), it's refreshing to find.
A Canadian import, Artificial Joy Club have been around
since 1993 and had two previous releases as Sal's Birdland. I haven't
heard those albums, and can only guess at how closely they resemble
_Melt_, but if they are even close, then there is no reason why this
band shouldn't already enjoy a good following. Perhaps it can be
chalked up to how the music industry look at rock bands fronted by
females in the days before Melissa, Alanis, and others. But whatever
the case may be, Melt certainly warrants attention. It's a stand-out
album to draw an end to what has at best been a lack-luster summer
season, and if that's not a good reason to like it, what is?
The first single from Melt, "Sick & Beautiful" is
currently enjoying airplay on a station near you - and if not, bug
the station. Artificial Joy Club can be found on the web at
http://www.sympatico.ca/ajc
---
REVIEW: Belle And Sebastian, _If You're Feeling Sinister_ (Enclave)
- Patrick Carmosino
If you're feeling charmingly and cleverly sinister is more
like it. This septet from Glasgow recalls the wit and whimsy of many
classic artists that have come before them...a dark Go-Betweens
perhaps? or a not dark enough Magnetic Fields...pop/folk sensibilities
that haven't been felt since the Woodentops...the perceptions of Nick
Drake. Surely it's all too much a short cut to thinking that causes
these comparisons but they are meant quite complimentary.
I can get a bit more into it and tell you that singer/songwriter
Stuart Murdoch's cuplets rank up there with any of the other 'poet
laureates' of rock (yikes!). The l.p.'s opener "The Stars Of Track And
Field" finds Murdoch rhyming "discus" with "Widnes" which is perhaps the
best twosome since a tall, right lurky lad from a town somewhat south of
Glasgow rhymed "spanner" with "piano". "Like Dylan In The Movies" matches
some great Lou Reed-style third person-isms ("Lisa's kissing men like a
long walk home") with a title whose simile matches the best of what Reed
woirshipper Lloyd Cole has ever come up with. The title track's "She was
into S&M and bible studies. Not everyone's cup of tea she would admit to
me." is one "Sinister's" best two-fers.
The music is filled with folk/indie pop ethics and sixties pop fun
The fact that "Sinister" is chock full of major chord zaniness is the
biggest surprise since Johnny Marr's happy, jangly chimes were a match for
Morrissey's misery. The dry, less-than-cosmopolitan feels are provided by
guitar, bass, drums and a small string section as well as tasteful vibes
and things like that. Belle and Sebastian, like their fellow Scots the
Pastels have thrived on their relative obscurity. This makes it all the
more pleasantly surprising that they are in the process of gaining a small
but definite cult following in the US, gaining the crowd that remembers the
virtues of the late great Drake and his ilk. Much kudos to a label whose
founder's claim to fame is signing Guns 'N' Roses, for seeing the values
and the art in a group like B&S. But of course...most of the kudos to Mr.
Murdoch and this year's top batch of musical misfits.
---
REVIEW: 10,000 Maniacs, _Love Among the Ruins_ (Geffen)
- Jon Steltenpohl
After a short break following the exit of Natalie Merchant,
10,000 Maniacs have returned with a new album, a past member, and a
new member. _Love Among the Ruins_ features the old core (Buck,
Drew, Gustafson, and Augustyniak) joined with early member John
Lombardo and his bandmate Mary Ramsey. Lombardo was with 10,000
Maniacs through 1985's _The Wishing Chair_, and later teamed up
with Ramsey to form John and Mary. But there was never a big
separation between the two bands. Buck and Augustyniak guested
on John and Mary's albums, and Ramsey played violin and viola on
both _Our Time in Eden_ and the MTV Unplugged album.
The new 10,000 Maniacs album, _Love Among the Ruins_, is a
decent effort that holds its own weight, but doesn't quite match up
to the best of 10,000 Maniacs' work with Natalie Merchant.
Listening to Merchant's _Tigerlilly_ alongside of _Love Among the
Ruins_, it's clear where the talent lines were drawn. Merchant had
the melody and soul, and the band had the musical vision. So,
while _Tigerlilly_ presents a soulful voice and lyrics backed by
an average band, _Love Among The Ruins_ features an incredible band
fronted by an average lead singer. In both cases, the end result
is a better than average album with a few faults.
