==== ISSUE 90 ==== CONSUMABLE ======== [October 25, 1996] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, 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, Paul Grzelak, Janet Herman, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Stephen Lin, 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: Rey Roldan 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: Mike Peters - Rey Roldan REVIEW: Midnight Oil, _Breathe_ - Reto Koradi REVIEW: Soul Coughing, _Irresistible Bliss_ - Stephen Lin INTERVIEW: Boxing Gandhis - Al Muzer CONCERT REVIEW: 7 Mary 3/Poe/Refreshments - Stephen Lin REVIEW: Elephant Ride, _Forget_ - Janet Herman INTERVIEW: Merril Bainbridge - Bob Gajarsky CONTEST: Merril Bainbridge NEWS: Plastic Mikey, Porno For Pyros/Sonicnet TOUR DATES: Barkmarket, Block, Chimera, Tom Cochrane / Tara MacLean, Cordelia's Dad, Phil Coulter, Cracker / Self, DJ Spooky (with Stereolab, UI), Grant Lee Buffalo / 16 Horsepower, Gravity Kills / Chainsuck, Honeycrack, Inti-Illimani, Kill Hannah, Kula Shaker, Latimer, Lemonheads / Imperial Teen, London Suede, Madball / Visions of Disorder, Marilyn Manson, Mother Hips, Porno For Pyros, Primitive Radio Gods, Professor & Maryann, Pusherman, Republica, Sabri Brothers, Slayer, Stabbing Westward / Ash / I Mother Earth / Drill, Stiffs, Inc., Stone Temple Pilots / Expanding Man, Test Dept./Sheep on Drugs., Richard Thompson, Tool, Wesley Willis, Wrens, Neil Young / Jewel / Moist Back Issues of Consumable --- INTERVIEW: Mike Peters - Rey Roldan Being a survivor from the 80s isn't necessarily a good thing these days. With many New Wave bands trying to relive their past glory through reunions and retrospective tours in venues vastly smaller than the huge concert halls they once filled a decade earlier, it has become almost a farce to make a comeback. Dead or Alive, A Flock of Seagulls and Missing Persons all have strategized breaking back into the collective consciousnesses of twentysomethings everywhere, but did little more than make a quick buck for more hairspray. One such 80s icon that had done his share of supporting Clairol is Mike Peters. Leading the anthemic rock arena with the likes of Big Country, The Call and pre-ego U2, Peters' patriotic fourpiece The Alarm kicked holes in 80s staples like American Bandstand, early MTV, and Friday Night Videos. Sporting wicked high hair, dour expressions, and the ultimate anthemic symbol - a poppy/gunshot wound as a logo, The Alarm was the working man's band who stood by their fellow man. The band whose battle cry was "Give me Love/ Give me Strength/ Give me something to live for." The Alarm was a group whose modus operandi was equality for all men, which they felt was attainable with the right attitude and ideals. They wrote songs with a mission to change the world, such as "The Chant (Has Just Begun)", "Devolution Working Man's Blues", and "The Stand." They titled albums with such powerful names as _Declaration_, _Strength_, and _Change_. But unlike other semi-serious bands who incited the crowds but failed to lead the fight, The Alarm were true to themselves, to their cause, and their audience. So it seems fitting that their audience stayed true to them. "It's such a remarkable feeling, looking out into a crowd of old, familiar smiles and new, fresh faces, watching them sing my songs," says the ever-friendly, but much tamer-haired Peters. "There was a time when I thought I'd never see that again." After their hugely successful trilogy of albums - _Declaration_, _Strength_, and _Eye of the Hurricane_ - The Alarm's popularity began to wane. Continuing on for two more studio albums (_Change_ and _Raw_), they soon succumbed to the fate of almost all bands of the 80s - obscurity. "There was a time when it started becoming less fun. [Being in the band] was always very honest, but I stopped feeling comfortable with being in The Alarm," he confesses. "We all started to get egos. We all started feeling more superior than each other. I just felt like it was all falling apart around me." This growing incompatibility started to fuel an inner tension, which finally exploded into the final show (which was unsuspected by his bandmates). "We had just ended a song when I walked up to the microphone and said, 'Thanks for coming to our final show.' I didn't dare look at Eddie [MacDonald, bassist], Dave [Sharp, guitarist], or Nigel [a.k.a. Twist, drummer]. I knew they weren't expecting it at that exact moment, but I knew they knew it was coming. After I announced that, it was liberating." In the years that followed, Peters never stopped playing Alarm songs, and in fact, continued an annual tradition of assembling a large group of diehard fans in Wales and playing for hours on end. And nearly half a decade later, Peters decided to share his private show with his larger audience by embarking on a solo tour titled "Unalarmed". He at once wants to invoke memories of his signature band, but he also wants to exorcise the demons that have plagued him. "I have always played old songs when I'd do the occasional show, but it's been a long time since I've been on the road this long." One frightening event happened that nearly ended his career altogether. "Not too long ago, I was struck with symptoms that would normally signal cancer," he says somberly. "We all thought I had lymphoma, a horrible form of cancer [that attacks the immune system and spreads rapidly throughout the body]. But instead of sitting back and letting the cancer consume me, I went out on the road, determined to keep playing until I could play no more." Fortunately, the biopsy results came back negative. "Everyone was so happy but I was very thankful. Sure, I was happy, but it had a major effect on me. It was almost another lease on life." Now with the release of his new album, _Feel Free_ (Select Records), which consists of all new material (he hasn't abandoned his old band's material; he's just moved past it), Peters has taken a step back from his defiant and impetuous youth. With song titles that range from the pondersome "What Is It For?" to the tension-filled "Broken Silence" to the rummaging-through-the-ashes "Regeneration", he no longer sees power emanating from "love, strength, and hope" alone. Instead, Peters starts to look further inward, pulling up understanding, forgiveness, and divinity from the depths within, realizing that coupled with these qualities, nothing could overpower him. He no longer is liberated through his actions and beliefs. Even from the implication of the title _Feel Free_, his shining focus on the inherent beauty in freedom does not come with question and doubt. But that does not stop Peters from still being able to remain optimistic and hopeful. "The Unalarmed Tour really put my faith back in music," he beams. "I really loved hearing words which I once struggled to write being sung back to me. It's times like these when I feel like the luckiest man alive." --- REVIEW: Midnight Oil, _Breathe_ (Work/Sony) - Reto Koradi Some bands appeal to the masses, and some are respected by more dedicated music lovers. Only very few artists achieve both of these, and one could certainly put Midnight Oil in a row with U2 or Peter Gabriel in that respect. Having achieved such a status with consistently strong albums over 20 years, and being one of the best live bands on the planet, the expectations for a new album are naturally set very high. Too high in this case, as in this context, _Breathe_ is a disappointment. _Breathe_ finds Midnight Oil departing from the melodic side of their music, an aspect that had peaked with _Blue Sky Mining_. While going other places is not a bad thing at all, it seems like they got stuck somewhere on the way, and maybe didn't even know where they wanted to go. Back to the past? Partly yes; the music is simpler and more groove oriented again, but never reaches the natural power and the passion of earlier work. The best moments of the album are in songs like "Star Of Hope", where powerful bass grooves and drowning guitars give life to the otherwise somewhat dull and uninspired songs. "Barest Degree" is the track that comes closest to a classic Midnight Oil song. There are also complete lapses, like "One Too Many Times", a country song, and not even a very good one. "In The Rain" almost sounds like Peter Garrett trying to imitate the falsetto voice of U2's Bono. While these remarks may sound overly negative now, this is not at all a bad album. But once a band sets its standards very high, they have to live with the fact that they are measured by them. In a few years, _Breathe_ may be considered a transition album, showing the picture of a band trying to reorient itself. They certainly have the potential to reach new heights, but this