==== ISSUE 74 ==== CONSUMABLE ======== [April 17, 1996] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron, Joe D'Angelo, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Al Muzer, Ron Stone Address all comments, subscriptions, etc. to gajarsky@email.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 | `------------' INTERVIEW: Goldfinger - Al Muzer REVIEW: The Verve Pipe, _Villains_ - Bob Gajarsky REVIEW: The Wedding Present - _Mini_ - Joe Silva CONCERT REVIEW: Marion/Tiny Monroe/Syndicate - Tim Kennedy REVIEW: Supple, _Puppet's Night Out_ / Loomis, _You're No Tiger Meow Meow Meow_ - Bob Gajarsky REVIEW: Rollover, _Rollover_ - Linda Scott REVIEW: Warren Cuccurullo, _th@n.ks 2:/Fr@n.k_ / In Concert - Dan Enright INTERVIEW: The Goops - Joe D'Angelo REVIEW: Salt, _Auscultate_ - By Mario J. Lia REVIEW: Loveinreverse, _I Was Dog_ - Linda Scott REVIEW: X Marks The Pedwalk, _Meshwork_ - Jamie Roberts REVIEW: Muler, Live @ Under Acme/ "On The Rug" single - Bob Gajarsky REVIEW: Arcwelder, _Pull_ - Ron Stone NEWS: Jimmy Ashhurst, Jeff Buckley, Giant Step, Sarah McLachlan TOUR DATES: Ammonia / Skunk Anansie, Bad Religion/Unwritten Law, Black Grape, Jackson Browne, Cordelia's Dad (UK Tour Dates), Deftones, Everclear, Freewheelers, Howard Jones, Nature/Thought Industry, Nields, Anders Osborne, Ruby, Joe Satriani/Rollover, Semisonic / Verve Pipe, Stanford Prison Experiment, Tears For Fears, Track 1AB, Trip 66, V3, Velocity Girl, Velour, Verge, Vinyl Devotion Back Issues of Consumable --- INTERVIEW: Goldfinger - Al Muzer As their wacky, almost cartoon-like video gradually takes over the MTV airwaves and sales of the infectious, ska-based first single, "Here In Your Bedroom," points them toward stardom; the four friends in Goldfinger are too busy enjoying the ride to pay much attention to any changes success may have inflicted on their lifestyle. "Well, actually," said drummer "Dangerous" Darrin Pfeiffer recently, "we have noticed a few more people showing up and making a bit more noise at our shows lately... and Charlie (guitarist Charlie Paulson) blew, like, $300 gambling in Reno last night, which would've really hurt us a few months back." "We're still not playing huge venues, yet. And we're really comfortable with that." he adds, "I'd like to stay at this level for as long as possible. It's more personal and much more intimate. I want people who come and see us to say, 'Yeah, man, I could smell the drummer's breath,'" Pfeiffer laughs, "'and the singer dripped sweat all over me!' " "I imagine that if the record really takes off," he says hopefully, "ya' know, if it goes completely crazy and starts selling millions and millions of copies, we won't have much choice but to play large shows. But, I really enjoy interacting with our fans. I'm hoping that we can stay at this level for just a little while longer." Named after the James Bond movie (all four members are Bond fanatics) and formed nearly two years ago by fellow shoe salesmen John Feldmann (vocals/guitar) and Simon Williams (bass) after they stole Pfeiffer away from his job at a local Starbucks and added Paulson (an old friend of Feldmann's) on guitar; the group's rise from basement, to label deal (with Santa Monica-based indie, Mojo Records), to EP (the six-song Richter), to MTV Buzz Bin has been a textbook example of the classic "rock 'n' roll dream" in action. "I can still remember the rush I got the first time I heard the single on the radio," recalls Pfeiffer of the song taken from the group's self-titled, full-length CD on Mojo. "I was laying in bed at, like, 10 a.m. one day when John called me on the phone, completely freaked, yelling, 'Turn on K-ROQ! Turn on K-ROQ!' Man!" reflects the drummer in wonder, "what a total buzz it is to hear yourself on the radio." "It's now kind of reached the point, however, where I'm glued to the radio after our song ends," Pfeiffer laughs, "I really look forward to hearing what they (radio DJ's) say about us after they play the record, as opposed to hearing them play the song itself." "Generally," he says with pride, "what's been said about us has been real positive. Although we do, occasionally, get ... uhm, accused of sounding like Green Day, which is fine with me. I really love Green Day. I think they're a great band." "When we write a Goldfinger song," continues Pfeiffer, "we don't sit down and try to sound like anybody. John comes up with most of the lyrics, the band tweaks the tune a little bit, and, well, there it is." "It's really hard to pin a particular label on the music we do," he chuckles. "You could say we're punk, rock, pop or even ska. It's real hard to... you can't really ... it's just one big ... FUN. We're a fun band." "It's much more than just a job for us," Pfeiffer laughs. "We love doing what we do ... and why not? We get to go completely fuckin' crazy every night. We just wanna play," he adds emphatically. "That's pretty much all we've ever really wanted to do ... play shows in front of kids and go completely crazy." --- REVIEW: The Verve Pipe, _Villains_ (RCA) - Bob Gajarsky Some albums gently shake the listener, trying to distinguish themselves from the mass of alternative "product" available in the local record store. The Verve Pipe have no such problem - with their major label debut, _Villains_, The Verve Pipe are destined to become this summer's hottest new alternative act. Before reading too much into the name, be forewarned that, according to lead singer Brian Vander Ark, it means absolutely nothing. But what's in a name? The Verve Pipe weave a sound that is reminiscent of two of today's hottest bands, Live and Pearl Jam, with a touch of Peter Gabriel tossed in for good measure. However, whereas Eddie Vedder's nasal whining can become passe' within seconds, Vander Ark vocalizes with a bit more ability. His voice reminds this critic of Matthew Sweet or Michael Penn, and the band combines multiple levels of harmonies to cook up a sweet irresistible to any alternative fan. Radio has slowly started to pick up on the first single, "Photograph". Although delicately crafted, the tracks which could break The Verve Pipe include the title track and "Barely (If At All)". Former Talking Head Jerry Harrison produces this one - and just like his work with Live and Crash Test Dummies, this one seems certain to be huge. The band can be contacted on the World Wide Web (but only using Netscape 2.0) at http://www.iuma/com/The_Verve_Pipe/ or via e-mail at info@thevervepipe.com --- REVIEW: The Wedding Present - _Mini_ (Cooking Vinyl) - Joe Silva After a decade or so of sharing the mantle of obscure British pop with countless other bands who were heretofore thought of as "unexportable," Pulp have landed on Letterman. But as encouraging as that may seem, I'm not sure we're to expect other trans-Atlantic miracles to happen (The Fall on Leno!?!) any time soon. But should wonders occur, an equally resilient and probably more deserving candidate could be The Wedding Present. Headed up by one David Gedge since sometime 1985, the long-standing Leeds troupe can deliver wound up, heartfelt guitar musings along with the best of them. For proof positive, interested parties should definitely explore _Mini_. Fleshed out for its American release with three extra tracks (there's a switch), this is the Weddoes with their up tempo, noisy face on mostly. From "Drive," the disc's opener, with its caution to the wind lyric and blissfully semi-frenetic guitar break, much of the ensuing pace is set - hopped up tempos that Gedge can croon over all ultra-passionate like. Which is a good sign. When last surveyed (sometime around "SeaMonsters," 1991) , the band had adopted some weighty modes at the angry young hands of one Steve Albini. But for the moment the attitude swerves between carefree and wrenched with anxiety or lust. And while decidedly not low-fi, the honest, unpolished production adds much to the air of sincerity. The vocal stance that Gedge maintains almost demands recollections of Joy Division vox Ian Curtis, but longtime supporter John Peel differs with me on this point. You decide. When you wind your way towards track 7 ("Sucker"), he reminds one of a slightly more tuneful Mark E. Smith, and the band joins in the sentiment with a fairly minimalist bop and the edgy guitars of said Manchester legends. But there's some sweet add on vocals from bassist Jayne Lockey here and there and some well placed organ on "Convertible" that round out the sound palette. But if you'd rather poke and prod at what Gedge is getting at though, you'll see him in a continual tussle with personal connection past and present and the auto as a means of dealing with either. Is it a thin concept? Perhaps, but there's a verite to the Weddoes overall presentation that puts off any unnecessary carping. The coming year, with another album due by autumn, should be promising. And as a brief installment to highlight where Gedge has taken this vehicle since its inception, _Mini_ stands as a worthwhile venture. Not bad at all for common people. --- CONCERT REVIEW: Marion/Tiny Monroe/Syndicate March 22, Manchester University, England - Tim Kennedy Hailing from Burnley in Lancashire, Syndicate open with familiar guitar patterns recalling mid-period Beatles. However , it soon becomes apparent that they are punk in a seventies as much as a sixties sense; the Milltown Brothers these boys are certainly not. The singer Damian snarls and simmers, reminiscent of the youthful punked-up Paul Weller. The guitar playing ranges across several genres, even heavy riffing a la Zep at one point. If they can be compared to anyone in the UK scene it is Cast, with whom in fact they recently toured. Syndicate's grasp of melody is pretty good and shows promise and their songwriting is ambitious at times. It's no bad thing to try varying styles within a song and Syndicate aren't afraid to try. Of all the bands tonight Syndicate are the closest to the current wave of sixties-influenced UK melodic garage bands. Tiny Monroe are an unusual group in 1996; immediate impressions are made by their callow guitarist in suit and shock of spiky hair, giving him the look of recent John Rotten; and blonde- bleached slim oriental female singer clad in glittery teeshirt and tight sequinned pants. The rest of the band leap around furiously as Ms Monroe (surely