==== ISSUE 102 ==== CONSUMABLE ======== [March 7, 1997] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, Jamie Roberts, Joe Silva, John Walker Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Stephen Lin, Scott Miller, P. Nina Ramos, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Courtney Muir Wallner, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' REVIEW: U2, _Pop_ - Bob Gajarsky REVIEW: Blur, _Blur_ - Tim Mohr REVIEW: Soundtrack, _Lost Highway_ - Lee Graham Bridges REVIEW: Silverchair, _Freak Show_ - Linda Scott CONCERT REVIEW: They Might Be Giants, Irving Plaza - Bob Gajarsky CONCERT REVIEW: Soul Coughing, Knoxville, TN - Lang Whitaker REVIEW: Lisa Cerbone, _Mercy_ - Jon Steltenpohl REVIEW: Sister Hazel, _...Somewhere More Familiar_ - Daniel Aloi INTERVIEW: The Urchins - Al Muzer REVIEW: Crumbox, _Resident Double U_ - Daniel Aloi REVIEW: Handsome, _Handsome_ - Simon Speichert REVIEW: Stina Nordenstam, _Dynamite_ - Tim Mohr NEWS: Cravin' Melon, Erasure, Foo Fighters, LIFEbeat/Board Aid, Mazzy Star, Nameless, Oasis, Martni Phillipps and the Chills TOUR DATES: Archers of Loaf / Engine 88/ Knapsack / Peppercorn, Baby Fox, Bloodhound Gang, Breeders, Camber, Lisa Cerbone, Shawn Colvin / Freedy Johnston, Cordelia's Dad, Cottonmouth, Coward / Gravel Pit, Cravin' Melon, Crown Heights, Descendants, Donovan, Drywall, Jason Falkner, Mary Ann Farley, Valerie Ghent, Goldfinger / Reel Big Fish, Hazies, H2O, Dave Hawkins, Hoarse, Humble Gods, Humpers, I'M'L, Irving Plaza , Jewel, Lizard Music, Luciano, John Mellencamp / The Why Store, Melvins, Metallica / Corrosion of Conformity, Nancy Boy, Odds, Orange 9MM, Plexi, Professor & Maryann, Rasputina / Cranes, Reel Big Fish, Samples / Stir, Duncan Sheik / Jill Sobule, Sick of It All, Sister Hazel, Sno-Core (incl. face to Face, Pharcyde, Voodoo Glow Skulls), Space, Sweet Vine, They Might Be Giants, Thin Lizard Dawn, Jeremy Toback, Tool / Melvins, Treble Charger, Urchins, Urge, Ben Vaughn, Volebeats, White Courtesy Telephone ERRATA THE READERS WRITE BACK! (White Town, Parasol Records) Back Issues of Consumable --- REVIEW: U2, _Pop_ (Island) - Bob Gajarsky Superstar groups generate super hype and super expectations. When the word came out that U2 was creating a 'dance' album that would incorporate the workings of cutting-edge artists such as Tricky, the music world collectively held their breath. But rather than taking the world by storm, on _Pop_, U2 have merely incorporated some successful elements from dance acts into their standard material. The first single from _Pop_, "Discotheque", only has appeal as a 'new' U2 song; more than likely, this will be played in a year from now only to show the kitschy side of U2, and to show that yes, Bono and his mates can make a song that sounds vaguely like a 1970's song. After creating their "own" success in the late 1980s culminating in _The Joshua Tree_, U2 has looked to other bands for their inspiration _Rattle And Hum_, _Achtung Baby_ and _Zooropa_ are examples of albums where U2 has used influences either from legends gone by (such as B.B. King) or bands in the current "scene". With the scene turning towards innovative dance, U2 has again taken elements out and moved slightly away from their alternapop center. "Staring At The Sun" is the most accessible song on _Pop_; a faster, more adventurous version of "One". As with several other songs on _Pop_, a good remix could make this a dancefloor favorite. "Do You Feel Loved" trades in The Edge's signature guitar riffs for a more constant background noise, while "Mofo" opens with a "Head Like A Hole" beginning, played much quieter than Trent Reznor ever intended. "Last Night On Earth" has a guitar riff quite similar to Depeche Mode's "Personal Jesus", combined with an awful lot of "Even Better Than The Real Thing", and a dash of T-Rex's "Bang A Gong", with falsettos interspersed throughout. As mentioned, remixes could do wonders for the above songs. A _Popmix_ album full of extended versions of 6-8 songs could probably sell half a million copies, and mark U2 as a much more pioneering band. The only likely explanation why the Irish foursome didn't take the full plunge into their new "favorite" arena would be to avoid alienating their considerable fan base. A good marketing strategy, at the very least. "The Playboy Mansion" has a Steve Miller-like guitar, with a slight bit of ambience thrown into the guitar mix. Two of the remaining songs, "If God Will Send His Angels" and "If You Wear That Velvet Dress", are slower, Nick Cave-like ballads where Bono seems almost drained of energy. With other bands, _Pop_ would be a curious mild entry into the world of dance music. The keyboard programming isn't complex, and there aren't any revolutionary songs here. However, U2's evolutionary process continues on _Pop_. Fans of "Sunday Bloody Sunday" will wonder where Bono's passion has gone. Fans of Tricky and Massive Attach will question what the hullaboo is about. And music fans in between will flock to buy U2's latest album, _Pop_. --- REVIEW: Blur, _Blur_ (Virgin) - Tim Mohr With the first single, "Beetlebum," a gentle piece of Beatle melancholia, Blur seem to have made only slight adjustments to the formula that has made them a platinum act in Europe and the UK. But the album tells another story: Blur have dropped their cynical facade, their third-person narrative style, and their lilting combination of Kinks, Madness, and Small Faces. After "Beetlebum," which takes on a different feel in the context of the album, comes "Song 2," a sure hit but completely different from Blur's earlier chart successes. Loud, fast, perhaps a charged sister of "Advert" from _Modern Life is Rubbish_, "Song 2" shows Blur moving toward Elastica or Ash with an affection for heavy New Wave material. "M.O.R." (a New Wave version of Bowie's "Heroes") and "Chinese Bombs" are also in this vein, insistant guitar and bass, distorted vocals, and a brash chorus that carries