time they got lost in the valley. --- REVIEW: Soul Coughing, _Irresistible Bliss_ (Slash/Warner Bros.) - Stephen Lin Quirky, yet artistic. Unusual, yet musically sounding. Insane, yet genius. All of this describes Soul Coughing's sophomore effort, _Irresistible Bliss_. This New York quartet is back with their blend of groove driven drums and upright bass, funky guitar, distinctive vocals, and unusual samples. They strive to achieve "the perfect combination of the Weird Noise, the Phat Beat and the Blissful Pop Moment." Let me tell you folks, if they haven't achieved it, no one has. Soul Coughing is virtually the most rhythmically intense band I've ever heard. Perhaps intense is a poor choice of word. While their sense of rhythm is uncanny and unrelenting, the feel of the music is incredibly loose and enticing. I honestly cannot think of any band that I could fairly compare to Soul Coughing. It is this aspect of the band that has carried most strongly from _Ruby Vroom_ into _Bliss_. The style of the music has remained the same, however, it seems that certain details in the construction and production of each song have changed. _Vroom_ seemed much more raw. While the production was perfect for the sound, some je ne sais quoi has been "cleaned" up. I can't particularly place my finger (though it may simply be the usage of different producers, duh) on what facet of the production has been altered, but it isn't necessarily for the better or worse. The raw production of _Vroom_ helped the contour of the album. Each of the songs seemed to flow into each other with no enormous jumps in dynamics. The cleaner production of _Bliss_ allows the differences both within and outside of the 12 cuts to be more in-your-face. I definitely hear a much harder edge to Soul Coughing. In addition, I think there is a greater willingness to venture into the more obscure areas of their music. The current single "Soundtrack to Mary" is a happy medium on the aggressiveness scale. Album opener "Super Bon Bon" goes from one end of the spectrum to another; shake-your-head groove to have-a-seizure rock. Bizarre samples found on the album include elephant noises, slowed down voices, clarinet ensembles (???), string sections, and truly unidentifiable sounds. And while many of these samples don't exactly "make sense" or even stay in exact tune with the rest of the band, they work. It is absolutely fascinating to me what kind of thought processes produce such a unique end product. I've but one rave left (that I'll share with you) about Soul Coughing. Go check out _Music from and Inspired by the X-Files: Songs in the Key of X_. "Unmarked Helicopters" is an eerie song, somewhat atypical of the "standard" (as they don't really have a standard) Soul Coughing sound, with a great groove. Go check it out. NOW! --- INTERVIEW: Boxing Gandhis - Al Muzer Vocalist/guitarist David Darling and his seven-piece band, the Boxing Gandhis, are clearly disciples of the raw, soulful, funkified gospel laid down by George Clinton, Sly Stone, The Isley Brothers, James Brown, Marvin Gaye, War, Curtis Mayfield and Roebuck "Pops" Staples back in the day. How else do you explain the rootsy, acoustic-based slacker funk; swaggering horns, smooth, multi-part, multi-gender vocals; groovin' vibes; slippery bass runs; and free-flowing, feet-get-movin' beats that drive the L.A.-based band's first Atlantic Records release, _Howard_. Hot on the heels of the self-titled, 1995 full-length debut that boasted the Billboard Triple-A, Top 5 hit, "If You Love Me (Why Am I Dyin')"; _Howard_, the group's eclectic, 15-song second album, is unlike anything released so far this year. "What we're doing is a little different than what's going on out there right now," said Darling during a recent phone call to discuss the album. "And the record is probably going to be a bit of a hard sell, from a business point of view, simply because it is so different." Bursting with sharp social commentary and trenchant, biting observations layered over some of the slickest grooves to come along since Bootsy powered the Mothership; songs such as "Piece In The Valley," "Funky Little Princess," "Far From Over," "Promised Land" and "Sun Don't Shine On Everyone" are more than just potential dance hits - they're front-page headlines that place the blame where it belongs and point an angry finger at the sick, rotting