not her real name!) high kicks and slinks around the stage and moves with an unsettlingly alluring manner. Their set varies enormously from rock to semi-reggae and at times is almost cabaret. In fact they are musically light years away from any of the current trends in UK indie music in just about every sense. There is an air of careless menace about Tiny Monroe which is unusual in a band these days. The guitarist coaxes strange effects from the guitar rather hitting power chords or guitar harmonies which are the vogue. Consequently, they were a bit over the heads of much of the audience. They didn't seem bothered by this however and performed with a committed but insouciant attitude. If you were looking for a comparison I'd mention early Siouxsie & The Banshees for stage persona, early Roxy Music for style and musical references. They've been around for a couple of years on the fringes of things but Tiny they will surely not remain for long. Marion took the stage after the PA had regaled us with old BB King and Elmore James numbers (!) They are very much in the heroic early U2/Echo & The Bunnymen/Joy Division vein, particularly on U2. The guitarist leans forward with dark fringe/quiff over his face whilst hammering out chiming powerchords that the Edge might have been proud of in his youth. The songs are far more angst-ridden however, and this is compounded by singer Jaime who has the look of a Manic Street Preacher about him, his face whitened and with centre parting in the manner of tortured 19th century French poets. Jaime has charisma and sings powerfully, really convincing the listener of the sombre themes of the lyrics. The deadly urgency of the songs gets the audience pogoing wildly. Marion have built up a committed following who are now utterly devoted to their brand of driving, doomy and extremely catching rock music. In fact what stands out about their audience is the preponderance of young females who stand, clearly gripped, mouthing the words. The songs seem generally to be about tortured relationships and self-doubt. Jaime is evidently won over by the crowd response and gives a terrifically positive performance. What is great about Marion is the strength of the songs. The album _This World And Body_ (from which the set is mostly taken with the exception of a few old favourites from their first singles) is one of the best of 1996 and live the songs really come over impressively. The band are tight and professional and make no mistakes. They return for two lots of encores, roared on by a fanatical crowd. The future holds nothing but promise for Marion, as long as Jaime can stay on the tightrope that he evidently walks between depression and his art. --- REVIEW: Supple, _Puppet's Night Out_ (Futurist) / Loomis, _You're No Tiger Meow Meow Meow_ (Grass) - Bob Gajarsky If an observer were to look at the college music scene of the mid 1980's and only write down American bands, the one on the top of everyone's list would be R.E.M. The four men from Athens are still together - but the group which would appear #2 on many lists has long since broken up - the Replacements. But, while Paul Westerberg is writing softer songs today, the void to many 'Mats fans is left unfilled. It was inevitable that bands other than the Goo Goo Dolls would try and fill that - but two lesser-known bands who bear watching for their similarities to the Replacements are Supple and Loomis. Driving guitars battle with the voice of Supple's lead singer, Rob McCulloch's, for attention, but McCulloch wins out with a near-ringer for Westerberg's vocals. Whether crying out that "Cindy Crawford Can't Cook" (as if that's her strong point) or talking about getting drunk and being a bum (on "Guilty"), the theme around _Puppet's Night Out_ is angst, more angst, and the indirect but biting hate. "Special Friend" brings in Amy Romesburg (of Thumper) on background vocals, lending a twist to this boy-hates-ex girlfriend song. Loomis has a more authentic 'Mats feel, with a louder feedback on their guitars, while less of the Westerberg vocal qualities. The opening to "Kung Fu Girl" strikes back to the Stone Roses "I Wanna Be Adored", but contrasted sharply with a pound of feedback. That's the key to Loomis' sound on _You're No Tiger, Meow Meow Meow_ - feedback with a wall of rock and roll. The tradeoff between the guitarists allows the listener to actually take in a sound which oscillates between the Replacements in three environments - on radio, on sound check, and three hours into one of their concerts. Mind you, neither band has made a conscious effort to *be* the Replacements - it's just that the vocals, and the music, sound enough like the Minneapolis band to make a listener take notice. And there are plenty of worse groups that two new bands could be compared to. --- REVIEW: Rollover, _Rollover_ (Wolfgang Records) - Linda Scott Rollover is a 70's style, blues based, classic rock band. Rocking guitars, solid rhythms with an overall blues feeling make Rollover one of the more interesting rock bands to come along in some time. Their bluesy rock sound is credited to their Hendrix/Clapton/Vaughn influences. This Chicago-based