== ISSUE 203 ==== CONSUMABLE ONLINE ======== [March 16, 2000] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill Holmes, Tim Kennedy, Jon Steltenpohl Correspondents: Michelle Aguilar, Paul Andersen, Christina Apeles, Niles J. Baranowski, Jason Cahill, Matthew Carlin, John Davidson, Andrew Duncan, Krisjanis Gale, Jade Hughes, Paul Hanson, Scott Hudson, Steve Kandell, Dave Kemper, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== All articles in Consumable remain (C) copyright Consumable and their author(s). ================================================================== .------------. | Contents | `------------' LIVE REVIEW: Noise Pop Festival 2000, San Francisco, Cal. - Kerwin So REVIEW: Patti Smith, _Gung Ho_ - Don Share REVIEW: Eels, _Daisies of the Galaxy_ - Wes Long INTERVIEW: Shannon Curfman - Al Muzer REVIEW: The The, _Naked Self_ - Michelle Aguilar REVIEW: Dirty Three, _Whatever You Love, You Are_ - Chris Hill REVIEW: Steve Stevens, _Flamenco A Go-Go_ - Scott Hudson INTERVIEW: Podunk - Al Muzer REVIEW: Acoustic Junction, _Strange Days_ - Joann D. Ball REVIEW: Pornosonic, _Unreleased 70s Porno Music feat. Porn King Ron Jeremy_ - Matthew Carlin REVIEW: Gladshot, _Gladshot_ / Debbie Andrews, _Suburbs of Eden_ - Jon Steltenpohl REVIEW: Cupcakes, _Cupcakes_ - Jade Hughes REVIEW: Nickelback, _The State_ - Scott Hudson TOUR DATES: Beck, Frank Black and the Catholics, Phil Coulter, Cracker, Enon, Filter / Chevelle, Guster, Ben Harper And The Innocent Criminals, Miles Hunt, Incubus, Kelis, Korn, Neko Case & Her Boyfriends, New Wet Kojak, No Doubt / Suicide Machines, Ginny Owens, Papas Fritas, Podunk, Powerman 5000, Prodigals, Red Hot Chili Peppers / Foo Fighters / Muse, Slip, Squatweiler, Tonic / Third Eye Blind, Union Back Issues of Consumable --- LIVE REVIEW: Noise Pop Festival 2000, San Francisco, Cal. - Kerwin So San Francisco's annual Noise Pop festival packs so much darn goodness into so many days that it would be near impossible for one man to soak it all in and settle down enough to recount it intelligibly. This year, the Bay Area was blessed with shows by Bob Mould, the Magnetic Fields, a reunited X, and dozens of other artists of national and local prominence. Being but one man, I can only share the events that I did experience during this week, and praise it to the high heavens. Noise Pop began seven years ago, when founders Jordan Kurland and Kevin Arnold wanted to bring attention to a style of music -- you guessed it, noisy pop -- at a time when "thrasher-funk- punk ruled the Bay Area musical landscape," according to Kurland. The very first show, in 1993, included sets by The Meices, Overwhelming Colorfast, and Noise Pop perennials the Fastbacks. "Nowadays, noise pop is more a spirit or theme than a genre of music," continues Kurland. "Most of the acts that play are college-radio friendly, and lots of them have their roots in the independent music community." Bob Mould, one of the headliners of the six-day festival, certainly fits all these criteria -- and then some. "If anyone defines the mentality, genre, feel of noise pop, it is Mr. Mould," declares Kurland. "In our opinion, he is the godfather of noise pop." To verify this assertion for myself, I went to check out a full bill at Bimbo's 365 club, with the ex-Husker Du singer headlining. Incomprehensibly, local act Nuzzle flaked out of the opening slot of a lifetime, leaving another local band, Thingy, to fill that space with their, um, interesting brand of spastic indie-prog. The next performer, John Vanderslice, has just embarked on his solo project after the dissolution of MK Ultra, but you wouldn't know it as he incorporated a healthy amount of his previous band's material into his live set. Overall it was very straightforward rock, but I'll hold out from further disparagements, because not only did Vanderslice pen a song with the line "Bill Gates must die!", he also runs his own website with dope MP3s. Check it out at: http://www.johnvanderslice.com . Chicago's Mountain Goats followed, and let me tell you quite honestly, it got to me. Despite the plural name, Mountain Goats is essentially one man, John Darnielle, and his acoustic guitar, spewing intense tales of broken love and historical ruminations over frenetic strumming, infused with a captivating, almost childlike honesty. Witnessing his one performance at Noise Pop made a believer out of me. By this point the stage was set perfectly for Mould, playing a solo acoustic set, to step in. Unfortunately, the ever-reliable United Airlines lost his electric guitar en route from Denver, so he was confined to playing his trademark 12-string, but believe me, that was more than enough. Kicking off as always with "Wishing Well," Mould tore into favorites from his solo, Sugar, _and_ Husker Du catalogs, including "Hoover Dam," "Brasilia Crossed with Trenton," "Makes No Sense At All" and "Celebrated Summer." At the crowd's behest, he even valiantly attempted "Panama City Hotel," which he claimed he hadn't even listened to in at least four years. It came off quite well, as did one painfully intimate new song that reduced the capacity crowd to an awed hush. It was great to hear how Mould is taking care of himself these days (e.g. cutting back on smoking and dairy products), and the quote which was probably the crowd favorite of the night was, "Is Madonna getting better or am I getting more gay?" Mould claims he's working on two new albums simultaneously, one subdued and one dance(!), but he's slow in releasing either of them. In the meantime, he certainly left us satisfied for one night. I managed to drag myself out of bed the next afternoon for a special early Noise Pop show at Bottom of the Hill, arriving