From gajarsky@pilot.njin.netSun Mar 26 22:37:24 1995 Date: Sun, 26 Mar 95 21:35:45 EST From: Bob Gajarsky To: cc: ; Subject: Consumable, 3/27 ================== CONSUMABLE ======== [March 27, 1995] Editor: Bob Gajarsky Internet: gajarsky@pilot.njin.net Sr. Contributors: Jeremy Ashcroft, Martin Bate, Al Crawford, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Tim Mohr, Joe Silva, John Walker Other Contributors: Kelley Crowley, Tim Hulsizer, Melissa Pellegrin, P. Nina Ramos, Michelle Richmond, Jamie Roberts, Linda Scott, Ali Sinclair, Jon Steltenpohl, Jorge Velez, Scott Williams Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form other than within this document must be obtained from the editor. ================================================================== .------------. | Contents |-. `------------' | `------------' REVIEW: Faith No More, _King for a Day, Fool for a Lifetime_ - Martin Bate REVIEW: Elastica, _Elastica_ - Bob Gajarsky INTERVIEW: Manic Street Preachers - Bob Gajarsky REVIEW: Manic Street Preachers, _The Holy Bible_ - Tim Kennedy CONCERT REVIEW: Oasis Live in Toronto, CA March 14, 1995 - John Walker REVIEW: Fossil, _Fossil_ - John Walker REVIEW : Slick Rick, _Behind Bars_ - Martin Bate REVIEW: Future Sound of London, _ISDN_ - David Landgren REVIEW: Barkmarket, _Lardroom_ - Nina Ramos NEWS: Sony's Legacy Reissues, Rake's Progress TOUR DATES: Difference Engine, Echolyn, Elastica, From Good Homes, God Lives Underwater, Kirsty Maccoll/Fossil, Opium Den, Rake's Progress Info on K.I.T. Zine THE READERS WRITE BACK Back Issues of Consumable --- REVIEW : Faith No More, _King for a Day, Fool for a Lifetime_ (Warner) - Martin Bate Faith No More are back in business. After a sticky period where they fired long-time guitarist Jim Martin, then waved goodbye to his replacement, singer Mike Patton's Mr. Bungle playmate Trey Spruance (who plays here on the album), they've welcomed good friend Dean Menta into the fold and are back firing on all cylinders. Every time you think you've got FNM pinned down they surprise you. Following on the heels of the slick modern metal of _The Real Thing_ and the twisted, difficult and quite superb ball of conflicting sounds that was _Angel Dust_ comes possibly their best album yet. _King for a Day, Fool for a Lifetime_ is nothing less than 14 addictive, wildly varying songs juxtaposed together to create one of the most complete albums you'll hear this year. Starting with the skewed pop-metal riffs of "Get Out" with Patton's lyrics hinting at where they've been since we last saw them ("What if there's no more fun to have ?...Cut my losses and get out now!"), you immediately notice the change in producer. Out goes producer (since the start) Matt Wallace and in comes Andy Wallace who's worked with Rage Against the Machine, Slayer and Nirvana. The sound is drier and more live. On the down side, Roddy Bottum's keyboards seem to be pushed back in the mix on much of the guitar-oriented tracks, where FNM were often characterized by the keyboards being offset against the guitars. But on the positive side, Bill Gould's bass is thick and high in the mix, in some places sounding like another lead instrument. And then there's Patton, possibly the most versatile singer around; he's let loose to scream, roar, soar and soothe all the way through. From "Get Out" out, the ride is a rollercoaster : the soaring pop chorus of "Ricochet" which could have half the western world singing "It's always funny until someone gets hurt and then its just hilarious!"; the smooth laid-back funk of "Evidence" where Patton croons "You didn't mean a thing a thing/I didn't feel a thing" like some bastard-smooth heartbreaker; the barely restrained venom of "Gentle Art of Making Enemies"; the Tom Jones style James Bond theme of the horn-led "Star A.D." - it's about now when you realize how dizzying this album can me, making you smile and sing along. Then comes the fucking *brutal* "Cuckoo for Caca". Vicious tribal drumming and Slayer-heavy guitars and Patton screaming like a maniac about the relationship between man and shit (!). When they open with this, stand back and watch security drag the bodies out. The final confirmation of genius comes when this is immediately followed by the bossanova rythyms of "Caralho Voador" with Patton cruising behind the wheel of a sleek car whispering in Portuguese and warning with a sexy croon that "My lips are moving but there's no sound/Someday somebody's gonna get run down..." And so it goes on : the frenzied and frightening "Ugly in the Morning" with Patton sounding completely unhinged come the end; the pop-punk-metal of first single "Digging the Grave"; the country tinged balladeering of "Take This Bottle" which is only a few short steps away from being "Every Rose Has its Thorn"; the epic pull and release of "King for a Day" which loops out on an accoustic groove with Patton whispering "Don't let me die with that silly look on my eyes" like a mantra; the concrete heavy slab of "What a Day"; the quite quite beautiful "The Last To Know" where the guitar crucnches and