==== ISSUE 79 ==== CONSUMABLE ======== [June 15, 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 | `------------' INTERVIEW: Doug Powell - Bob Gajarsky CONCERT/ALBUM REVIEW: Dave Matthews Band, _Crash_ - Stephen Lin REVIEW: Various Artists, _Music from and Inspired by Mission: Impossible_ / Various Artists, _Twister_ (Warner) - Sean Eric McGill CONCERT REVIEW: "Writers In The Round" - Bob Gajarsky REVIEW: Pantera, _The Great Southern Trendkill_ - Sean Eric McGill CONCERT REVIEW: Steeleye Span - Paul Grzelak REVIEW: Elysian Fields, _Elysian Fields_ - Stephen Jackson REVIEW: Charlie Hunter Quartet, _Ready...Set...Shango!_ - Ali Sinclair REVIEW: Scheer, _Infliction_ - Lee Graham Bridges NEWS: Baby Chaos, Crowded House/Finn, KSCA, Modified, Organic '96, Phoenix Festival, Sonicnet Action Ready Singles, Virtual Netcasting Corporation TOUR DATES: Anthrax, Baboon / Rubberbullet, David Bowie, Boyracer, Cast/Self, Cheap Trick / Hot Water Music, Coax / Me / Lida Husik, Compulsion / Evil Superstars (UK Tour Dates), Cordelia's Dad, Dick Dale, Dread Zeppelin, Electrafixion, Grover, Love & Rockets, Nada Surf, Me'Shell Ndegcocello, Nancy Boy, Poorhouse Rockers, Porno For Pyros, Superdrag, Time's Up/Sky Falls Down/Nothing/Midfall Drive, Tripmaster Monkey, 22 Bridge, Verve Pipe Back Issues of Consumable --- INTERVIEW: Doug Powell - Bob Gajarsky Doug Powell is one of the rising stars in the "pure pop" - as opposed to the Billboard Pop 100 - area of music. His latest release on Mercury Records, _Ballad of the Tin Men_, has produced two tracks which have already received radio airplay: "Return to Sender" and the current single, "Unmutual". That pure pop sound which emanates from his instruments is a pleasant contrast to the grunge which is seemingly everywhere. Consumable Online was able to catch up with Doug and ask him a few questions about the thought process involved with his songwriting. Consumable: You recently performed acoustically at a concert in New York City (with Jules Shear, Richard Barone and Marti Jones). What are your favorite parts of playing without an "electrified" sound? Doug: My favorite part is getting through it without breaking out in hives. I play solo so rarely that it still can be quite terrifying for me. At the same time, it is the most satisfying knowing there are no crutches, no other musicians to distract visually or musically. It comes down to the song and my rendering alone. As a power-monger this appeals to me - to have all the responsibility and not rely on anybody else. C: What makes a perfect song? What is one song which in your eyes reflects the "perfect" song and is a personal favorite? D: The characteristics of the perfect song very with every set of ears. I'm afraid my definitions of the perfect song are somewhat nebulus. I can, however, point to a few of my favorites. My number one all time song is "Love Is The Answer" by Todd Rundgren. The original version is on Utopia's _Oops! Wrong Planet_. It's all there. The melancholic melody housing an equally melancholic lyric about the meaning of life. It's one of those songs that makes me want to go back to my computer job because I know I'll never attain the greatness of this song. "Both Sides Now" by Joni Mitchell is also a killer for me. The last favorite for me is the Beatles' "A Day In The Life" - a timeless melody. Now if I only knew what it was about. C: Much of the writing and music on _Ballad of the Tin Men_ is of an "intellectual pop" style - songs that can be heard time and time again, yet still sound fresh. What were the greatest influences on your sound? D: Todd Rundgren has been the object of my strongest musical fixations. His continual reinvention is fascinating to me; his musical evolution never ceases to incorporate new (to him) styles into his Philly Soul and blues foundation, thus creating something strikingly original. His is the music of a music lover, one who refuses the mediocrity that is more and more becoming the standard. (There should be) Lessons for everyone! Much the same can also said for Ray Davies. He's always finding some new way to write songs you thought you've heard before and can't forget after hearing them. Jules Shear didn't show up til the very tail end of high school for me. _Watchdog_ had just come out and I bought it because of it's producer (Todd). As soon as the needle dropped, I knew I was on to something special. No one I know has failed to be entranced by the incredible economy of the chord prgression of the opening song, "Whispering Your Name". An absolute classic. This record really got me into trying