Not that Ramsey doesn't have her strong points. As the
lead vocalist for John and Mary, her simple voice melded perfectly
with the sparse musical backdrop. But, the new band is still
playing for a bold voice as if Merchant never left, and Ramsey's
soft voice can't quite fill the void. In this respect, _Love Among
the Ruins_ feels much like the last 10,000 Maniacs album featuring
Lombardo. On _The Wishing Chair_, Lombardo's music and Merchant's
lyrics were starting to come together, but Merchant still hadn't
found her voice. It wasn't until _In My Tribe_ that Merchant broke
through.
Unfortunately for Ramsey, she's trying to push a weak,
falsetto voice into the forefront of a 6 piece band. It's a quite
a change from just her and Lombardo, and she hasn't completely made
the transition. With John and Mary, songs like "Piles of Dead
Leaves" shifted eamlessly from a strong alto to lilting falsetto.
But on most of _Love Among the Ruins_, Ramsey goes against her
strengths, and the result are strained tracks like "A Room for
Everything."
Still, when everything comes together, the songs are
engaging. "More Than This" is the best song of the album, and
the Roxy Music cover features everything you look for in a 10,000
Maniacs song. Buck's mandolin is used sparingly with pinpoint
accuracy. The melody flows quickly and sticks in your head, and
Ramsey's voice is quiet, yet confident. Ramsey and the band also
shine on "Rainy Day" and "Love Among the Ruins." All three of
these songs are excellent Adult Contemporary tracks and should
capture the attention of VH-1 fans. "Shinning Light" is also
enjoyable and is reminiscent of the early 10,000 Maniacs sound.
It stands out with a Hammond Organ and the band's patented "white
man's funk" rhythm section.
Admittedly, _Love Among the Ruins_ is a few steps back for
10,000 Maniacs. Without Merchant, the band has lost a good portion
of its soul. Still, the new album has its high points, and if you
aren't expecting Merchant, it's an enjoyable album. Fans of 10,000
Maniacs from the early 80's and fans of John and Mary will enjoy
_Love Among the Ruins_, and based on the strength of the best
tracks, the new band's next album should be a classic.
---
REVIEW: Hal (feat. Gillian Anderson), "Extremis" single (Virgin)
- Lee Graham Bridges
"Atom by atom, molecular beams / transport me away to the place
of my dreams" is how Gillian Anderson begins her spoken vocals in the
latest single, "Extremis," from Hal, a sound collaborative between UK
"sound alchemists" Black State Choir, and Grill, a French metal outfit.
The new single is an introduction to a double-CD compilation of tracks
compiled by Anderson herself called _Future -A Journey Through The
Electronic Underground_. As the title indicates, the album chronicles
superior techno, ambient, trip-hop, and drum-n-bass from the past and
present.
"Extremis" without Anderson's vocals would be a less than
inspiring track. With the suddenly exploded number of electronic
musicians trying to make a unique sonic statement, there is little
room for Hal's too regular, unstimulating sound, at least as
demonstrated in the single's original version. The backing track is
made pedantic through the regularity in rhythm and sample purity,
although the piano line is rather nice. If Hal is attempting to
establish a more pop-like fagade, the effect is stultified. However,
Anderson's breathy, whispered vocals will certainly put X-Files
fetishists in utter bliss, not to mention mere bypassers. Even the
most passive listener will take notice of Anderson's delivery of the
final lines: "I don't want to hear about the future...I want to see
it...I want to feel it...I wanna taste it."
Compared to the original version of the song, the remixes
are much more animated, and unlike most CD singles, actually
_complement_ the original mix. The "download" mix enters with
wicked low bass tones, returns to a semblence of the original,
then busts open a healthy dose of drum-n-bass-esque beats. The
"qatarra" remix is similarly energetic and even more evocative and
dance-friendly.
The story of Hal is far from over, and any current impressions
of the band's output are bound to change. A second single, "Ostiak,"
has been recorded, and a follow-up to 1996's _Gorilla Conspiration_ is
in the works, which is to feature the luminous Mona Soyoc, singer for
France's Kas Product.
