==== ISSUE 78 ==== CONSUMABLE ======== [June 5, 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'Andrea, Joe D'Angelo, Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams 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 must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: Various Artists, _Cowabunga! The Surf Box_ - Bob Gajarsky REVIEW: Prong, _Rude Awakening_ - Sean Eric McGill REVIEW: Buzzcocks, _All Set_ - Ali Sinclair REVIEW: The Gravel Pit, _The Gravel Pit Manifesto_ - Reto Koradi REVIEW: Splitsville U.S.A., _Splitsville U.S.A._ - Al Muzer REVIEW: High Llamas, _Gideon Park_ / _Hawaii_ - Tim Kennedy REVIEW: Steeleye Span, _Time_ - Paul Grzelak REVIEW: J Mascis, _Martin + Me_ - Mario J. Lia REVIEW: McRackins, _Short and Sweet (EP)_ - Reto Koradi CONCERT REVIEW: Victoria - Tim Kennedy REVIEW: Jason Becker, _Perspective_ - Linda Scott REVIEW: D:Ream, _World_ - Daniel Kane REVIEW: Umajets, _Demolotion_ - Joe Silva NEWS: Ben Folds Five, Bloodhound Gang, Cure, Metallica, Porno For Pyros, Sonicnet/Tibetan Freedom Concert TOUR DATES: Baboon / Rubberbullet, Big Stupid Guitars, Boyracer, Bryndle Charm Farm, Cocteau Twins, Compulsion / Evil Superstars, Cordelia's Dad, Jayne County, Grover, Love & Rockets, Nields No Doubt, Porno For Pyros, Rosenbergs, Shallow, Ten O'Clock Scholar, 22 Bridge, Varnaline, Velour, White Courtesy Telephone Back Issues of Consumable --- REVIEW: Various Artists, _Cowabunga! The Surf Box_ (Rhino) - Bob Gajarsky It's been bubbling under like a shark in the water - and with the huge success of Pulp Fiction bringing the music ashore, what better time than to rediscover surf music on Rhino Records 4 cd box set, _Cowabunga! The Surf Box_. Passing fans of the craze will note the Beach Boys songs ("Surfin'", the Chuck Berry inspired "Surfin' U.S.A.", and "Surfer Girl") and maybe other artists such as Jan & Dean, the Trashmen and the Ventures. But the surf craze which captured California in the late 1950's and early 1960s was much more than these artists, who captured national attention without necessarily remaining true to the sound they supposedly represented. Surf music was played primarily by instrumental bands at local halls with packs of surfers supporting the bands, and the bands supporting the surfers. It was truly a close-knit community, one which the land-locked part of the nation couldn't quite grasp. Dick Dale, the "king of surf music", is amply represented on the box - and with good reason. He's not only the best from the surf music crowd, but after the huge success of "Miserlou" from _Pulp Fiction_, he's started his successful comeback. While the first three discs of this compilation look at the years from 1960-1967, the fourth CD is a collection of what happened AFTER the pounder crashed, and the craze wiped out; from 1977 through 1995, 22 artists are represented, including Man or Astro-Man? There's plenty here for the casual fan, as well as for the surf afficionado. A 64 page booklet not only covers the background of each of the 82 songs represented here, but also includes pictures and commentaries by some of the luminaries of the era, such as Dale. Many of the tracks are appearing on cd for the first time, which will only add to the excitement of the real fans, while turning a new generation on to the *real* surf sounds of the 60's. Rhino has gone above and beyond the call of duty in producing this box set, both in selection of tracks and the liner notes. So sit back and check out this bitchin' collection of tunes. Surf's up! --- REVIEW: Prong, _Rude Awakening_ (Epic) - Sean Eric McGill For the past ten years, Prong has sat on the edge of achieving great success in the hard rock genre. Their lineup has changed, their label has changed, and their sound has metamorphosed from straightforward late-eighties metal to a more industrial flavored sound. Now, with their latest release, _Rude Awakening_, Prong can finally see the payoff of those ten years. Of course, these days to say a band has been around for ten years is saying something in itself, especially in the rock genre. Ten years ago, we were dead in the middle of "glam rock", with groups like Poison and Motley Crue ruling rock radio and rock album sales - while bands like Prong, Metallica, Anthrax, and others screamed noisily from the sidelines. But in the past few years, those former sideline players have seemingly taken over the field, while those who once ruled the roost are