to understand just how songs work, how they are constructed. The rest of his catalog does nothing to dispell the infallibility I held him after falling in love with that album. Even more, (because of the professional contact), I am priviledged to have scores of demos and unreleased songs that are often the most magical of his work. The suppression of his work really angers me. Elvis Costello is another one. I was only a minor Elvis fan when I saw the _Punch The Clock_ tour but the experience was epiphanal. That was when I knew it wasn't a guitarist, or bassist or drummer that I wanted to be, but a songwriter. The songs came unstoppably after that concert. They were no longer things I had to conjure up but instead, things I had to let out. I had no choice. The unspoken influence is, of course, the Beatles. In light of all the things said about them, let me just say "Ditto." C: Are you a music lover? D: Definitely. C: As a "power-hungry" person, how long does it take before you are happy with the song? D: It depends on the song. It seems the fastest ones are the ones that stand the test of time. C: The songs on _Ballad_ often speak from the soul, from what could be personal experiences. Do you draw your songwriting inspirations from your own life experiences, those around you, or both? D: I write awful fiction. Therefore, I only write about me or my interpretations of others. When I do write fiction the characters very quickly become caricatures and most often turns the song into a novelty song. This is not in and of itself bad, but can run thin pretty quick so I don't do it too much. I do not speak very clearly about the things that are most important to me - therefore, I have songs. They are my therapy, my disseratations, my essays and my ramblings. They are very autobiographical as a result. Living in Nashville, which is a very songwriter-oriented town, this is commercial suicide. I've had a number of people recommend books on songwriting to set me straight so I can get a few cuts. Yeehaw. C: How do you write your songs - in other words, is it lyrics then music, music then lyrics, or at the same time? D: Always music first. Often I'll have an idea and/or title and let that gestate until it represents itself musically. Then just fill in the blanks, stir vigorously, and BOOM theres your song! C: You played piano and guitar at the "Writers in the Round" show. What is your favorite instrument to play, and why? D: Piano. It holds more secrets to me than guitar because it is less familiar. I grew up on guitar and naturally hear in guitar-voicings. This makes the piano more interesting. Although, at that gig Carole King was in the audience which made playing the piano a little nerve-racking for me. --- CONCERT/ALBUM REVIEW: Dave Matthews Band, _Crash_ (RCA) - Stephen Lin Due to unforeseen complications, my party arrived late to the Dave Matthews concert in Virginia. We ended up arriving in the middle of the second song in the set, "Say Goodbye." "Say Goodbye" is a beautiful song, highlighted by LeRoi Moore's fantastic flute melody, about friends becoming lovers for one night. I was delighted to hear one of my favorite tracks off of _Crash_. I was traumatized that I only heard half of it. I learned later that DMB opened with "Two Step," also off of _Crash_; unfortunately, "Two Step" was plagued with technical problems. The entire evening was fascinating. The set list consisted of almost all of _Crash_ and a few songs from the triple-platinum _Under the Table and Dreaming_. While _Crash_ had only come out that same day, the sold out crowd danced and sang along with Matthews throughout just about every song. Matthews used to perform weekly in Richmond and Charlottesville, where a great deal of the audience had already been exposed to many of the "newly released" songs. "Two Step" and "Drive In Drive Out," known to many bootleg owners as "Celebrate" and "Smelly Shoes" respectively have been fan favorites for years. The deep grooving "So Much To Say" (which also happens to be my personal favorite) has also been on bootlegs for quite some time. Another fan-favorite,"Tripping Billies" first appeared on the DMB self-released album _Remember Two Things_ which has gone on to sell more than 350,000 copies. "Satellite," "Typical Situation," and what seemed like a 20 minute version of "Jimi Thing" represents some of the selections from _Under the Table_. The familiarity of the older songs and the first single "Too Much," which cluttered airwaves in the weeks preceding the concert, created a strong rapport between the band and the 10,000 