---
REVIEW: Eddi Reader, _Candyfloss And Medicine_ (Reprise)
- Lang Whitaker
It's a lot like the way you feel when you're on your first
date, sitting next to your true love in a darkened movie theatre.
Emotions rage inside your belly: Should I go for it? Will I be
accepted? And then in a flash it happens.....and the next thing you
know your fingers are intertwined with those of the person you're in
love with. All of the insecurities and turmoil inside you boil down
into a gumbo of delicious joy and ecstasy. That weightless gravity
is exactly the way you feel the first time you hear Eddi Reader wrap
her voice around a melody.
On _Candyfloss And Medicine_, which is only Reader's third
solo album, Reader bounces through a collection of songs that
showcase her captivating tones beautifully. The best way I can
think of to describe Reader's sound is The Cranberries minus the
pubescent vocal cracks and teen-age angst. Reader, who originally
hails from the UK, more or less mines the same vein that 10,000
Maniacs uncovered before Natalie Merchant defected - mature, airy,
acoustic-based songs with a hint of world groove to them.
The first song on the disc, "Glascow Star", takes its beat
from two guys slapping their knees, and then takes off from there.
"Semi-Precious" asks "Why do the ones/ who love the most / hurt the
most?" Good question, Eddi. Other standout tracks include "Lazy
Heart" and "Sugar on the Pill". All of the songs on _Candyfloss And
Medicine_ dwell in the same folk family, except for a brief detour
into lounge music halfway through the disc. As an album, _Candyfloss
And Medicine_ holds together extremely well - you can almost sit and
listen all the way through over and over again.
Collaborating with Reader on this record are a disparate
collection of performers, who surprisingly mesh very well. Reader
produced the entire album herself, with co-production help coming
from Teddy Borowiecki (who formerly sat in with k.d. lang and Jane
Siberry) and Boo Hewerdine, who hooked up with Reader before in the
Trash Can Sinatras. Also appearing on several tracks is renowned
bassist David Piltch.
Although I had heard of her, I had never heard Eddi Reader
sing before listening to this album, and I was shocked at how good
it was. I listened to it for about a week straight, which is world
record length for me. If you've ever fallen under the spell of
10,000 Maniacs or The Cranberries, I highly recommend giving Eddi
Reader a shot. I bet she casts her spell on you, too.
---
REVIEW: Various Artists, _Abstract Vibes 2: More Vibes_
(Qwango/Island)
- Lee Graham Bridges
Without a second glance, the cover art from the new _Abstract
Vibes 2: More Vibes_ compilation would almost lead you to believe
this is another one of thousands of banal, supposed drum-n-bass
lineups or otherwise self-proclaimed "techno!" collections.
Ah, but no. _More Vibes_ is "an international collection
of the best in chilled jazzy beats, celestial grooves, and
dubadelic funk." Right on. This compilation is *brilliant*.
It is completely soulful, 100% smooth, superbly dublike and
funked-over. Of course, merely putting a compilation together is
not an incredible feat, but Qwango (an offshoot of Island Records)
and the actual compiler, Bruno Guez, have done a nice job picking
a diverse crowd of musicians to present. For the genre specific,
"Abstract Vibes" most likely refers to "abstract" hip-hop, also
occasionally called (regretfully) "trip-hop" by the press. Some
experts in the field include DJ Spooky and Tricky, but of course,
artists featured on _More Vibes_ are no novices.
The ten tracks presented are mostly instrumental, long sets
of nonstop rhythmic ecstasy. Louise Rhodes croons, bold and buxom,
through the rugged, mechanical beat of Lamb's "Trans Fatty Acid", and
Vanessa Darby similarly rides her languid, alluring vocals rough-shod
over the pounding rhythm of Lascelles' "Butterfly". Invisible Hands
repositions us in the cosmos with the truly celestial funk of "In
Between Times". "Mirror" by Paint is a sexy, gentle romp through the
forest, by the bayou. Archive's "Old Artist" matches all kinds of
dated sound textures (violins, deep primal drums, etc.) with light
synth tones to moderately funky effect. "Gangsta S**t" makes a very
jazzy appearance courtesy of DJ Cam.