just in time to catch the final four notes of East Bay band the Jim Yoshi Pile-up. Uh, they were a great four notes. Rumah Sakit tore the roof off the joint with their inspired, incredibly tight math-rock. Modesto, Cal., rockers Fiver will not get any good press from me, since their drunk hometown friends kept slamming into me. By this time the crowd had reached an unprecedented (and uncomfortable) level of physical intimacy, and Death Cab for Cutie's set offered no compelling reason to stick around. Why is this band so hyped again? From there it was a rainy drive across town to catch a stripped-down set at Cafe du Nord. A complete change of venue and pace from the fire-hazard overflow of Bottom of the Hill's indie-rock elite, the Cafe du Nord lineup reminded me again of Noise Pop's indomitable spirit and sheer love of music across multiple lines. Jonah Matrangah, former singer of Far, performed a set rife with innocence and chaos, enlisting friends and recent acquaintances from the audience to perform with him on stage, continually pleading with the crowd to "Do what you love...please." Very uplifting. And who better to bring you back down than Eric Bachmann? The ex-Archers of Loaf front man has launched a new solo project, Crooked Fingers, which is essentially Bachmann spitting out lost, drunken tales with a Tom Waits-ian rasp over a fierce, melodic, de-tuned electric guitar. In such a personal, intimate setting, it was impossible not get drawn into Bachmann's overpowering songs to the point of crying into your beer. I said it once, and I'll say it again -- I'm a believer. Noise Pop reminds me of why music festivals exist in the first place, or at least why they should: to showcase great music, and to make us believe in music again. Noise Pop's unbridled success in this endeavor, even after all these years, clearly sets it apart from industry orgies like the Gavin Showcase or South by Southwest. "We will never be a festival that caters to the industry," proclaims co-founder Kurland. "That isn't to say that we don't welcome people from LA or New York or wherever who work in the music business. We actually love it when they do want to be here, because that means they appreciate what we are trying to do and are fans of the bands that play. [But] at the end of the day, we are a music lovers' music festival, and that won't change." Thank God. Noise Pop is also expanding to Chicago this year, with awesome bands like Seam and Sleater-Kinney already confirmed for shows in May, as well as a reunited Wire. As hard as it may be to fathom, Noise Pop Chicago is shaping up to be even better than San Francisco's this year. But all the same, I feel privileged to have experienced all that I did during that all-too-short weekend. May the spirit of this festival live long and prosper. --- REVIEW: Patti Smith, _Gung Ho_ (Arista) - Don Share More Ho than Gung (literally), Patti Smith's new album is a fascinating new step in her quarter-century career. Lovingly, almost slickly produced, _Gung Ho_ is her most polished album to date, but she's compromised nothing. From an 11-minute epic about Vietnamese hero Ho Chi Minh, to a strident song-poem chastising African-Americans whose crack use sends their ancestors' dreams up in smoke, _Gung Ho_ shows that Smith's ardor and commitment remain undimmed. The music is much affected by the presence of boyfriend/guitarist, 20-something Oliver Ray, whose sound burnishes an already rich band consisting of stalwarts Lenny Kaye, Jay Dee Daugherty, and Tony Shanahan. But _Gung Ho_ is also given a tremendous boost on its most remarkable song, "Persusasion," by astonishing guitar work from Smith's young son, Jackson, who has clearly inherited chops from his dad, the late Fred "Sonic" Smith. In fact, Jackson's guest appearance is far more notable than those by Michael Stipe and Grant Hart, which are rather tossed-in. The single, "Glitter In Their Eyes," successfully updates Smith's sound without spoiling her vitriol, which in this case takes aim at the WTO and Disney. Easy targets, maybe, but you can't say that about the long Ho song, or "New Party," which is about having a political party not a millennium party for our new century. The lyrics of these last two songs reveal that Smith has been studying American history and its founding documents, the Declaration of Independence and the Constitution, but as a kind of revisionist: she advocates thinking and warm humanism, implicitly opposed to, say, George W. Bush's "compassionate conservatism." It's no surprise that Patti Smith has kept her politics honed sharp, but the music here is surprising. From the near-Blue Oyster Cult riffs of "Gone Pie" to the beautiful ballad, "China Bird," to the Mother Theresa-inspired "One Voice," there's a deely thoughtful dimension to her sound which was hinted at in recent albums, but is completely realized here. Never has Smith sounded so confidently diverse: "Libbies Song" could even pass for a Carter Family front-porch classic. Some will find all this disconcerting, but Smith has not abandoned, only developed her "Horses"-era work. Most moving of all, _Gung Ho_ is also a tribute to her father, whose photograph as a young man in military gear - and in a pose like that of his daughter on her first album - graces the album cover. This music is an embodiment not just of her ideals, and Ho's, but his: it celebrates democrats and warriors in heart and soul, and is both stirring and slogan-free. --- REVIEW: Eels, _Daisies of the Galaxy_ (Dreamworks) - Wes Long E, the brains and voice box behind the somewhat slippery and aptly titled Eels, presented us with _Electro-shock Blues_ in 1998. A dark collection of songs penned, cut and