==== ISSUE 82 ==== CONSUMABLE ======== [July 25, 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, Courtney Muir Wallner Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Robin Lapid, Michele Morabito 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: Ben Folds Five - Joe Silva CONCERT REVIEW: Chris Isaak - Robin Lapid REVIEW: Rage Against The Machine, _Evil Empire_ - Mario J. Lia CONCERT REVIEW: Mark Knoplfer - Ali Sinclair REVIEW: The Nields, _Gotta Get Over Greta_ - Stephen Jackson CONCERT REVIEW: Self, _Subliminal Plastic Motives_ / Cast - Jon Steltenpohl CONCERT REVIEW: Presidents of the United States of America / Fastbacks / Menthol - Al Muzer REVIEW: Space Needle, _Voyager_ - Scott Byron REVIEW: Lizard Music, _Fashionably Lame_ - P. Nina Ramos REVIEW: Tracy Bonham, _The Burdens of Being Upright_ - Courtney Muir Wallner REVIEW: Psyclone Rangers, _Beatin' on the Bat Pole_ - P. Nina Ramos REVIEW: Faux Savant, _Above it All_ - Michele Morabito REVIEW: Mystery Machine, _10 Speed_ - Nina Ramos NEWS: Bryndle, Charlatans, Neurotic Outsiders, Joan Osborne, Request Line, Sonicnet Chats, V.A.N.I.S.H. TOUR DATES: Art In The Anchorage, Baboon, Barkmarket, Adrian Belew, Tracy Bonham / Everclear / Spacehog, Bryndle, Tracy Chapman / Charlie Hunter Quartet, Charm Farm, Chimera, Cordelia's Dad, Elvis Costello, Cravin' Melon, Cure, Def Leppard / Tripping Daisy, Enormous / Perfect, James Hall, Hayden, H.O.R.D.E., It's Me, Margaret, Jawbox, Paul Kelly / Tara MacLean, Nusrat Fateh Ali Khan / Donovan, Kiss, k.d. lang, Huey Lewis & The News, Little Feat, Lollapalooza, Lush, Natalie Merchant, Pantera, Poorhouse Rockers, Possum Dixon / Yum Yum / Dig, Primitive Radio Gods, Sex Pistols / Gravity Kills, Horace Silver, Slayer, Steely Dan, Superdrag / Nada Surf / Gravel Pit, Tina & B-Side Movement, Warped Tour, Wrens Back Issues of Consumable --- INTERVIEW: Ben Folds Five - Joe Silva There's really no way that you can think of the piano as one of pop's truly maligned instruments. Now the bassoon; that's an entirely different matter. When was the last time you heard the grandaddy woodwind coming to the fore of a chart topper? Motown and Christmas 1970 are the only clues I can offer without giving it away entirely. But while there was much keyboard figuring into rock's nascent moments, it's been backhanded and relegated to a second class status ever since. Ergo, all the fuss afforded the Ben Fold's Five since the release of their self titled debut last year. Forget Keith Emerson, forget the former Mr. Christie Brinkley, and for the moment you can put aside Elton as well. So fervent was the noise that the North Carolina trio was eventually asked to offset the power chords reigning over Lolla-Metallica's mainstage this year and give the indie kids something to gawk at on stage B. While en route to one of those aforementioned gigs, Ben Folds stepped out of the confines of their stylish Ryder rental and phoned in from a truck stop for the following: Consumable: Where you guys approached for the second stage thing or did you want to be on it in particular? Ben Folds Five: Well I think probably everybody want to be on it. I'm not sure how it came about, but I think we were asked to do it. Based on our positioning on the second stage where we're basically opening up for the headliner. I don't think this was one of those things that we got bought on to, but you never know. C: Is it comfortable to do, going from city to city for this type of carnival thing? BF: It's probably not bad. They just tell you when to show up. They've got the piano to deal with stage wise, so we'll probably have to be there before everyone else. C: When I saw you play here, it didn't look like a tremendous piano. I mean, you wouldn't think it would be too difficult to cart around between, say three people. Maybe I'm wrong. BF: It's a thousand pound piano, and that was a big stage with a lot of distance between everybody. I don't know, put that thing in your living room and then check it out (laughs). It's big. C: Since the record came out back in, what, July last year, has the material started to wear thin a bit? BF: The rigor of six nights a week and some of the traveling that we've been doing has made it seem like it wears thin sometimes, but I think we're just in time for the new record. It'll be a relief to play those songs in the middle of a set where people don't know the new stuff. We have hit that dirged out, shitty feeling very much. A couple of times. Right now we're learning how to hold the songs back and that may sound stupid, but we're really excited about it. We're not playing too fast all of sudden. C: You have stuff done up for the next record already? BF: Yeah, I was just in the back of the Ryder on the couch going through the number of possible songs. It's somewhere around thirty solid, good starts. C: And you've gen'd all that stuff up while traveling? BF: A lot of it. I'm a real slow writer. I don't really write that much. You know, I'll have an idea and three or four years later, it's kind of mulled over in my head and turned into something else. In fact one of the songs from the first album, "Video", was for the most part finished when I was in high school. It just kind of got the final touch on it right before we [recorded]. So it's not like I've been slaving over for ten years (laughs)! About half of what I'm walking on now, the seeds are a year or so ago. C: Are you guys sticking with Caroline Records for the next one? BF: No, we signed with Epic/550 a few months after the record came out. C: Was there any reason in particular? Was this a distribution type thing? BF: Well there was a lot of reasons, but it basically came down to is with the kind of music we're making and the direction we're going, it wasn't going to remain an honest situation to remain with a label whose specialty is another kind of music. For the first album I think it was an interesting thing that we barely lapped over enough into the indie world by the nature of what we were doing - it had some hint of rebellion in there. And for them, they're an indie that goes just enough into the side of pop music to where it worked out. But beyond that, they're a grass roots organization and if we write hit songs, it's hard for them to be hits. I'm sure they would like to do