on a perpetual tour of some third world country where they can still sell an album or two. _Rude Awakening_ is hard to pin down in terms of sound. Produced by guitarist/vocalist Tommy Victor and Terry Date (White Zombie, Pantera), the album does have a definite metal edge, but like Date's work with White Zombie, there are little additions here and there that separate Rude Awakening from the usual mix of drums, guitars and bass. Add to that the collaboration of Charlie Clauser (Nine Inch Nails), and the sound becomes what could best be called "techcore" at points. The multimedia track that accompanies _Rude Awakening_ does have a couple of interesting features - for instance, an audio remix of the leadoff track, "Controller" - but some less than interesting points, like a "game" (for lack of a better word), where you have to figure out the URL for the band's webpage. Overall, I'm glad the disc won't cost any extra for the track - but it certainly doesn't bring down the value of the overall disc, either. The bottom line is this - when you listen to _Rude Awakening_, you'll think about Nine Inch Nails and White Zombie, and about ten other bands. But the key is that Prong has been around as long if not longer than newer bands who are using the Prong influence as a basis for their music. These guys aren't an older band trying to cash in on the new sound. This "new sound" has been a part of their makeup for some time now - and people would do good to remember that. --- REVIEW: Buzzcocks, _All Set_ (IRS) - Ali Sinclair _All Set_ is the first studio release from the Buzzcocks since 1993, and they sound just as lively as they did back in the mid-seventies. The popular side of punk... less Vicious than Sid, more friendly than the Stranglers - music for pogoing! You'd think that 20-years-later, they'd have slowed down a bit, "mellowed out", calmed down... but no, they still sound like the Beatles overdosed on caffeine - or more... The lineup includes two of the Buzzcock's founding members, vocalist/guitarist Pete Shelley and guitarist Steve Diggle, who together with bassist Tony Barber and drummer Philip Barker produce a sound which fits well into today's pop market. The original Buzzcocks inspired many younger bands--and their songs have been covered by groups such as Heaven 17, and, of course, the Fine Young Cannibals' excellent rendition of "Ever Fallen In Love". This recording is Fun with a capital "F". Bouncy. And there are some melodic gems among the more manic cuts: "Back With You" and "Hold Me Close" standing out as Buzzcocks classics. "Totally From The Heart" has Pete at his frantic best and "Without You" is nothing like the Harry Nilsson classic of the same name. Look out for the Buzzcocks touring the UK and the USA later this year. And take your pogoing shoes with you! --- REVIEW: The Gravel Pit, _The Gravel Pit Manifesto_ (Q Division) - Reto Koradi When writing reviews, you are always tempted to analyze the music, and find a drawer that fits. So could we nail The Gravel Pit into the grunge corner? Lump them into the ongoing punk craze? Not really, unless you realize that both of these are just variations of something much more universal that we often tend to forget about while watching all these trends. The thing is called rock music, and that's the only fair description of what The Gravel Pit perform. Despite the common theme, the tracks on _The Gravel Pit Manifesto_ come in different flavors. There are rough songs in the good old garage rock tradition, interspersed with slower, balladesque pieces. The music is quite simple and comes along completely naturally, and yet there is enough substance to capture your attention and leave a lasting impression. If you only are after original and innovative music, this is not for you. But for everybody who likes some good, timeless rock music now and then, _The Gravel Pit Manifesto_ is heartily recommended. Chances are that you will still listen to it after most of today's hypes are long forgotten. --- REVIEW: Splitsville U.S.A., _Splitsville U.S.A._ (Big Deal) - Al Muzer Led by former Greenberry Woods guiding lights and power pop lovin' twin brothers Matt and Brandt Huseman (who've reinvented themselves here as their cartoon-like alter-egos Messiah Kari and Johnny Immaculate); Splitsville (which includes bassist/vocalist Captain Dusty) mates GW's joyously Beatle-esque reverence for tight, three-part harmonies and captivating hooks with