==== ISSUE 81 ==== CONSUMABLE ======== [July 11, 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, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Maisha Marsh 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: Da Da - Al Muzer REVIEW: Metallica, _Load_ - Sean Eric McGill REVIEW: Finn, _Finn_ - Joe Silva REVIEW: Prince, _Music from the Motion Picture Girl 6_ - Jon Steltenpohl REVIEW: Spin Doctors, _You've Got To Believe In Something_ - Dan Birchall and Maisha Marsh REVIEW: Liquid Soul, _Liquid Soul_ - Bob Gajarsky REVIEW: Definition of Sound, _Experience_ - Reto Koradi REVIEW: Dirt Merchants, _Scarified_ - Jon Steltenpohl REVIEW: Trip 66, _Trip 66_ - Dan Enright REVIEW: Download, _The Eyes of Stanley Pain_ - Al Crawford REVIEW: Possession + African Dub, _Off World One_ - Stephen Lin REVIEW: David Gray, _Sell, Sell, Sell_ - Reto Koradi NEWS: Joe Baiza, Macfest, Primitive Radio Gods, Trainspotting Party, Wrens, Swedish Music Festival TOUR DATES: Art In The Anchorage Series, Baboon, Barkmarket, Black Crowes, Tracy Bonham / Everclear / Spacehog, David Bowie, Capercaillie Tracy Chapman, Cordelia's Dad, Elvis Costello, Cravin' Melon, Cure, Customers, Disappear Fear, Def Leppard / Tripping Daisy, Experimental Audio Research, God Lives Underwater / Far, Finn, Half Hour To Go, H.O.R.D.E., Kiss, Letters to Cleo / Gravel Pit, Huey Lewis & The News Lollapalooza, Love & Rockets, Luna, Natalie Merchant, Nada Surf, Paleface, Pantera, Porno For Pyros, Rembrandts, Steely Dan Superdrag, Velour, Warped Tour, Wrens Back Issues of Consumable --- INTERVIEW: Da Da - Al Muzer Da Da's first record - the "clean," melodic, hook-filled, pop-friendly, _Puzzle_ - burst onto the music scene just as Nirvana, Pearl Jam, Alice In Chains, STP and "grunge" took over the airwaves and the MTV Buzz Bin back in 1992. Despite being slightly out of sync with the flannel shirts, unchecked anger and heart-on-sleeve angst that was suddenly a hot musical commodity, _Puzzle_ yielded three relatively successful hits ("Dim," "Dizz Knee Land" and "Here Today, Gone Tomorrow") for the young band. "We were in a van outside of Reading, Calif. on our very first tour when we heard "Dizz Knee Land" on the radio for the first time," recalls drummer/vocalist Phil Leavitt fondly. "The station was playing a block of songs and we came on after a Led Zeppelin tune. We had to pull the van over to the side of the road. We just flipped out!" The album went on to sell an impressive 300,000 copies and Da Da spent most of the year "alternative" began to morph into "mainstream" experiencing America from a cramped van. The seemingly never-ending _Puzzle_ support tour exposed the group's surprisingly intense live show and stunning harmonies to the scattered beginnings of what would, over time, grow into a cult of devoted Da Da fans packing clubs regardless of the band's current chart position. The group's second effort, _American Highway Flower,_ was released just as Green Day-fueled punk rocketed its way up the charts in 1994. The new album found Da Da, once again, concentrating on creating great pop songs with deep lyrics, moody dynamics, endearing vocals, catchy choruses and ear-grabbing hooks. Although they enjoyed a bit of minor success with "All I Am," Da Da was completely out-of-sync with the three-chord, green-haired, make-believe punk being crammed down the throats of consumers - and _American Highway Flower_ languished briefly at the lower end of the charts before vanishing. "We didn't get much press for the second record," laments bassist/vocalist Joie Calio. "We're not part of the 'thing' that's been generating for the last few years, the big Rolling Stone/Spin/MTV pyramid. We don't have one identifiable sound and we're kind of an eclectic band. So, I guess, that's made it hard for people to 'set' us anywhere. It makes it hard to pigeonhole us as any one thing." "We're cult favorites," deadpans Leavitt. "Yeah!" laughs lead singer Michael Gurley. "But, at least we won't get that 'quick burn' thing that happens with those poor guys that get too much press," he says semi-sarcastically. In spite of the somewhat disappointing CMJ and Billboard showing of _American Highway Flower,_ fans who'd caught the band in concert during the first tour turned out in droves to cheer them on during their latest unending trek across the country. And, being true Da Da fans and confirmed converts, they brought some friends along with 'em. The tour was eventually deemed a success by label accountants, which encouraged IRS to give the group a thumbs-up for a third album. The three musicians quickly disappeared into the studio with producers/pals Adam Weiner and Scott Gordon and mixer-to-the-stars Tom Lord-Alge (Live, Oasis, Dave Matthews Band) for six months to work on what would become _El Subliminoso._ Taking the time to grow with their new songs, the band relaxed, experimented and discovered that, according to Calio, "The fact that we took our time making the album gave us a chance to sit back and breathe. The melding of the two elements of Da Da - the song and the sound - finally came together." A 12-song treat, _El Subliminoso_ covers a broad range of emotions and musical styles while encompassing influences that include The Beatles, the Who, Jimi Hendrix, jazz, funk, soul, metal, pop, grunge and early-Rolling Stones - with just enough hooks, jangle and