that, but honestly, I think what they're good at is discovering really cool stuff and making it work in a real musical grass roots way. If we had been on a major label, we would have been screwed. Not screwed by the label, but screwed by circumstances. We wouldn't have had to fight up from nothing like we had to and that gives you a lot of stamina. C: Is it getting to be a bit of a drag having to continually talk about why your playing the piano and not a guitar? BF: Nah, because I'm happy that they're noticing that and it's setting us apart. We knew that was going to be the case when we started. We could only hope that we would have some kind of distinction. Think of how many bands are out there. I mean we don't want to wear make up to stand out. So the piano is a very dignified way of standing out in the crowd. I don't mind talking about the piano because I play it all the time. C: I thought it was fun seeing the fair amount of abuse you give it during a performance like lying on your back and launching the stool at the keys. BF: That was in lieu of diving into it. I had a broken rib and I was wheezing through the gig. And when it was over I was in a funny mood and I wanted to dive into it, which I sometimes do, but I was hurting too bad. C: You broke a rib? BF: Yeah, I broke it doing the video [for the single "Uncle Walter" ]. I dove off a box onto Darren [Jesse, drummer] and he wasn't ready for me and I landed my full weight on his knee. C: Are you still doing the "Video Killed the Radio Star" cover? I was amazed at how people just lost their minds over it. BF: Actually we're sort of getting ready to retire that. We chose that song because there was a compilation album coming out from Elektra of well known bands doing covers of one hit wonders. Elektra just gives you a catalogue to chose from and there's thousands of these one hit wonder songs. You know they're all funny for a second, but then you think "Fuck, this is a terrible song." Because with most one hit wonders, truth is, they're horrible songs. This song was one that once you get below the campy stuff, it really has a cool sentiment to it and a lot of energy. The original's not that energetic, and we put it in people's faces a little more and they realize how much they really like it, because it's a really good song. C: Have you had any odd reactions from playing a song like "Underground" which seems like a poke in the ribs at indie culture, in front of this mass of alternative fans. BF: It's like self-deprecation kinda. If you were like a Ray Stevens or something singing about [inserts twangy vocal here] 'them damn kids today..', it obviously comes from an outside point of view. But this is so obviously from within. Besides, people love making fun of themselves anyway. It's kind of like being a hipster, scenester type in a small town and everyone's walking around going 'There's a couple of hipsters, they know what's going on.' But the truth is they're looking at you saying the same thing if your onto the same vibe. It's been cool to be cool for too long now and now it's cool not to be cool. --- CONCERT REVIEW: Chris Isaak at the Greek Theatre, U.C. Berkeley July 12, 1996 - Robin Lapid Chris Isaak first introduced himself by telling the crowd what to expect this evening. The rockabilly crooner and part-time actor best known for moody love songs like "Wicked Game" promised to play stuff from all four of his albums, a couple of covers, "and then maybe we'll do some Crosby, Stills, Nash and Young." Of course, he was just kidding about the last part, as usual. But this introduction epitomized the entire performance - a crowd-pleasing show which paired the heartfelt depth of his songs with the easygoing affability of his personality. Chris Isaak is probably one of the better examples of that rare breed of performers who can truly call themselves "entertainers." Isaak's honey-smooth vocals translate even better live. From the plaintive falsetto down to the low, breathy whisper, when Isaak sings words like "I want your love/ I need your love..." you're ready to believe him (which is probably what prompted one woman to scream out in response, "Right here!"). Not only that, but in between sets he treated the responsive crowd to his own comedic schtick. All those years spent perfecting the consummate heartache song while starring in "Twin Peaks: Fire Walk with Me" and guesting on "Friends" have taught him well enough what it means to entertain. And the capacity crowd, which enjoyed a pleasant evening in the large, outdoor amphitheater while welcoming the San Francisco local back to the Bay Area, were up for a good time. In a finely tailored suit covered entirely with tiny, glinting mirrors that made him look like a guitar-playing disco ball, the rock 'n roll star/movie star gamely tells of late nights on the road spent "reading the Bible while watching CNN." The only thing that successfully overshadowed Chris Isaak the Affable Comedian, however, was Chris Isaak the Singer-Songwriter. Following in the footsteps of idols Roy Orbison and Elvis Presley, Isaak warmed the chilly crowd with a voice that combines a seasoned twang with a bluesy rock'n roll sensibility. While Isaak broke the charts with a repertoire of sad songs traditionally about love, loss, and loss of love (as with the title track to his latest album, _Forever Blue_) he should also be recognized for what could be called his more "upbeat" tunes. Catchy numbers like "Goin' Nowhere" and "Somebody's Crying" highlight his penchant for hummable songs which nicely straddle the line between rock 'n roll and country-western. Songs like these also allow Isaak's backing band, Silvertone, to show off its deft musical stylings with bluesy rhythms anchored by Kenney Dale Johnson's solid drumming. Isaak delivered a live performance which combined well crafted music with a fun time out with the band. Despite a large audience seeking warmth under coats and blankets, the sincerity both in Isaak's music and his personality made the open-air amphitheatre feel more like the cozy Bay Area clubs Isaak played back in the olden days. No Crosby, Stills, Nash and Young, but a good show nonetheless. --- REVIEW: Rage Against The Machine, _Evil Empire_ (Epic) - Mario J. Lia In the beginning, it was rock *or* rap... On one side you