pasted together from troubled times: the suicide of E's sister and the long illness and subsequent death of his mother. _Electro-shock Blues_ concludes with the words "maybe it's time to live." E's new release opens with the mournful wail of a brass band performing at a New Orleans funeral, ushering out the pain and welcoming the celebration of life that is Daisies of the Galaxy. All attempts at categorizing E's music are futile; it's an ultra odd assortment of sounds and starkly contrasting influences. One moment he's a softer edged John Prine, "Grace Kelly Blues," while "Flyswatter" finds him filling the role of a demented barker at a state fair mumbling about field mice, head lice and spiders over a wonderfully dislodged and eerie carnival sound befitting a Danny Elfman scored Tim Burton flick. He's equally capable of creating goofy-ass toe tapping nonsensical ramblings, "I Like Birds," and Brian Wilson/Andy Partridge perfect inescapably dreamy pop, "Jeannie's Diary." The latter of the two will spin in your head and CD player almost incessantly. Lyrically, E's an even more difficult animal to tag. A lovely song of lost love is made all the more poignant and unusual by the words "it's a motherfucker, being here without you," a striking exhibition of unlikeness amidst a field of childlike verse. The Beck-ian and super radio friendly first single, "Mr. E's Beautiful Blues," not only features the chorus "God damn right it's a beautiful day," but it's also a hidden track on the CD. Go figure. With the aid of REM's Peter Buck (piano, guitar and bass), and Grant Lee Buffalo's Grant Lee Phillips (bass), E churns out a set of songs that are the polar opposite of stale. Each one somehow simply complex and contagious as all get out. Some of the tracks are so oddly silly and childlike that you almost feel guilty for listening, let alone enjoying them. Guilty or not, _Daisies of the Galaxy_ is a pleasure. --- INTERVIEW: Shannon Curfman - Al Muzer Rather than follow in the footsteps of Blues-belters such as Billie Holiday, Bessie Smith, Merline Johnson and Rosetta Howard, 14-year-old Shannon Curfman seems determined to walk the paths guitar-slingers like Johnny Otis, Elmore James, B.B., Bukka, Buddy, Muddy, Memphis Minnie and her personal hero, Stevie Ray Vaughn, have traveled. Described as a "downright scary" performer with an "almost freakish talent" that blends "Bonnie Raitt as a role model and Janis Joplin as a guardian angel" -- Curfman is one of a handful of young Blues practitioners championing what some consider a dying genre into a new century. In spite of her young age, the fact that she watches Dawson's Creek and Party of Five, can name three of five Backstreet Boys and is destined to endure comparisons to guitarist, contemporary, album guest and fellow Fargo, North Dakota, native Jonny Lang for at least six more years, there's a lot riding on Curfman's young shoulders. Determined to be seen as more than an underage novelty act, fiery appearances on the Late Show With David Letterman, CNN Showbiz Today and Good Morning America, a supporting slot during John Mellencamp's last tour and a brief headlining stint have exposed Curfman's incredible talent to a much broader audience. Strong sales, outstanding live performances, rave reviews, positive word of mouth and enthusiastic radio support for her Arista Records debut, the 11-song _Loud Guitars, Big Suspicions,_ is beginning to turn the little girl with the big guitar into a nationally-recognized figure. Name-checked as "a hot young guitarist to watch" by none other than Mr. Buddy Guy during an interview with the author three years ago, it was destiny, a phone call and one good publicist that finally connected Al Muzer and Shannon Curfman. CO: So, how does a 14-year-old in a sea of Backstreet Boys, 'N Syncs and Ricky Martins come up with an album this mature, this good and this grounded? Curfman: Well, a lot of my friends listen to the other stuff [manufactured teen fluff] and that's fine. But, a lot of them are starting to get into the blues, rock and Jimi Hendrix, too, and I think that's really great. I grew up with a real classic rock background thanks to the records in my parent's collection. I also went through a country thing for a couple of years. But, then I heard Jonny's record [18-year-old Lang is featured on three songs including the Lang/Curfman/Bowe-written "Love Me Like That"] when I was, like, 10 or so and I really started to get into playing the blues, funk and a much bluesier type of rock. CO: Okay - but that still doesn't explain how someone so young can come up with something as lovely, longing, lonely and heartbreakingly sad as "Never Enough." Where did that come from? Curfman: You know - I'm not really sure - That song, uhm - I don't really know! It has to be coming from somewhere, you know? I'm just not sure where, exactly, that somewhere is yet. I write without really stopping to think about "where" or "why." I've got time to figure all that out later on. CO: You mentioned a "country thing." You do realize that "I'm Coming Home" would be a massive hit on country radio? Curfman: I'm a real Lucinda Williams and Dwight Yoakam fan. Buck [Owens], John Prine, BR5-49 - good country music, you know? The stuff I play is definitely a mix of what I've been exposed to all my life. Country. Blues. Pop. Top 40. Rock. Dance. Oldies. Punk. I think it's a shame that music has to be segregated to different playlists, different charts and different radio stations based on what "label" it's been assigned. The guys in my band [which includes 36-year-old guitarist Randy Casey and former Rufus songwriter/keyboardist Kevin Murphy, 55] sometimes talk about the great AM radio stations