_Abstract Vibes 2: More Vibes_ introduced me to all the artists
featured on the disc save the Sneaker Pimps and Lamb, and I was quickly
impressed by the sheer, lasting groovability of all the work here. This
is positively one of the best buys among compilations recently released,
and well deserves to be bought by all.
TRACK LISTING: Archive: "Old Artist", Sneaker Pimps: "6 Underground"
(Fila Brazillia Remix #1), Lascelles featuring Vanessa Darby:
"Butterfly", Lamb: "Trans Fatty Acid", Invisible Hands: "In Between
Times", Small World: "Shuttle 3-5-8", DJ Cam: "Gangsta S**t", Ceasefire:
"She Don't Lie", Paint: "Mirror", The 13th Sign: "Take Me To A Distant
Bass".
---
REVIEW: My Life Story, _The Golden Mile_ (Parlophone U.K.)
- Patrick Carmosino
My Life Story certainly rank right now as the top Brit import
that no American company seems to want any part of (but they'll put
fookin' Bush out, eh?). My Life Story comes out of a certain
unintentioned genre of street urchin lounge (i.e. Pulp, Divine Comedy)
but where Jarvis Cocker and Neil Hannon come off as dark and precious,
MLS's sound is a somewhat brighter, more accessible thing altogether.
Of which I prefer depends on the mood, I suppose.
Tracks like "12 Reasons Why I Love Her" and "Suited & Booted"
have an 80's drama queen feel that hasn't been felt since Marc Almond's
_The Stars We Are_. Both start out with orchestral flourishes that
haven't been heard since the golden age of M.G.M. and flow into finely
produced pieces of poppingdom.. With steady horn and string sections
following virtually everywhere that the melodies go, MLS sports a
assemblage of musicians that resembles Dexy's Midnight Runners with an
incredibly better sense of style. Lines like "All dressed up and I'm in
my prime" (from "Suited") are crooned with a mix of bravado, excitement
and desperation from My Life Story's frontman Jake Shillingford. Other
highlights, like "Strumpet" show that MLS can put the strings and the
timpani away and lay down driving, Brit-pop guitar with the best of
them. More ace pop flourishes are provided by "Sparkle"(which has an
intro that reminds one of B-Movie's "Nowhere Girl") and "April 1st".
Things at times do get a bit overwrought, like on "Mr. Boyd"
where the string section arrangement gets dramatically nutty as well
as the emotional piano coda at the end. Better ballads by MLS are
evident here like "You Can't Uneat The Apple" and "November 5th". Such
is the risk of the tightrope that is drama queen pop, where one could
disappear into the abyss of kitsch at any given moment. On "The King Of
Kissingdom", MLS actually falls the other way on that tightrope...into
the splendour of camp with its 2/4 beat.
My Life Story is certainly one of the answers for those
seeking relief from the easy comfort of Brit-pop. They have brought
back the need to be seen, the need for style in the face of utter
poverty, the need for romanticism in a way that outclasses the Romo
movement that lasted in the UK for about a lunchtime, the need for
flourish in the face of boredom...the need to do something more than
play a fookin' tune.
---
REVIEW: Scanner, _Delivery_ (Rawkus)
- Lee Graham Bridges
An overwhelming surge of media attention (some might say hype)
has surrounded the compositional activities of Robin Rimbaud, aka
Scanner, for some time. The novelty of his brand of expression (the
inclusion of private phone conversations made public in his music) seems
too much for the American press to take. Rimbaud calls himself a
_flbneur ilictronique_, an electronic "wanderer" or "idler". He listens
in on cellular and cordless phone conversations with (what else) a
police frequency scanner--then steals those airwaves and sets them to
music. Of course, the names, addresses, and personal ID's have been
eliminated, and often times even the pitch of the voices is altered.
Other found sounds from fax transmissions, satellite communications, and
the like make their way into the mix as well. Several years and a
handful of full-lengths and 12-inchers after his musical beginnings,
Rimbaud sticks a bit of a wrench in the works with _Delivery_,
circumventing fans' expectations for the followup of his previous works.
Before I listened to the CD (being a newcomer to the work of
Scanner), I was expecting something similar to the work of
sonic/multimedia terrorists EBN, a la _Telecommunication Breakdown_.