had groups like Public Enemy who would rap about real social and political problems. These songs had important lyrics against repetitive 'scratched' beats. On the other side there were bands like Led Zeppelin and Black Sabbath. These bands had huge riffs, but the lyrics weren't quite as spectacular. These two great forces don't usually cross paths - at least not until the release of Rage Against The Machine's self-titled debut album, which has sold more than 3 million copies worldwide. Instead of going for that alterna-punk-rock hit sound, Rage is staying true to their ideals, and has just released _Evil Empire_. This time the lyrics are stronger, the grooves are enlarged, and the power turned up past 11. The band has show support (sometimes financially) in numerous causes ranging from anti-Nazi campaigns in Europe to anti-censorship efforts in the US. The later was punctuated when the four members walked on-stage on a Lollapalooza concert in Philadelphia nude, and tape on their mouths. As you may recall, they used the video for their song "Freedom" to urge the release of Native American activist Leonard Peltier. On _Evil Empire_ there are some new messages brought to mind. Several songs deal with the ongoing struggle of the Zapatistas. These farmers are seeking freedom from the ruling class and the problem at hand is most clearly stated in the song "Without A Face". Their struggle is brought out with lyrics like "Yes I know my deadline sire, it's when my life expires" Most bands would hail mass media has a good and use it for what it's worth. RATM blows a hole in right-wing talk shows via the song "Vietnow" saying "I tune in wit a bullet ta shut down tha devil sound/tha program of vietnow". Sometimes the lyrics of Zack De La Rocha(vocals) go astray and leave the listener to wonder what he means. At that place is where the music kicks in, thanks to the superb guitar playing of Tom Morello. Tom is able to create the mood and feelings that Zack sometimes misses. Tom's style goes from Black Sabbath in "Wind Below" to the DJ-style scratching during the interlude of "Bulls On Parade" Sticking to what the do best, RATM has made another winning record. If you were a fan before, then _Evil Empire_ should be even better because of Tom's more diverse style of guitar playing. --- CONCERT REVIEW: Mark Knoplfer, Grenoble, France - Ali Sinclair Nineteen years or so after "Sultans of Swing" was first played to the public, it still stopped the show. A screaming ovation - and only halfway through the two-and-a-half hour concert. And hanging his white towel on the humid air like a flag of surrender, Mark Knopfler accepted the appreciation with a humble grin. Another stop on his mammoth European tour, the "Summum" at Grenoble, France (a town surrounded by the Alps in southeastern France) holds nearly 3500 people. All of the dates in France are in venues of about the same size. It's not Dire Straits playing to a crowd of millions. It's better: it's Mark Knopfler and friends, playing to the people. The Summum wasn't _quite_ filled to capacity - there was room for at least two or three more people in the pit - but the magic between Mark and the audience was more electric than Wembley Stadium, more intimate than a crowded bar, and the enthusiam generated could have raised the roof. It certainly seemed to have cleared the skies, because for the first time in a week, the sun was shining this morning. My hands hurt from clapping. My arms ache from waving. My feet hurt from jumping. I can't whistle any more. And yes, it's all worthwhile. Other "huge" names that I've seen - such as Joe Cocker a couple of years ago, and Eurythmics at the height of their career - performed as if they were behind glass, removed from the public, perfect but untouchable. Mark Knopfler has as "big" a name as anyone else, but the humanity and humbleness that emanated from the stage was every bit as touching as his haunting guitar. "Romeo and Juliet", "Money for Nothing", "Calling Elvis"; all the old favourites, but some new ones too, such as "Rudiger" from his new album. _Golden Heart_ is my prediction for the latest classic...restrained, moving, sad, powerful and pure Mark Knopfler. Mark - no headband, less hair but more grey, and wearing a soft check shirt which looked like he'd borrowed it from an old country or folk singer--was just so incredibly relaxed, at least after the first three numbers. He looked right at home, natural, the guitar as much a part of him as an arm or a leg, even when playing those blasting, searing, soul-tearing solos: the hopelessness of "Telegraph Road", the pain and longing of "Brothers in Arms", the happy hopefulness of "Going Home". Guitar strings sharp as glass. Fingernails catching the spotlight like the edges of diamonds. Dobro like a mirror in a searchlight. Mark was happy. The band were happy. The audience was ecstatic! And now, the morning after, the mist-covered mountains around this town are still echoing to the sound of his guitar... --- REVIEW: The Nields, _Gotta Get Over Greta_ (Razor & Tie) - Stephen Jackson On the road to rock & roll nirvana, family acts rarely, if ever, provide what one might call cutting edge entertainment. So when K-Tel reissues Abba or the Partridge Family in a complete boxed set, you won’t find me reaching for my credit card. The list of great rock bands with sibling members is decidedly short, and once you’ve driven past the Kinks, Van Halen, or the Finn brothers, there’s not much left to talk about. Happily, the Nields, a New England band comprised of three family members whose last name (duh!) is Nields, may soon change this perception. If you have to attach a genre label to what they do I might describe them as alternative folk, with a pop sensibility ranging from Cowboy Junkies to Suzanne Vega to the Beatles. In other words, if Nancy Griffith fronted the Jayhawks they would sound something like the Nields. This is not a band I liked right away. On first listen to their new release, _Gotta Get Over Greta,_ I found their vocal harmony too often evoked bad memories of the New Christy Minstrels or Cowsills, bands whose legacy endures in cutout bins of old LPs. But after several repetitions, their folk-pop arrangements revealed a rougher edge, thanks largely to vocal interpretations given to the