==== ISSUE 105 ==== CONSUMABLE ======== [April 12, 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: The London Suede, _Coming Up_ - Robin Lapid REVIEW: They Might Be Giants, _Then: The Earlier Years_ - Bob Gajarsky REVIEW: Freedy Johnston, _Never Home_ - Bill Holmes REVIEW: Savage Garden, _Savage Garden_ - Bob Gajarsky REVIEW: Various Artists, _A Tribute to the Misfits: Violent World_ - Daniel Aloi REVIEW: Ryuichi Sakamoto, _Smoochy_ - Joe Silva REVIEW: Banco de Gaia, _Live at Glastonbury_ - David Landgren REVIEW: Swell, _Too Many Days Without Thinking_ - Daniel Aloi REVIEW: Real McCoy, _One More Time_ - Bob Gajarsky REVIEW: McRackins, _Best Friend_ - Al Muzer REVIEW: Knapsack, _Day Three of My New Life_ - Joann D. Ball REVIEW: Engine 88, _Snowman_ - Al Muzer REVIEW: Einstein, _Einstein_ - Simon Speichert NEWS: Rhino Musical Aptitude Test, Soundgarden TOUR DATES: Art Alexakis, Backsliders, Blink 182, Bobgoblin, Boiled In Lead, Cellophane, Chainsuck / Lycia, Shawn Colvin / Freedy Johnston, Cordelia's Dad, Crown Heights, Daddy Longhead, Darlahood, Drain S.T.H., Five-Eight, Humble Gods, Irving Plaza (New York Concert Hall), Marilyn Manson / Helmet / Rasputina, John Mellencamp / The Why Store, Metallica / Corrosion of Conformity, New Bomb Turks, Ruth Ruth, Samples / Guster, Sexpod, Shonen Knife, Sister Hazel, Elliott Smith, Squirrel Nut Zippers, Stillsuit / Downset / Earth Crisis, They Might Be Giants, Verve Pipe, Josh Wink THE READERS WRITE BACK! (Aerosmith, Clarks, Valerie Ghent, Jungle/Drum N Bass) Back Issues of Consumable --- REVIEW: The London Suede, _Coming Up_ (Columbia) - Robin Lapid The London Suede have often been credited by the British press for starting the overhyped "Britpop revolution," and the band have certainly felt the sting of media backlash. But this third effort proves their mettle. If The London Suede set out to make an accessible pop record ("[they] have never been so pop," says the press release for their latest album), then I can safely say this - it's ridiculously accessible, in the sense that the songs are keenly-written, instantly hummable tunes that recall all their mentors, from Bowie to Bolan and everything in-between. With a cocky title and an attitude to match, the band have laid out ten tracks that shake with enough of the glittery guitar swagger of their self-titled debut yet expand on the finer, layered atmospherics of their highly-orchestrated second album, _Dog Man Star_. So they've had a bit of trouble during their career. Much-beloved guitar virtuoso Bernard Butler (deemed by some critics as the band's sole talent) has long since gone, and the band (known as "Suede" everywhere except the U.S.) have had to bow to legal troubles, forcing them to change their name for American audiences. Then they dubiously found a replacement guitarist in a teenager who had only ever played to the audiences assembled in his bedroom (himself), and the band were generally forgotten or dismissed altogether. Americans (but fortunately, not music journalists) have had to wait months for an album that was released in late 1995 overseas. But through it all, they've succeeded. Lead singer and songwriter Brett Anderson and company have made an album that's quite good - great even. But *something* is missing. _Coming Up_ nicely straddles the line between _Suede_ and _Dog Man Star_, and proves the band can come into their own despite massive internal shake-ups. I could've done without the slightly tinny production sound hanging over each song, but it bodes well for their live show. Richard Oakes's guitar may not be as elaborate or evocative as Bernard Butler's (although the intro to "Beautiful Ones" recalls the former guitarist's brilliant way with a riff), but he's formidable in his own right, and the songs reach a polished cohesiveness that was often lacking in their previous efforts. Simon Gilbert's stylishly stuttering drums and Mat Osman's seamless bass strike a satisfying balance with guitar and voice. The keyboards and backing vocals of recent addition Neil Codling (Gilbert's cousin) complete the London Suede arsenal. Whereas their previous albums sounded more like "Songs by Brett Anderson and Bernard Butler," _Coming Up_ clearly defines the band as a whole. What results is a balance between the metally brashness of the first album and the over-the-top indulgence of the second. The songs may not be as musically or emotionally intense as either of the first two albums, but you definitely can't deny that the album is filled with good and proper Pop - not "Britpop" or glamrock, but pure pop music. Songs like "By The Sea" take the melancholy beauty of empty souls of the first album's "Breakdown" and add the polished production of _DMS_'s "Still Life" - the song is neither too little (sparseness