members of the audience. Before this show, I didn't think it possible to have an intimate concert with 10,000 people. I was wrong. Matthews' playful (and eccentric) stage demeanor fueled the audiences feel-good fire. In turn, Matthew's & Co. fed off of the audience's strong reaction to their Virginia homecoming. The purple, red, and green lighting and the exceptionally painted backdrops only added to the electric atmosphere of the concert. The concert lasted about two and a half hours which included the five song encore. During the encore, Matthews stated the exhaustion of the band at playing such a long concert after such a long hiatus from their regular touring. He repeatedly mumbled something to the extent of "it feels like we've been up here for three years ... we're kinda tired." Following this mumble session, Matthews proceeded to break a string on his Chet Atkins model Gibson guitar while performing a solo version of "Typical Situation." With Carter Beauford on Drums and Stefan Lessard on Bass, Matthews (somewhat stream-of-consciously) told a story about a personal escapade in New York which turned into an improvised song with band members looking to each other for cues. They closed the show with a full band, high energy version of "Tripping Billies," with Boyd Tinsley's monstrous fiddle solo leading the way. DMB's return to Richmond was essentially a huge celebration. A good time was had by all, performers and audience and even ushers. Unfortunately, whenever a band becomes remotely popular outside their local regions, some fans scream and yell. Apparently, a number of DMB "Fans" have been crying "sell out" and "big-evil major label!" This has been in response to some of the different things Dave Matthews and Co. experimented with on _Crash_ such as baritone sax, flute, more electric guitar, louder louds and softer softs, etc. Heaven forbid that they might expand as artists and try something different. I applaud their willingness to take a risk, however drastic or meager it might seem. _Crash_ is every bit as solid (if not more so) as its predecessors. While I'm extremely fond of the _Recently EP_, I think _Crash_ is the best DMB release yet. --- REVIEW: Various Artists, _Music from and Inspired by Mission: Impossible_ (Island) / Various Artists, _Twister_ (Warner) - Sean Eric McGill There's a right and a wrong way to do a movie soundtrack. And as luck would have it, we have examples of both on the market right now. But first, we must look at a couple of things which a good soundtrack album should have in order to be a success: 1) Good songs - period. Nobody wants to even watch a movie filled with crap, and they certainly don't wanna buy the crappy soundtrack of said movie. Where people seem to get confused with this point is in assuming that "popular" means "good". It doesn't. There are plenty of soundtracks out there (Ace Ventura II, Dangerous Minds, etc.) with fairly bad songs on them that just happen to be Top 40 hits. But enough of that, on to the next point. 2) At some point in the film, you should actually be able to hear at least one note from each song on the soundtrack. This in and of itself is a pretty deep point, and since one of the soundtracks we'll be looking at violates it in a most heinous fashion, we'll elaborate on it more in a bit. That's about it. No long list of demands, just two simple requests. Give us something we can hear in the movie, and make it work hearing. Just because Ace of Base has a hit song, that doesn't mean I want to see Uma Thurman and Christian Slater dancing to it. But enough speculation, because right now on the shelves we have two new albums with show us without a doubt the right and wrong way to make a soundtrack album - and not only are they two new soundtracks, but they're soundtracks to the two biggest films at the box office so far this summer. The right soundtrack is _Twister_. This motley concoction of songs from artists ranging from Van Halen to Shania Twain not only works well as an album, but the songs also coexist perfectly in the film. From the back-home feel of Mark Knopfler's "Darling Pretty" to the country swagger of Twain's "No One Needs To Know", the songs are arranged so that you never go from one extreme to another in between songs, giving the soundtrack the feel of a damn good compilation. And in the film itself, the songs are all visible. Got some trucks racing to catch a tornado? "Human Beings" by Van Halen, with its trademark drum sound and borderline rap vocals by Sammy Hagar, serves as the perfect backdrop. Got some people just sitting around and