sweet, three-part harmonies thrown in to keep things constantly hummable. "We all started listening to music early, when we were around four or five," Gurley says by way of explaining the group's eclectic sound. "We're all big Beatles fans and we all seemed to start playing our instruments when we were, like, six or seven. So, I think we also have that strength, as well as a history of influences behind our sound." "On _El Sublimonoso_, we were pretty much left alone and worked on our own schedule," laughs Calio, "so the studio turned into, like, our clubhouse. The result is that there are a lot of great songs on the new album, such as "Time Is Your Friend," "No One," "Rise," "I Get High," and "The Spirit Of 2009." "That song", interjects Gurley, "I'm definitely afraid of the Republican right wing. It seemed like they were picking up a lot of steam there for awhile, you know, the religious right - guys like Newt, Rush Limbaugh, Dole and Buchanan, and I got to thinking, 'well, what if the nation really does go way to the right here? How would things go? What's a 15-year-old's life gonna be like in the year 2009?' " "The vision I had really scared me," he shudders, "and I thought that alone was reason enough for me to write a song." --- REVIEW: Metallica, _Load_ (Elektra Records) - Sean Eric McGill I'm sure by now you've probably seen dozens of reviews of _Load_, ranging from "Man, this is great!" to "Man, this bites!". I've even seen one that contained the quote "Apparently Metallica lost all their talent when they lost their hair" (author's name and publication withheld to save them embarrassment). And while some hardcore fans of the band have taken particular offense to the fact that "their band" has made a fairly radical change in their sound and appearance, the album itself is some of the strongest material Metallica has put out since their _And Justice For All_ album back in 1988. What makes _Load_ a strong album is that, more than any other Metallica release, it showcases all facets of the band's sound. For the past two albums, Metallica has seemed stuck in one of two different extremes - they've either played constant "chukka-chukka" grinding metal, or found a niche playing really well-crafted and dark songs that people mistake as "power ballads", such as "Nothing Else Matters" and "Unforgiven". And while the first single from _Load_, the melodic and powerful "Until It Sleeps", once again bringing to mind previous Metallica hits such as "Nothing Else Matters", the remainder of _Load_ seems to be a trip through the band members album collections. Songs such as "2X4" and "Poor Twisted Me" bring to mind the swagger of ZZ Top among other artists. But these songs aren't just "Tush" with a crunchier guitar sound and James Hetfield's unmistakable vocals. All the songs on the album, regardless of their sound, still sound like Metallica. The essence of the sound that Metallica has created over the past decade remains intact, from Kirk Hammett's thick guitar (made even better by Hammett's inclusion as a rhythm guitarist, another first for the band) and Lars Ulrich's deep drum sound to Jason Newsted's dead-on bass playing. The Metallica sound itself is still there, the band is just doing a little something different with it on _Load_ then they have on past albums. And why shouldn't they? Metallica has been around for over a decade now, consistently playing some the best harder rock available. The missteps in their musical career have been few, and their songwriting and musicianship has improved with each album, instead of seemingly wasting away as fame comes around like so many other acts in the genre. But after a decade of having essentially the same sound, the band changed to reflect the changes in their life. Let me say that again: the band changed to reflect the changes in their life. This isn't an album where a band changed to stay current and hip with everything out there. Metallica isn't trying to cash in on that big "alternative" musical scene, they're just playing what they want - and playing it well. --- REVIEW: Finn, _Finn_ (Discovery) - Joe Silva For the record, Crowded House's high water mark would appear to have occurred with the New Zealand trio's 1986 debut LP that bore them a #2 hit single, "Don't Dream It's Over". But to the truly indoctrinated, who've come to view frontman Neil Finn as a minor pop messiah in the tradition of songsmiths such as Squeeze's Difford and Tillbrook, and the Beatles' Lennon and McCartney, the cream was probably sweetest with the arrival of 1991's _Woodface_. That release saw the band becoming a four legged creature of sorts with the addition of elder Finn brother Tim, who had basically roped his younger brother into the musical arena to begin with back in the early days of Split Enz. Being spun from the same genetic code, Tim and Neil's harmonies have a sort of naturally impregnable coalescence to them. That and the fact that they seem to reflexively write from similar strokes was enough to keep the muse aloft long enough to re-cement their artistic faith in another. All this makes the advent of _Finn_, etched out between the brothers Finn during early 1995 to nearby Polynesia, to have been a somewhat expected and welcome appearance. Far from the painted new wave of Split Enz and even somewhat distanced from the lush pop of _Woodface_, this third collaboration