of music as mood) nor too much (musical flamboyance). In other words, it's nearly perfect. Every track - from the contained wildness of the beautiful "Beautiful Ones" to the "sleaze-pop masterpiece" of debut British single "Trash" - aims for this same goal. Anderson's lyrical images of the elegance of England's seedy urban youth can get a bit redundant, but the mood and his ideal permeate the music. There are often some lightweight song structures, and rare are the lushness or intense interplay between guitar and man which characterised the Anderson/Butler compositions. It's one paradise lost, but then again there's a whole new world to explore. The band infuse their musical landscape with catchy riffs, crunchy guitar, and lots of musical tongue-twisters: "cracked up, stacked up, 22, psycho for sex and glue." This lyrical theme reflects _Coming Up_ as a whole: the landscapes are beautiful to look at and listen to, but they all scratch the beauty at the surface. The album is a bittersweet success in my eyes - they are undeniably good pop songs, but gone are the sexual angst, bitter loves, and internal tension that cut gorgeous blood-red swaths of musical intensity across the London Suede's first two albums. Good or bad? You decide. I'm gonna go play the album again. ADDITIONAL INFORMATION: The American release of _Coming Up_ is a special limited edition 2 disc collection containing videos, exclusive in-the-studio footage, band interviews, live material, and an Internet browser which allows fans direct access to an exclusive area on the London Suede's website (http://www.thelondonsuede.com). The first CD in the package contains the songs "Trash," "Filmstar," "Lazy," "By The Sea," "She," "Beautiful Ones," "Starcrazy," "Picnic By The Motorway," "The Chemistry Between Us," and "Saturday Night." CD #1 also contains the U.S. version of the "Trash" video, the U.K. version of the "Beautiful Ones" video, a "hidden" version of the U.K. version of the "Saturday Night" video and exclusive studio recording and interview footage. The second (or "bonus") CD in the limited edition _Coming Up_ package contains six live musical tracks recorded at the Tivoli Theatre in Dublin, the Midtfyns Festival in Denmark, and the Tokyo Big Site Pop Stock in Japan: "She," "By The Sea," "Europe Is Our Playground," "Saturday Night," "Killing Of A Flashboy," and "Lazy." In addition, CD #2 contains live concert footage from Brighton (February 3, 1997) and Redding (February 5, 1997) including footage of the songs "Trash," "Lazy," "Saturday Night," "Beautiful Ones," and "By The Sea." CD #2 also includes "The Connection" which will lead the fan - via the Internet - into a very exclusive All Access area of the London Suede website. The All Access area will be frequently updated and is ONLY accessible through the _Coming Up_ CD-ROM. --- REVIEW: They Might Be Giants, _Then: The Earlier Years_ (Restless) - Bob Gajarsky They Might Be Giants were one of the late 1980s success stories. With a drum machine, synthesizers, accordion, guitar and seemingly endless imagination, TMBG captured the hearts of thousands, and helped spawn a new genre of quirky alternative rock. Now, more than ten years later, we see the issuance of _Then: The Earlier Years_. A compilation of the first three They Might Be Giants albums (_They Might Be Giants_, _Lincoln_, and _Miscellaneous T_, in itself a B-side/remix compilation) plus 19 previously unreleased tracks, _Then_ serves as an ideal main course for They Might Be Giants completists as well as fans of their later, major label (Elektra) works. Purists might complain of the "repackage, repurchase" policy which is employed here; after all, with the exception of the "single version" of two tracks ("Don't Let's Start", "Hotel Detective"), much of the good tracks have already been issued on disc. According to a January issue of ICE, TMBG have slightly tinkered with many of the songs on _Then_, to make them sound clearer to the listener. In fact, the group compared it to the upgrading of certain Frank Zappa albums - not a distortion of the songs, but cleaning them up. And with the inclusion of the original EP covers, as well as extensive liner notes from the Johns, the duo take great care to "complete" the original process. The 19 "new" tracks are an assortment of outtakes, genuinely interesting demos, and some trash. "Kitten Intro" is based on a car commercial, nearly two minutes of what could have been an introduction for the band at a concert - and "Critic Intro" is a 90 second tape which *was* used as an early introduction to the band. "Greek #3" is simply a (bad) Greek version of "Number Three", while "Doris Cunningham" is a 12 second soundbite which sounds like the twitching nose from "Bewitched". The bouncy "Now That I