shimmers while the vocals and keyboards just soar; and the big finish of "Just a Man" which grooves in one door on a Boney M bass-line and sails out the window with a big camp cabaret gospel ending to end all endings. Each song is self-contained and to the point. There's little of the obtuseness and difficulty of _Angel Dust_ and there's huge hooks at every second turn. This should see them both climbing the charts again *and* consolidating their fans confidence that Faith No More are always shifting and rarely disappointing. Am I allowed to nominate my album of the year yet ? --- REVIEW: Elastica, _Elastica_ (DGC) - Bob Gajarsky Britain's class of 1994 has almost completely made the import to American shores, each with a heavy influence from a band of days gone by. If Echobelly is today's Smiths and Oasis is the modern incarnation of the Beatles, Elastica is the 1990's vertsion of punk rock pioneers like Wire and the Stranglers. The throwback to those punk days is evident upon seeing the cover of Elastica's self-titled debut. The four members of the group, lead vocalist/ guitarist Justine Frischmann, guitarist Donna Matthews, bassist Annie Holland and drummer Justin Welch, are decked out in all black outfits against a brick wall which could have been taken from CBGB's or any of the late 70's punk hangouts in either New York or London. But, a la Vanilla Ice's denial of "borrowing" a riff from Queen, the band denies any stealing of riffs from any groups, including on the first U.S. single, "Connection". "Musically, it is quite odd", the band explains. "This song doesn't sound like anyone else ever." Whether accidental or deliberate, Elastica was recently found guilty in Europe of using the same notes on "Connection" as had been used on a Wire track. The rest of the 16 song debut follows the same pattern. Most songs are less than 2:30 long, taking the listener on a fast-paced, guitar-heavy jaunt through life, getting laid, the media, groupies without even stopping for breath. Suede's Brett Anderson helps with the lyrics on "See That Animal", and the three previous U.K. singles are also included here. In conclusion? Those who weren't around during the late 1970's for the first punk revolution might just find Elastica completely new. But, for those who lived through it, Elastica will sound like a different twist on an old theme. And when finished listening to Elastica, pick up those old Wire and Stranglers albums. You'll be amazed at how "current" they sound. --- INTERVIEW: Manic Street Preachers - Bob Gajarsky Britain's Manic Street Preachers have been one of the U.K.'s most successful bands over the past few years, from their stunning debut album _Generation Terrorists_, which yielded a half-dozen U.K. Top 40 hits to their second and third albums, _Gold Against The Soul_ and _The Holy Bible_. Despite this, the Manics have never been one to follow the conventional thinking of a pop OR rock band. Consumable was able to talk to the Manics' lead singer, James Dean Bradfield, to discuss a little of the band's past, present and future. At the time of this interview, the mysterious disappearance of guitarist Richey James Edwards was not common knowledge - which, after the fact, makes some of Bradfield's comments more interesting. The new album, _The Holy Bible_ (see review elsewhere in this issue), is a harder rocking album than the first two Manic efforts. Through the lyrical content of works ranging from the political "If White America Told The Truth For One Day Its World Would Fall Apart" to the pro-death penalty "Archives of Pain" to the emotional hurting of "She Is Suffering" and "4st 7 lb.", it becomes apparent that this is no ordinary band. Four well-versed men, the Manic Street Preachers treat each album in an academic manner like an essay. The album title is the first thing to be decided, before any songs are written. Following this, the lyrics for each song are written, primarily by guitarist Richey James Edwards (and also by bassist Nicky Wire). After that, lead singer James Dean Bradfield interprets the lyrics and is the primary writer music (along with drummer Sean Moore)which will best suit the words. Although Bradfield has never disagreed with the lyrics he sings, he explains that "Everything I do is interpretative, which means I don't necessarily have to agree with everything in the lyrics." Some lyrics which Bradfield does explain are those to the pro-death penalty song, "Archives of Pain". Brutal individuals and killers such as Jeffrey Dahmer are name dropped throughout the track. Bradfield details the meaning behind this song: "There's a line, 'Give him the respect they deserve' - it's obvious the only thing these people (named in the song) respect is death - so give them respect too. Yes, it's pro-capital punishment. It's quite shocking for us, since we come from a very traditional background, even from our country. We wrote that song and it was obvious that it had a right wing slant on it. Other groups might have censored themselves and said "Fuck, we can't write that" but we figured since we wrote