of Finns has overtones that match closer to the more playful moments of Crowded House's _Together Alone_. Where _Together Alone_ comes to halt amidst the rumble of aboriginal drums, _Finn_'s lead off track ("Only Talking Sense") starts up with a bit of spare, organic percussion. It's as if someone had suddenly realized that they had accidentally taken the needle off the gramophone before the record was actually over. What follows that initial moment is a very footloose collection of skewed lyrical passages meshed with their typically resiliant melodies and the odd atonal sonic twist. The association to their combined and separate paths exist, but it's as if a good number of their musical roots have newly blossomed but with more lush, exotic, and strange fruit. Without having to be encumbered by any particular band format, or having to be mired in the concern for chart success, _Finn_ has the massively liberated aura about it. Both brothers can dip freely substitute new colour charts for old, without the worries of having anyone stare particularly hard at what they produce. With having weaved a pastoral, South Pacific vibes like "Mood Swinging Man" and "Paradise (Wherever You Are)" as well as bashing out the raucous "Kiss the Road of Rarotonga" all in the same space, it shows the not quite so subtle freedom embossed all over the record. And it's these blissful detours that make the lapses to their traditional palettes not seem so obvious or expected. With being put on something of an odd footing now and again, it actually makes standard Neil Finn ballads like "Last Days of June" shine all the more. The initial single, "Suffer Never," is probably the least likely choice to highlight, but as one Finn or another has said, it wound up being more of an attempt to sever any expectations. Quite coincidentally, _Finn_'s US release also marks the last curtain for Crowded House. Offering up explanations of being somewhat creatively stifled after a decade in that lineup, Neil Finn seems to be making all the appropriate noises of the artist bristling anew or preparing for mid-life tumult. With or without Tim's solid accompaniment as seen here, it should be good in either instance. Highly recommended. --- REVIEW: Prince, _Music from the Motion Picture Girl 6_ (Warner) - Jon Steltenpohl So let's get this straight... Now he's the artist formerly known as the artist formerly known as Prince? Hmm. Who cares? The album says it's Prince, and the music inside proves it is. Chances are that you didn't see Girl 6 the movie, so I'll have to provide a complete rundown of what's on the soundtrack. Of first note is a trio of classics from Prince's _Sign o' the Times_ album. "Hot Thing", "Adore", and "The Cross" come in on tracks 8, 9, and 10 while "Girls and Boys" represents the _Parade_ album. There's the non-album tracks of "How Come U Don't Call Me Anymore", the short version of "Erotic City", and the new song "Pink Cashmere" which were all featured on _The Hits_ collection. All of these are Prince classics, and given the huge catalog of material to choose from, it's nice that the obvious sexy songs like "Little Red Corvette" weren't included. Sprinkled throughout the album are tracks from some of Prince's "protege" bands. With these bands, the credits rarely include Prince's name, but you can tell the group learned the songs by singing along to versions Prince himself recorded. The Family (who did the first version of "Nothing Compares 2 U") contribute the average song "Screams of Passion". It's possible that Prince didn't actually write this one, but die-hard fans will love it anyway. Vanity 6 adds the synthesizer heavy "Nasty Girls" that really only has the nasty innuendos going for it. The New Power Generation tracks are hit and miss. "Count the Days" is a big miss. The setting of this kiss-off song is something like a gospel ballad, but something about a chorus in full soul harmony singing about a "motherfucker" just breaks the whole mood. On the other hand, "Girl 6" is a bullseye hit. It's a rolling, jazzy track that recalls US3. Tommy Barbarella ably helps on this one, and Nona Gaye contributes the vocals. Like "Batdance" almost 10 years ago, "Girl 6" is peppered with quotes from the movie as well as samples from some of Prince's biggest hits. The only bad thing about "Girl 6" is that one of the samples is a ringing phone, and every time it rings I jump to go answer it. The highlight of the album is that there are two new Prince songs. "Don't Talk 2 Strangers" is a decent goodbye ballad that is fairly straightforward. "She Spoke 2 Me" goes beyond decent to incredible. The song shares a lot with "Pink Cashmere" and might have even been written around the same time. "She Spoke 2 Me" is a mellow, falsetto voiced masterpiece that embodies cool. Little horn bursts punctuate the bubbling bass line, and Prince layers his breathy vocals over each other in a two part harmony that proves not only his musical ability but his studio mastery. The big question is, "Do I really need this album?". Definitely. Even the Prince fan who "has everything" will find that this CD is mastered impeccably. The levels are lively and the clarity is a step better than _The Hits_. The new songs are certainly worth having even for the casual Prince fan and the whole album flows very well for songs that span over 10 years. When set