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