it, we had to be honest and not change it. We are quite disillusioned with our view of politics." What makes the Manic Street Preachers different than other bands is the lack of egos within the group. "We were four best friends forever" states Bradfield. "Immediately, as we formed the group, found out what we could do better than other people. As four composite characters, we knew that we lacked certain characteristics. We always knew we were quite inadequate as four individuals, but as a group, we did for each other what we couldn't do for ourselves." The politicized environment that the four lads grew up in the United Kingdom in helped to shape their jaded view of the world. The punk world of the late 1970's was beginning to take shape and thumb their nose properly at the establishment. Songs were written about atrocities perpetrated against individuals - and people were singing and *listening*, to these songs. James Dean Bradfield was also listening. "Before writing the music for this album, I listened to all the music that I liked as a kid, such as Gang of Four, the Clash, Sex Pistols and Propaganda", Bradfield says. "These were the best lyrics Richey had ever given me. They were more final and complete and focused in terms of a general mood - and I had to get myself more focused to write the best music for them. I was dissatisfied with the music I wrote for the second album and didn't do the lyrics much justice." That second album led to an unusual pairing - the Manics opened up for Bon Jovi at England's Milton Keynes Bowl. Bradfield remembers that show: "There were a lot of things that went wrong in the small-to-medium picture. We always had this perverse attitude that the best situations are the most bizarre ones. We enjoy putting ourselves in situations where we couldn't win, so therefore we thought we could win. It was obvious as soon as I walked on stage that I shouldn't be doing it. We could have made it much more than we did (if we wanted to) - just say 'Put your hands in the air' and break it down into drums and vocals, and immediately you can win 1/8 of the audience. We just can't physically lift our hands to do that - I feel awkward. I didn't have a chip on my shoulder that day because we put ourselves in that situation and we were the people to blame." Although "Little Baby Nothing" (a track off their first album, _Generation Terrorists_) was finally sung by a pre-music career, pre-Melrose Place Traci Lords, the band originally asked for the vocals of Kylie Minogue. Wait - *the* Kylie Minogue, Australian soap opera star who had a slew of top 10 UK hits written by the kings of bubblegum love songs, Stock/Aitken/Waterman? "It was written with a symbol in mind and Kylie's sort of the image of it as well", Bradfield explains. "We saw Kylie as a manipulative kind of person without people really knowing it, but she had a very subtle way of infusing power into her songs - she had people in the palm of her hands. We see a parallel with Traci Lords as well. Judging who's in control by what appears on the surface is such a silly idea. People make assumptions without ever asking the person if they feel in control." Then there's Shampoo, the European duet formed by two teenage girls who had founded a Manic Street Preachers fanclub, and are now writing songs a la Transvision Vamp, Cyndi Lauper or Toni Basil. There's no threat to the band, or even a contempt of the pop band: "I have no problems when Shampoo. They've got great balls! It would be a pretty fucking boring world if everyone did the same kind of music. They just piss men off because they completely intimidate men. I think it's fantastic." There are only two moments when Bradfield expresses any kind of contempt or anger - both when this reporter gets a little too close to the heart of the Manics. As we now know, Richey James Edwards, guitarist and co-lyricist for the band, has mysteriously disappeared for the last month in England. Given his past medical history, his state of living comes into question. Therefore, it is understandable that Bradfield (who was supposed to have been accompanied by Edwards for the interview) becomes a bit testy when asked about the circumstances regarding Edwards' summer visit to a United Kingdom mental institution. "It's too personal", explains Bradfield. "On a surface level, he's always had too many vices to cope with - too much drugs, too much alcohol, the self mutilation thing - which he uses as a release. He always believes in a strong mind, strong body - and his mind overestimated the reaction to his body." "The self-mutilation thing" which is referred to was most dramatically covered when a British reporter was questioning the authenticity of Edwards works, and wondering if the band was just a carbon copy of the Clash. Edwards took out a knife, cut the words "4 REAL" into his arm, and asked if that answered the question. The other area of sensitivity concerns the lyrics to "If White America Told The Truth For One Day Its World Would Fall Apart", a track from the new _Holy Bible_ release. Although most of the lyrics