the hyperactive bounciness of The Banana Splits and the raw, exuberant energy of Redd Kross. Featuring at least seven potential hit singles (especially "Mr. Spaceman [Opus #3]" and "Shrinky Dink"), the many pop culture references lovingly cited by this Baltimore-based three-piece include: "Wipeout," Archie comics, "Atari 2600," the green Power Ranger, a "Gremlin With Mags," "Brenda Starr," F-Troop and Larry Storch. --- REVIEW: High Llamas, _Gideon Park_ (Alpaca Park - U.K.) - Tim Kennedy This CD has been on release in the UK for nearly a year and has been followed up by a successor, but despite critical acclaim from certain quarters it has remained obscured in the public domain. The overwhelming impression gained from listening to this music is just what a labour of love this was. So close is this to the spirit of Brian Wilson's output during the _Smile_ sessions that it makes a Beach Boys fanatic laugh out loud upon hearing the knowing references to unreleased or rare _Smile_ album (1966) 'feels'. Even the name of the group is a reference to the animals on the cover of _Pet Sounds_, as is the record label - 'Alpaca Park'. The same blend of varied, keyboard-led instrumentation and gentle harmonies is here, as is the use of layering and of gently recursing patterns building onwards. Many of these songs are instrumentals. Frequently a song persists in a lunatic fashion, recalling the unhinged source of inspiration behind the work. Sean O'Hagan has penned notes from the golden age of creation when virtually all of what we know of as modern music was climbing out of its egg, aided by the mother-henlike pecking and fussing of our Brian. The other element running through this music is a love of the whimsical McCartney muse of the same time. Indeed the vocals are closer to homely Paul's than otherworldly Brian. Steely Dan is a name one might also mention in passing, though not to such a degree as that of the other two influences. Maybe that lack of innocence is perceptible - in contrast to Wilson the great master, who almost unconsciously conceived and executed his masterworks, and seems as perpexed about them afterwards as anyone else - if not more so. Many have taken direct inspiration from the 1965-66 era Beach Boys, but few can have paid tribute in such moving terms as these. A thing of beauty. --- REVIEW: High Llamas, _Hawaii_ (Alpaca Park- U.K.) - Tim Kennedy 76 minutes and 26 seconds after this astonishing roller coaster ride over ethereality and downhome Beach Boys happiness has begun, you are struck as much by its thematic musical nature as anything. There has probably never been a concept album of easy listening but this could be the nearest thing to it. That is, if easy listening is the right term for this gentle melange of quirky pop. The High Llamas are of course the Beach Boys-obsessed brainchild of former Microdisney leading light Sean O'Hagan and their _Gideon Gaye_ was many critics choice of last year for its loving references to the genius of Brian Wilson circa '66 and to a lesser extent McCartney's whimsy. After the 1966-7 _Smile_ sessions, Brian and the boys flew to Hawaii to recuperate. Later in the eighties Brian went to Hawaii after years of abuse to be healed by his then psychiatrist Eugene Landy. What followed was a virtual rebirth, with Wilson losing mounds of flab and coming out of his shell to startling effect. So the title is a two-edged reference. Of course the aftermath of Wilson's 60s burst of creativity was his retreat to bed and subsequent drift to Bacharach-esque escapism. O'Hagan has instead dished up more strings, bells, vibes, brass, and the ever-present piano refrain, and of course those weird links with synths, detuned radios and the like. Inevitably a familiar deep, deep bass underpins it all. To detail the tracks would be somewhat pointless - the melodies merge and flow - you are not experiencing a conventional rock album with a standard twelve tracks. But while this is easy relaxing music it constantly inspires and intrigues. And some of the harmonising is magnificent. There are many who argue that this sort of music is unhealthy in our times - that bands should be looking forward and not to the past. However what you tend to find is that people who say this kind of thing are just venting their prejudices - check their favourite band for trademark riffs lifted from seventies rock heroes. Or the samples pinched wholesale from George Clinton or