material by the Nields sisters, and some creative guitar lines by David Nields. Their sound has a home studio feel to it, with a minimum of fuss. Just a few acoustic and electric guitars with a steady rhythmic backing, and the occasional keyboard or harmonica. I have no idea which of the two Nields sisters, Nerissa or Katryna, sings lead, but her voice reminds me of the Cranberries' Dolores Riordan, or perhaps an Irish version of Alaniss Morisette. Most of the lyrics were written by Nerissa Nields, who brings a particular woman’s focus to what are generally universal concerns - the search for love, the loss of youth, the longing for something better in one’s life. Songs like "I Need a Doctor," "Bullet Proof," and "Blind" recreate the heartache of adjusting one’s dreams to fit the new truth of one’s everyday reality. If you’re looking for heavy anthems to an angst ridden age, you won’t find them here. Instead, the Nields offer small moments of joy and sorrow, that linger in one’s memory as a kind of quiet paean to the mystery of who we are and what it is we are about. --- CONCERT REVIEW: Self, _Subliminal Plastic Motives_ (Zoo)/ Cast (Kansas City, MO) - Jon Steltenpohl Putting Self on stage after midnight on a Sunday night was a brave move. Not everyone in the audience was a college student who could sleep through the next day of summer classes. Some of us had jobs and deadlines. But this was a show worth staying for, and as the night wore on, the crowd grew larger instead of thinning out. Self definitely satisfied the masses and made the sleepless night worth it. Not that waiting was a problem. A local group calling itself UB50 opened the show quite well. Only Kansas City, MO and Lawrence, KS insiders might have known who UB50 really were. The flyers said The Hollowbodies and their amps had another local band's name (Truck Stop Love) stenciled on. Whatever their name, they played their catchy brand of start/stop slacker pop with good energy. Their lead singer was decked out in early American Bowling Alley garb, and the drummer mugged at the girls in the front like a little imp. After the assumed UB50 left the stage, Brit-pop-meisters Cast took command. You didn't have to know anything about the band to immediately realize their musical heritage. Lead singer John Power, formerly of the La's, started out with the early Beatles trademark head bob and guitar rock. It looked like Paul McCartney all over again. (Someone should teach these guys how to tap their toes.) "Sandstorm" stood out immediately as a catchy tune, and it is now getting airplay as the second U.S. single. As evidenced by their t-shirts, Cast are a pro-hemp band. The lead singer's shirt was a subverted United Parcel Service logo that read "United Pot Smokers." Fortunately, the band seemed relatively sober, and the songs were clearly lucid. Cast shares a lot with groups like Squeeze and XTC. The "she doesn't love me" type of songs didn't come across very well, but a more intimate setting might do them better justice. By the end of their set, I was nearly convinced on Cast. Unfortunately, they took a big chunk out of that enthusiasm when they disengaged their final song into a confusing sprawl of distorted junk. They started tearing up their guitar strings and trying to act out their own revival of The Who. But then, they set their instruments down carefully and left the stage without smashing a single thing. It was a confusing let down to an otherwise excellent performance of classic British pop. Finally, after a long night of music, Self took the stage around 12:45 am. I wasn't sure what to expect. Their debut album, _Subliminal Plastic Motives_, is primarily a one man show put on by Matt Mahaffey with a little help from his brother Mike. It's a superb album from this newcomer who looks disarmingly clean cut on stage. The clean cut image fits well with such an immaculate album. _Subliminal Plastic Motives_ is produced with an excellence and maturity that is surprising for an artist in his early 20's. Artist/producers like Trent Reznor and Prince usually take until their mid to late 20's to make such masterpieces, and Mahaffey seems to have a slight head start. The base of Self's sound is a grinding guitar that backs Mahaffey's vocals. But this base only comes out after multiple listens because studio noodling is everywhere on this album. Loops of live drums are twinned with a wholly sampled backbeat. Swirls of distorted samples and spacey effects are placed within the whole framework, and just when you get comfortable with the beat, Mahaffey changes everything. The guitar that starts out grinding breaks way to tender strums or fuzzbox delights. Sometimes Mahaffey layers his vocals in 3 part harmony. Then he sends them through an effects box and mirrors them with a quiet piano riff. The effect reminds me a lot of more experimental groups like Phish or even Frank Zappa. Notes slide up and down in tight harmony. The beat loops refuse to repeat blindly. Instead, they morph into new sounds and stop in mid-beat just to turn around back again. New instruments and samples emerge from nowhere. "Marathon Shirt" even takes the time out for a little jazz break. Yet, for all of its novel turns, _Subliminal Plastic Motives_ is extremely accessible to anyone. It's the kind of album that has your ears begging for another chance to listen. For every twist and turn that Self puts you through, the basic song keeps pushing along. Front and center on every track is a catchy little song that is guaranteed to stick in your head. The hit "So Low" is a perfect example. It starts out with a mellow piano and guitar part, and within 20 seconds it's added a goofy bass line and scratching samples. Before a full minute is up, the guitars are booming, and the lyrics are glooming that "I'm so low that I wish I was dead." Before "So Low" is done, there have been so many repetitions and changes that it feels like you've been through a musical blender. The question going into the concert was whether or not the newly formed "band" Self could pull off what had originally been a one man album. They fielded Matt Mahaffey on lead guitar and vocals along with a bassist, a keyboardist, and a drummer. On stage, they were fresh, new and genuinely excited to be there. A Nintendo video game theme