for the song appear pointed towards criticizing the moral right (and Tipper Gore, for her lyrical censorship issue), Democrats are brought to task as well with the final line imploring, "Fuck the Brady bill", the gun limitations act installed after the failed assassination of Ronald Reagan in the early 1980's. When pressed for an explanation of these seemingly contradictory stances, Bradfield defensively replies, "We've never felt the need to explain any of our lyrics - that's enough of a political statement. You'll never get us to explain any of our lyrics any further. I'll be contentious and let you make up your own mind." Despite this defensiveness, Bradfield never passes the blame for the Manics not breaking in America. "We mean jack shit over here, and we want to reach a fan base over here. We always blame ourselves before blaming others - and if, to reach that fan base, we have to play to 20 people a night, so be it. I just want that chance - we've only played six concerts over here - and, whatever happens, so be it. It'll be just like starting over again - not knowing who will show up. It's scary, but we know our position." Unfortunately, the Manics are in a precarious position. Another record - their third - is being issued in the United States six months after its U.K. release. Richey James Edwards has been missing since February 1 and no evidence has been found to determine if he is still alive. The tour designed to break the band in the United States has been cancelled. Bradfield has repeatedly stated that the band is a family - and the group would cease to exist if any member of the family did not want to stay (in the band). From a music standpoint, another great album by the Manic Street Preachers may be overlooked on the shelves; from a human standpoint, three members of the Manics may see their lives permanently scarred by the possible self-induced disappearance of their lifelong friend, Richey James Edwards. In conclusion, the band's attitude in life can probably best be summed up by Bradfield's feeling when they were performing live: "I always thought as a group we were best when everything was about ready to fall apart on stage. We always are slightly vain; we like prancing around and not always sounding like the record. Sometimes, we like making it all fall apart and bringing it back together at the last possible second." Let's hope that the Manic Street Preachers, as a foursome, haven't let that second slip away. --- REVIEW: Manic Street Preachers, _The Holy Bible_ (Epic) - Tim Kennedy The Manic Street Preachers could have become many things. They could have become a comic book punk band. They could have 'turned Heavy Metal'. Instead they have become one of the most important and original bands in years, and certainly one of the foremost live rock n roll experiences of today. They do combine elements of metal and punk - the 1977 rather than '92 or '65 variety. The lyrics to this album almost deserve a separate review. None of the Manics third opus is describable as easy listening by any stretch of the imagination but this album is the Manics' most important effort yet, both musically and lyrically. It is at once a personal statement of Richey Edwards' just prior to mental breakdown, and (at the risk of sounding pretentious, which the album isn't) a thorough investigation into some central malaises of the 20th century. "Yes" strongly recalls mid period Jam - "Thick As Thieves" from 1979's _Setting Sons_ and "The Place I Love" from the seminal 1978 _All Mod Cons_ album spring to mind. Despite the tragic lyrics this a very beguiling tune. The lyric describes the process of becoming a commodity in highly disturbing sexual terms. "IfWhiteAmericaToldTheTruthForOneDayItsWorldWouldFallApart" follows a sample from a radio/tv announcement for a commemorative ceremony for Ronnie Reagan - the song is built around a disconcerting riff with a staccato drumming to emphasize the overtly anti-militarist lyrics. They have a dig at British as well as US conservatism and institutionalised racism. Thinking back to the Clash's "I'm So Bored With The USA", Joe Strummer and Co's effort is far more trivialized and throwaway in comparison. This may put some people's backs up, but the Manics are down on everything so they oughtn't be regarded as anti-American on the strength of this song. Their longstanding heroes Public Enemy may be the primary source of inspiration. "Of Walking Abortion" musically treads familiar punk-metal territory and this is closer to the style of their first album. There are echoes of Killing Joke's early work here in abundance. The lyric evokes images of war criminals deaths and degradation with the refrain "Who's responsible - you fucking are". "She Is Suffering" has a sinister developing guitar figure at its heart. The chorus has echoes of "The Drowners" by Suede. The Manics have been close to both Butler and the remaining Suede members and toured with Suede. The words are a harsh attack on the concept of beauty. "Archives of Pain" is built around a moody Nicky Wire bassline with a riffing