James Brown. The brand of music purveyed by Mr O'Hagan and chums is as eternal as romance. --- REVIEW: Steeleye Span, _Time_ (Shanachie) - Paul Grzelak Steeleye Span's latest release, _Time_, is the newest offering from the folk / rock genre. This album has been long awaited by fans of Steeleye Span. While it has been a long delay, the final result is very much worth it. Steeleye Span is now composed of Maddy Prior, Gay Woods, Bob Johnson, Peter Knight, Tim Harries and Liam Genockey. Gay Woods, who had performed on earlier Steeleye works, is back, and the vocal combination of her voice and the voice of Maddy Prior is both beautiful and haunting. The studio quality of this album is phenomenal. The stereo separation and vocal / instrumental effects make this an ideal album for headphone listening. Music swells around you as Steeleye Span continues their rendition of folk music with modern instruments. Along with some of the more classicly based folk tunes are some new creations that transcend the traditional. The album begins with "The Prickly Bush", which is based on a story about the imminent hanging of a maiden whose honor has been tarnished. This reviewer cannot help but think of "Gallows Pole" by Led Zeppelin when listening to this track. The maiden implores her family for gold (the symbol of integrity / virginity), but cannot get it from them. "The Old Maid In The Garrett" is destined to become yet another Steeleye Span classic. This tale tells of a not-so-young woman worrying about not getting married and being doomed to becoming an old maid. This is a vibrant and punchy tune that has a rolling feel. "Harvest Of The Moon" is a more reflective style ballad that has a formal feel and a slower tempo than most of the album. "Underneath Her Apron" is another good story of sex, children, and trying to hide both. This is one of the more traditionally Steeleye songs on the album. Those familiar with Steeleye Span's other work will see that this fits very well into much of their other songs. And then there is "The Cutty Wren". It is a tradition in England at Christmas to hunt down a wren. Similar in concept and in story to the a capella work "The King", "The Cutty Wren" adds an entirely new dimension. The story is simple, as are the lyrics, but the performance is astounding! This is a song for headphones: the instrument placement, separation and vocal positioning engulfs the listener in a wave of sound. Headphones are a must here. "Go From My Window" is a traditional ballad style arrangement. The combined voices of Gay Woods and Maddy Prior give this song texture. From here, we go to "The Elf Knight". This is another song for headphones. The traditional lyric is set to an inspired instrumental, surging with emotion. The battle of good against evil (in this case, the Lady Isabel vs. the Elf Knight) is well portrayed in the emotion of the music. Sex, violence, bewitchment and murder are the themes here. All with the depth of sound that was also seen in "The Cutty Wren". "The Water Is Wide" is a love ballad. The typical story of life being an ocean to be sailed by a boat made for two. Again, terrific vocals in a very nice instrumental background. This track, along with "Go From My Window" remind this reviewer of the solo work of Annie Haslam. From there we go to "You Will Burn". Nice contrast. Steeleye Span wanders from a sweet love song into the middle of a witch burning. Nice. Imagine a happy driving tune, such as "Padstow" from _Tempted And Tried_, combined with a rather violent lyric that takes Rush's "Witch Hunt" to its deadly conclusion. "Corbies" is a "Two Corbies" / "Twa Corbies" revisit from previous traditional songs. The old english lyrics are a nice touch to the swelling bass and overwhelming music. Another headphone track. The image of two crows, feeding on a dead knight whose hawk / hound / lady have deserted is such a pleasant image of the mutability of things. Those familiar with the earlier version of "Two Corbies" are in for a surprise with this one. Finally, "The Song Will Remain" is a sentimental closing song, similar in lyric and emotional content as Fairport Convention's "Meet On The Ledge". An excellent closing song, filled with emotion. Steeleye Span have crafted a work of art in _Time_. This album has much of the traditional feel of earlier Steeleye Span work, but with a polish and power that was only hinted at in _Tempted And Tried_. The instrumentation and