the song. Unusual for one of the leading Britpop bands, there are touches of unmistakably post-Sonic Youth guitar work. Looking to other key points in Blur's new manifesto, "On Your Own" constructs a ballad using a healthy dose of Chemical Brothers-esque noise, slowed down to fit this context. Lyrically and texturally, this song has flourishes of middle-period Blur, though the shouted, group-sung lines are new. _Blur_ could in some ways be described as more "American" in feel, from the Matthew Sweet "Beetlebum" to the Dinosaur Jr psycho-cheese-ballad "You're So Great," to the Beck or Beasties phat bottom end on "I'm Just A Killer For Your Love." But then again, the song closest to _Parklife_ or _Modern Life_ is probably "Look Inside America," an ironic, though not bitterly sardonic, look at the habits of U.S. residents. In the end, however, descriptions of any one new direction are unfounded. Basically, Blur seem to have gone into the studio without the "Let's just make another _Parklife_" attitude that made _The Great Escape_ less than thrilling. That means a variety of new sounds from Blur, as detailed above, but also leaves room for touches from the past, like the typically Blur ballad "Strange News From Another Planet." _Blur_, then, has an extremely wide range of material - from the Fall to Portishead - most of which works. "Theme From Retro" sounds like a disposable easy-listening influenced outtake from _The Great Escape_, but most of the other songs show Blur trying new stuff with a remarkably sure hand. And best of all, the tone of removed disinterest has disappeared from their work. No longer are they stars deigning to sing about detestable characters (with whom, they assured us, they shared much empathy because of their affinity to working class culture), but rather a band setting out to make a new album, past success now understood as enjoyable but no longer as separating them from ordinary people. This is most obvious in the return to first-person lyrics, signalling that they realize their own impressions and emotions are no longer over our heads. --- REVIEW: Soundtrack, _Lost Highway_ (Nothing/Interscope) - Lee Graham Bridges "Imagine someone grabbing a piece of paper and drawing a box with a wave of flurry lines extending out from the top, that looked something like snakes, and saying, 'That is the sound I want, but on a highway,'" says Trent Reznor, recanting David Lynch's conception of the music for his latest foray into altered reality: _Lost Highway_. Reznor was commissioned by Lynch to produce and contribute to the soundtrack, but it won't be his first - he did the same for the _Natural Born Killers_ soundtrack a couple years back. The _Lost Highway_ soundtrack album is a surprisingly well matched combination of more traditionally 'soundtrack' pieces done by experienced soundtrack composers Barry Adamson and Angelo Badalamenti, who actually score rather untraditional pieces of greater rhythm and a sonic quality that establishes a dense, almost quagmirish mood. Of course, the album is bound to be a big seller based on the success of "The Perfect Drug," a track exclusively made for _Lost Highway_ by Nine Inch Nails (fronted, of course, by Reznor - and recently voted the #1 Most Essential Band by Spin Magazine). Besides the NIN track, Trent himself composed two soundtrack pieces: "Videodrones; Questions" is an ambient lead-in for "The Perfect Drug," "Driver Down" is a hyperactive, climactic point near the end of the soundtrack. David Bowie's "I'm Deranged," a song he wrote with Brian Eno for his 1995 comeback, _Outside_, appears on the album in two parts - beginning and ending the whole works. This is somewhat disappointing, since the first part of the song at the album's beginning is cut off most awkwardly, and returned to as a "reprise" at the end. Nonetheless, it fits like a glove into the dark myriad of moods comprising the soundtrack. "Eye" by Smashing Pumpkins has been received with mixed sentiments, and its combination of Billy Corgan's vocals, a fuzzy guitar, a smooth synth hop, and a drum track derivative of low-budget German techno circa 1983 can be somewhat off-putting, and sounds less like the Pumpkins than an early one-off Reznor recording. Still, it feels very much at home on the album despite its apparent tackiness. Lou Reed performs a cover of "This Magic Moment," originally recorded for a Doc Pomus tribute album, _Til The Night is Gone_. Marilyn Manson's tracks ("Apple of Sodom" and a cover of Creedence Clearwater Revival's "I Put A Spell On You") are typical of previous Manson material: 'creepy,' slow music punctuated by sudden exploding chorus of loud, screaming noise. Also fairly run-of-the-mill is Rammstein's contribution, screaming German metal powerhouses "Rammstein" and "Hierate Mich," which, while not particularly interesting by themselves, are fit into the soundtrack quite strategically well, just as the rest of the pieces. The biggest disappointment, however, is the exclusion of This Mortal Coil's "Song To The Siren" in the soundtrack album, which the Lost Highway webpage includes in the song list for the film. That aside, the album is _great_. It certainly surpasses most other soundtrack releases in quality, production, and thematic development, especially other soundtrack albums that have tried unsuccessfully to bring together traditional soundtrack-ish instrumentals and more song-oriented tracks (i.e. the Judge Dredd soundtrack, which presented 5 or 6 songs in one section, and the classical soundtrack in another, on the same CD). Lynch said that "half of the film is picture, the other half is sound." Judging on the strength of the latter, the film should be hotly anticipated and well received. An EP containing remixes of "The Perfect Drug" by the Orb, Jack Dangers (Meat Beat Manifesto), Goldie, and others will soon be released on Nothing Records. You can check out the excellent _Lost Highway_ movie and soundtrack website