waiting for a tornado (these two actions make up the whole of Twister, by the way)? Then put on "BT's Tornado Mix" of "Talula" by Tori Amos and you're good to go. On the other hand, the soundtrack for _Mission: Impossible_ is the perfect example of how not to do a soundtrack. Of course, the album isn't really a soundtrack - why right there on the cover it tells us that these are "Songs From and Inspired By The Film Mission: Impossible". For those of you who don't know, "Songs From and Inspired By" translates roughly to "Only a couple of these songs have a damn thing to do with the movie, but the artists are hot or some (industry) people want them to be hot, so here they are". Of the fifteen tracks on the album, only five of them actually appear in the movie, and what's worse is that three of them are portions of the Danny Elfman score and another is the Larry Mullen/Adam Clayton remake of the original theme song. So basically, with the exception of The Cranberries' "Dreams", none of the other ten tracks on the album ever appear in the film. And this isn't an entirely bad thing, either. Many of the songs, from Bjork's "Headphones" to "You, Me and World War III" by Gavin Friday just aren't that good. And while they would probably make good album or B-side filler, they really don't have a place on this soundtrack. So basically, let's sound the call now and sound it loud. With movies like The Crow II: City of Angels and Cable Guy rushing up on us, it's time to make it known that if all record companies are going to do for a soundtrack is recycle the same songs from the same artists over and over, then - and I'll just speak for myself on this one - I'd rather have the score...at least those can be useful for something, because as it is now, the majority of soundtracks make great coasters and little else. --- CONCERT REVIEW: "Writers In The Round", Bottom Line, New York City - Bob Gajarsky The "Writers In The Round" concert series is a periodic uniting of several musician/songwriters performing acoustically at New York City's Bottom Line. Based loosely on similar concerts at Nashville's Bluebird Cafe, where waitresses have the authority to eject someone who repeatedly talks during the performances, these shows are geared for the music connoisseur who can appreciate a good *song*. And this evening provided a plethora of quality songs. Regular hosts Jules Shear and Richard Barone were bookends on the stage in introducing Marti Jones and Doug Powell. Jones, who is the wife of producer/performer Don Dixon, sounds not unlike Mary Chapin Carpenter, while Powell harks from the "pure pop" era, with tips of the hat to such popsters as Ray Davies and (of course) the Beatles. Each performer played four songs, for a total of 16 tracks - and they weren't necessarily the four "greatest hits" of each artist. For example, Jules Shear opened the show with "We Were Only Making Love' (from _The Great Puzzle_) which had all the earmarks of a Paul Simon or Bob Dylan track, while Marti Jones each played songs which are unavailable on any album; Jones' "Silent Partner", from a future album, and Doug Powell's ballad, "Can't Break My Heart". Powell's "Return To Sender", from his recent _Ballad of the Tin Men_, stood out as a timeless track even without traditional overdubs. The artists also worked in tandem with each other; Barone played his "Clouds Over Eden" with Powell on piano; while Shear dueted with Marti Jones on a track which bore similarities to a countrified "Don't Pass Me By". Shear and Barone did each play their best known song; in Jules' case, it was the Cyndi Lauper-covered "All Through The Night", and Barone took the Bongos' "Numbers With Wings", stripped it bare with a cellist, and re-worked the tune into a powerful crescendo. The concluding track was a cover of the Beatles' "Free As A Bird". Shear introduced the song with an anecdote about how many writers feel Jeff Lynne's production to the track diminished its power. When these four artists, plus a cellist, "took the song apart and reconstructed it" (Shear's words), it sent goosebumps up this writer's spine. That almost *was* the Beatles on-stage, if just for a brief moment; Shear became Lennon while Powell's eyeglasses said Lennon but his vocals echoed George Harrison. A spine-tingling encore that was a spectacular ending to a fantastic evening. --- REVIEW: Pantera, _The Great Southern Trendkill_ (East/West) - Sean Eric McGill Every one of Pantera's four major-label albums have one thing in common: as time has gone on, Pantera has become increasingly heavier, distancing themselves by