Have Everything", from a 1985 demo, stands out as the best of the new tracks - not only by its quality, but from the fact that it lasts more than 30 seconds. Although uncredited as such, some of the tracks were clearly inspiration for future They Might Be Giants songs. The slow "Fake Out In Buenos Aires" might have evolved into a Sleepy Paco version of "Rabid Child". "Weep Day" also has a South American feel to it while utilizing a bassline similar to "The World's Address", and "Become A Robot" seemingly opens with the introduction from "Hope That I Get Old Before I Die". Alternate versions of bona-fide They Might Be Giants hits help complete this collection. In addition to variants of "Kiss Me, Son Of God" and "The World's Address" (both of which appeared on _Miscellaneous T_), there are original or demo versions of "Hope That I Get Old Before I Die", "Don't Let's Start" and "Which Describes How You're Feeling". "Children Singing Particle Man", while cute in concept (a grade-school class singing "Particle Man", recorded by their schoolteacher), doesn't have the novelty appeal which one might expect - and since "Particle Man" doesn't appear until the post-Bar/None / Restless period (on _Flood_), it seems quite out of place on _Then_. For those who haven't purchased all 3 of the first TMBG discs, this compilation offers an opportunity to pick them up, along with a sample of earlier They Might Be Giants works, for less than the cost of two of those discs. Some things truly are better the second time around. --- REVIEW: Freedy Johnston, _Never Home_ (Elektra) - Bill Holmes It takes a special songwriter to get you to listen - and possibly dance - to songs about arsonists and shoplifters. But Freedy Johnston keeps proving, record by record, that he is a short story author who writes with a guitar. The Kansas-born Johnston first came to most people's attention thanks to those great talent scouts Bar/None Records, who issued his first record. _The Trouble Tree_. His most critical success came with 1994's _This Perfect World_, which was a favorite of many critics worldwide. And we know what a kiss of death that can be. It's tough for someone to straddle musical genres like rock and folk while writing demanding material. James McMurtry couldn't sustain it, even with his famous bloodline, and was dropped after three excellent albums that didn't sell big numbers. John Hiatt, maybe the premier songwriter of our generation, toured in obscurity for fifteen years before finally hitting paydirt with _Bring The Family_ (and he WAS writing rock and roll songs!). Not young enough. Not the right "format". Ugh. Johnston's songs are poignant, hurting, joyful or alarming, but most of all they are visual. Maybe one or two songs can survive on melody alone (and you'd be missing so much), but this is no hit radio record by a long shot. Fortunately, Elektra seems to believe in Freedy. Their press machine is humming, and there's even a hilarious video for "On The Way Out" that airs on MTV. That song's primarily three-chord thrust makes it the only real rocker on the record, and a throwback to the _Trouble Tree_ era. But maybe that video gateway will open up the door for more of his songs and let them appreciate Freedy's true genius - when the music is a little more mid-tempo and those great words bubble to the surface. If you prefer using your imagination rather than having everything visually interpreted for you, there's a wealth of stories here to gnaw on, like Freedy as the reluctant father in "If It's True" ("If I won't believe my own advice/I could never fool a child/and they don't forgive you once they see you've tried..."). Or the album's closer, "Something's Out There", a reassurance to a loved one from beyond the grave ("I was strong and I was brave/I was taken anyway...I'm coming back as someone else... you're going to be OK/and I won't leave you behind.") Johnston has always written about offbeat characters, and this record is no exception. My favorite is "Gone To See The Fire", where Freedy sings about a girl who suddenly realizes that her boyfriend's idiosyncrasies are a little more dangerous than she thought: ("He hadn't been talking/parked out of the way/just sat there smoking/watching the flames/when the roof fell in/he lit up again....you're going to tell me why/we're the first to arrive...") That's not to say the music isn't good - far from it. One of the perks of being successful is getting top-notch talent on your records, and Johnston scored big for _Never Home_. L.A. legend Danny Kortchmar produced and played guitars, with bassist Graham Maby (when will HIS record come out?) and ex-Heartbreaker Stan Lynch on drums. The uptempo songs are crisp and punchy, but producer "Kooch" wasn't afraid to let Johnston's more