vocals of _Time_ leave the listener awestruck at times. The clarity and power of this album make it worth the wait for Steeleye Span fans everywhere. --- REVIEW: J Mascis, _Martin + Me_ (Reprise) - Mario J. Lia One of the last times we saw J was in a video for his band Dinosaur Jr. It was for the song "I Don't Think So". At that time, J was driving a pickup truck, driving around two big fuzzy monsters. If you are expecting more fuzzy monsters from _Martin + Me_, you won't get it, as there are none. Also, if you have any other preconceived notions about J, his music, and live recordings; prepare to be shocked. J breaks most live album traditions. On live albums there is usually a lot of witty banter between the singer and the screaming fans. That has been reduced. There are very few comments made from J, and the cheering of the fans are just for a second or two at the end of some songs. Most of the songs go, bing-bang-boom right after one another. Also if you're an avid Dinosaur Jr. fan, you're in for a breath of fresh air. On the studio albums there are usually several distorted guitars on top of a thumping drum, and booming bass. First off, it's just J on a Martin acoustic and that's it. No bass, or drums. The only other musician on the album is Kurt Fedora, who plays guitar with Mascis on the song "Drawerings"(he also plays the right speaker solo on the original version). The only live cliche is cover songs. Out of the 14 tracks on _Martin + Me_, four of them are covers. These songs further promote the eclectic quality of the album. The songs J covers are: "The Boy With The Thorn In His Side" by The Smiths, "On The Run" by The Wipers' Greg Sage, "Anticipation" by Carly Simon, and "Every Mother's Son" by Lynyrd Skynyrd. Three of the songs are from Dinosaur Jr's _Green Mind_ album. Most notable of the three, is the song "Thumb". The original version of "Thumb" that appears on _Green Mind_ has a flute in the intro as well as the verses. Mr. Mascis takes care of that with some nice guitar arpeggios. _Where You Been_ was the album that first brought Dinosaur Jr. into the media spotlight, with the videos for "Out There" and "Start Choppin'". The four songs that are done acoustically are some of the best on both albums. The aforementioned "Drawerings" is spectacular. "Drawerings" was a great song and it gets even better acoustically live. Kurt Fedora gives another scorching guitar solo on this version. As if that wasn't enough there are also acoustic versions of songs that were only available on imports and various EPs. All in all this is the one of the best live album I've heard since _Frampton Comes Alive!_(and certainly better then _Frampton Comes Alive 2!_). And it totally beats the pants off any MTV unplugged show. For those of you who liked Dinosaur Jr. before, you will love the change of pace and lyrical clarity. And for those of you who where skeptical before, here's your chance to get hooked! --- REVIEW: McRackins, _Short and Sweet (EP)_ (Shredder) - Reto Koradi It's only been a few weeks since we reviewed _In On The Yolk!_, the McRackins 4th album, and now the punk band dressed up as chickens and eggs is back already, meeting their promise to release 100 songs in 15 months. And while 8 songs would fill an epic albums with many bands, it's just good enough for a 14 minute EP for the McRackins. Not surprisingly, not much has changed since the last time. The music is simple, fast, energetic, catchy, and fun. They out themselves as Flintstone fans in "Caveman" ("the dinosaurs are sleeping, please don't wake up old T-rex, Betty's gettin' horny, wachin' Wilma havin' sex."), and talk about their "Colorado Van Crash", where a blown tire almost ended their lives last year. You can certainly find more carefully crafted records, but this is punk rock how it's meant to be. It doesn't even matter that they borrow a hook from the Beatles' "Ob-la-di, Ob-la-da" for "Mickey and Mallory". --- CONCERT REVIEW: Victoria, The Roadhouse, Manchester, UK May 30 - Tim Kennedy The Roadhouse is a converted cellar just off Piccadilly Gardens in Manchester, the sort of place that most bands have to toil around in their early days. A dying species in fact, at least in the UK where high rents in the big city are squeezing out the breeding grounds for what are our probably the country's best export these days- young rock 'n' roll bands. Victoria have the unenviable position of bottom of the bill in this