of the '60s and '70s. Back in the day when everything got played and anything could become a hit. [sighs] CO: How did you decide that you were "ready?" Most folks your age don't have a clue -- you have an album. Curfman: Well [laughs], there are times when I'm at home hanging out with friends I went to school with [Shannon has been home schooled for the last few years] and grew up with, you know, hanging out and going to Burger King, that I forget about everything that's happening. I've got a great family that has supported and believed in me from the very beginning [dad even requested a job transfer to Minneapolis so the family could relocate Shannon's base of operations to a bigger city]. What's most important is that I completely love what I'm doing and I think - I hope, that comes across when I'm playing. For updates on Shannon's shows and appearances point your browser at: http://www.shannoncurfman.com or http://www.arista.com/aristaweb/ShannonCurfman --- REVIEW: The The, _Naked Self_ (Nothing) - Michelle Aguilar When I played this album in the living room, my roommate walked through at one point and said, "Man, Matt Johnson must have been really bummed out when Radiohead came out." While this album doesn't really sound like _O.K. Computer,_ I knew what he meant. Johnson has always been very good at making concept albums in disguise, taking one idea and exploring its depths through various perspectives and voicings. 1981's _Soul Mining_ is of course the masterpiece everyone always brings up, but I see similar modes of attack on an album like 1988's _Mind Bomb,_ which feels like the ravings of a man contemplating either suicide or a shooting spree or both. Even _Hanky Panky_ -- which wasn't Johnson's songs -- managed to convey a unified sense of the anger and despair bubbling not far underneath Hank Williams' country pop songs. _Naked Self_ is yet another cohesive The The album that is just perfect for listening to in one shot, on headphones, in the dark. This time, Johnson's concept is the harsh, mechanical sounds of a city, (New York, London, wherever) with most everything recorded to sound like the cold metal sheen at the top of the Chrysler Building. The important exception is Johnson's acoustic guitar, a musical Travis Bickle standing at the center of a cold whirlwind, the only example of genuine warmth or passion operating in this environment full of numbed, damaged individuals. It's an important exception because Johnson's guitar and aching voice are what really cut through the big, harsh soundscape and draw the listener in to the simple songs underneath the eight million naked stories here. "Boiling Point" starts us right off on a severe foot, opening the album with a single police siren that lasts a full 30 seconds then languishes its way into an slow, reverb-laden world of distorted electric guitar and metallic drums. It sounds like the "L" train emerging, agonizingly slowly, out of the underground and into the blinding heat of a summer day. I am reminded of the beautiful and sinister opening to _Mind Bomb,_ which sparked to life with the sound of wailing Muslim prayers. The strongest songs on this album are the snapshots of people in quiet crisis. "December Sunlight" is an uplifting guitar anthem for a sad-eyed woman, at the very moment she realizes that she's wasted half her l ife letting others make her miserable and that she doesn't need to waste the rest. Perhaps my surprise favorite was "Phantom Walls," a simple acoustic number that relies on the beauty of simplicity. Coming into the album ten songs deep, it's a refresher after the grimness that surrounds the previous songs. "Voidy Numbness" is very catchy, poppy, with a mean rhythm section that keeps building up and down and back up again on its guitar riff. "The Whisperers" is quieter and brooding, a bit reminiscent of "Kingdom of Rain" from the _Mind Bomb_ album. "Weather Belle," another good song, surprises with a repeated banjo riff, although the lyrics are familiar territory -- all about the last moment Johnson saw his love before it was taken away from him. However, having just said that, it should be noted that most of the lyrics on this album are a departure from the intensely personal-sounding songs Johnson has written in the past. Most of these songs sound like they're about someone else, maybe friends, maybe strangers. Or maybe they're disguised versions of himself, who knows? But the first person perspective was always one of Johnson's strong suits and it's the one thing I really find myself missing here. Still, the album's mission seems to be to tell stories of isolation, alienation, dysfunction and once in a while, hope. It succeeds at this quite well, surrounded by some of the warmest production Johnson has ever had. --- REVIEW: Dirty Three, _Whatever You Love, You Are_ (Touch & Go) - Chris Hill The Dirty Three, with their sixth album (if you count the recent Australian-only _Praise_ soundtrack), continue to release music that enchants and beguiles the senses. Violinist Warren Ellis coaxes sad, senses-filling visions from his instrument: a storm-tossed ship, a sailor's wife gazing out to sea from a beckoning lighthouse, a drunken man staring sadly at his empty bottle. Grim? Hardly. There are many moments of gentle beauty as well: tender, midnight caresses to go with the thunder and squall, all within the encircling arms of a single song. Like guitarist Mick Turner's thickly-brushed paintings which have graced their recent covers, the band's music is richly imagistic. Listeners, aside from a titular nudge, are left to paint their own pictures with the songs. "Some Things I Just Don't Want to Know" -- what things? "I Really Should've