at http://www.lost-highway.com. --- REVIEW: Silverchair, _Freak Show_ (Epic) - Linda Scott The sophomore jinx is talked about in all walks of life, including sports and with musicians. Fans and record company executives wondered aloud about this jinx hitting the Australian band Silverchair, especially when the debut album (_Frogstomp_) has gone multiplatinum. Silverchair seemed relaxed about the whole thing as no doubt befits a teenage trio of Aussies with a love of surfing and music. Anxiety seems to have been out of place. Let's get the age/style issue out on the table. Band members Daniel Johns (vocals, guitar), Chris Joannou (bass) and Ben Gillis (drums) are 17 years old. And, yes, when _Frogstomp_ came out, they were 15, and their mothers accompanied them on their world tour. _Frogstomp_'s music was taped by the band and handed over to Epic, and Silverchair did not participate in any of the post taping work. Now the band members are 17, and this tour the moms are home in Australia. They aren't hardened rockers yet, and the young girls love them. With _Freak Show_, Silverchair does much of what it did on _Frogstomp_, and that's grunge, Seattle-style. In the new album there are forays into other areas - a little diversity in the music, a little punk ("Lie to Me"), and even a quiet ballad ("Cemetery"). Silverchair would like to establish themselves as something other than Pearl Jam or Nirvana clones. Lead singer Johns bears a superficial resemblance to Kurt Cobain. The sound, his looks, the trio aspect brings out the taunts of "Nirvana in Diapers" and "Kinder(Sound)garden". The band hopes this album will take them a step away from all that. Unfortunately for this goal, with the large amount of grunge on the album, and Johns can really sound like Cobain making the listener wonder who's zooming who. Computer-savvy fans will be happy to learn that _Freak Show_ is a CD extra with free multimedia that can be seen and heard on certain computers. The video is crystal clear as is the audio. The entire multimedia show is themed on a freak show which seems to be what the band feels like on tour. _Freak Show_ is an absolute must for Silverchair fans who will love the multimedia show if they have computers. The music is not too far afield from the debut album so it won't shock those who learned to love them with _Frogstomp_. But, if you turned up your nose at _Frogstomp_, you won't find enough advancement here to win you over. That sophomore jinx, you know.... --- CONCERT REVIEW: They Might Be Giants, Irving Plaza - Bob Gajarsky As the third (and final) in their "Friday series" of concerts at New York's famous Irving Plaza, TMBG devoted this show to promote their upcoming March re-issue _Then: The Earlier Years_. Billed as a return to old school, They Might Be Giants actually produced an "old versus new" concert treat for their fans. The first opening act for TMBG was Brooklyn, New York native Brian Dewan. Although unknown to most of the audience, Dewan turned out to be a nearly perfect opening act. TMBG afficionados may recognize the Dewan name as the creator for _Lincoln_, or for his _Tells The Story_ (from Bar/None), or appearances on the Hello Recording Club disc series. But tonight, Dewan's performance on his homemade electric zither (made entirely of wood and harpsichord hardware) and autoharp, converted many fans to open their hearts to another talented performer. Dewan played songs from his forthcoming second album (due to come out late summer 1997). Combining a storyteller's wit with a musician's heart, Dewan worked furiously on the zither while performing tracks such as "Happy-Go-Dumpy Summer", which appeared on a 1994 Hello Recording Club disc. Clever, almost novelty, lyrics come to the forefront of his songs. The tale of "Rumplestiltskin" especially captured the crowd's fancy, as Dewan guessed other names for the man and the crowd screamed "No!". Unfortunately, Mercury recording artists Chainsaw Kittens didn't generate as much excitement as Dewan. The Chainsaws offered a solid performance of rock which would have fit in well opening for groups such as the Wonder Stuff, but with the offbeat songs of Brian Dewan and TMBG, the Kittens couldn't quite win over the crowd. Finally, They Might Be Giants took to the stage. The first set of the concert was dubbed as the "Old School portion of our set". The two Johns, played as they had done ten years earlier - an accordion, a periodic guitar and harmonica, and backing tapes - but to a much larger audience than the backroom of Maxwell's in Hoboken or other venues. Memories came flooding back - walking into the now-defunct Pier Platters record shop in Hoboken and hearing a new band called They Might Be Giants playing on the store's stereo system. It was only later that I discovered that Bar/None's operations were being run out of the same shop as Pier, and that the constant playing was no coincidence. But the joy at overhearing the number of fan letters pouring in - and this was December, 1986, before "Don't Let's Start" changed the future of TMBG and the label forever - helped persuade me to purchase the debut record. And I never regretted it. Back to today - or in this case, the late 1980s - They played 19 of their "classics" including "Put Your Hand Inside The Puppet Head", "Purple Toupee" and "Ana Ng" along with more obscure tracks "I'll Sink Manhattan" and the ever-popular "The Famous Polka". The ode to Paul Westerberg, "We're The Replacements", was performed during the second set with the full band. Curiously, two of their bigger songs - "They'll Need A Crane" and the song which catapulted them to success, "Don't Let's Start" - were omitted altogether from the show. But if the audience's response was any indicator, most of the fans preferred seeing the older material which would likely never be performed live again. The second set opened with the Johns joining the remainder of their band and primarily playing songs from