soul of society. "We definitely have our eyes open," comments Darling, "and, we have a lot to say about some of the things going on in the world. We almost feel as if it's our duty to comment on what we see going on out there - as opposed to singing about what we'd like it to be. I don't really think it's any of my business to try to change how you feel about certain things. On the other hand," he adds. "I can draw your attention to the things I see." Besides Darling, the group includes singer/percussionist (and wife) Brie Darling, saxophonist/lead vocalist Ernie Perez, saxophonist/vocalist Alfredo Ballesteros, guitarist/vocalist Eric Fowler, bassist Randy Landas and drummer and former Prince cohort, Jamie Chez. "The more colors, the more accurate the picture" is this multi-race ,multi-gender band's philosophy - and nothing better illustrates that than spending a little time with the amazingly diverse, always relevant, undeniably hook-filled _Howard_. "We followed a few simple rules when we went into the studio with _Howard_," Darling explains. "One: we kept things loose and easy. Two: we didn't belabor the point. Everyone had, for the most part, a three-take limit on each track - so there's a certain freshness to the overall feel of the album. And, three: we had to be able to do the song acoustically in my living room before it was even considered for the record." "There's really not a whole lot goin' on here," he laughs. "We are, at the end of the day, a very simple, very organic band. We're low-tech, but we're as honest - and as honest sounding - as we can be." "I think what makes _Howard_ so unusual," chuckles Darling, "is that it's nothing more than great musicians playing their instruments to fairly simple formats without a bunch of lights, gizmos and noise to distract you." --- CONCERT REVIEW: 7 Mary 3, Poe, and The Refreshments, Norfolk, VA - Stephen Lin If you think about it, the combination of 7 Mary 3, Poe and The Refreshments was a somewhat unusual bill; hard edged rock, melodic-groove and dancey rock, and pure pop rock. But then again, variety is the spice of life. The Refreshments opened up the show with a set consisting mostly of selections from _Fizzy Fuzzy Big & Buzzy_. While the crowd reacted expectedly strong toward hit single, "Banditos," I was surprised at the powerful response given to The Refreshments entire set. I was especially pleased with how tight the music sounded. The band managed to keep the music together, while the members and the songs remained loose and energetic. Apart from "Banditos," "Down Together" was also particularly well received by the audience. The highlight of this third of the night was The Refreshments' rendition of Tommy Tutone's "867-5309 (Jenny)." While many bands perform covers live, few capture the original flair of the original artists as did they did. Poe was unbeliveable. Picture a beautiful blond woman adorned in a long, fuzzy, black overcoat and black boots, hopping all over the stage, rousing the audience, and singing in the most beautiful and enticing voice possible; that was Poe. Poe opened her set with "That Day," a track off of _Hello_. Cellist Cameron Stone managed outstanding dynamics through a bit of signal processing and phenomenal skill. Furthermore, his falsetto harmonies were impressive throughout the night; I was amazed at the difficulty level involved in singing and playing cello equally well at the same time. The crowd response was impressive throughout the night as Poe playfully spoke to the audience periodically between songs. The piano based song, "Fly Away" took on an entirely different contour in live context. The song became became guitar oriented and even bluesy. It sounded as if the Black Crowes were performing instead of Poe. This was a perfect example of Poe's live show. The electronic and produced sound of the album mutates into something completely visceral through the live musicians. While the songs remain recognizable and of equal quality, the feel is often completely different. (The live radio version of "Angry Johnny" is yet another example of what I'm talking about.) "Dolphin" grooved even harder live than it does on the album. To further change the fell of the song, the guitar solo was replaced by a middle-eastern sounding cello solo. Poe played a new song titled "How Long." Though the song developed slowly, the crowd responded well. Overall, this second act of the night was the highlight of the evening. Unfortunately, this amounts to the headliners, 7 Mary 3, being somewhat of a disappointment. However, it wasn't necessarily their fault. The audience reacted uncontrollably to "Cumbersome" and "Water's Edge." Drunk people flailed everywhere. However, between power singles, the energy level dropped noticeably. No strangers to the Virginia area, they still managed to please a crowd with at least a few familiar faces. 