_Delivery_ turns out to be far removed from that level of hyperactive
energy - but equally intriguing and intoxicating. Unlike the
impression given by the media, the album is surprisingly focused more
on music itself, and a less electronic quality of music overall than
the press led us to believe.
Often times, it is difficult to understand the words being
said in the conversations included on certain tracks; they are either
too quiet or too fuzzy. This in itself brings _Delivery_ away from
the "realistic drama" quality of entertainment many people, including
Rimbaud, expect from private dialogue. At the same time, the mere
fact that the speech is unintelligible provides a new ingredient for
ambient composition. "Digital Anchor" is very reminiscent of certain
moments on David Byrne and Brian Eno's _My Life In The Bush Of Ghosts_;
quiet, low-fi human phone noise winds its way through a minimal wah-wah
sort of sound.
"Heidi" is definitely the most disturbing track and perhaps
also most indicative of the style Rimbaud has been noted for. He
matches the very angry, distorted yet distinguishable voice of a man
issuing his girlfriend a stern, repetitive warning: "Don't lie to me!"
An unsettling ambient melody trods along in back. "If a girl came in
my bedroom today, and we had sex, I would tell you..." the man tells
her, as sounds of people applauding and cheering eerily bubble to the
surface.
While there are many electronic and radio-infused moments on
_Delivery_, they are fewer than Rimbaud has presented before, such as on
his first full-length CD, _Spore_. Previous conversations on Rimbaud's
records range from discussions about infected female genital piercings,
to a threatening phone call Rimbaud received at 15, to a woman speaking
about her boyfriend's death in an automobile accident. "I found your
wedding ring in a box of screws." "Do you love me enough to come over
tonight?" Things like that.
But most tracks on _Delivery_ contain little or no radio noises
or eavesdropped conversations. "Barcode" is funky but light, mimicking
Aphex Twin's penchant for distorted beats and pairing them with
easygoing synth tones and interestingly selected snippets from orchestra
performance. "Throne of Hives" is very sincere and beautifully
engrossing, yet moody - almost cryptic near the end; crisp, wonderfully
dark trumpet and string melodies are interspersed with odd, misshapen
beats and reverbed guitar samples. "Hunting Your Lost Face" brings
trumpets and strings into the mix again, accompanying both exotic and
distorted drumbeats, presenting the most elevated melancholy on the
whole album at its conclusion. "It's interesting that people often
don't comment on the music at all," Rimbaud told Alternative Press.
He was, in fact, involved in the industrial scene of the early 80's, and
even today is an able guitarist, a piano player of 20 years...the list
continues. _Delivery_, a shining, mesmerizing work, demonstrates
Rimbaud's accomplished musicianship more completely than anything.
Rimbaud, who has performed live at the Royal Festival Hall,
spoken at conferences next to Bill Laswell, Eno, Peter Gabriel, and
Derek Jarman, and will be "curating" a series later this year at the
Knitting Factory London, said "it wouldn't surprise me to learn that
my albums are archived in the record shops under some all-purpose
section labelled 'perve.'" So this is complete voyeurism then?
"I don't deny that I enjoy listening to these things as much as
anybody. Most people are voyeurs. Everyone wants to watch, but
no one wants to be the one being watched." But Rimbaud belives
that privacy is fast becoming obsolete in the face of new
technology. "What I do fits in with the culture of surveillance
that we live in," he said to Raygun. "You're being watched the
whole time. Does it bother you or not? Should there be such a
thing as privacy?"
---
REVIEW: Sugar Plant, _After After Hours_ (World Domination)
- Tim Mohr
The promise of late night atmosphere in the album title of
Sugar Plant's debut is kept with Mazzy Star styled laments and a
cohesive flow of hushed melancholy. The Japanese duo have recorded
a pre-dawn soundtrack to rival any of the past masters of the
genre, from Galaxie 500 to Mojave 3.
The record opens with a bubbling electronic ambient overture
before launching, gently, into the slow, acoustic-based sound and
breathy female vocals that characterize these hymns to loneliness
and longing crafted in sometimes awkward yet poignant English verses.