band is: lead vocalist Louie Zagoras on guitar, Jason Batchko on drums, Bill Lawlor on keyboards, and Eddie Carlsson on bass. Together since 1992 the band covered career ground rapidly in the Chicago area. Bill Graham Management (Santana, Blues Traveler, Joe Satriani) picked them up and restarted Wolfgang Records to put out the band's cd, _Rollover_. With this push, Rollover was able to get some broader touring experience with the 1994 H.O.R.D.E. festival and opening for Joe Satriani. The self-titled album may be the band's first, but it's not an obvious first time effort. The polish and professionalism are a credit to producer Zagoras and recorder/mixer Brad Wood (Liz Phair). The thirteen tracks include the first one to receive airplay, "Shipwreck". This first track is followed by another good one, "Burning Time". Further in, "Give It Up" has a strong blues streak, and this one, like almost all the rest, have good lyrics that are clearly audible. A personal favorite is "Wrecking Ball" which has yet to be singled out for publicity but is one of the strongest rockers on the album. Izzy Stradlin fans will hear phrasing, vocals and melodies that are warmly familiar. Rollover will be opening for Joe Satriani on another leg of his tour - even if you haven't picked up the album, this opening act is well worth hearing. --- REVIEW: Warren Cuccurullo, _th@n.ks 2:/Fr@n.k_ (imago)/ Live @ Under Acme (NYC), March 26, 1996 - Dan Enright Warren, has just released a tribute to Frank Zappa, entitled (appropriately enough) _thanks 2 frank_, although the album was recorded almost two years ago. The reason I've combined the show with the recording is because both were live projects. Warren is probably best known to the world as a current member of Duran Duran (since 1986's _Strange Behaviour_ album), but his very impressive resume includes membership in Frank Zappa's late 70's line-up (he joined in '78) where he was involved in the Joe's Garage project and the Human Juke Box tour - which is immortalized on "Tinseltown Rebellion," "Shut Up and Play Yer Guitar,""Any Way the Wind Blows," and "You Can't Do That On Stage Anymore." He followed that by forming Missing Persons with Dale and Terry Bozzio - and former Zappa sidemen - which involved writing credits on four albums and three North American tours, between 1980 and '86. This solo album and the accompaning promotional performance at the Under Acme, clearly demonstrate "pop music" is not Warren's first passion. They also showcase Warren's incredible technical prowess. Frank's influence is subtly present, although I would catagorize Warren's style as upper echelon "speed metal" - ala Joe Satriani, David Chastain, Michael Harris, or (Zappa veteran) Steve Vai. Warren, however, does not sound - or play - like these contemporaries. There are seeming "cliches" - the squealing/processed wail, the lightning arpeggios, the frequent and intense key/rhythm changes - yet there's something different... something more powerfull and developed about his writing, arranging, and performing. It's as though his "pop writing/arranging" has nurtured a melodic sensibility lacking in these other "gunslingers." Okay, except Joe Satriani. The album was recorded live, primarily in the studio, but there is one track - the title cut - which was recorded at the Stone Pony (NJ) in July of '94. The promotional performance March 26th, was all that... and more. Over two and a half hours, encompassing just about everything Warren's ever done AND bonus material by Frank Zappa (which was conspicuously absent from the recording) - "Transylvania Boogie," "Chunga's Revenge," and a third, unknown-by-me , The Doors - "Crystal Ship" (the only song with vocals, I might add, most of them by the audience, and (the obligatory) Duran Duran - a gentle and hauntingly beautiful rendition of "Ordinary World." I think it's safe to claim, Warren's one of a handful of guitarists today, that can - and more importantly should - perform Zappa's catalogue. His versions of "Transylvania Boogie" and "Chunga's Revenge" were worthy tributes/interpretations, not note-for-note attempts at reproduction. While the album is flawless - the songs were recorded live in the studio (with Zappa alummni and current Sting sideman, drummer Vinnie Colaiuta and session bassist, Pino Palladino in the studio - Warren's brother, Jerry, played drums and Nick Beggs joined him on guitar for the Stone Poney performance of _Thanks 2 Frank_) with the best performances choosen for the album - the performance at Under Acme, was slighly flawed. This is due, not to poor playing or a lack of skill by the sidemen - Dweezil drummer, Joe Travers and bassist, Wes Weymiller (both of which were phenomenal, too) - but to a sophisticated catalogue performed after "homework" (listening to the music and learning the parts) and a single rehearsal. As a result, some of the more difficult passages seemed to be performed by three musicians instead of a band. Everyone was playing correctly, but they didn't quite gel into a unit. Another obvious shortcoming was evident when Warren started to perform one of the songs in a different key than Wes had learned