chorus. The song condemns humanity as being fatally flawed with evil. The chorus lists French proto nazi Le Pen along with Dahmer, Russian fascist Zhirinovsky, child murderer Hindley and so on in a continuation of the theme from "Of Walking Abortion". The languid coda emphasizes theme of malignancy. "Revol" is my favorite single from last year with its insidious post-punk assault emphasizing the corruption of Russian/other revolutionary history. The litany of Communist heroes (villains?) is accompanied by a fiendishly catchy punk tune. "4st 7lb" concerns the plight of anorexic young women in a continuation of the theme in "She Is Suffering". This song has had a lot of critical praise in the UK and a wide impact; a teacher recently wrote in a letter to the New Musical Express that one of her pupils at an all female school had read out the lyrics at a poetry reading and brought the school to their feet. The tune follows the amorphous structure of the words, with the instruments intoning sympathetically. The lyrics on _The Holy Bible_ are all superb but the ones to "4st 7lb" are particularly so. The opening riff is reminiscent of The Jam's "Eton Rifles", emerging after the sampled words of an anorexia victim. The tune to the verses in "Mausoleum" is latter Joy Division: the chorus roars into a kind of Sex Pistols-ian refrain. The words do not mention Auschwitz but deal with the effect of the Holocaust on society and the refrain of 'No Birds' is a reference to the notable lack of birdsong in preserved grounds of Nazi concentration camps today. "Faster" sums up how far the Manics have progressed since the days of their first single, "Motown Junk". The aggression is there with all the lyrical subversion, but with much-improved technique. The technical precision doesn't cloud the naked fury and instead sharpens its focus. "This Is Yesterday" is a ballad, almost Beatlesy, despite the band's vowed dislike of John Lennon. It has a gorgeous melody. The lyric describes nervous breakdown from the point of view of the sufferer. "Die In The Summertime" was not a prophecy as it turned out, as Richey Manic is well and back in the band. The tune is punk-metal and the chorus kicks in with a slab of vintage Steve Jones guitar once again. The words continue with the theme of depression and nervous collapse. "The Intense Humming Of Evil" is redolent of the second Joy Division album with its unusual drum/rhythm track and the reference to 20th century atrocities. The opening sample is a narrative from an old film, a fantasy in which victims of war crimes rise up to sit in judgement on their former tormentors. "PCP" is the perfect song to end this set as a fine example of speeding clinical punk rock. The lyrics attack the 'new establishment' of political correctness. You need not agree with the words in order to enjoy a fine pogoing tune. The album is interspersed with sinister quotes many of which are unidentifiable, but all contribute to the general theme of self-destruction and disgust - both with humanity and with self. These are not pleasant words, but the album is compelling and the music is extremely listenable. The influences aren't overpowering but are tastefully displayed with great technical ability. (Editor's Note: This album, which first was released in Europe in August of 1994, was scheduled to be released in the United States on March 28, 1995. Because of Richey Edwards' disappearance, the release date for _The Holy Bible_ has been tentatively pushed back until July, 1995.) --- CONCERT REVIEW: Oasis Live in Toronto, CA March14, 1995 - John Walker One of the saddest aspects of the current North American rock scene is its absolute disrespect for the current crop of Anglo exports. Perhaps the overwhelming hype of undeserved acts in the past by the British rock press (anybody remember Birdland?) is to blame here, but hey, anybody can make a mistake. We cling to the Stones and the Beatles as paragons of a past Brit rock greatness gone forever, yet right beneath our noses the real (current) thing goes unnoticed: Suede, (The) Verve, Primal Scream, and of course, Oasis. North American rock xenophobia needs to be destroyed, and Oasis, on this current tour, are doing their best to oblige. On this unseasonably hot March night in Toronto, a sweaty band and audience consumed vast amounts of suds, paid homage to the rock gods of the past (the Beatles, the Jam), and looked with relish toward the misty horizons of the future. "You and I, we're gonna live forever" sang Liam Gallagher with an intensity that made you almost believe him. Oasis in concert live up to the hype, unless you are looking for a circus on the level of the Red Hot Chili Peppers. This was straight-ahead, no-frills, melodic Brit-rock, lacking in the melodrama of Eddie "I can't stand being a star" Vedder or the "let's pretend we're the Clash" buffoonery of Green Day. Oasis doesn't imitate--they _extend_ the tradition of great British rock, from the Beatles to T. Rex to The Jam, into the context of 1995. Therein lies the difference. If you're familiar with Oasis' classic 