dive. They are also forced to play before most of the audience have finished their halves at the Students Union bar- let alone arrived at the venue. Faced with this calamity, Victoria carry on unfazed. They are a high octane mix of drums 'n' bass aggression, menacing keyboards, quixotic psychedelic lead guitar and a bit of northern sophistication in the shape of vocalist Vicky. The first thing that occurs to one listening to this band is that this could be the dark spiky pop that emanated from the UK Ska scene of 78-79. The tunes have that catchy quality - and this is certainly no conventional guitar garage combo. But the clinically efficient rythm section, and the swirling keyboards have the unmistakeable air of The Stranglers around the time of their second album. (I must declare an interest at this point, having been a fan of said band for 18 years.) The bassist is particularly good, and underpins the sound as did JJ Burnel in the Stranglers and Peter Hook in Joy Division, then New Order. The keyboards complement the rythm section well and the drums are spot on. A fascinating mixture indeed. Vicky is no Hugh Cornwell and she has none of the brooding menace that is being generated by the rest of the band. She appears to be remarkably well-adjusted considering she's a member of a rock and roll band. She has no need of a gimmicky stage neurosis of course, since she is a talented singer (which sets her aside from most rock vocalists). Although the sound quality is no great shakes this much is clear. Blonde and pretty, but somehow fairly down-to-earth, she comes across low-key and certainly not overly dramatic, she makes an odd contrast to the big fierce-looking bassist who is the centre of gravity in this band. Gary the guitarist strikes Townshendish poses on stage-right. Victoria haven't worked at an overall 'look', as do most. However in these post-style times, any 'look' is a bit of a joke anyway. The final number is at times reminiscent of "Lucifer Sam" of Barrett-era Floyd fame and Gary shows off some mighty fine frazzled guitar a la the great Syd, finally winning the battle with the sound system in the process. Comparison with other female-fronted bands doesn't hold up. Vicky is the singer but she doesn't reduce the rest to anonymous sidemen - the individual parts add up to the sum of the entertainment on offer in this case. Victoria are a hybrid - but hybrids are always the most interesting bands to follow. --- REVIEW: Jason Becker, _Perspective_ (Jason Becker Music) - Linda Scott Guitar wizard Jason Becker got his first public notice in the late 1980's when he and Marty Friedman formed Cacophony, a speed metal band which mixed a synergy of rock, classical and blues training. By 1990, Becker learned that he would fill Steve Vai's old slot of lead guitarist with David Lee Roth. His selection brought only brief celebration, because a week later, Jason Becker was diagnosed with Amyotrophic Lateral Sclerosis (A.L.S. or Lou Gehrig's Disease) an incurable, inexorable disease which attacks the nervous system. Completing Roth's _A Little Ain't Enough_ with a final burst of the stunning guitar work that rivaled Vai's, Becker was too ill to tour and moved in with his family. His deteriorating health did not affect his mind or his desire to create music. He conceived a project that would fill the next five years with frustration as well as satisfaction - the making of _Perspective_. Using a Midi-based studio and keyboard, Macintosh sequencing software (Vision), and an analog recording system, Becker adapted to making music by computer, to translating the music he heard in his head into keystrokes. As the project moved forward, this young man of 26 found himself in a motorized wheelchair and unable to speak intelligibly - yet he pressed on with _Perspective_ to its completion. With this heartbreaking background, it would be tough to come out against _Perspective_ - but sympathy isn't necessary. The album contains eight tracks of original material and a cover of Dylan's "Meet Me In The Morning". Primarily an instrumental album, there are some vocals on "Higher", "Primal", and "Meet Me In The Morning" although the first two have vocal touches, not story-type lyrics. If you can stop looking for Becker's speed metal trademark, you can appreciate the ethereal, slow moving beauty of these compositions. Think more New Age, not metal. There are interesting, appropriate sounds such as the bamboo