Gone Out Last Night" -- why? Who knows? For them, the journey is as important as the destination, and they don't give a paint-by- numbers pattern of vocals or lyrics to answer these questions, only instrumental suggestions for hue, tone, and color. With _Whatever..._, you have six canvasses to fill. In "Some Summers They Drop Like Flys," a wind-blown Scheherazade pinwheels from the heavens to land on earth, numbed and drunk with wonder. "I Offered It Up To The Stars & The Night Sky" begins as a secluded meadow of violins awakening gradually, joining one another until the ground is awash in notes vying for their place in the moonshine. A prelude, the violins then subside into silence, and the piece begins. Jim White's drums guide a steady guitar and a questioning, ecstatic violin to a glorious crescendo. The interplay between the three musicians here, and throughout, is phenomenal. Small wonder that indie luminaries such as Chan Marshall (Cat Power), Nick Cave, and Will Oldham have sought out their services, and count themselves among their fans. After the last track, "Lullabye for Christie," finishes all too soon, the listener departs with the knowledge that when night falls, the Dirty Three are a boon precursor to sleep, a soft cocoon of beauty and understanding to transport one's soul safe through the night. Watch for upcoming tour dates at http://www.dirtythree.com/, as the Dirty Three continue their practice of tour-only releases with _Lowlands_, an eight song CD. Live, the band is a beast of manic energy that prances and howls on stage, and not to be missed. --- REVIEW: Steve Stevens, _Flamenco A Go-Go_ (Ark 21) - Scott Hudson Steve Stevens has built himself quite an impressive resume over the past two decades. As the resident pyrotechinal guitar wizard for Billy Idol in the 80's, Stevens co-wrote some of their biggest hits including, "White Wedding", "Rebel Yell" and the haunting "Eyes Without A Face". In addition to his work with Idol, Stevens has appeared with the Thompson Twins at Live Aid, created the controversial "Dirty Diana" with Michael Jackson, won a Grammy for Best Pop Instrumental Performance for the Top Gun soundtrack and in the mid-'90's, recorded and toured with Motley Crue front man Vince Neil, to name a few. However, it was a concert by renowned flamenco-guitar virtuoso Paco De Lucia that would inspire Stevens to explore new musical terrain. _Flamenco A Go-Go_ is an enhanced CD (which features internet links and live performance video).The record combines Stevens love of traditional flamenco guitar styles and his fascination with state-of-the-art electronics. Although recorded exclusively with a nylon-stringed classical guitar, Stevens was able to digitally alter the sound to make it sound electric on "Letter To A Memory" and "Flamenco A Go-Go." With its ghostly keyboard intro, "Our Man In Istanbul" quickly establishes itself as an exhilarating, full-tilt race across the countryside with Stevens' dazzling fretwork setting the pace. On the bouncy "Flamenco A Go-Go", Stevens plays all of the instruments, as he does on most of the record with the exception of the percussive work and the occasional voice. The Federico Fellini-inspired "Cinecitta" with its beautifully crafted, tasteful guitar lines and atmospheric keyboard is rhythmically brilliant and passionately gut-wrenching. And then there is "Dementia", Stevens' six and a half minute tour-de-force. A technical free-for-all, "Dementia" begins with subdued, exquisite melodies that soar into a barrage of dizzying, staccato flourishes climaxing into a synthesizer frenzy that would make Keith Emerson grin with approval. This tune has enough intensity to power a small city. Not to be forgotten are outstanding numbers such as, "Twilight In Your Hands", "Riviera '68" and the cerebral "Feminova" with its opening monologue, "This will twist your head..." It most certainly will! _Flamenco A Go-Go_ is masterful neo-flamenco record from a performer who doesn't classify himself in that genre. With this record Steve Stevens reveals himself as an artist who knows no bounds; creating a record that is not only technically brilliant, but emotionally intense. --- INTERVIEW: Podunk - Al Muzer Friends since kindergarten and jamming together since they were 12-years-old, Port Arthur, Texas, natives Paul Soroski (bass), Bryan Jones (guitar) and vocalist/guitarist/songwriter Jason Touchette form the front line of one of the crispest, crunchiest, radio-ready rock outfits since Lou Gramm and Foreigner lied way back when and said it felt "Like The First Time." Together with Austin-born co-songwriter and Podunk drummer/vocalist Dwight Baker since 1996, this Lone Star State quartet crafts earnestly sung "boy meets girl, boy longs for girl, boy gives girl the 'world,' girl is still cold as ice, uh, hey! come onnnn, girl!" Ötype, no frills AM radio pop-metal with soaring, sing-along hooks, an urgent bass/drums pulse, monster choruses, sweeping guitars and the staggering, Gramm-was-Grandpa chops of Touchette. Not as raw, rough, raucous or ragged as 1996's_Murlin's Doc_, the just-released, William Poppy (Smash Mouth) -helmed _Throwin' Bones_ (on the group-run Matchbox Records) has already been named one of the Top 10 most added "Radio & Records" rock chart discs and features The Album Network's No. 11 most added track and the group's first single, "Wings." A diehard Podunk fan two verses into "Wings" -- Al Muzer recently chatted with Baker about touring, roots, fitting in, "King Of The Hill" and an album that packs the sort of big league punch that could turn a bunch of sun-fried rednecks from Heatstroke, Texas, into the hottest thing to hit radio in years. CO: The other three members