1994 album _Definitely Maybe_ you'll know what I mean when I say that all the hits were rendered in a kick-ass fashion. "Rock N' Roll Star" led off the show as it does the album--in fine style--mapping out the band's _carpe diem_ philosophy. Oasis want to live fast, but unlike Mr. Cobain, they don't necessarily want to die young. The objective, it soon becomes clear, is not to plumb the depths, but, as Lou Reed once said, to fly into the sun. Kicks are to be had here and now: damn self-conscious rock martyrdom a la Vedder. Liam and company "don't care, because [they're] living fast," as proclaimed in another of the evening's most visceral numbers, "Bring It On Down," which hit with the fury of the Sex Pistols while remaining stylistically quintessential Oasis. "Cigarettes and Alcohol," the huge British hit with the mega T. Rex riff, was also delivered in all its PC-baiting glory: "You can wait for a lifetime / To spend your days in the sunshine / You might as well do a white line . . . You've gotta make it happen" sneered Liam as the sweating throng both lit up and poured back. During both this song and the majority of the concert, Liam resisted engaging in the David Lee Roth type "hey hey hey let's party" moves that might have made such lyrics into a mere joke, retaining the aloofness suggested by his working-class dandy demeanour (the _immortal_ dandy suggested by "Live Forever"), thus affirming the song's humourous yet subversive edge. Even when Liam slugs beer onstage, he does it with a singular sense of style. Oasis are the potent anecdote to "victim-rock" of the North American variety, suggesting that while you're sitting there whining, the smart people are out living intensely. For that alone, and for much more, they deserve praise. --- REVIEW: Fossil, _Fossil_ (Sire) - John Walker Fossil's eponymous debut album is brought to you by Hilly Kristal, the man whose New York bar, CBGB's, spawned the punk/new wave movement almost 20 years ago, allowing bands like the Ramones, the Patti Smith Group, and Television a live forum for their talents when no one else would. For this, we owe him eternal gratitude. For Fossil, though, we must try to forgive him. Fossil's promo material makes much of the fact that Mr. Kristal has broken a life-long personal vow never to manage any of the acts that pass through his bar, all in order to guide their career. The real irony here is the fact that _Fossil_ (implications of the name duly noted) sounds like much of what the aforementioned Ramones et. al. were trying to knock off the stages and airwaves of North America back in 1976. The album starts off on a sprightly note with "Moon," a power-pop ditty that brings to mind mid-period Cheap Trick, with a crunchy and crisp guitar riff and innocuous lyrics. No problem here--this is the kind of song that would sound good as a soundtrack to a few beers at your local pub. It might not make you rush over to the jukebox to check out its authors, though. Still, pleasant enough stuff. After "Moon," though, the troubles really begin. Singer/guitarist's Bob O'Gureck's vocals have a saccharine quality (the promo makes nervous references to Robin Zander of Cheap Trick as justification) that really starts to grate after a couple tunes. "Tim", the album's second track, features some OK sounding retro-fretwork, but the whole thing starts to veer a little too close to _Frampton Comes Alive_ doobie-wah territory for my tastes. "Martyr's Wife" has witty enough lyrics ("I'm dating a man named Jesus / He talks in metaphors / He is a public nuisance . . . God created irony to play mind games with you and me") and a passable melody, but the maudlin necrophilia of "Josephine Baker" is an outright disaster, with the band failing to define their ironic intent clearly enough, and a vocal which moos like James Taylor on 10 year old Quaaludes. Just try to sit through this one without squirming. The remainder of Fossil's debut drowns in a mishmash of murky intentions, as in the choppy "Bury Me In The Ocean", which takes off briefly before crash-landing as the band arrests what momentum they've built. "Thundershower" starts promisingly, but is quickly revealed to be half of a song idea, a verse looking for a chorus. "Molly" is an obligatory comment on PC ("I won't disrespect you / won't heterosex you") which comparatively stands tall beside the earnestness of "Fall", which features lyrical gems like "Fall is here again / stirring up the leaves / my heart and pen." Hey, how about the moon in June, guys? When asked for general words of wisdom for all those who might hear his band, singer O' Gureck replies, "don't quit your day job." That about sums up my feelings on Fossil's debut album. Shame on you, Hilly. --- REVIEW : Slick Rick, _Behind Bars_ (Def Jam/Island) - Martin Bate Old-school rapper Slick Rick returns with his first album in a while, recorded as the title suggests, behind bars. Famous during hip-hop's formative years of the mid-eighties his humorous story-telling based style and sing-song flow are acknowledged as being major influences on many of