next to _The Gold Experience_, one can only conclude that Prince is on the official come back trail. Heck, the soundtrack for Girl 6 is good enough that you might even want to rent the movie! --- REVIEW: Spin Doctors, _You've Got To Believe In Something_ (Epic) - Dan Birchall and Maisha Marsh On the Spin Doctors third album, _You've Got To Believe In Something_, the Spin Doctors extend their reach beyond the funky upbeat pop which made them famous, yet never quite lose their trademark feel. Taking a cue from the most famous doctor of all time - Frankenstein - the four musical mad scientists mate the body of their core sound with bits and pieces of diverse genres. The title track, first on the album, is no exception. A light, upbeat tune, it has a strong charismatic gospel-music feel. The sound normalizes somewhat with "House," an alternative pop tune in the classic Spin Doctors vein, then mellows in "Dogs on a Doe," a slow song with a classical-guitar sound. The first side concludes with three songs of dysfunctional relationships and lost love, "I Can't Believe You're Still With Her," "She Used To Be Mine," and "She's Not You." Throughout the trio, the tone progresses from one of upbeat disbelief to mellow sadness. "To Make Me Blue," an edgy number with a strong traditional Spin Doctors sound continues _Something_, which then drops into a bluesy groove with "'Bout a Train." Softening slightly for "Where Angels Fear To Tread," the band slides dangerously close to mainstream alternative blandness, but recovery comes quickly with "If Wishes Were Horses," a solid rock-n-roll song. The band returns to form on "Sister Sisyphus," which should please fans hoping for another "Little Miss Can't Be Wrong." The album ends up with a song that comes as both a surprise and a real treat. The Doctors provide the instrumental backup for rapper Biz Markee's seemingly tone-deaf lyrics on a rollicking rendition of the disco hit "That's The Way I Like It." Those who remember the seventies will find it danceable, and those who don't should at least be amused - particularly by Markee's pleading with the Spin Doctors to cease their kazoo-playing after the track ends. The Spin Doctors walk a fine line on this album, and deliver enough continuity to not alienate their core fanbase, along with the experimentation needed to attract new listeners. Steering a steady course that reduces the potential for either tremendous success or crushing failure, they deliver a solid recording ideal for play at parties and during recreation, with some nice twists and turns. --- REVIEW: Liquid Soul, _Liquid Soul_(So What) - Bob Gajarsky The band that Dennis Rodman wanted at his birthday party during the basketball playoffs - yes, *that* party that made national news - was Liquid Soul. Whether or not you agree with his on-court (or off-court) persona and image, Rodman sure hit the bulls-eye with this hot Chicago group. Their self-titled debut breaks down barriers between old and young, between jazz, rap, hip-hop and pop in a way few acts can. "Worlds' (sic) On A Leash" sounds like it was taken from a fictitious 70's blaxpoitation soundtrack - but what's with all that scratching from D.J. Jesse De La Pen~a, just barely discernable in the background, but clearly an influence? It's the new style. Brilliantly taking the lead from veteran saxophonist Mars Williams (who has worked with rock artists such as Billy Idol, Psychedelic Furs and Power Station), this sextet combines guitars, drums and horns to produce beautiful music. But these cats know their roots. If you played their cover of John Coltrane's "Equinox" to an older generation, they'd nod their heads in approval at what today's class can do. At the same time, turn on "Afro Loop" at the playground (with rap by The Dirty M.F.) and watch the cries for "Is Brooklyn in da house?" stop immediately. If Liquid Soul were a recipe, the chef would take a sprinkle of US3 or Guru - but less concentrated on the *rap* - and tack that on top of a healthy helping of the horns from Chicago or Tower of Power. Throw in a dash of Pen~a's mixing and scratching, and it's a culinary delight. And, their recent performance at New York City's S.O.B.'s inspired many in the crowd to spontaneously start dancing, whether in place, or down on the floor, drawing their energy from the band - and returning it in kind. _Liquid Soul_...not just an album, but an experience. --- REVIEW: Definition of Sound, _Experience_ (Fontana/Mercury) - Reto Koradi Lots of associations pop up while listening to _Experience_, the third album from Definition of Sound. Not only do the lyrics in the chorus of the first track ("boom boom, that's my definition of sound") have some resemblance to the Dream Warrior hit, "My Definition Of A Boombastic Jazz Style", but some tracks have grooves that are reminiscent of Stereo MC's hits, and there are also certain similarities with Renegade Soundwave's recent output. Yet this London based duo creates a quite unique blend of hip hop, soul, pop, and almost any other music genre you could think of. Mind you, this is lightweight music. But unlike others who try to create something very important (and fail), Definition of Sound don't leave a shadow of doubt that this is fully intentional. No wonder that radio stations play songs like "Boom Boom" and "Pass The Vibes" on endless repeat; they are immediately