melancholy songs fly on their own merits. While the band kicks out when necessary, cello and lap steel underscore softer moments beautifully. While there's pleasure to be had in spinning the record in any circumstances, _Never Home_ is most impressive late on a rainy night or during that solo car trip on an open road. But by all means, do listen; _Never Home_ is a wonderful slice of life from one of our best songwriters. --- REVIEW: Savage Garden, _Savage Garden_ (Columbia) - Bob Gajarsky Exploding onto the American music scene, the Australian duo of Darren Hayes and Daniel Jones, better known as Savage Garden, have thrown the 1980s tribute parties back in the faces of those who scorned the past. The first single from their eponymously titled debut, "I Want You" (which reached #4 in the duo's homeland of Australia), is a delightful bouncing pop hit reminiscent of the best of the 1980s. Imagine Roxette's Per Gessle (circa "The Look") singing Reunion's "Life Is A Rock But The Radio Rolled Me" (or did Savage Garden hear Tracey Ullman's 1984 cover of this tune?), with a synth-pop combination harkening to Cause and Effect meeting Scritti Politti. And if there was any doubt of the era for which this song was meant, check out the drum machine (most like that in Fine Young Cannibals "She Drives Me Crazy") which fills out the backing music during the track. But rather than the eighties, we're in 1996, and radio stations have already taken a liking - some might say too much of a liking, based on New York City's potential overkill - to "I Want You". The hopeful part is that these same disc jockeys take a further look at _Savage Garden_, where several jewels are waiting to be uncovered. The likely second single, "To The Moon And Back", takes a look at the world through the eyes of a teenage girl who doesn't feel loved by her parents, by the world, and just wants to escape from it all. This touching song, which closes with a piano fadeout and features the string section of the Sydney Symphony Orchestra, sounds nothing like "I Want You" - but still has "hit" written all over it. Periodically, Savage Garden takes the softer route - "Truly Madly Deeply" barely skirts the line between acceptable ballad and cheezy all British boy groups, while "Universe" bridges the gap between Motown and its 80s brethren - but their faster-paced tracks, such as "Carry On Dancing" and "Violet", Savage Garden retain the listeners delight of the past without consistently rehashing old retreads. Savage Garden's weak point is their periodic unearthing of a part of the past which should remain buried underground. Do we really need the Michael Jackson soundalike on "Break Me Shake Me"? OK, Jacko's taken more than his fair share of criticism while creating music for the masses, but sticking to the synthpop, without the "Bad"-like vocals, would have been a wiser choice. That decision shouldn't be too much of a surprise, as twentysomething lead singer Darren Hayes openly confesses that "(This album is) unashamedly pop...I'm not scared to say that. When I was growing up, my world was Star Wars, Michael Jackson, Duran Duran; these were the supergods of my youth." So, synthpop fans, get ready. New Order fans who can't wait for Monaco, Cause & Effect fans who can't wait for the new release (well, in 3 weeks), Duran Duran fans who miss Simon Lebon's old roots, get set. That synthpop thing started in Europe in the 80s is back, and radio is all over it. Go get it! --- REVIEW: Various Artists, _A Tribute to the Misfits: Violent World_ (Caroline) - Daniel Aloi One of the greatest things about punk rock, is, as one wag put it, "if you don't like this song they're playing now, there'll be another one coming along in a minute or two." That old saw came to mind while listening to "Violent World." I was never a big fan of The Misfits, Glenn Danzig's death-obsessed punk band before he became Jim Morrison Wannabe No. 1 in Danzig, his death-obsessed alternarock band. Revered or reviled, The Misfits' mix of rapid-fire horrorshow punk rock, metal grind and dark, dark, dark lyrics about death and dismemberment found slavish fans over a career that went from the 7-inch "Cough/Cool" to the coffin-shaped "Box Set." So all of today's young punk bands both faux and true felt obligated to pay a debt to their influence - and they have some fun at it in the bargain. Most of the songs break the 2-minute mark, some just barely. Shade's Apart's "20 Eyes" represents the most interesting aspects of Danzig's art as lyricist, sort of an HP Lovecraft-inspired Roky Erickson. Prong's "London Dungeon" is an aural mini-B movie (in black and white, of course), with mechanistic percussion, pounding bass drum, and phlegmy vocals. Therapy? goes beyond the metal grooves that pervade most of the