it, requiring a brief conference. If this band were to tour extensively, I'm certain each performance would be a musical tour de-force. There was one unforgivable aspect - IT WAS TOO FREAKIN' LOUD!!! I mean, way-too-freakin' loud. Beyond-the-threshhold-of-human-endurance loud. And it was in a basement, instead of an arena, which compunded the problem. Fortunately I had earplugs (I've learned the hard way), but my companions were completely fatigued after only 30 minutes. I'm not certain this material is going to be widely performed; it's two years old and Duran Duran have a tour scheduled around the release of their next album, later this year. I didn't really expect to ever hear Warren perform this music live. It was a rare treat, to be able to experience his energy and playing under such intimate conditions (less than 100 people, most of them friends or musicians). If he does do a solo show in your neighborhood, wear earplugs. Otherwise, you'll have to settle for this outstanding recording, which offers a glimpse of his ability. --- INTERVIEW: The Goops - Joe D'Angelo The Goops are the type of band that thrives on conflict. For them, harmony is something which haphazardly occurs when they sing in unison. Even their last show in New York was shrouded in conflict. They played at the hippie palace known as the Wetlands and the Goops are much too aggressive to be playing in front of a rainforest backdrop, let alone next to a tie-dyed VW van. Also, the show took place on Valentine's Day, a day of love; their music screamed with bitter emotion. Ironically, all this conflict works for them and through it emerges a band with uncharacteristic togetherness. _Lucky_, their latest release on Kinetic/Reprise, demonstrates this element of the Goops more so than their previous ventures; a self-titled debut on Blackout! in 1994 and the reworked "Build Me Up Buttercup" from the now sickening _Mallrats_ soundtrack. "Our first record was a little slicker that what should represent us as a live band, but I think that was because of inexperience in the studio and not knowing how to translate our live sound to tape," singer Eleanor Whitledge explains. "(On _Lucky_) Everybody's got the same vision. Everybody's looking in the same direction. It's really come together and it shows. It's a maturity thing." As is making the jump to a major label. Together with guitarist Brad Worrel, bassist Steve Mazur, and drummer Jeff Benison, Whitledge traverses through the music industry with wise intentions. "Blackout! treated us as well as they could, and our situation there was better off than most (bands on independent labels), but we were just completely frustrated with the distribution situation of small labels." "It's bad enough to go on tour for months at a time, not really make too much money at all. Not even enough to pay your rent," Mazur further explains. "And then you get off of that tour and realize, 'hey wow, I'm on a great independent label' but you know what?" He's speaking in a fervor now. "There's not that many records in the stores so you're not selling that many records. Then you gotta go back to work and life becomes very, very frustrating." The anger in Mazur's voice is justified. Not only was he dealing with a seemingly ignorant counterperson over the phone just minutes before our meeting, but his lunch was late as well. Anger is a vital component to the Goops music, as seems to be the case with many bands of this genre. What sets them apart, however, is the way in which they handle it. With each member writing their own parts to the songs, the Goops orchestrate their emotions and funnel the derived energy through their instruments. (And yes, Whitledge's voice is an instrument as evident by the way she cracks and bends her chords, manipulating their vibrations.) "There have been people that have said, 'you remind me of this band or that band,'" Whitledge explains. "There's a lot of women in bands now, Tanya Donelly and that kind of stuff, but it seems to me that rarely are they paired with a really aggressive guitar sound and that's been our whole thing; make it melodic, but make it as aggressive as you can, vocally, guitarwise and otherwise. Maybe there's someone out there doing what we're doing. I hope so, because I would buy their record." The way in which the Goops handle their anger is vented in their individual style of playing. Whitledge seems to tolerate it till the boiling point, then watch out as she explodes with fury. Mazur plays his bass in the same manner as he handles his irritantsÑwith playful ignorance. He pushes aside all difficulties and rolls over the chords with a shrug-off and a smile, his body reeling with every dip in the structure. "I'm actually really not angry at all." Whitledge is quick to clarify her image. "No, I'm just really a big mouth. Not so much angry as rowdy. There are some things that irritate me, like stupid people." "That's exactly what I'm angry about," Mazur interrupts with the same intensity as before. "I'm angry about stupid people. People that can't think for themselves, which, it appears, is a sign of the times. It's just pathetic. And then if you press them