On the second song, "4," Chinatsu and Shin'ichi sing, "you
don't know how much cold my limb is/do you make me warm in your
wings?/I wish you to see the stars in my mind/and do you make me warm?"
Sugar Plant's arrangements feature bits of vintage keyboards,
electric guitar, and antiquated synth gurgles, but rest largely upon
simple frameworks. Sometimes, as on "Behind The Door," Sugar Plant
add layers of guitar psychedelia that point towards Galaxie 500 or
the more subdued moments of My Bloody Valentine. A sense of tarnished
majesty builds in songs such as "drifting" that can also be compared
to Suede's ballads, "Breakdown" or "Saturday Night."
In an ode to the wee hours, "I Hate Morning," they sing, "pale
blue light is my friend/where is my quiet bed?/heavy head makes me down
so down/I hate morning."
Sugar Plant sound like the Mazzy Star of the future: each
Mazzy Star album has moved further from the country psychedelia of
Opal, the band from which Mazzy Star developed. Sugar Plant have no
connection to any heritage like that, and are therefore free to
reproduce the feel without the specific form. The result is a spacey
melancholia that seems to float on its own, perhaps expressing
contemporary uneasiness even more accurately because of the untethered
musical approach. The debilitating, dry heat of Mazzy Star's
desert landscape is here approximated in a cold, rainy climate that
is harder to identify but that proves equally compelling.
---
REVIEW: Hazel, _Ariana_ (Candy-Ass)
- Eric Hsu
I didn't know much (or anything) except that I was wandering
through Mod Lang Records in Berkeley and this song "Mr. Magazine Man"
was playing and I bought their EP on the spot. "Mr. Magazine Man" is
an instantly memorable song which really shows of Hazel's strength:
their dueling X-like male and female vocals. energetic and speedy
punky chordal rhythm section. The vocals simultaneously reel off
different letters to the editor and the song sparkles with a sense
of life and energy. The female belted out the words "I've got
something that you can't stand!" and I couldn't stop listening.
It turns out that this is a hip band now in Portland, formerly
from Seattle, and formerly known for bubblegum grunge songs. In fact,
their drummer and female singer, Jody Bleyle, is none other than
guitarist Jody from the ultra-hip Team Dresch. Go figure. But in this
band she's putting a punk engine in the folk songs of guitarist Peter,
along with bassist Brady Smith and Peter Krebs. And they are also
known for having a strange middle-aged hippie named Fred Nemo dancing
furiously during their shows. He doesn't appear on the record (no
footsteps or whips cracking or things breaking). Anyway, this EP has
music that is mercifully distant from grunge cliches.
The EP is named after the first and weakest song "Ariana"
which highlights the compelling but somewhat wavering vocals. But
any vocal that spits out (repeatedly and in one quick breath) "staple
my eyes back, you pull out my heart" can't be too bad. Jody sounds
noticeably better on the other songs: the confusingly named "Title
Track" has a fine duet of melodic "ba baddas" and "Ohio Player"
starts off in standard pop territory and wanders off into a beautiful
and passionate cry of "Oh no, I will not do it even though you push me
to." The EP ends with "My 2nd Chance" which is saved from being
somewhat average (sloppy playing and sloppy melody) by the mournful
and striking sound of the harmonies on the repeated line "hold the
hand that holds yours".
They make good music, they play with passion, their singing
is at its best gripping and moving and they have something creative
going. All of their songs have something decent and listenable about
them and they are worth a listen. From their interviews, it seems
like Fred the dancer is no longer with them. But they sound like an
energetic band with a sense of melody and honesty and I suggest you
look them up. If your local record store doesn't carry them, try
Candy-Ass Records, P.O. Box 42382, Portland, OR, 97242.
---
NEWS: > The Chemical Brothers have finished filming
their new video, "Elektrobank". The updated track listing
for the single includes an album version/radio edit/Dust
Brothers mix of the title track, "Not Another Drug Store"
featuring vocals by Justin Warfield, "Don't Stop The
Rock" and "These Beats Are Made For Breaking".
> The techno/ambient music collective HAL will be appearing
on a Sonicnet chat on August 19 at 5:00 pm. HAL's one-off single
with X-files actress Gillian Anderson, "Extremis", has helped
the group generate a bit of notoriety.