introduced them and Mahaffey calmed the cheering a bit by explaining "We haven't played yet -- you don't know if we suck or not." Then he launched into a new song called "Mummy". It took him a little to get going, but by the time he got to the second song, things were going just fine. This was "Stewardess" and the bouncing "Northeastern southwest Mississippi" chorus pulled the crowd into the show. A count of those singing along showed that about half of the audience knew the song at the start and everyone else followed suit after that. The band kept up the energy through the rest of the night for an hour long, 15 song set that featured 9 songs off of the new album. Most of Mahaffey's writing appears to focus on the music industry. One of the new songs was about Smashing Pumpkins, and it was hard to tell if it was pro or con for the band. He said "Superstar" was written for Juliana Hatfield, and Mahaffey described another new song as being "about Barry Manilow and growing up in the 70's". The next song, "Big Important Nothing" slammed Michael Jackson, and then a few songs later it was time for a cover song. What was the cover? A vicious version of Alanis Morrissette's song "Ironic" with a chorus that went "Isn't she moronic". Yes, as clean-cut as Mahaffey and his band looked, the man him-self is one hell of a little smart ass. But behind the cocky attitude was an obvious newcomer to the touring scene. At times, Mahaffey looked a tiny bit nervous, and he spent a lot of time looking at the disco ball spinning above his head. There was no need for worry though because the "band" Self pulled it off. Mahaffey switched once between guitars and keyboards and his vocals switched between crystal clear tones backed with three part harmony and barking whelps and screams. James, the keyboard player, stuck in the samples just right, and the rest of the band held their own - even if the bassist kept reminding me of the comic Carrottop's little brother. By the time Self closed their show with "So Low" at almost 2 in the morning, the crowd was too tired to even try for an encore. We filed out like zombies dazed by great music yet doomed to wake up for work in another 4 hours. Self had presented themselves incredibly well. The songs came together on stage with relative ease, and Self "the band" lived up to their promise. They are a new band that hasn't been warped by too much touring or too many record execs. This is a band with a future. Pick up _Subliminal Plastic Motives_ and, if you're lucky, go see them live while you can still stand right next to the stage. --- CONCERT REVIEW: Presidents of the United States of America / Fastbacks / Menthol Roseland, New York City - Al Muzer It felt as if the Roseland was hosting one of those wholesome, family-friendly Nickelodeon Goo-Fests instead of a rock concert. An air of feverish excitement filled every corner of the New York City concert Mecca long before the opening act hit the stage as the cavernous club quickly became jammed with what appeared to be a small army of short, hyperactive, constantly moving teen and pre-teen suburban hipsters decked out in brand new Presidents Of The United States Of America T-shirts, big sneakers, baggy jeans and MTV haircuts. A few paces behind each knot of jabbering, first-time concert goers, three or four sets of slightly-dazed parents put their wallets back into their pockets and watched in wonder as their new-shirt-wearin' hopes for the future vanished into a crowd of pink and green-haired punks, aging hipsters, trendy Gen-Xer's, freshly-shaved Chris Ballew wannabe's, college kids and leather-jacketed metal-heads. Menthol came on promptly at 7:30 and, try as they might, their loud, glammish, power-rock approximation of Material Issue fell, for the most part, on deaf ears. Moving ant-like across the club floor, the alterna-kids were too busy checking each other out, eluding their parents and making new friends to pay attention to the stage and Menthol left to polite applause after a game 30-minute set. With one band between them and their heroes, the crowd was more receptive to The Fastback's excellent Go Go's in hyperdrive version of L7 with hooks. No longer able to contain their Coca Cola-fueled energy, small mosh pits began to form in the audience while pint-sized floaters were politely passed along to an even more polite pit crew. Closing their set with covers of The Raspberries' "Go All The Way" and Sweet's "Set Me Free," the band brought smiles to the faces of parents throughout the club who forgot, for a few minutes, that it was their 10-year-olds out there riding the crowd. Bouncing in excitement, the future leaders of America jockeyed for a better view during the set change and cheered wildly as the three stringed guitbass and two-stringed basitar they knew so well from MTV were carried on stage. Riding the screams, basitarist Chris Ballew, drummer Jason Finn and guitbassist Dave Dederer grabbed their instruments and ripped into spirited versions of "Feather Pluckin'" and the MC5's "Kick Out The Jams" that caused an eruption of beer cups, well-behaved mosh pits and happily grinning floaters. Dodging the occasional love offering (books, magazines, demo tapes, hats, flowers, watches, a urinal cake) thrown to them, the band rocked their fans with favorites from last year's multi-platinum Columbia Records debut ("Boll Weevil," "Dune Buggy," "Back Porch," "Kitty," "Peaches," "Lump," "Body" and "We Are Not Going To Make It") new tunes for an album due out in November ("Bug City," "Big In Vegas," "Mach Five," "Confusion," "Tube Amplifier" and "Twig In The Wind") and twisted covers of "Dueling Banjos," "Video Killed The Radio Star" and The Beatles' "Baby You're A Rich Man." In an era rife with crime, hunger, homelessness and the very real possibility of, literally, no future; the nonsense lyrics, cartoonish image, curious guitars and Primus-meets-Grand Funk Railroad roar of The Presidents Of The United States Of America makes for great entertainment and a welcome, albeit brief, escape from reality. --- REVIEW: Space Needle, _Voyager_ (Zero Hour) - Scott Byron Space Needle is a band on the edge. The edge of exactly _what_ remains to be determined, but they're somewhere nearby. Hailing from Long Island and buzzing around the New York scene for a