work by bringing a baritone sax to "Where Eagles Dare." The most original interpretation is by Farside, with a jumping Sparks-like new wave arrangement of "Return of the Fly." NOFX's take on "Last Caress" shows it to be the best song about a dead baby since Alice Cooper created the subgenre; and it's also the only surefire winning Clash imitation here. And Goldfinger breaks from straight ska for "Ghouls Night Out," but still comes off like the novelty act of the bunch. This isn't going to make me a Misfits fan, but I like what NOFX and Farside have done enough to recommend this. Of course, if you like punk, the artless attitude of it all, you'll love most of this. --- REVIEW: Ryuichi Sakamoto, _Smoochy_ (Milan) - Joe Silva As a direct response to Kraftwerk's stark vision of the digital hereafter, Sakamoto's Yellow Magic Orchestra were more of a acknowledgment of the synth ethic as a whole than a logical progression to the form. And with the probable exception of "Tighten Up," their near-gimmicky futurist affirmations won a limited number of converts. But on his lonesome, Sakamoto has proven to be a composer of more than considerable eloquence. Having been tagged for film scores (and snagging an Oscar for his efforts) and other projects of sometimes Olympic proportions (he was the stylish Japanese fellow conducting the opening ceremonies at Barcelona), his music can veer from the tightly melodic and accessible to the expansive and meditative. Apparently born out of something of a mid-life crisis, _Smoochy_ is a suave culmination of many of the intuitions, influences, and musical affinities that Sakamoto has acquired over time. And while ultimately casting himself as the consummate urban musician is no new guise, Ryuichi exercises so much aplomb here in how he solidifies that vibe, this record may turn out to be one defining moments of his catalogue. From the trip-hop-ish opener "Bibo No Aosora" to the breezy samba-futurisms of "Aishiteru, Aishitenai" and onward to the electro-island-skank of "Poesia," Sakamoto blends styles and modes with the deft skills of an upscale sonic barkeep. With all the subtle particulars in place and the lush passages as well, Sakamoto conjures much that can be considered exquisite listening. With Kraftwerk now long dormant, and their ghosts mutated into the techno-jungle cum electronica muddle, Sakamoto succeeds in exhuming what soulful and warm possibilities the Germans sidestepped while programming their revelations. --- REVIEW: Banco de Gaia, _Live at Glastonbury_ (Planet Dog/Mammoth) - David Landgren A live recording of a guy playing around with a stack of synthesizers and samplers. Why would anyone want to do that? Because you can. And when the person in question is the very talented Toby Marks, a.k.a. Banco de Gaia, and the gig is at the fabled Glastonbury Festival in England, the result is very much a success. Far from being a matter of simply pressing the "Play" button and then standing back, Marks takes the hands-on approach, mixing and blending the original samples from the studio sessions with various flotsam and jetsam he has reeled in from the greater world over the past couple of years, for a new interpretation of the material. A close parallel can be drawn with The Orb's _93 evil_ double album - although a single CD is less self-indulgent and just the right length. The album kicks off with "Last Train to Lhasa", the title track to Toby Marks' last studio album. The intro lasts for about four minutes, with samples of various bits and pieces, new ones and old, lulling you with the signature puffing steam train. By the time the beat really kicks in, (note the clever effect of smatterings of percussion to heighten the anticipation), and it's a feeling of "hey! it's good to be back". The album continues much along these lines. If you know Banco de Gaia's material (notably, _Maya_ and _Last Train to Lhasa_), then it's like visiting old friends. The liner notes like to underline the fact that the recording isn't an exercise in technical perfection, but more of a document of "being there". Indeed the performance was regarded as the finest set at the Glastonbury Festival in summer '95. And as it turns out, the technical quality is very high, and the only minor annoyance is the end of the set, when Marks leaves the stage and the audience applaud... and applaud... and applaud. "Mafich Arabi", from _Maya_ gets a look in, with a similar feel to the album sound, as do "Amber", "White Paint" and "Kincajou"; all from _Last Train_. To someone who hasn't heard any of this, I'd classify Banco de Gaia as being The Orb with a little more warmth; a more danceable version of Future Sound of London (certainly after their recent loss of direction) and less techno than Orbital. Transglobal