flutes and rain stick on "Primal". _Perspective_ is pleasant to listen to, and Becker wrote it to be uplifting. The album is recommended to those who enjoy New Age and soft, non-intrusive instrumentals. Becker's next musical project which will definitely require computer software and a monitor sensitive to his eye movements; he is now unable to work the keyboard now. Believe in miracles, and check out the beauty of _Perspective_. Becker has also established a $10,000 music scholarship at the Atlanta Institute of Music and is accepting applications through August 31, 1996. Applicants may submit audio or video tapes of any length to: Jason Becker/A.I.M. Scholarship, 6145-D North Belt Parkway, Norcross, GA 30071 The winner will be chosen by Becker. --- REVIEW: D:Ream, _World_ (Elektra) - Daniel Kane You don't have to ask this critic a second time to review the new album by D:Ream, _World_. This album hit platinum or gold in the United Kingdom, Australia, and most of Europe, and with good reason. In 1994, D:Ream was also nominated for both Music Television Europe Music Awards and the Brit Awards for Artist of the Year. Peter Cunnah of Derry, Ireland and now of London, brings a sharp ear and positive bond to the house scene. "D:Ream will always be about heart, mind and soul," he says. The first track on _World_, "The Power (Of All the Love in the World)" is a must-hear. 100% -- sing along, shower superstars, to a celebration of talent, life and energy! Another favorite of mine is "Heart of Gold," which embraces a serious message, not quite so inspirational but beautifully instrumental. Recognizing perhaps preconceptions of dance music in certain social circles, Cunnah brings a talent and inspiration, while simultaneously seeking to clarify his and the group's purpose and intentions: "There used to be this idea that rock music was intellectual and dance music was just a totally physical thing. I think we're one of the bands that has succeeded in breaking that down. If people just want to dance to our music, that's fine. If they want to sit down and take in some of the serious points addressed by the lyrics, that's also fine. If they want to listen to it on both levels, that's even better." Cunnah and the band demonstrate a remarkable range of ability and knowledge of the craft with an impressive array of vocals and instrumentation. The lyrics provide for an uplifting experience, and the standout tracks, such as "The Power", make this an enjoyable album for dance fans. --- REVIEW: Umajets, _Demolotion_ - Joe Silva Courtesy of a weird skip that glanced across my radio while lost in the North Georgia mountains, I had one of those mini radio epiphanies that stick at least until you hold the culpable disc in your hand and have played it close to infinitum. Done up in lug nut tight harmonies, solid grooves and general melodic splendor, the Umajets are the cream of Atlanta's pop holdouts. Originally configured as a duo that performed acoustically under the name Thing 1 Thing 2, principal members Tim Smith is late of Jellyfish (bass) while Rob Aldridge was the vocal side of Holly Faith. While I've heard them deny that their name is any roundabout homage paid to a certain starlet, the 16 tracks that make up _Demolotion_ are fairly fetching in themselves. Coupled with the release of the Imperial Drag album (that features two other ex-Jellyfish-ermen), it's now easy to see all the elements that were more or less integral to that particular pop beast. Imperial Drag walked away with all the glam-ish bits while the Umajets got the sugary hooks and the inventive arrangements. As a quick for instance, Rob and Tim drop a sucker punch chorus into "Fly" and practically retool the mid-tempo feel of the track without the listener feeling unnecessarily jostled. The brilliant "Half Man Half Wrecking Ball" is illuminated by a nifty bridge and sweet backdrop harmonies through the refrains. And while I half promised myself that I wouldn't inject the near inevitable Beatles allusion, a relisten to songs like "Mother" and "My Weary Eyes" have melodies that are so unblemished that they approach the high flung McCartney-esque standards for perfect ballads. Had you heard the demo of "Girl Named God," you might agree that the electric version included here doesn't quite nab your ear as the former. And even though I'm not quite sure that the running order plays to all the strengths of the album, there's so much going