for a reason why they can't think for themselves, you're in a fight." He smiles at the absurdity of it all. Although each member is unique in style, attitude, and appearance, together they are a collective Goop entity. "This band is like four quarters. If we lose one quarter, something's wrong and it doesn't work. Everybody's got to have input," Mazur says with pride. "I don't think that anything that comes out of this band should be anything but four-sided." The Goops are trying to establish themselves as a quality headlining band. They've paid their dues touring the country six times and opening up for the likes of Rancid, Big Drill Car and Offspring. Currently they're on tour with the punk heartbeat of New Brunswick, NJ, the Bouncing Souls. Their time has come. "Certain bands get caught up in opening up for bands all the time and they become the perpetual opener. That's not gonna be the Goops," declares Mazur. Their dynamic live show is by far the Goops' greatest asset. "We try to make our live show as fun for us and the audience as possible," Whitledge says. "If we don't feel like playing anything from the record, we don't. That probably isn't the best thing to do in terms of marketing, but so what. You'll get burned out by playing every night for six weeks. You gotta do something to make it fresh for yourself or else it shows that you're just going through the motions." The motions gone through that Valentine's night looked anything but prefabricated. Despite playing in front of lonely people without dates in a grating environment, the Goops were able to rebound from any obstacle obstructing their path, even their drunken friend who was falling all over himself on stage. They fed off of the crowd's reactions. If the audience started to look a bit aloof, the Goops turned it up a notch to bring about cohesion among conflict. The Goops are optimistic about their future, and rightly so. They have a certain uniqueness about them, spurred on by the clashing characteristics of their sound which forces a double take from the listener. Originality is what they strive for, not the en-vogue hybrid of key elements of established bands. The Goops want to make a band, not just a hit single. As Mazur points out, "There's so much crap out there right now. I'm not gonna point any fingers, but when you take a Bon Jovi bass riff and have Nirvana singing vocals, I can't believe you can be successful. It's just beyond me." --- REVIEW: Salt, _Auscultate_ (Island) - By Mario J. Lia Salt doesn't waste time. The band members met while in an art school in Stockholm, Sweden. They opened a club on a houseboat and signed a deal with MVG Records. Get this: all of this happened within two years! And now with their video "Bluster" making it's rounds on MTV, this band is well on its way to stardom. "Don't try to stereotype us, just open your ears." says Salt's lead singer Nina Ramsby. After this eclectic debut on Island, you won't know what exactly to call Salt's sound. But you will love it. The best way to describe Salt would be fuzz-pop songs of Nirvana with Kim Deal singing. Nina's singing is most beautifully showcased on the only ballad of the album, "So". This one starts off with a really jangly guitar for the verses and then a more distorted chorus. The song "Honour Me" starts off with some distorted single notes similar to Nirvana's cover of Bowie's "The Man Who Sold The World". After the intro, the song kicks in to high gear and you know you are in for a treat. The drums and bass provide thick groove for Nina's guitar and singing. If the radio stations ever discover this song, Salt would really take off. The last song on the album is "Undressed". During the verses the there's a steady bass/drum foundation with the guitar coming in stronger during the noisy choruses. From the beginning to the end Salt is sure to leave a good taste in your mouth. --- REVIEW: Loveinreverse, _I Was Dog_ (Reprise) - Linda Scott Loveinreverse is a trio from New Jersey who have just released their first EP, _I Was Dog_. They have a style ranging from soft and dreamy to a forceful, from-the-gut approach. They claim film influences them as much as music does which is not an everyday citation. Loveinreverse are billed as a rock band but most of their songs seem in the alternative column. Regardless, they have a 300 song backlog, so they plan to be around awhile. Here's who they are: Mike Ferentino (singer, guitarist), Andres Karu (bassist), and Dave Halpern (drummer). Ferentino and Karu have known each other since their first school days, and they have been working together eight years with Halpern joining up last year. The band's first appearances were under the name Dog, thus explaining the EP title. The name Loveinreverse indicates the band's goal of trying to capture the idea of opposition and contradiction. This theme is seen in the tracks and across the EP. For example, the EP has dreamy, almost psychedelic melodies and lyrics ("Romantic Age") as well as aggressive guitars and forceful lyrics on "I'm A Contradiction". "I'm A Contradiction" follows "Romantic Age" on the EP underscoring the point of opposites. The floating, dreamy