catchy, quirky and stick in your brain. Even if you have an ambivalent relation to such music, and sometimes use the term "commercial" as negative qualification, these tracks make you wish that all easily accessible music would be as good as this. If you're looking for an album that is not much of a challenge, but a pure pleasure to listen to, _Experience_ by Definition of Sound is one of the best things that has crossed your way recently. --- REVIEW: Dirt Merchants, _Scarified_ (Epic/Zero Hour) - Jon Steltenpohl It seems as if there are 3 billion "girl" bands out there gunning for your attention. You've got a huge list of names like Hole, Vercua Salt, Juliana Hatfield, The Breeders, and on and on. Well, go ahead and add number 3 billion and one to the list. The Dirt Merchants have just rammed their way onto the national scene with an impressive debut called _Scarified._ The album is a collection of songs recorded over the course of a year at some of Boston's most prodigious studios (including the sacred Fort Apache studios.) _Scarified_ charges out of its starting gate with "Bullfight". Like the title suggests, the song thrashes and thrusts with rage until its quick end. After a short minute and 50 second sonic assault, this song really does the trick. PJ Harvey fans will instantly recognize a common thread in style and emotion. Comparisons come easy in the "girl" band genre. Blondie, Blake Babies, and That Dog are echoed at times, but for the most part, Dirt Merchants sound as if the Cowboy Junkies decided to try the punk sound. After the energy of the first few tracks wears down, Maria Christopher's vocals finally settle out to an airy and seductive cool. At times she sounds a little childlike and on the song "Scarified," she even sounds downright precious. "Trip Trip" even has pretty "la, la, la"'s in it to trick you into thinking the rest of the album is quite. But, by the time they roll around to a live track of "Mindfuck", the emotion has swung back to violent and abrasive. Musically, Alex Kisch and brothers John and Mike Malone try hard to fit the music to the song. That means there is an emphasis on simple melody tags which get torn up with distortion and cacophony. There's chiming guitars, hazy guitar solos from a blues/alternative hell, shimmering and spooky chimes, and even a banjo thrown in for good measure. Christopher's vocals are swirled into this mix at about the same level as the instruments and it makes for a very distorted but engaging sound. It's nice to see bands like Dirt Merchants getting signed. PJ Harvey has opened the doors for this mix of aggression and fragility, and the music world is a better place for it. Dirt Merchants are fresh sounding and they seem to do what comes naturally. That makes for the perfect balance between pop perfection and gritty distortion. --- REVIEW: Trip 66, _Trip 66_ (Columbia/Ruffhouse) - Dan Enright This debut album, from Pennsylvania's latest addition to contemporary rock, features brother/sister team Maria (vocals) and Paul Nicgorski (guitars), along with childhood friends Martin Hoeger (bass), Greg Lyons (drums), and Ryan Bernstein (guitars). Hailing from Bucks County, PA (north of Philadelphia), they first first perked-up national audiences as part of Lollapalooza95's "Lab," but only after honing their songs for enthusiastic crowds at Philly and New York City clubs (even though they're all underage). Last year, they released a 7" single, "Help Me" on Sympathy For The Record Industry. "Givin' Way," the album's first song, kicks off with a drumbeat intro, then suddenly explodes into the wa-wa driven wall of distorted guitars and heavy bass that recall an earlier approach to rock-and-roll. What helps set this team apart is the ability to balance their chaotic, fuzztone frenzy, with strong melodies and riffs. And Maria's unique vocal style cuts through the wall of beats like a redhot knife. "One Desire" is the perfect single, with its strong, minor tinged, melodic hook and snarled, angry lyrics: "Baby, baby your one desire/ you leave me, leave me out to dry/ you're touchin' and touchin' this hallowed place/you leave me hangin', out again/Oh baby, baby, I think it's time/to save my money and leave you behind/a body abnormal, my friends would say/you think I'm stayin', well its too late..." This is immediately (and effectively) followed by the ballad-esque, "Believe," about Maria's longing to find others like herself (and when you're in twilight of your teenage years, who isn't searching for their tribe?), with its gentle refrain "If you need a friend, you'll find one/It's not hard to find one here." Add a frustrated hard edged bridge, to shatter that gentle, forlorn longing and you have an effective double punch. Sony claims the band has a musical pedigree derived from Monster Magnet and Flaming Lips. While this may be true, it also subtly weakens the album's overall effect. I really liked the recording overall and the lyrical content displays a surprising maturity (which is a major strength), but it is nearly impossible to overlook (er...overhear?) the cliched arranging techniques; slow, quiet sections broken by loud fast bridges, sudden breaks, droning chords, minor keys for that extra added angst effect. At first I thought this might be due to a specified producer making sure the group had a "successful sound," but the album was recorded