> Nusrat Fateh Ali Khan died on August 16 in London, England, of
an apparent heart attack. Previous musical collaborators with Khan
included, among others, Peter Gabriel and Eddie Vetter.
> The Artist (formerly known as Prince) is joining Muhammad Ali's
campaign against intolerance by writing a theme song for the World Healing
Project and performing in a benefit concert. Scheduled for October 9 in
Los Angeles, the show will include Celine Dion, with more guests expected
to join including Sheryl Crow, Tony Rich, and The 3 Tenors.
> The Rolling Stones' first new studio album in three years,
_Bridges To Babylon_, will be released on September 30 and prelude
the band's worldwide concert tour. Contributors to the album include
Billy Preston and Me'Shell Ndegocello, as well as producers Don Was
and the Dust Brothers.
---
TOUR DATES (Please confirm with site before travelling):
Baboon
Aug. 22 Ft. Worth, TX Impala
Aug. 23 Lubbock, TX Kitchen Club
Bailter Space / Sunday Puncher
Aug. 29 New York, NY Knitting Factory (w/ Space needle)
Aug. 30 Philadelphia, PA Nicks (Bailter Space only)
Beck / Sneaker Pimps
Aug. 27 Oakland, CA Kaiser Auditorium
Aug. 29 Portland, OR Timber Park
Aug. 30 Seattle, WA Memorial Stadium
Big Top Tour (incl. Juan Atkins, Banco de Gaia,
808 State, Loup Garou, Moby, and many more)
Aug. 27 Chicago, IL Riviera
Aug. 29 Cleveland, OH Nautica Park
Aug. 30 Boston, MA Wallace Civic Center
Aug. 31 Asbury Park, NJ Atlantic Park
Boston
Aug. 21 Morrison, CO Red Rocks
Aug. 22 Pueblo, CO Colorado State Fair
Aug. 25 St. Paul, MN Minnesota State Fair
Aug. 27 Cuyahoga Falls, OH Blossom
Aug. 29 Syracuse, NY NY State Fairgrounds
Aug. 30 Saratoga Springs, NY Saratoga Performing Arts Center
Aug. 31 Allentown, PA Fairgrounds
Meredith Brooks
Aug. 20 Minneapolis, MN Canterbury
Aug. 22 Chicago, IL Downtown Parking Lot Q 101
Aug. 23 Cincinnati, OH Point State Park
Aug. 24 St. Louis, MO Galaxy
Aug. 26 Memphis, TN New Daisy Theater
Aug. 27 Nashville, TN 328 Performance Hall
Aug. 31 Portland, OR Waterfront Park
Common Sense
Aug. 23 San Diego, CA Belly Up
Aug. 24 Los Angeles, CA USC
Aug. 26 Las Vegas, NV Ocean Pacific
Aug. 29 Pomona, CA The Glass House
Aug. 30 Redondo Beach, CA Caprice
Aug. 31 Mission Beach, CA Catamaran
Counting Crows / Wallflowers / Engine 88
Aug. 20 West Palm Beach, FL Coral Sky Ampitheater
Aug. 21 Tampa, FL Sundome
Aug. 23 Birmingham, AL Oak MT Ampitheater
Aug. 25 Houston, TX Cynthia Mitchell Pavilion
Aug. 26 Austin, TX Frank Erwin Center
Aug. 28 Kansas City, KS Sandstone Ampitheater
Aug. 29 St.Louis, MO Riverport Ampitheater
Aug. 31 Minneapolis, MN Target Center
Cowboy Mouth
Aug. 23 Detroit, MI WHYT Planet Festival
Cravin' Melon
Aug. 22 Raleigh, NC Raleigh Civic Center
Aug. 28 Spartanburg, SC Uscs
Aug. 29 Myrtle Beach, SC House Of Blues
Aug. 30 Wilmington, NC The Forum
Aug. 31 Isle of Palms, SC The Windjammer
Dandy Warhols / Polara