7M3 closed out the night with an acoustic set, for which they were joined by Matt Cameron. I personally enjoyed the acoustic rendition of "Rodrigo" more than anything else from the night. As the hour grew late and as the volume (and alcohol consumption) level dropped, the crowd began to filter out in a sluggish exodus. After the show, I had a chance to meet with Poe. She greeted fans graciously, handing out Edgar Allan Poe pins she'd lifted from a performance at the Richmond Poe Museum. She expressed a genuine concern for what each thought and said. She mentioned the possibility of an EP containing live versions of songs in the future. In general, I discovered that Poe has to be one of the sweetest women alive. (Be still my beating heart!) When asked for a random quote for Consumable Online, she smiled told me this: "The future is a slut, she promises herself to everyone." Something to think about, eh? --- REVIEW: Elephant Ride, _Forget_ (Work) - Janet Herman According to some critics, Elephant Ride gives a live performance full of vitality combined with a raw sense of emotion. After listening to their _Forget_ album, I can imagine that they would produce a good live performance as the album itself is full of many surprises. The most pleasant of these surprises is that the lead singer, Andrew Woodworth, has a sweet tenor's voice that manages to convey a wide range of emotions. Some have compared Elephant Ride to Live, but they remind this critic more of Blind Melon in their variety of rhythms, ranging from slow and mellow to fast and punchy. Elephant Ride lacks the power and strength that Live conveys on their albums alone, but Woodworth's voice has the poignancy of the late Shannon Hoon's that reaches out to the listener and makes this album memorable. Working with the legendary John Paul Jones as their producer, Elephant Ride gained strength and were able to use Jones as a guide in order to grow musically. For Woodworth and the other members of the band, working with Jones gained the respect they needed as artists and felt that his help, as well as the help of others, enabled them to relate to other artists on a human level as well as on a musical level, and as Woodworth says, "For me, that comes before the art." The most memorable track on the album by far is "Bishop Mariah". Woodworth especially displays his vocal strength on this track and proves the band's ability to write a catchy radio-friendly tune. Other songs on the album also work quite well, such as the melodic "Wash Me" as well as "Orphan" which is this band's song about a girl with some sort of problems - doesn't every band have a song like this? Although Elephant Ride doesn't have the intensity of bands such as Live or R.E.M., they do show great potential as they have Woodworth's beautiful voice to work with and the ability to write emotional lyrics and melodies. For Woodworth, it's all about communication - reaching out and trying to make people realize they're not alone. With sentiments like this in mind, the band Elephant Ride should go far. --- INTERVIEW: Merril Bainbridge - Bob Gajarsky Recent singing sensation Merril Bainbridge may be tasting the fruits of her labor with the success of her top 10 single "Mouth", but life wasn't always easy for the 28 year old Australian. As happens with most vocalists, Bainbridge got her start by joining various cover bands. "It gave me a wide range of experience - one night I'd work at a piano bar performing jazz, the next night I'd be singing top 40 music at a function, which exposed me to many kinds of situations", recalls Bainbridge. Though those days offered their share of security (in the form of a steady paycheck), the cover band path offered little in the way of creativity or future growth and after a while, "I started being choosy about what I had to say - I wanted more than just to be a