songs have echoes of Suede while the others can sound like Jane's Addiction or Smashing Pumpkins on occasion. Ferentino's vocals get a special mention with "Solo Flight" showing these to best advantage. Loveinreverse has a good chance of breaking through, big. Increased emphasis on those slower, dreamy songs and lyrics can only help. I'm looking forward to their first full length release. --- REVIEW: X Marks The Pedwalk, _Meshwork_ (Cleopatra) - Jamie Roberts A stirring tapestry of sound from this German duo that has been at the forefront of the Industrial-Techno (they call it Torture-Tech) movement, _Meshwork_ lives up to its title's promise. It makes seemingly easy work of the mixing of dark overtones, warped drum machinations, and complex synthesizer-made atmosphere that one might love the genre for. Many tracks on _Meshwork_ lull you in to a false sense of ambience, then seize you with driving, danceable beats. The pacing on "Never Look Back" yanks you back and forth between these states taking a more Industrial approach, while "N-A-Lyse" goes full-on Techno from start to finish snowballing the pace. "Emotion" is interesting, in that it is strikingly reminescent of 80's Alternative dance (like Front 242's "Headhunter", or Camouflage's "The Great Commandment"). All tracks, however, succeed in creating the kind of drama that other genres can merely dream of. This CD comes to Cleopatra from the Zoth Ommog label - the height of Industrial credibility in Europe (they also released Laetherstrip, Bigod20, etc.). X Marks The Pedwalk have the ultimate range in this 'Torture-Tech' work, which should keep them out at the afore-mentioned forefront of the genre. Something that could appeal to/scare the hell out of everybody is what makes a great Industrial-Techno CD. This is it folks! --- REVIEW: Muler, Live @ Under Acme/ "On The Rug" single (Deep Elm) - Bob Gajarsky The four piece power pop band from Rochester, New York known as Muler has been playing around Manhattan recently and Consumable caught up with them at the Greenwich Village club Under Acme. Lead singer Dave Baumgartner bounced around like a pogo stick - and his main schtick is his hand down his...pocket. No, really, it's not his pants - although this writer wouldn't swear that there couldn't have been some pocket pool going on down there... Of course, that sort of thing grows old quickly, and it's the music that matters. Some of the music hark back to the sounds of Material Issue or the Rake's Progress, without the immediate radio accessibility. The pair of slower songs which the band played had the chords from some of New Order's non-commercial tracks, but played solely on guitar. Although "On The Rug" is the current single, it seems likely that "Sneaker", an infectious pop tune, will be put on vinyl soon. It set fans in the tiny former Greenwich Village club dancing as Baumgartner made everyone feel tired just by watching him bounce all over the stage. We'll see what Muler does when they put out their album. But, for now, they're fun live - with or without a pocket. --- REVIEW: Arcwelder, _Pull_ (Touch and Go) - Ron Stone The songs may not be as catchy as those on 1994's _Xerxes_, yet _Pull_ proves to be a stronger, more intense effort which may keep the listener coming back for more. Like another Twin Cities band, Husker Du, the three-man Arcwelder (Rob Graber on bass and guitar; Bill Graber on guitar, bass and vocals and Scott Macdonald on drums and vocals) create intricately structured guitar-laden songs. Although the vocals may seem at times incidental to the instruments, the songs carry a remarkable energy. On "What Did You Call It That For" and "Criminal" the band forges a density comparable to that of Helmet. "Remember to Forget" rediscovers and re-explores a sonic terrain reminiscent of their early hit "Favor." --- NEWS: > Izzy Stradlin's "other" band, the Ju Ju Hounds, are no longer together, but Jimmy Ashhurst, former member, has recorded a new album with an all star lineup, "The Magic Christian Music Band". The band consists of Ashhurst on bass, Rick Richards (also formerly with the Ju Ju Hounds on guitars), Paul Rafferty on vocals and Mike Stinson on drums. Some guests who will appear on the release include Craig Ross (who has worked with Lenny Kravitz), Billy Payne (worked with Little Feat) and Marc Ford, another Hounds alum. The band's name comes from a Peter Sellers film from the 1970s entitled "The Magic Christian" based on a story by Terry Southern. > Jeff Buckley has replaced drummer Matt Johnson (who announced his leaving from the stage on the last date of Jeff's sold out Australian tour in February) with Eric Eidel. Eric is currently rehearsing with Jeff, bassist Mick Grondal and guitarist Michael Tighe in Manhattan, preparing to go into the studio to record Jeff's second album, the follow-up to _Grace_. Buckley will also be performing U.S. dates this May - but not as "himself". Jeff will be playing bass as part of Mind Science Of The Mind, a project helmed by Nathan Larson, guitarist of Shudder To Think, whose debut album comes out later this month. The rest of the line-up comprises: Joan Wasser (Dambuilders) on