couple of years, this decidedly lo-fi duo recorded _Voyager_ on a four-track in a basement, but the album does not reflect those limitations or have any sense of confinement. Rather, by building layer on layer on layer of guitar strums, synthesized keyboard figures, drum patterns, eerie effects and deadpan vocals, Space Needle creates a '90s take on the spacey, progressive, underground musics that have opened vistas of imagination and sound since the first synthesizers were created. There's a pop sensibility sometimes at work here, too, and the most accessible tracks would segue nicely with, say Primitive Radio Gods or the Cocteau Twins. The band would likely balk at such comparisons, but they're apt. "Before I Lose My Style," for example, had me swaying with eyes closed, drifting... But of course, in keeping with proper New York attitude, that dreamy track is followed by the abrasive, jarring, epic, in-your-face and out-the-back-of-your-head "Scientific Mapp," an experiment-in-sound recording that could never be described as pop. I've listened to _Voyager_ at least a dozen times now, trying to get a firm grip on it for your benefit, but have found it elusive in the best possible way. From the first listen, I was fascinated and entranced, and on each successive playing I've discovered something new that draws my focus. If that kind of challenge intrigues you, as it still does me, pick up this album. --- REVIEW: Lizard Music, _Fashionably Lame_ (World Domination) - P. Nina Ramos Never mind that they're from New Jersey. Don't pay attention to the Steve Albini credit. Flat out ignore the usual label they carry in reviews, "an intelligent pop band". It's all one big lie alluding to the inevitable. This band is actually one rippin' roaring mama! From the depths of the Jersey shore comes this silly little crazy band o' wackos. Best remembered for "The Boss" and Bon Jovi, New Jersey has actually spawned some strong driving bands. Monster Magnet, Nudeswirl, Godspeed and still my favorite, Daisycutter, are amongst the finer hard edged sounds you think only come out of New York City. And Lizard Music, in their unique pop approach, represent eclectic sounds of our generation of music. Before Ministry and Nine Inch Nails, there was Steve Albini. More acurately, there was Big Black, one of the best hard driving bands of the 80's. What does this have to do with Lizard Music? Everything. Albini helped shape the sound that is _Fashionably Lame_. And Lizard Music perfected their vision into a 13 track release. Don't trust that first instinct to demand your money back. If I hadn't magically received this in the mail, I too would've been wringing someone's neck. Don't listen to that pounding you'll cause to your head the second time either. It's just not worth it. Otherwise you'll miss your chance to experience what you'll never forget. That third time, now that's the charm! You'll be hooked on "the Lizards" forever. Claiming influences from Rita Coolidge to Rita Moreno, these swank boys from the Garden State don't miss a step. Hidden in tracks like "Jacko's Book" are more funk oriented sounds. In general, the entire CD plays more like a well thought compilation of similar sounding bands. Which is favorable because no one want to listen to the same song 13 times! --- REVIEW: Tracy Bonham, _The Burdens of Being Upright_ (Island) - Courtney Muir Wallner Tracy Bonham, an enterprising newcomer to the alternative music scene, is winning the hearts of everyone who listens to her major label debut, _The Burdens Of Being Upright_. Bonham has a quirky voice that is smooth and beautiful one minute and screeching desperately the next. Bonham has a striking edge to her music and an unusual grounding to her songs and lyrics. The songs themselves are a complete motley of emotion, each one being its own incorporated capsule loaded with meaning, both darkness and light. It is immediately realized that Bonham is a talented musician, but after closer inspection of her music, it dawns on the listener that they have stumbled onto an artist who is creating music that is suitable today yet will be revelant tomorrow. Bonham is a twenty-seven year old Boston resident who attended both the University of Southern California and the Berklee College of Music, and who originally hails from Eugene, Oregon. As a small child she embraced classical violin and continued on as a classical violinist until adulthood, when she chose to study guitar and voice. Almost instantly, she became a staple performer in Boston's club scene, and was awarded Best New Artist, Best Female Vocalist, and Best Indie Single at the 1995 Boston Music Awards. The first single off her latest album is "Mother, Mother," a song riddled with the angst one experiences growing into themselves, and into the space they want to occupy in the world, all the while craving to tell their situation to those closest to them, yet knowing they cannot. Not everyone is going to find meaning in Bonham's work. The song "Brain Crack" takes the concept of minimalism to new heights as she chants "that's the sound of your brain cracking" throughout much of the song. The subtext here is one of "psychic disturbance." Bonham's second single, "The One," is an oddly upbeat and catchy song that recounts a lover who seemed perfect up front and wound up to be everything but: "You're the one/ that froze the sun/ say you love me as/ you pull the trigger/ better today/ rather than/ tomorrow." The lyrics here are pointedly clear: they examine the devastation a toxic relationship can bring to an otherwise healthy individual. What goes around hopefully comes around, as she ends with "You should enjoy the weather/ soon you'll burn with what you've done...you'll hurt no one." Who hasn't wished that at least once in their life? --- REVIEW: Psyclone Rangers, _Beatin' on the Bat Pole_ (World Domination) - P. Nina Ramos Welcome to the ride of your life. A ride where the drivers are the passengers. And you are just another spectator. Now, as a sidelines eye, you can do one of two things: let the dust collect on your cornea, (leaving you blind for life) or jump in and never look back. Personally, I'd recommend the latter. They've toured with Reverend Horton Heat. They'll give you a spanking erection (they recommend avoiding cock rings). They've