miles from their days as a borderline glam band back in the mid-eighties. Their latest album, _The Great Southern Trendkill_, is no exception. Produced by Terry Date and drummer Vinnie Paul, _The Great Southern Trendkill_ is the kind of album you would expect from a band as their fourth release. You can easily tell the growth of the band from their first major album, 1990's _Cowboys From Hell_, which shows in every area from overall sound to songwriting ability. As a band, Pantera has grown tighter as they have cruised a path towards hardcore metal. Pantera has never fallen into the trap of having one band member eclipse the rest of the group in terms of perceived musicianship, a fact which has shown itself time and again in their ability to showcase songs instead of music. The songs on _The Great Southern Trendkill_ tend to be more story-oriented than some of their earlier attempts, the prime example being "Suicide Note Part 1" and "Suicide Note Part 2". In "Part 1", we're being told "would you look at me now/can't you see I'm a man/with the scars on my wrists/to prove I'll try again" - while in "Part 2", the same character informs us that what he's doing is not for "family, nor pre-judge army/this is for me and me only/cowards only try it". Basically, "Suicide Note" is the perfect example of a concept song as opposed to running the whole concept out for an album - in which case the usual result is that the concept itself becomes boring and worn-out by about the fifth song. But more than anything else, many of the songs on _The Great Southern Trendkill_ aren't about telling you a story as they are vehicles for the band to vent some of their aggression on those at whom they're particularly ticked off. And first and foremost on this list is the media - whom vocalist Phil Anselmo promptly tells "fuck your magazine and fuck your plastic scene" on the album's title track. Many times, by this point in a band's career, their albums aren't really the kind of thing you would let someone hear to get them into a band. But for someone wanting to get into Pantera, playing anything other than their latest work would be a wasted effort. This is band that is still evolving after over a decade in the industry in a genre so ripe for stagnant bands, and it's going to be interesting to see where they go to next. --- CONCERT REVIEW: Steeleye Span, Theater of Living Arts, Philadelphia - Paul Grzelak This reviewer was very pleased at the opportunity to attend a concert by Steeleye Span. This was the first time in a long while that Steeleye Span would tour the United States, and the first time this reviewer would ever see them. The Theater of Living Arts is located on South Street in Philadelphia. This venue was a rather good choice for attending the concert. The house was packed with a rather odd mix of first generation fans (having seen Steeleye Span from their first albums in the early 70's) and a new generation of folk / rock music fans. Steeleye Span's lineup for this concert was Maddy Prior, Gay Woods, Bob Johnson, Peter Knight, Tim Harries and Liam Genockey. This is the same lineup that appears on their new album _Time_. The band opened with "The Prickly Bush" from their new album. _Time_ has only been available in the US for the last few weeks. The impact of the new material on the crowd was astounding. Complete and utter silence followed by thunderous applause. Steeleye Span performed "The Prickly Bush", "Go From My Window", "Underneath Her Apron", "Seagull", "The Elf Knight", "The Weaver and the Factory Maid", "Lark In The Morning", "The Water Is Wide", "Padstow", "Thomas The Rhymer", and "The Old Maid In The Garrett". The encores included "All Around My Hat", a series of reels / jigs this reviewer could not identify, and "Cadgwith Anthem". During the jigs / reels, Maddy Prior and Gay Woods went into some jigging around on stage ending with glittering confetti (magic fairy dust ???) tosses from Gay and Maddy climbing off the stage and circling the audience. The mixing was good, the sound was excellent and the performance fantastic! A few very nice surprises appeared in the song list. This reviewer did not expect "Lark In The Morning", "The Weaver And The Factory Maid", or "Cadgwith Anthem", a personal favorite. In addition, the jigging and performance made this show special. And, of course, the Bob Johnson comments on elf stories and the Peter Knight light bulb joke: How many folkies does it take to change a light bulb? Ten - One to change the bulb, four to sing about the old bulb, and five to walk out because it is electric. This reviewer