right for _Demolotion_ over 17 tracks all told, thats it's nothing to quibble over. Now fleshed out as a four piece, they'd be a must see if you were planning to brave the Olympic hordes and be in the Atlanta area this summer and could catch them during one of their rare club gigs. Overall, quite a gem for the pop faithful. Still in the process of considering different labels, interested parties can write to the band at: Umajets, 1387 Oxford Rd., Suite 203, Atlanta, GA 30307 or umajets@aol.com --- NEWS: > There's a Ben Folds Five Mailing List, based entirely on subscribers e-mail, comments, etc. To subscribe, send an e-mail message to maynard@oeonline.com > The Bloodhound Gang has just finished the mastering for their next album, _One Fierce Beer Coaster_. The first video for the song, "Kiss Me Where It Smells Funny", is being shot in Los Angeles. Fans can check out their Web site at http://home.earthlink.net/~lupusbhg/ > The Cure have their own web page, located at http://www.the-cure.com > Metallica and Apple Computer will broadcast a fanclub members-only show on the Web at http://live.apple.com on June 10, 1996. The live show, which occurs in San Francisco, will debut material from their upcoming album, _Load_. > Porno For Pyros will be on tour shortly in the five piece incarnation; Perry Farrell on lead vocals, Peter DiStefano on guitar, Stephen Perkins on Drums, Tom Johnson on samples/keyboards and Mike Watt on bass. > SonicNet's website is the official web hub for all online activities surrounding the Tibetan Freedom Concert (June 15 & 16), and will be prociding the cybercast feed for the entire two days. Online chats will occur before and during the event; the June 10 chat (at http://www.sonicnet.com/sonicore/chat), from 8:00-9:00 pm EST, will center on the Beastie Boys' Adam Yauch and Milarepa Fund's Erin Potts, talking about the Tibetan acuse and what the conference hopes to project. The concert will be held from 3:00 pm - 8:00 pm EST each day. Scheduled artists include, but not guaranteed and not limited to: Beastie Boys, Smashing Pumpkins, Tribe Called Quest, John Lee Hooker, Foo Fighters, Cibo Matto, Red Hot Chili Peppers, Fugees, Bjork, Rage Against the Machine, De La Soul, Beck, Sonic Youth, Yoko Ono Chaksam-Pa and more. --- TOUR DATES Baboon / Rubberbullet Jun. 6 Shreveport, LA Herbert's Jun. 7 Fort Smith, AR Ravie's Jun. 8 Topeka, KS Tap Room Jun. 9 St. Louis, MO Cicero's Jun. 11 Chicago, IL Fireside Bowl Jun. 12 Detroit, MI Magic Stick Jun. 13 Toledo, OH Frankie's Lounge Jun. 14 Charleston, WV Common Ground Jun. 15 Pittsburgh, PA Electric Banana Big Stupid Guitars Jun. 12 New York, NY Lion's Den Boyracer Jun. 11 Austin, TX Emo's Jun. 12 Denton, TX Argo Jun. 13 Wichita, KS Panama Reds Jun. 14 St Louis, MO Cicero's Jun. 15 Chicago, IL Fireside Bowl Jun. 16 Ypsilanti, MI Green Room Bryndle Jun. 8 Santa Monica, CA McCabe's Charm Farm Jun. 15 Toledo, OH Asylum Cocteau Twins Jun. 12 New York, NY Roxy Compulsion / Evil Superstars (UK Tour Dates) Jun. 11 Wolverhampton Varsity Jun. 12 Brighton Richmond Jun. 13 Chelmsford Y Club Jun. 14 Exeter Cavern Jun. 15 Hastings Crypt Jun. 17 Newcastle Riverside 2 Cordelia's Dad Jun. 13 Cambridge, MA Middle East Jun. 15 New Salem, MA New Salem Meeting House Jayne County Jun. 13 Portland, ME Granny Killem's Jun. 15 Boston, MA Mama Kin Jun. 16 Northampton, MA Iron Horse Grover Jun. 12 Philadelphia, PA Khyber Pass Jun. 13 Boston, MA Tt The Bear's Jun. 15 Toronto, ON El Mocambo Love & Rockets Jun. 11 Athens, GA 40 Watt Jun. 12 Raleigh, NC New Bar Jun. 13 Baltimore, MD Hammerjacks Jun. 14 New Haven, CT Toad's Place Jun. 16 Philadelphia, PA Trocadero Nields Jun. 15 Birmingham, AL City Stages No Doubt Jun. 11 Denver, CO Ogden Theatre Porno For Pyros Jun. 12 Vancouver, BC Commodore Ballroom Jun. 14 Seattle, WA Moore Theatre Jun. 15 Portland, OR La Luna Rosenbergs Jun. 5 New York, NY Lion's Den Shallow Jun. 14 Toronto, ON Xrays Ten O'Clock Scholar Jun. 15 Long Branch, NJ Brighton Bar 22 Bridge Jun. 14 Charlotte, NC World Mardi Gras Jun. 15 Toronto, ON Horseshoe Varnaline Jun. 14 Toronto, ON Rivoli Jun. 15 New York, NY Brownie's Velour Jun. 6 New York, NY Knitting Factory White Courtesy Telephone Jun. 14 New York, NY Brownie's Jun. 17 New York, NY Coney Island High --- 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/consumable (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. 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