their last 3 (Elektra) albums. The tip of the hat to the disco era ("S-E-X-X-Y"), the trio of big modern rock hits from _Flood_ - "Birdhouse In Your Soul", "Istanbul (Not Constantinople)", and "Twisting", and the salute to the 19th century president "James K. Polk", complete with cannon and confetti, encouraged their fans to dance in a wild, happy, frenzy. The band which has refused to stand still during their nearly fifteen years of performing turned yet another twist at the end of their set. "Spy", a B-side from "Why Does The Sun Shine?", turned out to be their closing song. The music obviously echoes the spirit of James Bond or any 1960's spy show, but an extended, nearly ten minute version of this song closed with a quick fade-in to "I Am Not Your Broom". An unusual closing to an incredible evening. A look back and a look ahead from They Might Be Giants. If back in 1986, anyone would have predicted two guys from Brooklyn with an accordion and a backing tape would be performing ten years later to a sold out show at Irving Plaza, they would have been called crazy. Maybe things work out right after all. --- CONCERT REVIEW: Soul Coughing, Knoxville, TN, February 26, 1997 - Lang Whitaker The signs plastered all over the entrance to the Bijou Theatre didn't know what they were asking for. They simply read "ABSOLUTELY NO SMOKING ALLOWED IN THEATRE". However, someone obviously forgot to point this out to Soul Coughing, who burned the joint down on Wednesday night. Playing to a full house in the antiquated venue, Soul Coughing showed why they are considered one of the top live bands around today. If you've never heard the music of Soul Coughing, well, I'm sorry. Soul Coughing is to music what a casserole is to the four food groups. To make Soul Coughing casserole, take elements of rap, hip-hop, jungle, surf guitar, pop, techno, beat poetry, and jazz, stir in a liberal amount of unbridled funk and fury, toss in a few chunks of potatoes, and bring it to a rolling boil. Drawing equally from their two albums, _Ruby Vroom_ and the newer _Irresistible Bliss_, the band was clearly in the groove. Opening the set with "Is Chicago, Is Not Chicago" and then heading directly into "White Girl", drummer Yuval Gabay set an early standard for the rest of the band, as he pounded out rigorous beats with ease. Upright bassist Sebastian Steinberg plunked along with with vigor, and sampling master M'ark De Gli Antoni sprinkled in abstract noises to fill in the gaps. The real treat of seeing Soul Coughing live is watching front man M. Doughty. Though his appearance is borders on ghastly, his stage presence more than covers for any physical inadequacies. Doughty pranced around like a panther as the band played songs back to back to back, stopping only when De Gli Antoni's tape drive hiccuped during the sampled Raymond Scott intro to "Disseminated" and temporarily silenced everything. Seizing the moment, Gabay and Steinberg filled the lull with "Walk of the Baby Elephant" as Doughty danced in circles until De Gli Antoni's Syquest drive had recovered. Reaching the end of the set, Soul Coughing played their trump card, their current hit single "Super Bon Bon". The frenzied crowd went to an even higher level. Doughty turned the chorus of "Move a-side and let the man go through" into a call and response with willing audience, as they eventually drowned out the band. As the band sauntered off stage and the whipped crowd filed out, by looking into the stage light rig, a visible smoke cloud hovered - the result of an explosion of sound and vibe that left no one in the house untouched. --- REVIEW: Lisa Cerbone, _Mercy_ (Ichiban) - Jon Steltenpohl Little treasures are hidden everywhere if you can find them. Lisa Cerbone's _Mercy_ is certainly one of those chests full of glowing jewels. The 12 gems on this album are tender glimpses of life at its most delicate moments. Cerbone writes of the tenuous bonds in relationships and paints them on a musical background that ranges from fragile to writhing. The title track, "Mercy", captures all of the album's various moods. The main character is a women who looks back on a past pregnancy. It starts quietly with the fetal heartbeat of an unborn child (the producer's) and slowly grows into an expanding, moving groove. Cerbone sings, "When she walks across the street / they push right past her / can't see what she's seen / they don't know that her hands have touched inside the earth / felt a heart start and stop beating." "Mercy" is typical of the entire album. Cerbone's narratives are seductive in their honesty. Her degree in English serves her well since each lyric could stand on its own without music behind it. In "Passing This Train", she writes, "I was always scared of you / and today I still am too. / We're from haunted houses / We've got haunted hearts / and everytime I walk through yours / I just get lost in the dark." Cerbone approaches each story from the perspective of a tiny but defining spot in someone's relationship with the world. In the space of a song, she gives just enough of a glimpse for you to capture the big picture. Vocally, Cerbone is enticing. Her voice is quiet and expressive without losing itself into airy nothingness. Producer Edd Miller has helped the band create a near perfect recording. The sound is crisp and fluid, and _Mercy_ nearly sounds as if it were recorded live. The style of music ranges from Cerbone backed only by guitar and piano to a full band with acoustic guitar, electric guitar, bass, drums, synthesizer, and strings. Only one track, "Between Hi and Good-bye", fails to live up to its peers. Lyrically, the song holds its own, but the strange harmonies and synthesizer aren't very easy on the ears. Still, your mileage may vary. Besides, one average song mixed in with 11 terrific tracks isn't too bad. _Mercy_ is worth buying on the strength of just one song, "Places of My Dreams". It features Cerbone on acoustic guitar with Don