Aug. 19 New York, NY Coney Island High
Aug. 20 Baltimore, MD Fletcher's
Aug. 22 Washington, DC 930 Club
Aug. 25 Lancaster, PA Chameleon
Aug. 27 Philadelphia, PA Pontiac Grill
Aug. 28 Providence, RI The Call
Aug. 31 Boston, MA Middle East
Danielson/Soul Junk
Aug. 21 San Diego, CA Casbah
Aug. 22 Los Angeles, CA Impala Cafe
Aug. 24 San Francisco, CA Kilowatt (Danielson only) w/ Ghost
Aug. 25 Portland, OR EJ's
Aug. 26 Seattle, WA Velvet Elvis w/ Roadside Monument & Pedro the Lion
Aug. 28 Stevenson, WA (Soul Junk)
Aug. 29 Stevenson, WA (Danielson)
Darlahood
Aug. 24 Milwaukee, WI Rave
Aug. 26 Birmingham, AL Five Points Music Hall
Aug. 27 Baton Rouge, LA Varsity Theatre
Fluke
Aug. 23 Atlanta, GA House of Blues
Aug. 28 Myrtle Beach, NC House of Blues
Aug. 29 Washington, DC Wilmer's Park
Aug. 30 Atlantic City, NJ Atlantic City Racecourse
Life of Agony
Aug. 31 Asbury Park, NJ Stone Pony
Matchbox 20
Aug. 22 Chicago, IL Univ of IL/Chicago
Aug. 23 Detroit, MI WHYT radio show
Aug. 27 Baton Rouge, LA Varsity Theatre
Aug. 29 Austin, TX University of TX at Austin
Aug. 30 Houston, TX KBTZ radio show
Aug. 31 New Orleans, LA House of Blues
Megadeth
Aug. 21 Orlando, FL Tsunami
Aug. 22 Ft Lauderdale, FL Sunrise Theatre
Aug. 23 Tampa, FL Manatee Civic
Sinead O'Connor
Aug. 23 Chicago, IL The Vic
Aug. 24 Detroit, MI Meadowbrook
Aug. 26 New York, NY Beacon Theater
Aug. 28 Boston, MA Harborlights
Aug. 30 Washington D.C The Ballroom
Pie Tasters
Aug. 21 Philadelphia, PA Trocadero
Aug. 22 New York, NY Tramps
Aug. 24 Northampton, MA Pearl Street
Aug. 25 Providence, RI Living Room
Aug. 26 Cleveland, OH Agora
Aug. 27 Rochester, NY Water Street
Aug. 28 Pittsburgh, PA Grafitti
Aug. 29 Cincinnati, OH Bogarts
Aug. 30 Roanoke, VA Ghost of Hollywood
Powerman 5000 / Coal Chamber / Sevendust
Aug. 20 St. Louis, MO High Profile
Aug. 22 Dallas, TX Galaxy Club
Aug. 23 Austin, TX Emo's
Aug. 24 San Antonio, TX White Rabbit
Aug. 28 Phoenix, AZ Mason Jar
Aug. 29 Hollywood, CA Palace
Radiohead
Aug. 22 Montreal, QC Metropolis
Aug. 23 Boston, MA Harborlights
Aug. 24 Philadelphia, PA Electric Factory
Aug. 26 New York, NY Hammerstein
Sister 7
Aug. 23 Chicago, IL Martyr's
Tsunami
Aug. 28 Providence, RI The Call with Ida
Aug. 29 Boston, MA Middle East w/Ida
Aug. 30 Rochester, NY Bug Jar w/Ida
Aug. 31 Cleveland, OH Euclid Tavern w/Franklin Bruno
Vision of Disorder
Aug. 22 York, PA Fenix
Aug. 23 New York, NY Irving Plaza
Aug. 25 Washington, DC Capitol Ballroom
Aug. 26 Richmond, VA Twisters
Aug. 27 Albany, NY Bogie's
Wu Tang Clan / Rage Against the Machine / Atari Teenage Riot
Aug. 23 Auburn Hills, MI Palace
Aug. 24 Burgettstown, PA Starlake Amp.
Aug. 25 Toronto, ON Molson Amp.
Aug. 27 Cuyahoga Falls, OH Blossom Music Center
Aug. 28 Noblesville, IN Deer Creek
Aug. 29 Tinley Park, IL New World Theatre
Aug. 31 Maryland Heights, MO Riverport Amp.
---
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