later learned that the joke had been told during Steeleye Span's other tour dates, but that doesn't matter. The Steeleye Span concert, billed in promotion flyers as "the long-awaited history-making North American concert tour of the reunion of Steeleye Span", was history making and is sure to delight those who follow folk / rock music. While the first leg of the tour is scheduled to end June 5th, a second leg of the tour is planned for August. --- REVIEW: Elysian Fields, _Elysian Fields_ (Radioactive) - Stephen Jackson The great Ulysses once tied himself to the mast in order to hear the sirens call. Listening to Elysian Fields alone at night, I can't decide whether to drown myself on the rocks or plug my ears with wax. One thing is certain, if you've got a major case of the shakes, then you'll find yourself in good company with this band. It's too bad the title "Bohemian Rhapsody" has already been taken. That would have been an ideal monicker for this debut release by Elysian Fields. But If you feel in the mood for a little risque adventure, try putting on the dog with this new artist. You'll find yourself transported into the back alleys of Amsterdam's red light district, or the French Quarter at 3 a.m. Like some jazz inflected Mazzy Star, the music of Elysian Fields is a soundtrack to a wet dream, a kind of theme music to carnal desires, and one with a distinctively European flavor. Four selections are on this EP, all played at legato tempo with the dark overtones of diminished chords vamped against minor ninth scales. The sounds caress one's nervous system like the whisper of a bar room pickup, calling you to some late night rendezvous in the local boudoir. If there was ever a musical lacuna for the pleasures of the flesh, this music fills the gap. None of the usual similes apply here. We have here a strange brew of sensuality and jazz with rock lobster rhythms and blue light instrumentation. Call it alternative jazz-folk-rock, smoke-filled bar, late-at-night, scotch & soda, ash-tray-overflowing-with-lipstick- smeared-butts music. Billie Holliday meets Lou Reed in a dark alley, or Greta Garbo does Torch Song Trilogy. With Oren Bloedow running down Gabor Szabo licks on his guitar, and Ed Pastorini's keys, Elysian Fields is marking out new territory for the miss lonelyhearts of tomorrow. Torch songs, yes. But more akin to the texture of film noir than traditional jazz. The person most responsible for casting this spell is Jennifer Charles, who provides a radioactive vocal to the Elysian Fields ensemble. Like any good temptress, Jennifer's voice is full of smoke and mirrors, promising to lead you to heaven's gate, but never quite surrendering the goods. If Marlene Dietrich could return as a jazz singer, she might sound like Ms. Charles. On a track called "Star," she displays a quaalude vampish quality, something like a lullaby for down home smack users. With "Diamonds All Day," she exudes a lush, glistening in the gutter feel of roaming cobblestone streets late at night in a bad part of town, when all the bars have closed and even the street walkers have called it quits. Another track, "Move Me," made me feel like I was on the wrong kind of medication but it felt too good to complain. Some of God's children believe that spirits can be awakened by human voices. If so, Jennifer Charles should be in great demand by the poltergeist set. Whether she can awaken the dead or not remains an open question. But she's got my attention, and Jennifer Charles will do nicely until Marlene D. decides to reappear. Unfortunately, you probably won't be hearing Elysian Fields mentioned on Casey Kasem's Top 40 countdown any time soon. It is so far from the mainstream palate, that one feels a slight blush of concern for this group's chances of climbing beyond the college radio market. With only an EP to judge, it's too early to say whether this unusual group will sustain their first effort and find a niche for themselves on the alternative shelf. But if Portishead could do it... --- REVIEW: Charlie Hunter Quartet, _Ready...Set...Shango!_ (Blue Note) - Ali Sinclair Listening to the follow-up recording to _Bing, Bing, Bing!