of Podunk have known each other since they were kids and have been jamming together for almost 10 years; did you find it hard to fit in when you joined? Especially when you consider the fact that you're the group's first and only drummer? Baker: Jason, Paul and Bryan had a lot of time to get used to each other and learn how to, like, "read" each other, so there was a period there where I would, uhm, sometimes get lost. [laughs] They're good, small town folks, though. Nice, caring fellas, not a bad bone in their bodies, so I never felt like there was an agenda or that I didn't fit. They never treated me like an outsider. On the other hand, those three go back so far that they'll always be inside each other's head, they'll always kind'a know what the other guy is thinking. Our live shows can get pretty interesting sometimes, [laughs] like, "out there," because of the closeness of the band. CO: You've toured with Shannon Curfman and Tesla and have shared the stage with a wide variety of musicians playing a wide variety of styles. Baker: That's the truly great thing about this record and about this band. We can play comfortably with a wide range of acts. We can tour with just about any band out there and hold our own. We get blues fans likin' us, metal fans, straight up rock fans - it's great to see folks that didn't know who we were when we picked up our instruments cheering when we finish our set. Ya' know, we used to have a mostly male following but, in the last year or so, there's been a huge increase in the number of women, loud women [laughs], at our shows. I dunno, maybe the gals are lookin' to rock again? CO: When you think about it, _Throwin' Bones_ is a daring record to release in the era of Christina, Mandy, M2M, Britney and Backstreet. It's completely unlike anything else out there right now, yet it's so commercially accessible that I can't believe no other band has thought to revive the genre. Baker: We don't think of it as "reviving" anything, actually. We just wanted to make a solid, riff-y rock record loaded with nothing but great songs that stayed as true to our roots as possible. That's what we've always been about. All four of us grew up listening to Van Halen, the Black Crowes, Foreigner, Tesla, ZZ Top, 'Zeppelin, Janis Joplin, Willie [Nelson], Stevie Ray [Vaughn], Doug Sahm and Johnny and Edgar Winter and, I think, we manage to pull a little bit of all that together in our sound. It just wouldn't have been right -- it wouldn't have been us -- if we'd tried to sound like, say, Korn, Blink 182 or Limp Bizkit. The way we sound is the way we sound. What we were ultimately aiming for on _Throwin' Bones_ was to create something that would find a place on "Rock" radio. Something that stood half a chance on today's charts. We wanted this album and these songs to really stand out on the radio -- so we mixed everything with how it would sound coming through a set of car speakers in mind. We mixed the record loud, phat, full and convertible-ized! We aren't out to change the world, you know. Just getting people to sing along to one of our songs, I think, would be accomplishment enough. For Podunk updates including shows, news and special appearances point your browser at: http://www.matchboxrecords.com/podunk-news.html . --- REVIEW: Acoustic Junction, _Strange Days_ (Omad) - Joann D. Ball There is only one name for the musical intersection of rock, power pop, country and folk, and that is Acoustic Junction. And as singer/songwriter Reed Foehl recently learned, Acoustic Junction is the only name for his much beloved band. Foehl and his band mates return true to form on _Strange Days_, and the long awaited release of this fourth studio effort reflects hard lessons learned in the past several years of the band's decade long career. Signed to Capricorn Records in 1997, the band recorded a studio release under the new moniker Fool's Progress, but the major changes ultimately alienated the band from its roots. Despite maintaining the signature rock, country and more hybrid sound, the ill-fated name change left longtime fans wondering what had happened to one of Boulder, Colorado's most popular bands. But that's all in the past, because the delightfully lengthy _Strange Days_, which flows perfectly from start to end, represents a wonderful new beginning for Acoustic Junction. The fourteen tracks are honest and straightforward, with Foehl's insightful lyrics brought to life by a skillful blend of acoustic and electric instruments which is the foundation of the band's full melodic sound. With Foehl at the helm, Curtis Thompson on bass, Tom Diehl on drums and Tim Roper handling a number of instruments including organ, piano and harmonica, Acoustic Junction will certainly win back old supporters while expanding its vast fan base. Opening track "Every Heart" travels along the same gravel road as Grammy Award winner Lucinda Williams. The first radio single "Melt," which features former Hall and Oates bassist and former Saturday Night Live band member T-Bone Wolk on accordion, bass and reso guitar, unfolds slowly into a touching tale of longing and sorrow and then segues into the uplifting, big blue sky feel of the title song, "Strange Days." Drummer Kenny Aronoff, from John Mellencamp's band, provides the beat on this track, as well as on the slower tempo numbers "Green" and "Long Way 'Toil Tomorrow," and also on "Contender," a bittersweet tale of "could have beens" that features T-Bone Wolk's pulsing bass and a stinging guitar solo from Adam Steinberg. Acoustic Junction also received help from the legendary Graham Nash of CSN&Y, who duets with Foehl on the beautifully tender "Dancin' For You." Given all that Acoustic Junction has