singer, I wanted to develop". Realizing that "there's no set path in this industry; you have to come up with innovative ways to fulfill the goals you set for yourself," the Melbourne native established her first break by offering her services as a backup singer - not for money, but bartering in exchange for studio time with the man who would end up producing her debut record (_The Garden_), Siew. Initial interest in her homeland was minimal - in fact, the only significant nibble came from Gotham, a label established by Australian superstar John Farnham ("You're The Voice") and his producer, Ross Fraser. The quest of establishing a label driven by successful artists, rather than one hit wonders, drove these two men to not only sign Bainbridge, but give her the time - more than a year - to write and record a strong album, _The Garden_. The first single from that album was "Mouth", a catchy pop tune with a vintage ragtime and swing background feel - but success wasn't sweet the first time around, as the track crashed and burned. However, persistent perseverance paid off, and on its second go-round in early 1995, the song went to the top of the charts. Better than that, it stayed at the number one slot for six weeks. The entire experience of having a huge hit single affected Bainbridge. "It was unreal," she remembers. "For the longest time, I felt detached that it was happening - but every now and then, I would think 'Oh God', and feel pressure. I finally got comfortable with it, and became more determined to be myself and enjoy it." The success of "Mouth" was followed up with three future singles - "Under The Water", the rocking "Sleeping Dogs" (which borrows a bridge from the Bee Gees 1969 hit "I Started A Joke") and a piano based ballad, "Power Of One". These songs are indicative of the rest of _The Garden_. Bainbridge playfully teases the listener, with cheery, bouncy songs interspersed with ballads, while incorporating an intriguing combination of instruments and influences to create a sound not quite like anyone else. "Miss You" is quite similar to "Mouth" and on other ballads, Bainbridge sounds vaguely reminiscent of Madonna. Those beautiful vocals are highlighted on the touching acoustic cover of the Pet Shop Boys "Being Boring". "(Being Boring) was a spontaneous thought to perform. I really liked that song and Mark (Domony, guitarist) was in the studio, working with another band. I asked him if he was free to put some songs down. He had never heard (the original), so he wasn't influenced by it. I gave him the chords, and we just clicked." According to Bainbridge, the songs on _The Garden_ are filled with her experiences and personal interpretations of things that have happened to people around her. But is "Mouth" about sexuality? "(Any sexuality on "Mouth" was) not deliberate - it was definitely not a sexual song. It's just honest - about a relationship, how you feel in a relationship. Sometimes you feel you're in control and the next thing, you're insecure - it's the role playing thing. To me, it's not about straight up sexuality. It doesn't bother me if people connect with that, because obviously it's there, but it wasn't something I was aware of." And how about "Garden In My Room"? After all, the title track's lyrics, while never directly screaming of lust, contain lyrics such as "Rest your body on my velvet roses / once you've tasted my delights / many days will turn to nights / there is nothing you won't do / for the garden in my room." Bainbridge responds, "It's not *specifically* about sexuality - but yet it is. To me, it's everything that's around sexuality. Yes, it's a sexual song - there's no denying it - but there's a lot more in there such as the different emotions. I prefer to let people take from it what they want." One aspect which has gone unmentioned is Bainbridge's striking good looks. If she was a couple inches taller, a career in modelling wouldn't be out of the question. But, while some women use their looks to offset their lack of musicianship, Bainbridge has no such worry - the music speaks for itself. "Mouth" has opened up worlds outside of Australia for Merril Bainbridge, and _The Garden_ should plant fertile seeds in the minds of radio listeners everywhere. And, on Jill Sobule's next album, expect *her* to be compared to Merril Bainbridge. --- CONTEST:In conjunction with Universal