_, I was immediately impressed by the flow and smoothness of the style of Hunter; Charlie says that he is now into "antacid jazz, which is a snappy way of saying this is an anti-acid jazz album". I prefer this to _Bing..._: it seems more natural, as if it came together by itself without any forcing. The Quartet comprises Charlie Hunter (8-string guitar), Dave Ellis (Tenor Sax), Calder Spanier (Alto Sax) and Scott Amendola: Dave Ellis has since moved on to other things, and Kenny Brooks of Alphabet Soup will be joining the band for their upcoming live dates. "Shango" is a "mythical dance". Whatever that means; "It has no steps... it's a bogus cultural dance movement that's a figment of my imagination", says Charlie. But how does it sound? The nearest I can get is the drifting memory that comes from that bar-scene somewhere in the middle of the first Star Wars film, when Harrison Ford is sitting at a table with Chewbacca and there are all those weird-and-wonderful creatures from various galaxies and star systems hanging out: some drinking, some creating trouble and some playing a type of sax. _Ready... Set... Shango!_ has the same sort of feel - futuristic, but deep-rooted. And memorable, too. --- REVIEW: Scheer, _Infliction_ (4AD/Warner Bros.) - Lee Graham Bridges Whimsy paired with understatement--this is one way of viewing the half-troubled, half-wispy vocals of Audrey Gallagher merging into the raw electricity of Scheer, the new, captivating, nebulous musical experience, perhaps defined by some as rock for the sake of rock--but is it really? 4AD Records, despite the signing of bands like Tarnation and the loss of Red House Painters, has never raised quite as many eyebrows as when they recently signed this not-so-shoegazing Irish rock band. The event has been seen by many 4AD fans as, at best, quite a change in the way the label does business. But it is illogical for fans to say that 4AD is really rocking the boat by signing a band specializing in such straightforward harshness--they've done it multiple times before (Pixies, Unrest/Air Miami, and more). The band asserts, however, that there is nothing aesthetically flawed about pure rock. If comparisons are to be made, Scheer is less eccentric, more user-friendly than their fellow harder label-mates. The bottom line is that Scheer are a glittering, beautifully rough act in concert, but are standard rock stars on record. Having seen them on the St. Louis date of Shaving the Pavement (the recent 4AD festival tour), it is apparent that although _Infliction_ is catchy, energetic, and a good listen, it is easier to listen to without a yawn after such an impressive performance (the album was completely uninteresting to me before the show). In fact, 4AD founder Ivo Watts-Russell felt the same way after seeing the band perform, saying that he was unsure about the band until that point, but something just "clicked" at the show. Whether it was difficulty in the studio or bad planning that flawed the final product, Scheer unfortunately presents themselves on their album as neither terribly boring nor incredibly interesting. Standout tracks include "Shea", "Wish You Were Dead", "Demon", "Screaming", "Goodbye". Vague pieces of familiar 4AD themes can be heard on such tracks by imaginative souls after several listens. Yet this a difficult task, because the band succeeds at avoiding displaying influences from other bands, just as they had hoped. But for fun, this reviewer must take a stab at pegging them, as the rest of the music press already has. In a certain mood, Scheer could possibly be compared, as an unidentified reviewer proposed, to a "turbocharged Sundays." However, what they really are is best left to the listener to decide. --- NEWS: > The band Baby Chaos has its own web page, located at http://www.babychaos.co.uk > Crowded House officially broke up after their June 3 show at London's Hanover Grand venue. Although Neil Finn was slated to tell the audience of the split during the performance, the show was going so well that he didn't want to put a cloud of gloom over things. Fans of the Finn brothers needn't worry, however; Capitol will be issuing a greatest hits album in July with three extra tracks, and Discovery Records will be issuing _Finn_ (by the Finn brothers), which has been available in Europe since autumn 1995, but will finally be seeing its release Stateside. A review of this album will be appearing in a future issue of Consumable. For more information, including the full text of the press release and an interview with Neil, check out the Crowded House Web site at http://www.etext.org/Mailing.Lists/house/whereabouts.html and Finn Brothers information at http://www.etext.org/Mailing.Lists/house/finnformation.html People interested in checking out the Crowded House mailing list who don't have access to the Web should email marck@nwu.edu for information. > Los Angeles radio station KSCA has its own web page located at http://ksca.com > The UK new media group Modified has released