survived in the past few years, _Strange Days_ is a triumph for a band that toured endlessly to make a name for itself. But at least for Acoustic Junction the deal signed at the crossroads didn't mean the demise of one of Boulder, Colorado's best bands. Acoustic Junction has been reborn with a firm sense of purpose and in _Strange Days_, one of the best records of the year. --- REVIEW: Pornosonic, _Unreleased 70s Porno Music feat. Porn King Ron Jeremy_ (J-Bird) - Matthew Carlin When you boast porn king Ron Jeremy right on the cover of a CD you know what's inside is going to be awful. But in a good way. And that's (hopefully) the intent behind Pornosonic. With song titles like "Special Delivery" from the film _A Happy Ass_ and "Laying Pipe" from _Plumbers Delight_, Pornosonic has all the porno music pre-requisites: wah wah guitar, fuzzed out bass, cheesy organ sounds. Oddly enough, "The Hedgehog" Jeremy's contributions are fairly minor. In fact his between song banter isn't even funny enough to quote. Even more odd, though, is that his voice and delivery sounds remarkably similar to Captain Beefheart's on _Trout Mask Replica_. Stand-outs include the slow, melodically bass-driven "Nice N Sleazy Does It," the funky wah wah workout "SpiderPussy," the spirited "Prepare for Take Off" (nice trumpet arrangement) and, of course, "SpiderPussy (Slight Return)" from _SpiderPussy 2: Caught in the Web_. Sophomoric? Yes. But entirely amusing. It's the little touches, like the flute on "Her Magic Carpet" from _Donna Does Denise_ and the addition of female vocals for "SpiderPussy (Slight Return)" that make the yucks work. --- REVIEW: Gladshot, _Gladshot_ / Debbie Andrews, _Suburbs of Eden_ (Frankly Mills Music) - Jon Steltenpohl Mike Blaxill and Debbie Andrews are two independent musicians with some potential. When Blaxill fronts the band, they apparently go by "Gladshot", and when Andrews sings, it's solo. But, both albums feature Blaxill and Andrews as the main artists and as cowriters on nearly every song. Debbie Andrews' _Suburbs of Eden_ is a sweet little album with an easy pace and a nice feel. It's not definably country, folk, pop or mellow. Some songs feel a bit like Sarah McLachlan without the drama, and others feel like Shawn Colvin without the twang. Either way, it's nice, laid back music that's often driven by Andrew's guitar. Gladshot's self titled debut is a little bit stronger at times, but still shares in the "white bread" sound of Andrews. You'll find a little bit of R.E.M.'s harmony driven pop along with a bit of Hootie and the Blowfish's straightforward sound. A few songs pick up a casual blues feel to them, and there is enough guitar here and there to pep it up a bit. At times, the sound is even reminiscent of Don Henley or Bruce Hornsby. In the end, both albums are good examples of independent talent just waiting to be discovered. Andrews and Glaxill have a good feel for melody, and even though their genre isn't played on radio much these days, it doesn't change the fact that these are pretty good albums. For more info, check out http://www.debbieandrews.com or http://www.gladshot.com --- REVIEW: Cupcakes, _Cupcakes_ (DreamWorks) - Jade Hughes I first started to appreciate this album on my third listen. I had put the music on quite loud so that I could "feel" it and I was having a coffee with a friend. We both realised, nine or ten minutes into the album, that we were unconsciously moving our heads and smiling to the music. To be honest, when I first listened to "Cupcakes" I thought it was just any other pop/rock band. It needed a few good listenings to realise that Cupcakes are not just any pop band, but an up-and-coming, modern band with a lot of potential. The music sounds firstly like happy pop, the impression given by the simple, electronic sounds. This is then counteracted by a good dose of rock which spurts out through your stereo speakers and boosts the music up. The rock guitar riffs give the song more intensity. The lyrics are emotional and straight to tthe point, and Preston Graves voice is very poignant, stands out from the music and conveys feeling. His voice is not always "easy-listening," especially when it reaches higher peaks, dripping with emotion, but it works exceptionally well with the music. The first song, "Exaggerator," pulls you straight into the Cupcakes' world, which seems to be a mix of anything and everything, it's up to the listener to pick out what they want to. My definite favourite is "Blood Thirsty," as the lyrics are very direct and r emind me exactly of what I would love to do to someone I hate - I think everyone can compare their own experiences to this one! "Space Age Boy" is another gem. The music of this song has a slower beat and it is so full of emotion that it nearly brought tears to my eyes. Those three are my favourites, but the others are pretty interesting and well worth listening to. Any fans of Pavement, The Presidents of the USA, Blur, Weezer and Smashing Pumpkins should love Cupcakes' debut album. An interesting band who are probably going to have an interesting future! --- REVIEW: Nickelback, _The State_ (Roadrunner) - Scott Hudson When Nickelback independently released _The State_ in January, 1999, through their own label, it was well received in their native Canada. Their leadoff single, "Leader of Men," went top-twenty on the Canadian rock charts and the record companies began hovering like hungry vultures. The band eventually inked a deal with Roadrunner Records. After listening to the _The State_, one can only wonder if the people at Roadrunner had done the same or were they simply blinded by the hype surrounding "Leader of Men?" Nickelback is nothing more than