today's rappers, most notably Snoop Doggy Dogg. The title track is by far the best thing here - a skillful, mean and witty relation of life in prison set to a meaty bass-heavy beat. It later closes the album as an incredible Warren G remix, all slick xylophone and trademark Warren G chorus. Its almost worth the price of admission alone. Elsewhere, nothing quite reaches those heights but there is enough to make this a solid enough album. The mellow midnight groove of "All Alone" relates a genuinely touching tale of a young single mother; "Sitting In My Car" sees Rick rejoined by old-school sparring partner and human beatbox, Doug E Fresh, on a piano-led jaunt; and the self-produced "A Love That's True" bounces along on an endearingly amateurish dance-hall beat. There's a dip in the middle where the beats become a little unimaginative and throughout the album the overlaying of vocals can be distracting, making his flow sound false and unnatural. My other gripe would be over-use of the word 'bitch' which mars his witty and skillful tales of love and relationships by lending them an unnecessary misogynistic air. But, overall, this is a fine album showing that some of the old schoolers still have a lot to offer in a genre with a high turnover of artists. --- REVIEW: Future Sound of London, _ISDN_ (EBV, Europe) - David Landgren An interesting release from Future Sound of London, also known for their brilliant _Lifeforms_ double CD of last year. _ISDN_ is a compilation of direct radio broadcasts (transmitted, of course, via ISDN), throughout Europe in 1994. The packaging is reminiscent of Cabaret Voltaire's _2x45_: Black cardboard, held closed by tabs of Velcro. As may be expected of material that was commissioned/developed for several different occasions, there is not much semblance of continuity. Still, the resulting tapestry of music makes for interesting listening. Influences from many sources can be found here. The overall feel is still in the ambient arena, but a definite industrial/acid tone not present on _Lifeforms_ makes its appearance. I am reminded strongly of Not Drowning, Waving (circa _Cold and the Crackle_), Art of Noise, Pop Will Eat Itself,_u. f. orb_ and _My Life in the Bush of Ghosts_. Indeed, I'd love to hear a collaboration between FSOL and Brian Eno. There are a few things that don't pan out quite right. The most jarring is a vocal track on one of the final pieces that seems to be some kind of semi-serious take on Roger Daltrey's "See Me, Feel Me". Quite out of place, but at least it doesn't last for long. Overall, a worthwhile album. I give it a seven. --- REVIEW: Barkmarket, _Lardroom_ (American) - Nina Ramos Barkmarket, a four piece band, took only two days to record and produce _Lardroom_, while simultaneously fixing their van. Unfortunately, they should have paid more attention to the mix and less to their engine. My first sitting with _Lardroom_ was a random invasion of noise, like a bowl of oatmeal where you can taste the strawberries, but you can't see them. The second sitting proved equally as fruitless. The riffs were too familiar and the lyrics inflated. But, just as it seemed all hope was lost, I started rocking in synch to the music. A great bass line appeared out of nowhere, hitting right where it needed to. Things started to look up. The disc player went the full length of _Lardroom_ through while I settled with a book. Perhaps it'll catch me again. Another song may pop into the right groove. But...this was not to be. Despite it all I feel _Lardroom_ is a good effort. It may come off crude in composition, but I bet they're a great live show. Maybe... In conclusion? They show potential, but this effort falls short of my expectations. --- NEWS: Sony's LEGACY label, known for the reissue of many albums never before released on CD, has struck again. This time, Legacy's Rhythm and Soul library has expanded, with compilations being issued of Labelle, Major Lance, the O'Jays, Treniers and Harold Melvin and the Blue Notes as well as other R&B veterans. The RAKE'S PROGRESS' new album _Altitude_, is scheduled to be released in the U.S. on June 20. _Cheese Food Prostitute_, their debut E.P., will be released on Almo Sounds in the U.K. on April 24. --- TOUR DATES: Difference Engine March 27 Richmond, VA Hole in the Wall March 29 Chapel Hill, NC Local 506 March 30 Columbia, SC Annie's March 31 Athens, GA Frijoleros April 2 Birmingham, AL The Nick April 3 New Orleans, LA Mermaid Lounge April 4 Austin, TX The Electric Lounge April 5 El Paso, TX The Attic April 10 San Francisco, CA Bottom of the Hill April 11 Turlock, CA Live at KCSS April 13 Missoula, MT Jay's Upstairs April 20 St. Louis, MO The Gargoyle Echolyn March 28 Camp Hill, PA Zee's March 29 Buffalo, NY Showplace Theatre March 30 Fredonia, NY Old Main Inn March 31 Erie, PA State Street Tavern Elastica March 28, Nottingham ENG Rock City March 30, Leeds, ENG Metropolitan University April 1 Cardiff, ENG Terminal April 4 Portsmouth, ENG Pyramid Centre April 5 Ipswich, ENG Corn Exchange April 6 London, ENG Shepherd's Bush Empire April 21 