Records, Consumable is giving away five copies of Merril Bainbridge's current top 10 single, "Mouth". To enter the contest, send a note to nina@blarg.net with the subject header of CONTEST. Inside the note, include your name and address. All entries must be received by November 1, 1996. --- NEWS: > The 6 piece Chicago improv jazz/rock band Plastic Mikey has a new web site, located at: http://www.lionwood.com/mikey/ > Sonicnet will be conducting an online chat with Porno for Pyros on October 31 at 10pm EST - check out http://www.sonicnet.com/sonicore/chat/porno for more details. --- TOUR DATES Barkmarket Nov. 1 Grand Rapids, MI Fallout Shelter Nov. 2 Cleveland Heights, OH Euclid Tavern Block Oct. 25 Elkin, WV Jabberwock Oct. 26 Parkersburg, WV Moonlit Port Cafe Oct. 30 New York, NY Luna Lounge Chimera Oct. 30 New York, NY Sam Goody (Free Show with You and What Army) Nov. 6 Boston, MA Mama Kin Nov. 9 Philadelphia, PA Khyber Pass Tom Cochrane / Tara MacLean Oct. 26 Guelph, ON War Memorial Auditorium Oct. 27 Kingston, ON Grand Theatre Oct. 28 Montreal, PQ Gesu Oct. 30 Waterloo, ON Humanities Theatre Nov. 1 Brockville, ON Brockville Arts Center Nov. 2 Toronto, ON Convocation Hall Cordelia's Dad Oct. 29 Northampton, MA Iron Horse Music Hall Oct. 30 Somerville, MA Johnny D's Nov. 1 Shirley, MA Bull Run Restaurant Phil Coulter Oct. 30 Lowell, MA Lowell Memorial Auditorium Nov. 10 Worcester, MA Mechanics Hall Cracker / Self Oct. 27 Memphis, TN New Daisy Theater Oct. 29 Jackson, MS Hal & Mals Oct. 30 New Orleans House of Blues Oct. 31 San Antonio Sneakers Nov. 1 Austin, TX Liberty Lunch Nov. 3 Birmingham, AL Five Points South Music Hall DJ Spooky (with Stereolab, UI) Oct. 26 Louisville, KY Phoenix Hill Tavern Oct. 27 Lawrence, KS Granada Oct. 28 Boulder, CO Fox Theatre Oct. 29 Albuquerque, NM Dingo Bar Oct. 31 Austin, TX Liberty Lunch Nov. 1 Dallas, TX Trees Nov. 2 Houston, TX Fitzgerald's Nov. 3 New Orleans, LA House of Blues Nov. 6 Columbia, MO Blue Note Grant Lee Buffalo / 16 Horsepower Oct. 25 Toronto, CA Opera House Oct. 27 Montreal, QC Cabaret Music Hall Oct. 28 Boston, MA Paradise Club Oct. 30 New York, NY Westbeth Theatre Oct. 31 Philadelphia, PA Theatre of Living Arts Nov. 1 Washington, DC 9:30 Club Nov. 2 Athens, GA 40 Watt Club Nov. 3 Atlanta, GA Smith's Nov. 5 Nashville, TN Exit / In Nov. 6 St. Louis, MO Galaxy Nov. 7 Lawrence, KS Granada Theatre Nov. 9 Boulder, CO Fox Theatre Gravity Kills / Chainsuck Nov. 1-2 Columbia, MO Blue Note Nov. 3 Chicago, IL The Vic Theater Nov. 5 Cleveland, OH Odeon Nov. 6 Detroit, MI St. Andrews Hall Nov. 7 Columbus, OH Alrosa Nov. 8 Toledo, OH Asylum Honeycrack (all dates in England) Oct. 26 Bath University Oct. 28 Aberystwyth University Oct. 29 Reading Alleycat Oct. 30 Norwich UEA Oct. 31 London LA2 Nov. 2 Bristol Fleece and Firkin Nov. 3 Birmingham Foundary Nov. 4 Manchester University Inti-Illimani Oct. 25-26 Morrow, GA Clayton Oct. 27-28 West Palm Beach, FL Kravis College Oct. 30 Oxford, OH Miami University Nov. 1 New Haven, CT S.C.S.U. Nov. 2 New York, NY Town Hall Nov. 4 Minneapolis, MN Guthrie Theatre Nov. 6 Bellingham, WA Mt. Baker Theatre Nov. 7 Everett, WA Everett Theatre Nov. 8 Pasadena, CA California Institute of Technology Nov. 9 Berkeley, CA University of California-Berkeley Kill Hannah Oct. 25 Chicago, IL Dome Room Kula Shaker Nov. 4 Atlanta, GA Cotton Club Nov. 7 New York, NY Irving Plaza Nov. 8 Boston, MA Middle East Nov. 9 Washington, DC 9:30 Club Latimer Nov. 9 Philadelphia, PA Doc Watsons Lemonheads / Imperial Teen Oct. 26 Washington, DC 930 Club Oct. 27 West Palm Beach, FL Coral Sky Oct. 28 New York, NY Tramps Oct. 29 Boston, MA Avalon Nov. 2 Detroit, MI St. Andrews Hall Nov. 3 Cleveland, OH Odeon Nov. 5 Cincinnati, OH Bogart's Nov. 6 Chicago, IL Cabaret Metro Nov. 7 St. Louis, MO Mississippi Nights Nov. 8 Lawrence, KS Bottleneck Nov. 9 Minneapolis, MN First Avenue London Suede Oct. 26 Gothenberg Lisebergshallen w/Boo Radleys Oct. 28 Stockholm Solnahallen w/Boo Radleys Oct. 30 Stuttgart, Ger Longhorn w/Boo Radleys Oct. 31 Munich Babylon w/Boo Radleys Nov. 9 Barcelona Zeleste w/Boo Radleys Nov. 10 Madrid La Riviera w/Boo Radleys Tara MacLean Nov. 4 Toronto, ON C'est What Nov. 6 Toronto, ON Rita and Friends Madball / Visions of Disorder Oct. 26 Albany, NY Bogie's Oct. 27 Asbury Park, NJ Stone Pony Nov. 2 Lindenhurst, NY PWAC Marilyn Manson Oct. 26 Boston, MA