a Canadian version of Bush, although less cryptic lyrically. Chad Kroeger's vocals are an almost perfect imitation of the raspy-throated Gavin Rossdale, with a pinch of Kurt Cobain thrown in for good measure. _The State_ is an energetic record but it isn't energy that sustains a record. Sometimes it helps to have good songs, and _The State_ boasts only three (and "Leader of Men" isn't one them). "Old Enough," "Diggin' This" and "Breathe" are good tunes full of energy and aggression, however, the other 75 percent of the record consists of tunes that seem aimless and uninspired. Although Nickelback has certainly made a splash in Canada, it will take more than _The State_ has to offer to make any noise south of the border. With a lot of creative tweaking they may have a chance, without it they'll continue to be a big fish in a very small pond. --- TOUR DATES: Beck Mar. 18 Copenhagen, Denmark Kb Hall Mar. 20 Stockholm, Sweden Cirkus Mar. 23 London, England Wembley Arena Mar. 24 Manchester, England Apollo Mar. 25 Glasgow, Scotland Armadillo - Clyde Auditorium Frank Black and the Catholics Mar. 16 San Diego, CA The Casbah Mar. 17 San Juan Capistrano, CA The Coach House Mar. 19 Santa Barbara, CA Yucatan Mar. 21 Phoenix, AZ The Mason Jar Mar. 22 Tucson, AZ The New West Gotham Mar. 23 Las Vegas, NV Legend's Phil Coulter Mar. 16 Albany, NY The Egg Mar. 17 New York, NY Avery Fisher Hall Mar. 18 Worcester, MA Mechanics Hall Cracker Mar. 17 Washington, D.C 9:30 Club Mar. 18 Philadelphia, PA Trocadero Enon Mar. 16 Austin, TX Copper Tank Mar. 19 Fayetteville, AR Clunk Music Hall Mar. 21 Knoxville, TN Tomato Head Mar. 22 Richmond, VA University of VA Mar. 23 Carrboro, NC Go Lounge Mar. 24 New York, NY Mercury Lounge Mar. 25 Baltimore, MD Otto Bar Filter / Chevelle Mar. 16 Minneapolis, MN Quest Club Mar. 17 Indianapolis, IN Egyptian Room Mar. 19 St. Louis, MO American Theatre Mar. 20 Pittsburgh, PA Metropol Mar. 22 Chicago, IL Riviera Mar. 24 Dallas, TX Bronco Bowl Guster Mar. 23 E. Lansing, MI Michigan State Mar. 24 Granville, OH Denison University Mar. 26 Peoria, IL Bradley University Ben Harper And The Innocent Criminals Mar. 16 Madrid, Spain La Riviera Mar. 17 Barcelona, Spain Zeleste Mar. 19 Toulouse, France Zenith Mar. 20 Bordeaux, France La Patinoire Mar. 22 Paris, France Bercy Mar. 23 Angers, France Amphitea Mar. 24 Caen, France Zenith Mar. 25 Lille, France Zenith Miles Hunt Mar. 23 Philadelphia, PA The Northstar Mar. 24 Passaic, NJ Loop Lounge Mar. 25 Asbury Park, NJ The Saint Incubus Mar. 16 Scranton, PA Tink's Entertainment Mar. 17 Hartford, CT Webster Theatre Mar. 19 Portland, ME State Theatre Mar. 21 Toledo, OH Roxy Theatre Mar. 22 Chicago, IL House of Blues Kelis Mar. 21 Atlanta, GA Yin Yang Mar. 22 Savannah, GA Savannah College w/Wyclef Jean Mar. 23 Durham, NC Duke University w/Wyclef Jean Mar. 25 Charlotte, NC UNC Charlotte w/Wyclef Jean Korn Mar. 16-17 Chicago, IL Allstate Arena Mar. 19 Indianapolis, IN Conseco Fieldhouse Mar. 20 Fort Wayne, IN Fort Wayne Coliseum Mar. 22 Dayton, OH Nutter Center Mar. 24 Buffalo, NY Marine Midland Arena Neko Case & Her Boyfriends Mar. 17 Austin, TX Yard Dog (Day Show) Mar. 18 Austin, TX Antone's (Billions Showcase) Mar. 20 Houston, TX Rudyard's Mar. 21 New Orleans, LA Mermaid Lounge Mar. 22 Atlanta, GA Echo Lounge Mar. 23 Nashville, TN The End Mar. 25 Chicago, IL Double Door New Wet Kojak Mar. 16 Austin, TX Buffalo Billiards Mar. 18 Nashville, TN The End No Doubt / Suicide Machines Mar. 24 Chicago, IL Riviera Ginny Owens Mar. 23 Columbus, OH New Life Comm. Baptist Church Mar. 24 Terre Haute, IN Indiana Theatre Mar. 25 Cincinnati, OH Landmark Baptist Church Papas Fritas Mar. 16 Houston, TX Rudyard's Pub w/ Team USA Mar. 17 Denton, TX Rubbergloves w/ Sealy, Team USA Mar. 18 Austin, TX Waterloo Brewery (SXSW) Mar. 21 Tucson, AZ The Solar Cultural Gallery Mar. 22 San Diego, CA The Casbah Mar. 24 Los Angeles, CA Spaceland w/ Push Kings Mar. 25 San Francisco, CA Bottom Of The Hill w/ The Orange Peels Podunk Mar. 18 Corpus Christi, TX Centre Theatre w/Pushmonkey & The Hunger Mar. 22 Amarillo, TX Dodge City w/ Union Mar. 23 Lubbock, TX Liquid City 2000 w/ Union Mar. 24 Ft. Worth, TX TCU Mar. 25 Dallas, TX Canyon Club w/ Union Powerman 5000 Mar. 16 New Orleans, LA House Of Blues Mar. 18 Oklahoma City, OK Diamond Ballroom Mar. 20 Denver, CO Ogden Theater Mar. 21 Salt Lake City, UT Salt Air Prodigals Mar. 16 Boston, MA House of Blues Mar. 17 Chicago, IL Navy Pier Mar. 18 Washington, DC Black Cat Red Hot Chili Peppers / Foo Fighters / Muse Mar. 24 Minneapolis, MN Target Center Mar. 25 Madison, WI Dane County Expo Center Slip Mar. 17 Atlanta, GA Cotton Club Mar. 18 Athens, GA 40 Watt Club Mar. 19 Asheville, NC Stella Blue Mar. 21 Greeneville, NC Peasants Cafe Mar. 23 Baltimore, MD 8x10 Mar. 24 Philadelphia, PA Kyber Squatweiler Mar. 16 Austin, TX Waterloo Brewpub (SXSW) Tonic Mar. 25 Baton Rouge, LA Bonne Fete 301 Tonic / Third Eye Blind Mar. 16 Minneapolis, MN Orpheum Theater Mar. 17-18 Chicago, IL Riviera Mar. 19 Milwaukee, WI Eagles Ballroom Mar. 21 Akron, OH Akron Civic Center Mar. 22 Cincinnati, OH Taft Theater Mar. 23 Marietta, OH Ben Johnson Fieldhouse Mar. 24 Detroit, MI State Theater Apr. 24-25 Boston, MA Orpheum Theater Union Mar. 16 San Diego, CA Brick By Brick Mar. 17 Anaheim, CA The Shack Mar. 18 San Luis Obispo, CA S.L.O. Brewing Mar. 19 Phoenix, AZ Mason Jar Mar. 20 Kingman, AZ House of Sound Mar. 22 Amarillo, TX Dodge City Mar. 23 Lubbock, TX Liquid 2000 Mar. 24 Odessa, TX Dos Amigos Mar. 25 Corpus Christi, TX Buckets --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.consumableonline.com To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. PMB 294, Hoboken, New Jersey 07030 ===