AutoJungle Drum Bruiser as the first in a series of online singles enabling web users to listen to an ever-changing multi-channel soundtrack while surfing. The site is at: http://www.compulink.co.uk/~modified/ > Organic '96 will be held June 22 at the Snow Valley Resort in Running Springs, California. The timetable of the bands brings to mind some of the outdoor raves of the early 90's; Loop Guru 7:00pm; Meat Beat Manifesto 8:00pm; Underworld 9:30pm; The Chemical Bros 11pm; Orbital 12:40am; The Orb 2:30am. In addition, there will be four sound systems with Michael Dog & Jason Bentley and others hitting the decks. > England's Phoenix Festival is on-line - check out the information at http://www.goodcleanfun.freud.co.uk > Sonicnet has released volume 5 of Action Ready singles, including a B-side from De La Soul, and material from KMFDM/Nicole Blackman, the Boredoms, Moonshake and Jawbox. > Virtual Netcasting Corporation, The Factory Network and Audionet are teaming up to offer a regularly scheduled series of concerts on the Internet at http://www.lalive.com - the first two concerts were from Dishwalla and Far, while upcoming concerts include the Bay City Rollers, Candlebox and Exene Cervenka of X. --- TOUR DATES Anthrax Jun. 15 New Orleans, LA Jimmy's Jun. 17 Jacksonville, FL Shades Jun. 18 Tampa, FL Parathenon Jun. 19 Miami, FL Club Nu Jun. 20 Fort Myers, FL Pyramids Jun. 21 Orlando, FL Embassy Music Hall Jun. 22 Atlanta, GA Masquerade Baboon / Rubberbullet Jun. 18 Boston, MA The Rat Jun. 19 Philadelphia, PA Upstairs At Nick's Jun. 20 Rochester, NY Bug Jar David Bowie Jun. 15 St. Petersburg, Russia St. Petersburg Sq-White Nights Festival Jun. 18 Moscow, Russia Kremlin Palace Concert Hall Jun. 20 Reykjavik, Iceland Laugardalsholl-"Reykjavik Festival" Jun. 22 Loreley, Germany "Rockpalast Nacht" Jun. 23 Lisbon, Portugal "Super Bock Super Rock" Boyracer Jun. 18 Huntington, WV Drop Shop Jun. 19 Atlanta, GA Point Jun. 20 Birmingham, AL American Beat Jun. 21 Nashville, TN Lucy's Rec Shop Jun. 22 Augusta, GA Red Lion Pub Cast/Self Jun. 15 Portland, OR Roseland Jun. 18 Los Angeles, CA Troubador Jun. 19 San Diego, CA Backdoor Jun. 20 Tempe, AZ Gibson's Jun. 24 Salt Lake City, UT Zephyr Cheap Trick / Hot Water Music Jun. 18 Poughkeepsie, NY Tickets Jun. 19 Wilmington, DE Big Kahuna Jun. 20 Reading, PA Silo Jun. 21 Hampton Bays, NY CPI Jun. 22 Harrisburg, PA Metro Coax / Me / Lida Husik Jun. 17 Portchester, NY The Beat Jun. 18 Boston, MA Mama Kin Jun. 19 New York, NY Brownie's Jun. 20 Washington, DC Black Cat Jun. 21 Chapel Hill, NC Cat's Cradle Jun. 22 Arlington, VA Tokyo Rose Compulsion / Evil Superstars (UK Tour Dates) Jun. 18 Hull Adelphi Jun. 19 Buckley Tivoli Jun. 20 Leicester Princess Charlotte Jun. 21 London U.L.U. Jun. 22 Neath Gwynn Hall Cordelia's Dad Jun. 21 Wilbraham, MA Wilbraham-Monson Academy Jun. 23 Amherst, MA Black Sheep Dick Dale Jun. 15 Springfield, MO Juke Joint Jun. 17 Boulder, CO Fox Theater Jun. 22 Irvine, CA Taste of Orange County Dread Zeppelin Jun. 21 Las Vegas, NV Drink Electrafixion Jun. 15 Santa Ana, CA Galaxy Jun. 16 Los Angeles, CA Troubadour Jun. 17 San Francisco, CA Bimbo's Jun. 20 Austin, TX Liberty Lunch Jun. 21 Dallas, TX Trees Grover Jun. 18 Columbus, OH Statches Jun. 20 Cleveland, OH Grogg Shop Jun. 21 Chicago, IL Lounge Ax Love & Rockets Jun. 22 Denver, CO Fiddler's Green Jun. 23 Salt Lake City, UT DV8 Nada Surf Jun. 17 Omaha, NE Ranch Bowl Jun. 18 St. Louis, MO Galaxy Jun. 21 Minneapolis, MN 7th Street Entry Jun. 22 Chicago, IL Double Door Me'Shell Ndegcocello Jun. 15 San Francisco, CA Bimbo's Jun. 18 Los Angeles, CA The Whisky Nancy Boy Jun. 21 San Francisco, CA Bimbo's Jun. 22 Sacramento, CA Press Club Poorhouse Rockers Jun. 15 Gardenville, MD Cafee Tattoo Jun. 22 Churchville, MD McStagger's Porno For Pyros Jun. 18 San Francisco, CA Fillmore Jun. 19 San Francisco, CA Trocadero Jun. 21 Los Angeles, CA American Legion Hall Superdrag Jun. 16 San Francisco, CA Bottom of the Hill Jun. 20 Portland, OR La Luna Jun. 21 Seattle, WA Moe's Time's Up/Sky Falls Down/Nothing/Midfall Drive Jun. 20 Lincroft, NJ First Episcopalian Church Tripmaster Monkey Jun. 16 San Francisco, CA Bottom of the Hill Jun. 17 San Jose, CA Cactus Club Jun. 19 Los Angeles, CA Alligator Lounge Jun. 22 Tempe, AZ Nida's Hideaway 22 Bridge Jun. 20 Woodstock, NY Tinker St Cafe Verve Pipe Jun. 21 Detroit, MI State Theatre Jun. 22 Indianapolis, IN Midsummer Fest --- 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 ftp.prouser.org 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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