been described as "A chainsaw falling down the stairs." and "near genius punk..." Psyclone Rangers are worth the chaos. A mesh of Butthole Surfers meets Big Black in a big Reverend Horton Heat party, these music freaks will bring you to impact point zero. By no means am I denying the quality of their sound. I only intend to create the picture in my head. Race (Bannon) the drummer, Scot (Dantzer) the guitar, and Jonathan (Valania) the voice combine for some truly crowd pleasing noise. World Domination wins serious brownie points with the latest Ranger EP, _Beatin' on the Bat Pole_. The never-stop-to-look at-what-I-trampled attitude reigns the entire piece. Running through five smooth porcupine-like tunes, you are sure to love that sting to go back for seconds, and thirds, and... --- REVIEW: Faux Savant, _Above it All_ (EP); (Europhoria) - Michele Morabito If you ever wanted to hear something new and old at the same time, Faux Savant is it. This Washington, DC band has the sound to make it big and then bigger. One thing that got me going is the beat, I liked after hearing it once (which is rare for me). Faux Savant started in summer 94 and haven't looked back. They mesh well together in both their musical style and lyrical writing. They have the hard-edge sound of the 90's with a distinctive New Wave 80's sound, which might help explain how they've opened for Velocity Girl and Cheap Trick - two different ends of the spectrum. This entire EP off their vanity label is club, danceable music that sets you moving. "Why Can't I Get It Right" has the makings of a Top Ten hit with its marriage of good sound, beat and voice. "You Can Feel It" satisfies the punk/hard-edge with its guitar work of Bryan Davis while vocals of Darren Sloper shows great range. Bassist Andy Luper and drummer Mike Partaine always seemingly hit the right rhythm for each song. Of course, the slow "Standing Behind You" is perfect for calming down with its melancholy tones. No special cover tunes, no fancy & expensive studio just five talented guys with everywhere to go. I can't wait to hear a full-length LP. Faux Savant can be contacted on the WWW at http://www.cymedia.com/washdc/bandlinks/paolo.htm and on a public access show (ZTV Take Two) at http://www.geocities.com/Hollywood/2578. For further information, contact Europhoria at Box 166, Centreville, VA 22020. --- REVIEW: Mystery Machine, _10 Speed_ (Nettwerk) - P. Nina Ramos Four boys from Vancouver gathered five years ago and grouped as Mystery Machine. Arming themselves with a strong Husker Du influence and the standard rock instruments, they set forth in the world of sounds. Their latest effort, _10 Speed_ has all the elements of a contemporary rock band. With a strong sound, cohesive melodies and technology on their side it seems there's nothing left for them to cover. Precise, with a very tight flow, _10 Speed_ is produced in a manner most albums should. This is a great listen! The first track is actually a Quicktime movie. If you don't have Macintosh System 7 or Windows 3.1, you probably won't be able to experience it. Which is too bad, because these short pieces nicely round up their music. The first thing that loads is a short film of a scatter. Did anyone have a Fisher Price "pixel 2000" camera? It was very low quality, but much, much fun - and this actually looks like that. It follows the scatter all over a town. The action is in real-time and sped up. One of their instrumental songs follows the action, pacing the rhythm of each turn. The next piece is live footage of track #8 "Sinker". If you try to exit early, they throw in a special surprise. No I won't tell you, it'll spoil things!... All in all, _10 Speed_ is a complete representation of what a good pop band should be. The sweet hardness of rock, all the high end visual resources at their disposal and cool pictures to laugh at in the CD sleeve. Why wouldn't you just love it? --- NEWS: > Andrew Gold has left the band Bryndle. For further information on this or the band, check out the unofficial Bryndle web site at http://www.wco.com/~paulg/bryndle/ > The Charlatans' Rob Collins recently died in an automobile accident in England in the morning hours. No additional details on the cause of the accident were available at press time. > The Neurotic Outsiders (Steve Jones, Duff McKagan, John Taylor and Matt Sorum) recently played a special show in London at the Borderline. Due to Jones' touring with the Sex Pistols, the Outsiders will not be performing live until September, in concurrence with the release of their forthcoming album. > Joan Osborne recently opened three shows for The Who's _Quadrophenia_ performances at New York City's Madison Square Garden. After performing in Atlanta at the Olympics on August 2, Joan will start work on her next record, and then commence touring in Australia and Japan. > Request Magazine has joined the on-line world in the form of Request Line, located at http://www.requestline.com > Sonicnet chats include: D Generation, Thursday July 25 at 6:30 p.m.; Tommy Stinson, Monday July 29 at 9 p.m.; De La Soul, Tuesday July 30 at 8 p.m. To connect on the World Wide Web, go to http://www.sonicnet.com/sonicore/chat > The Voters Against North Carolina Incumbent Senator Helms (V.A.N.I.S.H.) Benefit Concert will be held on July 27 from noon to 11 pm at Durham Athletic Park in Durham, North Carolina. The concert, which includes already confirmed bands such as Superchunk, Archers of Loaf, Flat Duo Jets, June and more, will generate funds for several nonprofit groups in North Carolina who desire the defeat of Senator Helms in this year's elections. --- TOUR DATES Art In The Anchorage Series (base of Brooklyn Bridge; more information at http://www.sonicnet.com/ctime) Jul. 25 Jose Halac and Ahmed El-Motassem Jul. 26 Experimental Audio Research (EAR)/Harmony Rockets/Elysian Fields Jul. 27 Scanner Baboon Aug. 2 Austin, TX Emo's Aug. 3 Houston, TX Emo's Barkmarket Jul. 25 Portland, OR Satyricon Jul. 27 Seattle, WA Moe's Jul. 29 Salt Lake City, UT Bar & Grill Jul. 30 Denver, CO Mercury Cafe Jul. 31 Lawrence, KS Bottleneck Aug. 2 Chicago, IL Empty Bottle Aug. 3 Minneapolis, MN 7th St. Entry Aug. 4 Madison, WI Chamber Adrian Belew Jul. 26 Berkeley, CA Greek Theatre Jul. 27 Los Angeles, CA Greek Theatre Jul. 29 Ventura, CA