Conoscenti backing her up on recorder. In the song, Cerbone, herself a young woman, vividly captures the essence of a naval veteran going through his old things: a crumbling uniform, a picture of his old best friend, and his artwork collecting dust. "Places of My Dreams" is the last track on _Mercy_, and it never fails to make me want to press repeat. I get goose bumps from albums like _Mercy_. They're my personal favorites. Now I have to make a little more space on my CD rack next to 10,000 Maniacs (now just Ms. Merchant), Suzanne Vega, Ani DiFranco, The Sundays, The Katydids, The Story, The Innocence Mission, Sarah McLachlan, Blake Babies (now just Ms. Hatfield), and... well, you get the point. What started out being a tiny niche has turned out to be a major part of my collection. Lisa Cerbone has started me wondering when my luck will run out. How many more incredible female songwriters are out there? Well, I suppose I'll enjoy this treasure while I can. For lyrics, pictures, concert dates, and sound clips of Lisa Cerbone, point your browser to http://www.hidwater.com/cerbone/ --- REVIEW: Sister Hazel, _...Somewhere More Familiar_ (Universal) - Daniel Aloi Earnest, feel-good acoustic-based rock bands being a dime a dozen these days (see Gin Blossoms, Hootie, Badlees, etc. etc.), what sets Gainesville, Florida outfit Sister Hazel apart is the spirited diversity they bring to their second album. Originally self-released (it's sold nearly 10,000 copies since September; following a 9,000-selling indie debut), _...Somewhere More Familiar_ has been remixed and remastered by Universal Records for national release. An advance cassette puts the band's strengths and weaknesses in stark relief - the melodies, hooks and harmonies are catchy, but the mixes are uneven (drums too far in front in places) and a few of the songs are enjoyable but ineffectual also-rans. And a subtle but creeping Doobie Brothers influence doesn't help. That said, there's still much to recommend them. First, their intentions are noble - they're named for a well-known rescue missionary who serves the greater good in their hometown. Second, their music is fine, inoffensive ear candy - they sound very much like a southern version of Barenaked Ladies, particularly in the vocals and arrangements, and they're adept enough at finding the right groove (earning a favorable comparison to God Street Wine; that should get them onto some Deadhead Summer mix tapes). The band's original core, the acoustic guitar duo of songwriter Ken Block and singer Andrew Copeland, are ably aided by bassist Jeff Beres and drummer Mark Trojanowski laying down hippie-rock dancing rhythms that don't bely the songs' southern rock and folk influences, the latter hinted at with keyboards. There's no reason that Sister Hazel's typically upbeat songs like "Happy," "Superman" or "Cerilene" (we can always use more girls' names for song titles) couldn't be radio hits. A self-released single, "All For You," has already charted on several southern stations. With a larger label behind them now, they should do just fine on a national level. At least until the next Gin Blossoms album comes out. --- INTERVIEW: The Urchins - Al Muzer "Nineteen-ninety-seven will be remembered as the year of the Urchins!" proclaims bassist Andy Gesner with a mixture of self-deprecation and earnest conviction during a phone call a few days before the band's scheduled interview. "There's a feeling in the air, an energy when we get together, that's almost electric," he continues. "The addition of Dave and Amy seem to've recharged the band and we're all very excited about the way the Urchins 'feel' again." "Dave" is new Urchins drummer Dave Harman (ex-Swing Set), who replaced longtime Urchin Dave Reynolds; while "Amy" would be guitarist/vocalist Amy Jacob (ex- Ex-Vegas), who first appeared as a guest vocalist on 1995s, _Yummy_, before joining Gesner, guitarist Albie Connelly and vocalist Karen Bradbury as a full-time Urchin last year. Touted as a potential New Jersey "break out" band in the wake of their outstanding 13-song CD - the first single, "I'd Like To See You," looked like a sure ticket to bigger and better things for the group when it began receiving extensive local airplay in the summer of '95. A delicious slice of murderous angst, the song (co-written by _Yummy_ producer Jody "Shonen Knife" Gray) pitted a deceptively sweet melody, lonely harmonica and heartbroken vocals against a macabre account of a spurned lovers' desire for bloody revenge - and did so long before The Murmurs voiced similar sentiments on the not-quite- as-catchy, but much more successful, "You Suck." Regrouped and still in the running nearly two years later, the babble of voices on the phone a few days after Gesner's initial call supports his claim of a "recharged" band. "We're on our way to rehearsal," laughs the bassist as he attempts to patch a few phones together amidst a din of one-liners, jokes, loud crashes and competing voices, "so we may be a bit, uhm, amped." "Hello? Hello? 'Year of the Urchins interview?' Albie here," chuckles Connelly. "Seriously, though, it very well could be our year, you know? Everything seems to be moving in a very positive direction for us right now, and there's a lot of good stuff happening for the group." "A few songs from _Yummy_ are being used in Pat (Happy Days and The Karate Kid) Morita's new movie, Earth Minus Zero," interjects Gesner with but one example. "That'll be in the theaters in March." "Don't forget that woman (Marcia Strassman) who was the wife in Welcome Back Kotter," adds Jacob, "she's in the movie, too." "You know," says Bradbury after a brief pause, "Amy and Dave seem to've added a shot of something to the band. There's a lot more fullness and a much bigger sound coming from the stage now. We're a much tougher sounding group than we've ever been." "More sonically bruising than ever," laughs Gesner. "I've pretty much always thought of myself