and produced in Maria and Paul's basement by their brother/manager Billy; so, it appears the band had complete control over the project from writing to recording. In all fairness, I understand this is the first effort by a young band and the album is very professionally performed and recorded - better than might be expected from musicians not yet out of their teens (and independent of the "protective ear" of their label). If they focus on creating their own style, instead of borrowing from others, this group could very well become a major musical influence in the latter half of this decade. They certainly have a strong foundation to build on. --- REVIEW: Download, _The Eyes of Stanley Pain_ (Nettwerk) - Al Crawford Download seem to be remarkably productive these days, and _The Eyes Of Stanley Pain_ is the fourth release and the second full length album from the group in less than a year. However, it's most certainly not a case of "that difficult second album" for Download, as _TESP_ is, if anything, even more impressive than their debut _Furnace_. It retains the chaos, density and energy of that album but moderates it slightly, adding a stronger rhythmic element that holds everything together much more cohesively than before. The album as a whole is technically outstanding, with layers upon layers of rich, dark noise twisting and mingling. It doesn't take a huge leap of the imagination to see this album as being the sort of thing Skinny Puppy might have come up with around now had they been left to their own devices, albeit with more of a contemporary dance vibe. While Mark Spybey (also of Dead Voices On Air) provides the majority of the vocals, Psychic TV's Genesis P. Orridge once again guests, both musically and instrumentally. This time around his presence is far less of an annoyance than it was on _Furnace_, but he still doesn't add a great deal to the album. Much as I like the album, I've got one or two misgivings. It's certainly an excellent disc, but at times one gets the impression that the high production values, and the intricate, dense and fascinating layers of noise form a beautiful sonic edifice surrounding...well, not very much, really. It's an ornate, but empty shell, a triumph of form over substance. Still, when you've got a form like this, who really cares about the lack of substance? The album also has a much wider appeal than _Furnace_ did, courtesy of its varied and exciting rhythms, and I imagine many Skinny Puppy fans who disliked the first album will find this one far more accessible. One to check out for Download fans, Puppy-philes, and anyone who wants to hear what state-of-the-art dance/industrial crossover sounds like. --- REVIEW: Possession + African Dub, _Off World One_ (Submeta) - Stephen Lin This album is a textural masterpiece. Possession constructs an unusual collage of sounds over the course of four tracks which last an amazing 45 minutes. Each instrumental slowly builds and develops into a solid musical mass; however, the themes from each track never fully congeal. To some degree while listening to this album, the listener must remove him/herself from western ideals of music theory. The musical themes do not seem to move toward any particular goal. You'll find no Bach-like usage of four-part harmony with contrary motion and perfect voice leading. Quite the contrary; the unfamiliarity of the structure is surprisingly refreshing. You never really know what to expect as nothing truly resolves itself. Each track, particularly "Rainfall," seems oddly organic. The music rises and falls as if it were breathing. The African sounding percussion fades in and out of the music as do the more familiar electronically programmed drums. During the more minimalistic segments of the music, ambient noises and samples of who-knows-what run rampant through heavy reverb. Similar to the percussion's behavior, the bass also enters and exits at various points in each composition. The bass lines are fairly catchy and tend to drone on in their patterns for extended periods of time. Possession is essentially a four man operation. It is produced and arranged by Bill Laswell. The performers are Fousseny Kouyate of Mali, Foday Musa Suso of Gambia, and Aiyb Dieng of Senegal. This is African Dub off one world, no doubt about it. The thick layering of numerous sounds is reminiscent of Deep Forest and instrumental-soundtrack Peter Gabriel. Fans of these artists as well as New Age would probably find this recording very enjoyable. Stranger still, I believe consumers who crave bass for their enormous stereos would also enjoy this album. While the music isn't particularly dancable, ambient Techno and Dub fans would probably find something endearing within the music. I wouldn't be surprised to hear some of this material being played in the background of an episode of the X-Files. _Off World One_ exudes an enigmatic and eerie mood which has the ability to attract a diverse audience. --- REVIEW: David Gray, _Sell, Sell, Sell_ (EMI) - Reto Koradi "Don't call David Gray a singer/songwriter", says the press materials for _Sell, Sell, Sell_. But why not? Sure, if you associate this label with long haired guys singing stereotypical folk songs, this Welsh-bred performer is not one of them. He partly uses a full band, and puts anger and passion into his songs. Still the main focus is always on his