Avalon Oct. 27 Providence, RI Strand Oct. 29 New York, NY Roseland Oct. 30 Philadelphia, PA Electric Ballroom Oct. 31 Asbury Park, NJ Convention Hall Nov. 2 Rochester, NY Dome Arena Nov. 3 Hartford, CT Webster Theatre Nov. 6 Washington, DC 930 Club Mother Hips Oct. 29 Lake Tahoe, NV Sierra Nevada College Porno For Pyros Oct. 27 Minneapolis, MN First Avenue Oct. 30-31 Los Angeles, CA Mayan Primitive Radio Gods Oct. 26 Tampa, FL The Rubb Oct. 27 W. Palm Beach, FL WPBZ Radio Festival Oct. 28 Miami, FL Hard Rock Cafe Oct. 29 Orlando, FL Hard Rock Cafe Nov. 1 Winston-Salem, NC Ziggy's Nov. 2 Charlottesville, NC Trax Nov. 4 Washington DC Hard Rock Cafe w/ WHFS Nov. 5 New York City Hard Rock Cafe Nov. 6 Boston, MA Hard Rock Cafe Nov. 8 E. Stroudsburg, PA East Straudsburg University Nov. 9 Carlisle, PA Dickinson College Nov. 10 Syracuse, NY Lost Horizon Professor & Maryann Nov. 2 New York, NY CB's Gallery Pusherman Oct. 26 Minneapolis, MN 400 Bar Oct. 27 Ames, IA People's Oct. 28 Omaha, NE Ranch Bowl Oct. 30 Lawrence, KS Bottleneck Nov. 1 Springfield, MO Juke Joint Nov. 2 St. Louis, MO Side Door Nov. 5 Grand Rapids, MI Intersection Nov. 6 Cleveland, OH Paninis Nov. 7 Chicago, IL Cubby Bear Nov. 8 Milwaukee, WI Unicorn Nov. 9 Chicago, IL Double Door Nov. 10 Chicago, IL Schuba's Republica / Gravity Kills Oct. 26 Buffalo, NY Icon Oct. 28 Pittsburgh, PA Metropol Oct. 31 Detroit, MI St. Andrew's Sabri Brothers Oct. 25 Cambridge, MA Harvard Oct. 29 Durham, NC Duke Oct. 30 Asheville, NC University of North Carolina Nov. 2 Brooklyn, NY Brooklyn Academy of Music Nov. 3 Ann Arbor, MI University of Michigan Nov. 6 Los Angeles, CA UCLA Nov. 9 Santa Cruz, CA UC Santa Cruz Nov. 10 Berkeley, CA UC Berkeley Slayer Oct. 26 San Bernandino, CA Blockbuster Stabbing Westward / Ash / I Mother Earth Oct. 26 Baltimore, MD Hammerjacks Oct. 27 Richmond, VA Flood Zone Stabbing Westward / Ash / Drill Oct. 29 Charlotte, NC Tremont Music Hall Oct. 30 Jacksonville, FL Velocity Nov. 1 Orlando, FL Univ of Central FL Nov. 3 Tampa, FL Rubb Club Nov. 5 Athens, GA Wait Club Nov. 6 Birmingham, AL Points South Music Hall Nov. 8 St.Louis, MO Galaxy Nov. 9 Omaha, NE Ranch Bowl Nov. 10 Middleton, WI Bullwinkles Stiffs, Inc. Oct. 31 New York, NY Pyramid Nov. 7 New York, NY Continental Stone Temple Pilots / Expanding Man Nov. 4 Los Angeles, CA Universal Amphitheatre Nov. 5 Santa Barbara, CA Santa Barbara County Bowl Nov. 7 Phoenix, AZ Veteran's Memorial Coliseum Nov. 8 Laguna Hills, CA Irvine Meadows Amphitheatre Nov. 9 San Jose, CA San Jose Arena Nov. 11 Seattle, WA Mercer Arena Test Dept./Sheep on Drugs. Oct. 25 Dallas, TX Galaxy Club Oct. 26 San Antonio, TX Cameo Theater (To be broadcasted on the Internet) Oct. 27 Phoenix, AZ The Mason Jar Oct. 30 Los Angeles, CA The Roxy Oct. 31 San Fransisco, CA DNA Lounge Nov. 1 Portland, OR Satyricon Nov. 2 Seattle, WA The Fenix Nov. 3 Spokane, WA The Warehouse Nov. 4 Salt Lake City, UT The Holy Cow Nov. 5 Denver, CO The Mercury Cafe Nov. 7 St. Louis, MO The Galaxy Nov. 9 Atlanta, GA The Masquerade Nov. 10 Tampa, FL The Empire Richard Thompson Oct. 27 Troy, NY Music Hall Oct. 28 Burlington, VT Flynn Theatre Oct. 30 Toronto, ON Phoenix Concert Theatre Nov. 2 Ann Arbor, MI Michigan Theatre Nov. 3 Pittsburgh, PA Byham Theatre Tool Oct. 26 Salem, OR Armory Nov. 1 Phoenix, AZ Mesa Amphitheatre Nov. 2 Las Vegas, NV The Huntridge Nov. 3 Salt Lake City, UT Salt Air Pavilion Nov. 6 Denver, CO Mammoth Events Centre Nov. 7 Dallas, TX Bronco Bowl Nov. 8 Houston, TX Int'l Ballroom Nov. 9 New Orleans, LA State Theatre Wesley Willis Oct. 26 New York, NY CBGB's Gallery Oct. 31 Chicago, IL Aron Packer Gallery Nov. 1 Detroit, MI C-Pop Galler Nov. 5 Austin, TX Emo's Nov. 7 Los Angeles, CA La Luz de Jesus Nov. 9 Seattle, WA Vox Populi Gallery Wrens Oct. 26 Portland OR EJ's (with Steve Wynn) Oct. 30 Kearney, NE Men's Hall Oct. 31 Omaha, NE Cog Factory Nov. 1 St. Louis, MO Cicero's Nov. 2 Cincinnati, OH Sudsy's Nov. 3 Chicago, IL Lounge Ax Nov. 5 Ann Arbor, MI Blind Pig Neil Young / Jewel / Moist Oct. 26 Regina, SK Agridome Oct. 28 Winnipeg, MB Winnipeg Arena Oct. 31 Hamilton, ON Copps Coliseum Nov. 2 Ottawa, ON Corel Centre Nov. 4 St. John, NB Harbour Station Nov. 5 Halifax, NS Metro Centre Nov. 7 Montreal, PQ Molson Centre --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. 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