as 'the lost' Urchin anyway," jokes Jacob, "so joining the group was an easy transition for me. I knew the songs and was already friends with everyone. It was a fairly painless decision all around." "Amy and I are starting to write together more and we're really locking into a tight vocal sound," comments Bradbury. "And Albie and I are really beginning to mesh perfectly with our guitars," adds Jacob. "There's a pretty good chemistry going on in this band." "Actually, we're finally beginning to realize our full potential as a group," offers Connelly. "We haven't changed our musical direction - so much as we've all come closer to realizing what we can achieve as a band." "It's 'The Year of the Urchin'," laugh Gesner and Jacob in unison before the band heads down to Andy's basement to make some noise and dream a little. --- REVIEW: Crumbox, _Resident Double U_ (Time Bomb) - Daniel Aloi An L.A.-based indie rock band, Crumbox has a Chapel Hill-bred postpunk sound, thanks to North Carolina transplant Scott Bradford on vocals and guitar. Bradford's playing gives the songs a driving melodic edge that smarts, and his voice has a joyous immediacy that's impossible to fake - the end result being you want to sing along on every line and every chorus until your throat hurts. It's a wonderful racket, the kind of music I wish I had as a teen-ager to crank in my room. And you gotta love a band with song titles like "Sharon Tate," "Larry Tate" and "Could You Focus, Please?" Crumbox also includes Frank Consulo (Gringo Star) on bass and vocals, and founding brothers Rich and Rob Wellerstein on guitar and drums. Together with Bradford, their playing is in the pocket, with fast pop hooks and hard-working, anthemic, opinionated rock'n'roll a la the Goo Goo Dolls and Too Much Joy. _Resident Double U,_ produced with Mark Trombino of Drive Like Jehu, is a fine debut album. The closing cut, slow, emotional and sensitive, is "Grief and Sorrow," proof that you don't need to crank the guitars to put a song across. This band has paid its indie dues and begs attention beyond the L.A. scene. They've been on an IRS Six-Sided Single, and Catapult released a 7-incher in 1995 of "You Bought Sound," included here in a new version. They've opened for Archers of Loaf, the Mieces, Sammy, Toadies and Chune. Look for them on tour in clubs across the country this year. And feel free to shout along. Time Bom Recordings can be reached at 219 Broadway #519, Laguna Beach, CA 92651 and on the web at http://www.timebombrecordings.com --- REVIEW: Handsome, _Handsome_ (Epic) - Simon Speichert This is the kind of stuff I want to hear topping the charts. Melodic, yet heavy, hard rock. You know, the stuff that radio and video stations don't play. I'm talking specifically about Handsome, a New York-based hard rock quintet who've just released their debut album for Epic. I've been wondering what's been going on in New York for a while, because most of the mainstream stuff has come out of the West Coast. Well, if this is only one band, I encourage record companies to sign more East Coast bands and get us some more good music! Handsome's self-titled debut is a true work of art. I'm sure both metal and alternative fans will like this. The album has 12 tracks and was produced by the band along with Terry Date. Some of the more outstanding tracks are first single/video "Needles" (watch for that video soon), "Dim The Lights", "Waiting", and "Swimming". Along with all the great music on the CD, there is an added bonus: an interactive CD-ROM section. The interactive portion lets you check out video interviews with the band, read lyrics as you listen to the CD tracks, and hear the b-side "Closer". All in all, Handsome's debut CD is a great offering from a great new band, who, I expect, you'll be hearing more from in the future. So, if you're sick of today's Top 40 music and want an alternative to alternative, check it out. --- REVIEW: Stina Nordenstam, _Dynamite_ (East/West Europe) - Tim Mohr If you have never heard, or heard of, this perplexing Swedish waif, _Dynamite_ is the record that makes doing so mandatory. Her third record is - finally - a perfect vehicle for her haunting voice. Freed of the sometimes cluttered arrangements that shackled _Memories of a Colour_ and _And She Closed Her Eyes_, Stina focuses all the new songs on her own electric guitar and vocals. "Unique" would be understating Stina's voice: the high, child-like pitch arrives in different waves - breathy, dreamy and undulating. Comparisons to the Cranes' Allison Shaw are useful but not definitive, as would be weird concepts such as Tanya Donnelly or Juliana Hatfield's vocal chords on death row (the place of retribution, not the record label). In any event, once heard, never forgotten - and that was true even with those unfortunate keyboard and clarinet flourishes on the first two albums. But _Dynamite_ is impeccably tasteful in this department, though the result also permits her lyrical bleakness to permeate the atmosphere more completely. "A thing you said once/made me wonder/What can go away as fast as love/First the light/and then the thunder/I've been up all night and I got it now...Dynamite...All day I/did things slowly/Walked in circles around your home/I had something to add/ to the things you showed me/I've got it here underneath my coat... Dynamite." The rough electric guitar strumming, complemented with some bass and occasional drums provide a foil to the naked rage while bolstering the melancholic passages more effectively than a lonely acoustic guitar could. A record of bitter though controlled songs that will have your spine tingling more quickly even than the Arctic breeze that must have buffeted Stina as she wrote and recorded it. For a taste of Stina's voice, a track from her second album, "Little Stars," is included on the soundtrack to _Romeo And Juliet_, alongside two other excellent Swedish bands, the Cardigans and the Wannadies. --- NEWS: > The Brazilian alternative rock band Nameless is now on the Web at http://www.geocities.com/SunsetStrip/2550/english.html > Cravin' Melon will have their March 11 concert (from Orlando, FL) broadcast live on the Internet. Check out http://www.polygram-us.com/cybervenue for more information. > On March 18, 1996 at 4:00 p.m. E.S.T., Irving Plaza Productions will begin all day coverage of its Erasure concert, beginning with the band's soundcheck, followed by an on-line chat with Vince Clarke and Andy Bell, and concluding with a broadcast of the evening's sold out concert. For further information, check out the hall's website at http://www.irvingplaza.com > The Foo Fighters announced that drummer William Goldsmith has left the band to "pursue a variety of other musical interests." No replacement for Goldsmith has been named. The second Foo Fighters album, tentatively titled _The Colour & The Shape_, is slated for a May 20th release > Board AID 4 LIFEbeat, the snowboarding and skiing event to educate about safe sex and HIV/AIDS, will have A Tribe Called Quest, The Pharcyde, Hed, Voodoo Glow Skulls, Chixdiggit and Blink, among others, performing at this year's event on March 14-15 at Big Bear Ski Resort in Big Bear, California. > There is a Mazzy Star webpage on the Internet at http://www.geocities.com/SunsetStrip/Alley/7707 > Oasis has already recorded two new cover songs for B-sides for their forthcoming third album. These include a version of the Beatles' "Helter Skelter" and David Bowie's "Heroes". In addition, Oasis are likely to be one of the bands opening for U2's _Pop_ tour this summer. > There are two new web sites for Martin Phillipps and the Chills. One is based in the U.K. (http://www.btinternet.com/~chills) and one in the U.S. (http://www.mindspring.com/~michellea/chills.htm). Each site will collaborate with each other, while also having information specific to its part of the world. Both sites are supported by the band's management and by Flying Nun Records. --- TOUR DATES: Archers of Loaf / Engine 88/ Knapsack / Peppercorn Mar. 12 Athens, GA 40 Watt Club Mar. 13 Hattiesburg, MS Blues Ally Mar. 15 Austin, TX Electric Lounge Mar. 17 Columbia, MO Blue Note Mar. 18 St. Louis, MO Washington Univ. Mar. 19 Bloomington, IN Second Story Mar. 20 Louisville, KY Toy Tiger Baby Fox Mar. 13 Austin, TX Bob Popular (w/Ovum) Mar. 14 San Francisco, CA Club 105 Mar. 16 Los Angeles, CA Viper Room Mar. 19 Chicago, IL Dome Room Bloodhound Gang Mar. 10 Colorado Springs, CO Gigs Mar. 11 Denver, CO Bluebird Mar. 12 Salt Lake City, UT DV-8 Mar. 14 Seattle, WA RKCNDY Mar. 15 Portland, OR La Luna Mar. 17 San Francisco, CA Bottom Of The Hill Mar. 19 Los Angeles, CA Roxy Mar. 20 Las Vegas, NV Huntridge Theatre Breeders Mar. 12 Dayton, OH Aardvarks Mar. 14 Asbury Park, NJ Stone Pony Mar. 15 New London El 'N' Gee Mar. 16 State College, PA The Crowbar Mar. 19 New York City, NY Irving Plaza Mar. 20 Baltimore, MD Fletchers Camber Mar. 12 Austin, TX Babe's Lisa Cerbone Mar. 11 Staunton, VA Mary Baldwin College Mar. 14 Chestertown, MD Andy's Shawn Colvin / Freedy Johnston Mar. 9 Norfolk, VA Chrysler Hall Mar. 11 Raleigh, NC Ritz Mar. 12 Asheville, NC Thomas Wolfe Auditorium Mar. 14-15 Atlanta, GA Variety Theatre Mar. 17 Nashville, TN Ryman Auditorium Mar. 18 Louisville, KY Kentucky Center for the Arts Mar. 19 Cincinnati, OH Taft Theatre Mar. 20 Detroit, MI Royal Oak Cordelia's Dad Mar. 13 Vancouver, BC Rogue Folk Club Mar. 14 Duncan, BC Cowichan Folk Guild Mar. 15 Nelson, BC Utopia Mar. 16 Seattle, WA Tractor Tavern Mar. 17 Olympia, WA Traditions Cafe Cottonmouth Mar. 10 New York, NY Mercury Lounge Mar. 13 Austin, TX Atomic Cafe Coward / Gravel Pit Mar. 11 Tampa, FL The Rubb Mar. 18 Chicago, IL Schuba's Mar. 20 Detroit, MI The Shelter Cravin' Melon Mar. 11 Orlando, FL NARM Mar. 13 Savannah, GA Southeast Music Hall Mar. 14-15 Isle Of Palms, SC Windjammer Mar. 19 Washington, DC Bayou Mar. 20 Norfolk, VA Friar Tucks Crown Heights Mar. 11 Chapel Hill, NC Lizard and Snake Mar. 12 Athens, GA 40 Watt Club Mar. 15 Athens, TX SXSW Electric Lounge Mar. 18 Lawrence, KS Replay Lounge Mar. 20 St. Louis, MO Side Door Descendants Mar. 11 Austin, TX Liberty Lunch Mar. 12 Dallas, TX Deep Ellum Live Mar. 13 Houston, TX The Abyss Mar. 14 New Orleans, LA Rendon Inn Mar. 16 St. Petersburg, FL Jannus Landing Mar. 17 Ft. Lauderdale, FL The Edge Mar. 18 Orlando, FL Club At Firestone Mar. 20 Jacksonville,FL Milk Bar Donovan Mar. 10 Boston, MA Berklee School of Music Mar. 12 Toronto, ON Phoenix Concert Theatre Mar. 14 Detroit, MI Royal Oak Theatre Mar. 16 Chicago, IL Park West Mar. 18 Minneapolis, MN First Avenue Mar. 20 Boulder, CO Boulder Theatre Drywall Mar. 14 West Hollywood, CA Troubadour Mar. 15 San Juan Capistrano, CA Coachouse Jason Falkner Mar. 18-22 Paris, FR Chesterfield Cafe Mary Ann Farley Mar. 15 Hackettstown, NJ Sound Effects (In-Store) Valerie Ghent Mar. 12 New York, NY CB's Gallery Goldfinger / Reel Big Fish Mar. 14 Austin, TX Backroom Mar. 15 Big Bear, CA Board Aid Hazies Mar. 10 New Orleans, LA Tipitina's Mar. 11 Nashville, TN Hard Rock Cafe Mar. 13 Florence, SC Shooters Mar. 14 Spartanburg, SC Magnolia Street Pub Mar. 15 Asheville, NC Cinjade's Mar. 17 Baltimore, MD Fletchers Mar. 19 Bethlehem, PA Lupos Mar. 20 Columbus, OH Chelsie's Mar. 21 Toledo, OH Carol's Mar. 22 Sharon, PA Hot Rod Cafe H2O Mar. 9 Providence, RI Lupo's Dave Hawkins Mar. 15, 17 Grandview, OH Byrnes Pub Hoarse Mar. 13 Austin, TX Coppertalk Humble Gods Mar. 13 Los Angeles, CA The Whisky (with Manhole, Dial 7) Mar. 15 Riverside, CA Barn UC Riverside Humpers Mar. 12 Ft. Lauderdale, FL Squeeze Mar. 13 Tallahassee, FL Cow Haus Mar. 14 Pensacola, FL Sluggo's Mar. 15 New Orleans, LA Monaco Bob's Mar. 18 Houston, TX Emo's Mar. 19 Dallas, TX Orbit Room Mar. 20 San Antonio, TX Green Onion Lounge I'M'L Mar. 14 Farmingdale, NY Tommyknockers Irving Plaza (New York Concert Hall - http://www.irvingplaza.com) Mar. 12 Cranes / Rasputina Mar. 17 