voice. And what a voice he has! It can sound soft and warm, yet it has this slight touch of roughness that makes it really touch you deep inside. And then there are these wonderful songs. Many of them sound so simple and natural that it makes you wonder why nobody has written them before. The title track comes along as one of the highlights, with slow verses where Gray's voice is only underlaid by church bell-like keyboard sounds, leading into a powerful chorus with full instrumentation. If there's anything negative to be said about _Sell, Sell, Sell_, it's that Gray doesn't quite hold the pace of the outstanding first few tracks throughout the album. While still being top class, some of the later songs are somewhat more bland and traditional, only featuring vocals and acoustic guitar. The lyrics don't carry a big message, but they're poetic and full of sensitivity. Bob Dylan would probably give an arm and a leg for still being able to write songs of this class. David Gray will hardly take the charts in storm, for that he would need a different name, a more interesting look, and some cheap effects. He's more likely to join the league of artists like Paul Brady, who mostly come from Ireland, Scotland or Wales, make some of the finest music, but still remain well kept secrets. But you can't claim that nobody told you this time: his name may be (David) Gray, but his music sparkles in all colors. --- NEWS: > Joe Baiza, guitarist for The Mecolodiacs, Universal Congress Of & the seminal SST Records band Saccharine Trust, was recently attacked in Berline while on tour in early June by several individuals who broke his right hand with a baseball bat. A benefit has been organized on his behalf in Silverlake, Calif. on Saturday, July 20 at Spaceland. The lineup of performers includes nearly 15 acts, including Mike Watt, Vida, Bazooka and others. The show begins at 2pm, and admission is $10 at the door. Further information on this benefit is available at http://www.endless.com/winrecords/calendar.html > The Macfest is just around the corner. The New York City wide concert series, which is linked up across the net to broadcast live shows of many of today's up and coming bands, will be taking place in New York City from Sunday, July 14 to Saturday, July 20. Interested concert-goers (or web surfers who can't make it to New York to witness the several hundred bands descending on the city) can find out more information on this summer spectacular by checking out their site at http://www.thegig.com > The Primitive Radio Gods have an unofficial Web page, created at http://www.theaegis.org/prg/ > LIFEbeat, the music industry fights AIDS organization, will host the premiere screening and party for the film Trainspotting on July 15th. The screening will be held at the Sony 34th St. Theaters at 7pm, followed by the party at Bowery Bar (358 Bowery & E. 4th St.) at 9pm. The premiere will be hosted by producers Harvey and Bob Weinstein and supermodel/LIFEbeat boardmember Veronica Webb. Confirmed guests include members of The Who, David Byrne, members of Metallica and other celebrities. $150 tickets include admission to the premiere and party, while $50 tickets for the party only are also available. With a portion of the proceeds from this event, LIFEbeat will provide grants to organizations that support the provision of financial, technical and other practical assistance and support to needle exchange programs nationwide. Tickets can be purchased by calling LIFEbeat at (212) 245-3240. > The Wrens will be appearing on a Sonicnet chat on Monday, July 15. Check http://www.sonicnet.com for more information. > On July 26 and 27, the Lida recreation center in Sweden is the place to be as many top rock and dance artists from the U.K. and U.S., including Manic Street Preachers, Black Grape, High Llamas, Fluffy, Beck, Wu-Tang Clan perform along with top Swedish artists during this two day concert. The cost is about 600 Skr. For further information on the festival, contact claes@funbase.se --- TOUR DATES Art In The Anchorage Series (base of Brooklyn Bridge; more information at http://www.sonicnet.com/ctime) Jul. 12 Cultural Alchemy's Soundlab featuring DJs: Spooky, Olive, Soulslinger, The Bedouin, Singe. Live Techno Organix: We, Byzar, MC Verb and guests. Jul. 13 Drunken Boat /Pee Shy /Home Jul. 17 Trans Am / Ui / Rome Jul. 18 The Foetus Symphony Orchestra with Lydia Lunch/Spanish Fly Jul. 19 Emergency Broadcast Network (EBN)/Doctor Nerve Jul. 20 Emergency Broadcast Network (EBN)/WordSound I-POWA Baboon Jul. 11 Dallas, TX Orbit Room Jul. 12 Denton, TX Argo Jul. 13 Fort Worth, TX Impala Jul. 17 College Station, TX Vertigo Jul. 20 Dallas, TX Deep Ellum Live Barkmarket Jul. 11 Little Rock, AR Vino's Jul. 12 Dallas, TX Orbit Room Jul. 13 Austin, TX Emo's Jul. 16 Albuquerque, NM Club U.N. Jul. 18 San Diego, CA Casbah Jul. 19 Los Angeles, CA Whiskey Black Crowes (tickets available through http://www.tallest.com) Jul. 11 Detroit, MI Meadowbrook Amp. Jul. 12 Minneapolis, MN Downtown Mpls. Block Party Jul. 15 Chicago, IL Navy Pier Jul. 18 Gardner, MA Polish Amer. Beach Club Jul. 20 Asbury Park, NJ The Landings Tracy Bonham / Everclear / Spacehog Jul. 12 Cleveland, OH Nautica Jul. 13 Bowmanville, ON Mosport Park Jul. 15 Pittsburgh, PA I.C. Light Amphitheatre Jul. 17 Washington, DC Capitol Ballroom Jul. 18 Upper Darby, PA Tower Theatre Jul. 