violins and backing vocals; Mary Timony (Helium) on guitar and backing vocals; Kevin March (Dambuilders) on drums. Mr. Larson himself will be singing lead as well as playing guitar. The unit's repetoire will consist of Larson originals. > Giant Step has recently gone on the World Wide Web, at http://www.giantstp.com and the soon to come email list at groove@giantstp.com > Sarah McLachlan will be releasing a rarities and b-sides compilation this summer. It is as yet untitled, but some of the tracks it includes are: "Full Of Grace", "Dear God", "I Will Remember You", "Song For A Winter's Night", "Blue", "Possession" (The Rabbit And The Moon Mix), "Fear" (The Rabbit And The Moon Mix), "Gloomy Sunday", "Vox (12" mix)","Sad Clown (CBC Session)", "Black (CBC Session)", plus the song by Manufacture on which Sarah appears, "As The End Draws Near". --- TOUR DATES Ammonia / Skunk Anansie Apr. 21 San Diego, CA Back Door Apr. 22 Tempe, AZ Gibson's Apr. 24 Atlanta, GA Cotton Club Apr. 27 Cleveland, OH Odeon Apr. 28 Pittsburgh, PA Metropol Apr. 30 Chicago, IL Metro Bad Religion/Unwritten Law Apr. 21 Boston, MA Avalon Apr. 22 Montreal, QC Verdum Apr. 24 Toronto, ON Warehouse Apr. 25 Detroit, MI State Theatre Apr. 26 Cleveland, OH Agora Theatre Apr. 28 Chicago, IL Riviera Theatre Apr. 30 Minneapolis, MN First Avenue Black Grape Apr. 21 Chicago, IL Metro Apr. 22 Detroit, MI St. Andrews Hall Apr. 24 Providence, RI Lupos (WBRU) Apr. 25 Washington D.C. 9:30 Club Apr. 26 New York, NY Irving Plaza (or new venue) Apr. 27 Boston, MA Paradise (WBCN winners only) Apr. 29 Toronto, ON Opera House Apr. 30 Montreal, QC Club Soda Jackson Browne Apr. 23 New York, NY Beacon Theatre Cordelia's Dad (UK Tour Dates) Apr. 21 Dundee, Lucifer's Mill Apr. 23 Boston, Axe & Cleaver Apr. 24 Sheffield, The Hadfield Apr. 25 Penrith, Salutation Hotel Apr. 27 Newcastle-Upon-Tyne, Black Swan, Arts Center Apr. 28 Ashton-Under-Lyne, Witchwood Deftones Apr. 22 Los Angeles, CA Whiskey Apr. 23 San Francisco, CA Bottom of the Hill Apr. 25 Portland, OR La Luna (Balcony) Apr. 26 Seattle, WA Pioneer Theatre Apr. 27 Vancouver, BC Starfish Room Everclear Apr. 21 New York, NY Roseland Apr. 22 Boston, MA Orpheum Apr. 25 Columbus, OH Newport Music Hall Apr. 26 Nashville, TN 328 Performance Hall Apr. 27 Chicago, IL Riviera Theatre Apr. 28 St. Louis, MO American Theatre Freewheelers Apr. 23 New York, NY Mercury Lounge Howard Jones Apr. 21 Palo Alto, CA The Edge Apr. 23 San Francisco, CA Slim's Apr. 24 Solana Beach, CA Belly Up Tavern Apr. 25 West Hollywood, CA House of Blues Apr. 26 Santa Ana, CA Galaxy Theatre Apr. 27 Ventura, CA Ventura Theatre Apr. 30 Houston, TX Rockefeller's Nature/Thought Industry Apr. 24 New Orleans, LA Monaco Bob's Nields Apr. 17 Ashville, NC Be Here Now Apr. 19 Winston Salem, NC Fiddle and Bow Apr. 20 Columbia, SC Uniterian Universalist Coffeehouse Anders Osborne Apr. 24 Auburn, AL Supper Club Apr. 25 Tuscaloosa, AL Purple Fisch Apr. 27 Mandeville, LA Ruby's Roadhouse Ruby Apr. 21 Dallas, TX Radio station show Apr. 23 Boston, MA Paradise Apr. 24 Providence, RI Lupo's Heartbreak Hotel Apr. 26 Philadelphia, PA Theatre of Living Arts Apr. 27 New York, NY Irving Plaza Apr. 28 Washington, DC 9:30 Club Apr. 30 Norfolk, VA Bait Shack Joe Satriani/Rollover Apr. 21 Columbus, OH Newport Music Hall Apr. 22 Cleveland, OH The Odeon Apr. 23 Detroit, MI Music Hall Apr. 25 Grand Rapids, MI Orbit Room Apr. 26 Chicago, IL The Riviera Semisonic / Verve Pipe Apr. 25 Los Angeles, CA Troubadour Stanford Prison Experiment Apr. 21 Albequerque, NM Time Out Apr. 23 Denver, CO Mercury Cafe Apr. 24 Boulder, CO Fox Theatre Apr. 26 Sioux City, IA Union Bar Apr. 27 Omaha, NE Cog Factory Apr. 28 Des Moines, IA The Safari Apr. 29 Madison, WI O'cayz Corral Tears For Fears Apr. 22 Toronto, ONT Music Hall Apr. 23 Detroit, MI St. Andrews Hall Apr. 25 Columbus, OH Newport Music Hall Apr. 26 Cleveland, OH The Odeon Apr. 27 Chicago, IL Vic Theatre Apr. 29 Minneapolis, MN First Avenue Track 1AB Apr. 26 Hempstead, NY Hofstra University Trip 66 Apr. 23 Albany, NY QE2 Apr. 25 North Hampton, MA The Grotto Apr. 27 Philadelphia, PA Univ/Penn Spring Fling V3 Apr. 25 Lexington, KY Phoenix Hill Tavern Apr. 26 Columbia, MO Blue Note Apr. 27 Lawrence, KS Bottleneck Apr. 29 Denver, CO Mercury Cafe Velocity Girl Apr. 21 Boston, MA Mama Kin Apr. 23 Long Branch, NJ Metro Apr. 24 Providence, RI Lupo's Apr. 26 Ann Arbor, MI Blind Pig Apr. 27 Columbus, OH Kenyon/Wesleyan Colleges Velour Apr. 18 New York, NY CBGB Verge Apr. 20 New York, NY Clemente Soto Velez Vinyl Devotion Apr. 25 San Francisco, CA Paradise Lounge --- To get back issues of Consumable, check out: FTP: orbit.bd.psu.edu in the directory /pub/Consumable ftp.etext.org in the directory /pub/Zines/Consumable 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) on Compuserve Notes: GO FORUM (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Promotional support provided by Music Interactive (http://musicinteractive.com), a free online resource for aspiring musicians and other music professionals seeking to expand their careers, networking, music skills and scope. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===