Stockholm, SWE Gino April 23 Copenhagen, DEN Loppen April 24 Berlin, GER Loft April 25 Hamburg, GER Loga April 27 Cologne, GER Kantine April 28 Brussels, BEL VK Club April 29 Amsterdam, NET Melkwag May 1 Rennes, FRA Espace May 2 Paris, FRA Divin Du Monde May 3 Lyon, FRA Transbordeur Club May 5 Barcelona, SPA Zeleste II May 6 Madris, SPA Revolver May 7-8 Milan, ITA TBA June 13 Osaka, JAP Club Quattro June 14 Nagoya, JAP Club Quattro June 16-18 Tokyo, JAP Liquid Room From Good Homes March 30 Orono, ME Maine Center March 31 Burlington, VT Burlington Memorial April 1 Portland, ME State Theatre April 3 Rochester, NY Hor. Boogie Bar April 4 Buffalo, NY Nietzche's April 5 Ithaca, NY State Theatre April 6 Amenia, NY Tickets April 7 New York, NY Bottom Line April 8 Port Chester, NY 7 Willow St. April 12 New Haven, CT Toad's Place April 13 Northampton, MA Pearl Street April 14 New York, NY Irving Plaza April 15 Boston, MA Paradise April 18 Timonium, MD Graffitti's April 19 Philadelphia, PA Middle East April 20 Newark, DE Stone Balloon April 21 Washington, DC Bayou's April 22 Lexington, VA Zollman's Pavillion April 23 Nelson City, VA Zollman's Pavillion April 26 Providence, RI Met Cafe April 27 Burlington, VT Club Toast April 28 Albany, NY Bogie's April 29 Portland, ME Granny Killiam's April 30 New Market, NH Stone Church May 5 Memphis, TN Beale St. Music May 6 New Orleans, LA Tipitina's God Lives Underwater March 28 San Luis Obispo, CA Slow Brew March 29 Palo Alto, CA The Edge March 30 Berkeley, CA Starry Plough April 4 Phoenix, AZ Gibson's April 5 Tucson, AZ The Rock April 6 El Paso, TX Club 101 April 8 Ft. Collins, CO Ramskeller April 9 Boulder, CO Tulagis April 10 Vail, CO Garton's Saloon April 11 Colorado Springs, CO Lon Chaney April 12 Steamboat, CO Heavenly April 14-15 Salt Lake City, UT Zephyr Club April 17 Spokane, WA Out Back Jack's April 19 Vancouver, CA Starfish Room Kirsty Maccoll/Fossil Tour Dates March 27 Chicago, IL Double Door March 28 Minneapolis, MN Fine Line Music Cafe March 30 Boulder, CO Fox Theatre March 31, Albuquerque, NM El Rey Theatre April 1 Tempe, AZ Gibson's April 3 Reno, NV Hacienda Del Sol April 4 San Francisco, CA Great American Music Hall April 5 Los Angeles, CA The Troubadour April 6 San Juan Capistrano, CA The Coach House April 7 San Diego, CA Belly Up Opium Den March 30 Buffalo, NY Continental Lounge March 31 Ferndale, MI Magig Bag Theatre Rake's Progress March 30 Northampton, MA Loud Music Festival Center April 13 Burlington, VT Club Toast April 14 Boston, MA Mama Kin April 15 Asbury Park, NJ Metro Lounge The April 13-15 shows will be in support of Mojo Nixon. --- A random 'zine popped in the mailbox the other day - K.I.T. - edited by James Harvey. Your standard 8 page typewritten 'zine, with one page review of other 'zines, and a heavy focus on brief reviews of unsigned bands. K.I.T. is based in the Philadelphia area, so for bands looking for submissions (or to read - the cost is 50 cents), contact them at 27 E. Central Ave. R5 Paoli, PA 19301. --- THE READERS WRITE BACK In response to last week's question of "Whatever happened to the Sand Rubies", reader Tara R. writes in. Tara, take it away... Shortly after the release of their first major label cd (I can't think of the title right now, but it includes "Goodbye", "Interstate", "Never", and "Santa Marie Street") the Sand Rubies, formerly known as the Sidewinders, broke up (although I'm not entirely sure why). Dave Slutes, the former lead singer, is now in another Tucson band called "The Luminarias" (and I've heard they're not that good). As for Rich Hopkins, I'm not sure if he's also in the Luminarias or in another Tucson band. If you're interested in their earlier stuff (all of which is (excellent) it is rather hard to find. Their very first album which was recently recently released to cd format is called _Cuacha!_, followed by what I consider their best, _Witchdoctor_, and their last under the Sidewinders name, _Auntie Ramos Pool Hall_. They were forced to change their name in 1990-91 because some band from back east had claimed that they were originally the Sidewinders and that the existence of this fabulous Tucson band inhibited the success of their ill-talented bunch. The Sand Rubies album was actually completed around that time, but because of the insuing legal battle and the search for a new name it was pushed further and further back for release until Spring '93. --- To get back issues of Consumable, check out: FTP: eetsg22.bd.psu.edu in the directory /pub/Consumable ftp.etext.org in the directory /pub/Zines/Consumable FTP by mail: mail bitftp@pucc.princeton.edu put the word help anywhere in the message. Gopher: diana.zems.etf.hr Engleski Jezik/Music/Consumable or Hrvastki Jezik/Glazbena Rubrika/Consumable (URL) gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable http://www.westnet.com/consumable/Consumable.html (WWW) http://www.westnet.com (CIS) Compuserve, Lotus Notes users only: GO FORUM (Delphi) Music Fandom forum; GO ENT MUSIC 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. #294, Hoboken, New Jersey 07030 ===