19 Providence, RI Strand Jul. 20 Holmdel, NJ Garden State Arts Center David Bowie Jul. 12 Escalarre, Spain "Escalarre Festival" Jul. 14 St. Polten, Austria "St. Polten Festival" Jul. 16 Rotterdam, Holland Ahoy-"Rotterdam Festival" Jul. 18 Stratford Upon Avon, England "Phoenix Festival" Jul. 20 Balingen, Germany "Balingen Festival" Jul. 21 Bellinzona, Switzerland Bellinzona Open Air Capercaillie Jul. 11 New York, NY Bottom Line Jul. 12 Boston, MA Berklee Performance Center Jul. 13 Washington, DC Mall - One World Festival Jul. 14 Philadelphia, PA Bluett Theatre Tracy Chapman Jul. 18 San Diego, CA Summer Pops Jul. 19 Los Angeles, CA Greek Theatre Cordelia's Dad Jul. 11-14 Winnipeg, MB Winnipeg Folk Festival Jul. 19-21 Vancouver, BC Vancouver Folk Festival Elvis Costello Jul. 12 London, England Shepherd's Bush Empire Jul. 13 Madrid, Spain Conde Duque Jul. 14 Murcia, Spain Auditorio San Javier Jul. 16 Barcelona, Spain Velodrom d'Horta Jul. 19 London, England Shepherd's Bush Empire Jul. 20 Liverpool, England Royal Court Theatre Cravin' Melon Jul. 11 Clemson, SC Tiger Town Cure Jul. 12 Clarke, ON Mosport Festival Jul. 13 Auburn Hills, MI Palace Jul. 16 Cleveland, OH Gund Arena Jul. 17 Pittsburgh, PA Civic Center Arena Jul. 18 Columbus, OH Polaris Amphitheatre Jul. 20 Chicago, IL Rosemont Horizon Customers Jul. 11 Leeds, England Cockpit Jul. 12 Newcastle, England Riverside Jul. 13 Glasgow, Scotland T In The Park (at King Tuts Tent) Jul. 14 Dublin, Ireland Feile (at the point) Jul. 17 London, England Splash Club Jul. 18 Stratford Upon Avon, England "Phoenix Festival" Disappear Fear Jul. 11 New York, NY Mercury Lounge Jul. 12 Philadelphia, PA Barbary Jul. 13 Long Branch, NJ Metro Jul. 16 Boston, MA Mama Kin Jul. 17 Providence, RI Strand Def Leppard / Tripping Daisy Jul. 12 Buffalo, NY Darien Lake Jul. 13 Hartford, CT Meadows Music Jul. 14 Camden, NJ Blockbuster Pavillion Jul. 16 Boston, MA Great Woods Jul. 17 Wantagh, NY Jones Beach Jul. 19 Middletown, NY Orange County Fair Jul. 20 Allentown, PA Allentown Fairgrounds Experimental Audio Research Jul. 14 New York, NY Cooler (with Reservoir, Bardo Pond) Jul. 16 Cambridge, MA Middle East God Lives Underwater / Far Jul. 11 San Diego, CA Brick By Brick Jul. 12 Los Angeles, CA Dragonfly Jul. 13 Santa Barbara, CA Toe's Tavern Jul. 16 Sacramento, CA El Dorado Jul. 17 Palo Alto, CA Edge Jul. 18 Santa Cruz, CA Catalyst Finn Jul. 11 Washington DC 9:30 Jul. 12 Chicago, IL Park West Jul. 13 Boulder, CO Boulder Theater Jul. 15 San Francisco, CA Fillmore Jul. 16 Los Angeles, CA John Anson Ford Amphith. Half Hour To Go Jul. 11 Dallas, TX Orbit Room Jul. 13 Houston, TX Urban Art Bar Jul. 15 St. Louis, MO Kennedy's Jul. 17 Lexington, KY Area 51 H.O.R.D.E. Jul. 12 Indianapolis, IN Deer Creek Jul. 13 Chicago, IL World Amphitheatre Jul. 14-15 Detroit, MI Pine Knob Kiss Jul. 12 Moline, IL Mark Jul. 13 St. Paul, MN Civic Center Jul. 14,16 Chicago, IL Rosemon Jul. 17 Dayton, OH Nutter Center Jul. 19-20 Cleveland, OH Gund Arena Letters to Cleo / Gravel Pit Jul. 17 New York, NY Merciry Lounge Huey Lewis & The News Jul. 11 Westbury, NY Westbury Music Fair Jul. 12 Vienna, VA Wolf Trap Jul. 13 Wallingford, CT Oakdale Theatre Jul. 14 Boston, MA Harbor Lights Jul. 16 Warwick, RI Warwick Music Theatre Jul. 17 Devon, PA Valley Forge Music Fair Lollapalooza Jul. 13 Syracuse, NY NY State Fairgrounds Jul. 16 Charleston, WV Charleston Raceway Jul. 18 West Palm Beach, FL South Florida Fairgrounds Jul. 20 Rockingham, NC Rockingham Dragway Love & Rockets Jul. 13 Mosport, ON Eden Music Fest Luna Jul. 20 New York, NY Central Park Summerstage Natalie Merchant Jul. 18 Pittsburgh, PA Coca Cola Starlake Jul. 19 Scranton, PA Harvey's Lake Amphitheatre Nada Surf / Gravel Pit Jul. 13 Baltimore, MD Fletcher's Jul. 14 Washington, DC 930 Club Paleface Jul. 13 New York, NY Brownies Pantera Jul. 13 Dallas, TX Starplex Amphitheatre Jul. 15 San Antonio, TX Freeman Coliseum Jul. 18 Chandler, AZ Compton Terrace Jul. 19 Los Angeles, CA Great Western Forum Jul. 20 San Diego, CA Sports Arena Porno For Pyros Jul. 11 New York, NY Irving Plaza Jul. 13 Mosport, ON Mosport Musical Festival Jul. 15 Detroit, MI St. Andrews Hall Jul. 16 Chicago, IL Riviera Rembrandts Jul. 16 Merced, CA Merced County Fair Jul. 20 Enumclaw, WA King County Fair Steely Dan Jul. 12 Tampa, FL Tampa Stadium Jul. 13 West Palm Beach, FL Amphitheatre Jul. 16 Cincinnati, OH Riverbend Jul. 17 Pittsburgh, PA StarLake Amphitheatre Jul. 19 Wantagh, NY Jones Beach Jul. 20 Camden, NJ Sony Blockbuster Amphitheatre Superdrag / Nada Surf / Gravel Pit Jul. 19 Burlington, VT Club Toast Jul. 20 Providence, RI Strand Velour Jul. 16 New York, NY Continental Warped Tour (including Rocket From The Crypt, Red 5, Dick Dale and more. Confirm dates on this tour.) Jul. 11 Seattle, WA Skatepark/Tacoma Dome Jul. 13 Salt Lake City, UT Wolf Mountain Jul. 14 Denver, CO Red Rocks Jul. 18 Chicago, IL Rosemont Jul. 20 St. Louis, MO Riverport Amphitheatre Wrens Jul. 11 Rochester, NY Bug Jar Jul. 12 Baltimore, MD Memory Lane Jul. 14 Cambridge, MA Middle East Jul. 15 New York, NY Brownie's Jul. 17 Dayton, OH Submarine Gallery Jul. 18 St. Louis, MO Cicero's Jul. 19 Cincinnati, OH Sudsy's Jul. 20 Chicago, IL Empty Bottle --- To get back issues of Consumable, check out: FTP: 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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