Ventura Theatre Jul. 30 San Diego, CA Summer Pops Bowl Park Tracy Bonham / Everclear / Spacehog Jul. 26 Bonner Springs, KS Sandstone Amphitheatre Jul. 27 Oklahoma City, OK TNT Building Jul. 28 Dallas, TX Bronco Bowl Jul. 30 Phoenix, AZ Centennial Hall Jul. 31 Santa Monica, CA Santa Monica Civic Auditorium Aug. 2 San Francisco, CA Warfield Theatre Bryndle Jul. 30 Richmond, VA Life of Virginia Jul. 31 Albany, NY Empire State Convention Center Aug. 3 St. Paul, OR Champoeg State Park Aug. 4 Eugene, OR Cuthbert Amphitheatre Tracy Chapman / Charlie Hunter Quartet Jul. 25 Santa Fe, NM Paolo Soleri Jul. 27 Denver, CO Red Rocks Jul. 29 Chicago, IL Rosemont Jul. 30 Detroit, MI Meadowbrook Aug. 2 Montreal, QC St. Denis Theatre Aug. 4 Boston, MA Harborlights Pavillion Aug. 5 New York, NY Central Park Summerstage Charm Farm Aug. 3 Detroit, MI WRIF Summer Arts Festival Chimera Jul. 31 New Hyde Park, NY Dublin Pub Cordelia's Dad Jul. 26 Toronto, ON Molson Place (w/Jane Siberry) Jul. 28 Duncan, BC Island Folk Festival Aug. 1 Seattle, WA Tractor Tavern Aug. 4 Santa Cruz, CA Kuumbwa Jazz Center Aug. 5 Santa Monica, CA Live on KCRW (broadcast Aug. 11) Elvis Costello Jul. 26 London, England Shepherd's Bush Empire Aug. 3 Loker, Belgium Folkfestival Dranouter Aug. 4 Stockholm, Sweden Stockholm Water Festival Cravin' Melon Jul. 27 Columbia, SC Elbow room Cure Jul. 31 Portland, OR Rose Garden Aug. 2 Vancouver, BC Pacific National Exhibition Aug. 3 Tacoma, WA Tacoma Dome Def Leppard / Tripping Daisy Jul. 26 Raleigh, NC Walnut Creek Amphitheatre Jul. 27 Charlotte, NC Blockbuster Pavillion Jul. 28 Birmingham, AL Oak Mountain Amphitheatre Jul. 30 Maryland Heights, MO Riverport Performing Arts Jul. 31 Little Rock, AR Riverfront Amphitheatre Aug. 2 Dallas, TX Starplex Amphitheatre Aug. 3 Austin, TX South Park Meadows Aug. 4 Woodlands, TX Woodlands Pavillion Enormous / Perfect Jul. 25 Washington, DC Bayou Jul. 26 Philadelphia, PA Upstairs At Nicks Jul. 27 Hoboken, NJ Maxwell's Jul. 28 Asbury Park, NJ Saint Jul. 31 New York, NY CB GB's Aug. 1 New London, CT El N Gee Aug. 2 Providence, RI Club Babyland Aug. 3 Boston, MA TT The Bears Aug. 5 Albany, NY Bogie's Hayden Jul. 31 Toledo, OH Underground Aug. 1 Cincinnati, OH Club Gotharn Aug. 2 Pittsburgh, PA Rosebud Aug. 3 Cleveland Heights, OH Grog Shop Aug. 5 Minneapolis, MN 7th Street Entry H.O.R.D.E. Jul. 29 Mountain View, CA Shoreline Amphitheatre Jul. 30 Sacramento, CA Cal Expo Aug. 1 Salt Lake City, UT Wolf Mountain Aug. 3 Portland, OR Meadows Aug. 4 George, WA Gorge It's Me, Margaret Jul. 27 Los Angeles, CA Love Lounge Jawbox Jul. 26 Boise, ID Crazy Horse Jul. 27 Salt Lake City, UT Bar and Grill Jul. 29 Denver, CO Mercury Cafe Jul. 31 Minneapolis, MN First Avenue Aug. 1 Eau Claire, WI Golden Chair Aug. 2 Green Bay, WI Concert Cafe Aug. 3 Chicago, IL Cabaret Metro Aug. 5 Des Moines, IA Safari Paul Kelly / Tara MacLean Jul. 31 Victoria, BC Limit Aug. 1 Vancouver, BC Starfish Room Aug. 5-6 Banff, AB Wild Bills Nusrat Fateh Ali Khan / Donovan Aug. 1 New York, NY Radio City Aug. 3 Washington, DC Warner Theatre Kiss Jul. 25-27 New York, NY Madison Square Garden Jul. 28 Hartford, CT Civic Center Jul. 30 Providence, RI Civic Center Jul. 31 Boston, MA Fleet Center k.d. lang Jul. 25 Clearwater, FL Eckerd Hall Jul. 26 Sunrise, FL Sunrise Theatre Jul. 27 Orlando, FL Parr Auditorium Jul. 29 Houston, TX Woodlands Pavillion Jul. 30-31 Austin, TX Backyard Aug. 2 Kansas City, MO Starlite Theatre Aug. 3 Des Moines, IA Civic Center Theatre Aug. 5 Clarkston, MI Pineknob Theatre Huey Lewis & The News Jul. 26 Fort Mills, NC Knights Stadium Aug. 2 Birmingham, AL Birmingham-Jefferson Civic Center Little Feat Aug. 4 Atlantic City, NJ A.C. Harbor Music Fest. Lollapalooza Jul. 25 Ferris, TX Old Fort Dallas Lush Aug. 3 Benicassim, SPAIN Festival Natalie Merchant Jul. 25 Garden State Arts Center Jul. 28 Rochester, NY Finger Lakes Jul. 29 Mansfield, MA Great Woods Pantera Jul. 25 Portland, OR Memorial Coliseum Jul. 26 Vancouver, BC Pacific Coliseum Jul. 27 George, WA Gorge Amphitheatre Jul. 30 Denver, CO Red Rocks Aug. 1 Wichita, KS Kansas Coliseum Aug. 2 Maryland Heights, MO Riverport Amphitheatre Aug. 3 Bonner Springs, KS Sandstone Amphitheatre Aug. 5 Minneapolis, MN Target Center Poorhouse Rockers Jul. 28 New Hope, PA John & Peter's Aug. 1 Towson, MD Flutie Garcia's Possum Dixon / Yum Yum / Dig Jul. 25 Denver, CO Mercury Cafe Jul. 27 Tulsa, OK Ikon Jul. 28 Lawrence, KS Bottleneck Jul. 29 Minneapolis, MN 7th St. Entry Jul. 30 LaCrosse, WI Warehouse Jul. 31 Milwaukee, WI Unicorn Aug. 1 Cincinnat, OH Sudsy Malone's Aug. 2 Fort Wayne, IN Piere's Nightclub Aug. 3 Chicago, IL Double Door Aug. 4 Detroit, MI Magic Stick Aug. 5 London, ON Call The Office Primitive Radio Gods / James Hall Jul. 28 Santa Cruz, CA Catalyst Jul. 29 San Jose, CA Cactus Club Jul. 30 San Francisco, CA Slim's Jul. 31 Sacramento, CA Press Club Aug. 2 Vancouver, BC Starfish Aug. 3 Seattle, WA Kitsap Fairgrounds Aug. 4 Portland, OR Timberland Park Sex Pistols / Gravity Kills Jul. 31 Denver, CO Red Rocks Aug. 2 Dallas, TX The Complex Aug. 3 Houston, TX International Ballroom Aug. 4 Memphis, TN Mud Island Amphitheater Horace Silver Jul. 30 - Aug. 4 New York, NY Blue Note Slayer Aug. 2 Cleveland, OH Odeon Aug. 5-6 New York, NY Irving Plaza Steely Dan Jul. 26 Mansfield, MA Great Woods Jul. 27 Hartford, CT Meadows Jul. 28 Toronto, ON Molson Amphitheatre Aug. 2 Chicago, IL World Theatre Aug. 3 East Troy, MI Alpine Valley Aug. 4 Minneapolis, MN Target Center Superdrag / Nada Surf / Gravel Pit Jul. 25 Athens, GA 40 Watt Club Tina & B-Side Movement Jul. 26 Waukishaw, WI Festival Jul. 27 Hudson, WI St. Croix Arts Fest Warped Tour (including Rocket From The Crypt, Red 5, Dick Dale, Figgs and more. Confirm all dates.) Jul. 25 Cincinnati, OH Riverbend Second Stage Jul. 26 Buffalo, NY Lasalle Park Jul. 27 Bowmanville, ON Mosport Park Jul. 28 Montreal, QC Hippodrome Jul. 31 Columbia, MD Merriweather Aug. 1 Camden, NJ Sony Auditorium Aug. 2 Long Island, NY Nassau Coliseum Aug. 3 Hyannis, MA Fairgrounds Wrens Jul. 26 Austin, TX Electric Lounge Jul. 27 Denton, TX Argo Jul. 29 Lafayette, LA Metropolis Jul. 31 Atlanta, GA The Point Aug. 1 Chapel Hill, NC Lizard & Snake --- 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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