Black 47 / Great Big Sea Mar. 19 Breeders Mar. 20 Spring Heel Jack Jewel Mar. 10-11 Washington, DC 9:30 Club Mar. 12 Cleveland, OH Lakewood Civic Mar. 14 Indianapolis, IN Murat Theatre Mar. 15 Columbus, OH Palace Theatre Mar. 16 Detroit, MI State Theatre Mar. 18 Minneapolis, MN Orpheum Theatre Mar. 20 Chicago, IL Chicago Theatre Lizard Music Mar. 8 Chicago, IL Big Horse Mar. 10 Little Rock, AR Vino's Mar. 11 Fayetteville, AR JR's Luciano Mar. 9 Norfolk, VA Bait Shack Mar. 12 Jacksonville, FL Milk Bar Mar. 13 Tampa, FL Fireman's Hall Mar. 14 Atlanta, GA Atrium Mar. 15 Orlando, FL In Effect Nightclub Mar. 16 Fort Lauderdale, FL CB Smith Park Mar. 19 Philadelphia, PA Maui Mar. 20 Ottawa, ON Grand Central Bar John Mellencamp / The Why Store March 10, 12, 13 Detroit, MI The Fox Theater March 16-18 Wallingford, CT Oakdale Theater Melvins Mar. 10 Austin, TX Music Hall Mar. 11 San Antonio, TX Live Oak Civic Center Mar. 14 Albuquerque, NM Convention Center Mar. 16 San Diego, CA RaMac Gym Mar. 17 Los Angeles, CA Whiskey Metallica / Corrosion of Conformity Mar. 10-11 New York, NY Madison Square Garden Nancy Boy Mar. 8 Glasgow, Scottland SECC Mar. 9 Belfast, Ireland Waterfront Theater Mar. 10 Dublin, Ireland The Point Mar. 12 Cardiff, UK International Arena Mar. 14 Sheffield, UK Sheffield Arena Mar. 15 Manchester, UK NYNEX Mar. 16 Bournemouth, UK BIC Mar. 18 Birmingham, UK NEC Mar. 19-20 London, UK Wembley Arena Odds Mar. 10 London, ON The Wave Mar. 11 Hamilton, Canada McMaster University Mar. 13 Cincinnati, OH Ripley's Mar. 14 Pontiac, MI 7th House Mar. 15 Chicago, IL Double Door Mar. 16 Minneapolis, MN Fine Line Music Cafe Mar. 18 Winnipeg, PG Le Rendezvous Mar. 19 Regina, Canada Hanbidge Hall Mar. 20 Edmonton, AB Dinwoodie Lounge/Univ. of Alberta Orange 9MM Mar. 12 Cambridge, MA Middle East Mar. 13 Burlington, VT Club Toast Mar. 14 Philadelphia, PA Unitarian Church Mar. 15 New Haven, CT Tune Inn Mar. 16 Rochester, NY Water Street Mar. 17 Cleveland, OH Grog Shop Mar. 19 Detroit, MI Shelter Mar. 20 Cincinnati, OH Bogart's Plexi Mar. 9 Jacksonville, FL Moto-Lounge Mar. 11 Miami, FL Rose's Mar. 12 Orlando, FL Sapphire Supper Club Mar. 13 Tampa, FL Frankie's Mar. 14 Tallahassee, FL Cow Haus Mar. 15 Pensacola, FL Sluggo's Mar. 18 Memphis, TN Barrister's Mar. 20 Dallas, TX Orbit Room Professor & Maryann Mar. 14 New York, NY Mercury Lounge Rasputina / Cranes Mar. 9 Baltimore, MD 8x10 Mar. 11 Philadelphia, PA TLA Mar. 12 New York, NY Irving Plaza Mar. 14 Washington, DC 930 Mar. 15 Boston, MA Axis Mar. 17 Montreal, QC Club Soda Mar. 18 Toronto, ON Opera House Mar. 20 Cleveland, OH Peabody's Down Under Reel Big Fish Mar. 14 Austin, TX Backroom Samples / Stir Mar. 11 Birmingham, AL Zydeco Mar. 13 Tulsa, OK Cain's Mar. 14 Lawrence, KS Granada Theatre Duncan Sheik / Jill Sobule Mar. 13 Providence, RI Met Cafe Mar. 14 Boston, MA Paradise Mar. 15 Northampton, MA Iron Horse Mar. 16 Philadelphia, PA TLA Mar. 18 Alexandria, VA Birchmere Mar. 19 New York, NY Supper Club Sick of It All Mar. 11 San Antonio, TX White Rabbit Mar. 12 Austin, TX Emo's Mar. 13 Kansas City, KS The Outhouse Mar. 15 Salt Lake City, UT New Hope Center Mar. 17 Seattle, WA RCKNDY Mar. 18 Portland, OR La Luna Mar. 19 San Francisco, CA Slim's Mar. 20-21 Los Angeles, CA The Whisky Sister Hazel Mar. 12 Greenville, SC Handle Bar Mar. 13 Savannah, GA Great Southeast Music Hall Mar. 14 Charlotte, NC Amos' Mar. 15 Knoxville, TN Amsterdam Cafe Mar. 16 Nashville, TN 3rd & Lindsley Mar. 20 Columbia, SC Rockafella's Sno-Core (incl. face to Face, Pharcyde, Voodoo Glow Skulls) Mar. 12 Anchorage,AK Egan Center Mar. 14 Big Bear,CA Big Bear Convention Center Space Mar. 11 Chicago, IL The Metro Mar. 13 Detroit, MI The Shelter Mar. 14 Grand Rapids, MI The Intersection Mar. 15 Cincinnati, OH Top Cats Mar. 16 Cleveland, OH Peabody's Sweet Vine Mar. 10 Boise, ID Blues Bouquet Mar. 11 Salt Lake City, UT Zephyr Mar. 13 Austin, TX Stubb's (SXSW) Mar. 15 Houston, TX Rockefeller's (w/Chris Duarte) They Might Be Giants Mar. 10 Seattle, WA Show Box Theatre Mar. 11 Portland, OR La Luna Mar. 13 Palo Alto, CA The Edge Mar. 18 Brisbane, AUS The Roxy Mar. 20 Adelaide, AUS The Palace Thin Lizard Dawn Mar. 13 Austin, TX Babe's Jeremy Toback Mar. 15 Austin, TX Club Deville Tool / Melvins Mar. 9 San Antonio, TX Live Oak Mar. 11 Las Cruces, NM Pan American Mar. 13 San Diego, CA RaMac Gym Treble Charger Mar. 13 Austin, TX Babe's Urchins Mar. 11 New Brunswick, NJ Harvest Moon Urge Mar. 9 Minneapolis, MN 7th Street Mar. 10 Des Moines, IA Safari Mar. 11 Warrensburg, MO Bodies Mar. 12 Springfield, MO Juke Joint Mar. 13 Chicago, IL House of Blues Mar. 15 Cleveland Heights, OH Grog Shop Mar. 20 New York, NY Coney Island High Ben Vaughn Mar. 13-14 Philadelphia, PA Trocadero Volebeats Mar. 13 Austin, TX Crystal Ballroom White Courtesy Telephone Mar. 8 New York, NY Continental --- ERRATA: Reader Todd B. noticed that it was the Kronos Quartet, not the Brodsky, who covered "Purple Haze". Apologies for the mixup. --- THE READERS WRITE BACK! Lisa B. from Parasol Records (the label who worked with Jyoti Mishra, the driving force behind White Town), writes in that: "Parasol originally released "Abort, Retry, Fail" (the E.P. which spawned "Your Woman") as a $3.25 CDEP last summer. The rights went to EMI as soon as Jyoti signed in December 1996. Prior to that month the CDEP was only available in the UK as an import from Parasol. In fact, it was one of these copies that was played to death on the radio Parasol will hopefully be re-releasing the first CD as well as the singles pending an agreement for back catalog rights. Jyoti's going to bat for us. Anyone wishing to contact Parasol by e-mail can do so at parasol@cu-online.com. --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.westnet.com/consumable FTP: ftp.quuxuum.org in the directory /pub/consumable ftp.prouser.org (URL) http://www.westnet.com/consumable/Consumable.html (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===