Underground probably comes the closest in vibe. And vibe is what it is all about. A high point is "Heliopolis", where shimmering keyboards are accompanied by flautist Joe Marshall, a smart counterpoint to the song's solid dance backbone. Yet again, a track where Marks unearths different elements present in the original score that had previously been hidden. This, as much as anything, makes the album a valuable document for all Banco de Gaia fans. The most exceptional moment would have to be the rendering of "887", a moody track from _Last Train_ that loses none of its melancholy in its translation from record (The original sound bites are still there: the school children crying out, the dog barking, the voices, and so I wonder...did they ever find out "what it was the potato lacked, in order to survive in outer space"?) This was really a strong song on the album, and the intensity is stronger live. Too bad, therefore, that a vocal sample on the track had to be surgically removed for copyright reasons. About the only flat spot on the album is the closing track "Data Inadequate", a very early piece. Much more interesting early work, such as "Soufie" or "Desert Wind" from the _Ambient Dub_ compilations from Beyond Records would have been perfect. I think the crowd would have liked it too. There is a corporate page (with a good response time) for Banco de Gaia on the Web at http://www.onsolete.com/banco/ although it doesn't look as if much has been added recently, since the site is moving to http://www.banco.co.uk sometime in the future. All in all, a very interesting album, and I'm happy with it. Let's hope Toby Marks is hard at work cooking up some more rhythms for us. And if he plays live near you, it sounds like an event not to be missed. --- REVIEW: Swell, _Too Many Days Without Thinking_ (Beggars Banquet) - Daniel Aloi Swell went through a great deal to make this, its fourth album after three critically acclaimed discs as indies and for (Def) American Recordings. And they learned some valuable home improvement skills along the way. The band left its San Francisco base in the fall of '94 for a massive warehouse in downtown L.A., and built an isolation room for the drums out of moldy carpet and duct tape. While in the area, they appeared in a Showtime movie by Griffin Dunne, "Duke of Groove." After occupying a real studio in Hollywood, they regrouped in San Francisco a year after leaving, finished up most of the mixes and welcomed Kurt Ralske (Ultra Vivid Scene) to produce what is now a B-side ("20,000 Years"). The band decamped with Ralske back to his Zabriskie Point Studio and the coldest New York February on record, living in the studio and building a shower while Ralske helped them re-record everything and piece it all together the old-fashioned way, on 2-inch tape, one part at a time. By April 1996 it was completed and the final master was sent on May 1 to American, where Rick Rubin took two months to listen to it - and passed. Then Beggars Banquet, their European distributor, stepped in and here you have it, 10 songs and 42 minutes of indie cool. Fortunately, suffering makes for great art. Anomie and discomfort seethe throughout this album's anthems and love songs. The drumming is all muffled anger, bipolar guitars churn in roiling distemper, fuzzy crescendos and acoustic jangle (all three on "At Lennie's") and the overall production is thick with the cottonmouth haze of sleeping on the floor. "What I Always Wanted" is simple lyrically but deep emotionally, "Make Mine You" says "I'm happy most of the time" and the hypnotic, driving "(I Know) The Trip" is the final pinnacle of the mutation of two earlier songs of admiration. "Fuck Even Flow" is unfortunately titled right out of a deserving run at the airwaves. The band addresses its recent and past history in "What Took So Long?" in its "Swollen" illustrated newsletter/presskit. It's packed with trivia, autobiography rendered in dry wit, a complete discography and fan mail. During their wilderness years they were also asked to submit a song for "Showgirls" - watch the first few minutes, until "Don't Give" comes over the truck radio, then return the tape (without rewinding) immediately and rent something better, like "Kingpin." For my money, the trails for this album were worth it - the smelly carpet, the hard floors, the maddening behavior of the bearded label honcho. _Too Many Days Without Thinking_ succeeds despite these adversities. And this release made an instant Swell fan out of me. --- REVIEW: Real McCoy, _One More Time_ (Arista) - Bob Gajarsky Before 1995, most Eurodisco acts' definitions of success was a solitary club hit which broke through to pop radio. Full length albums by these groups often wound up in the bargain bin by the time the second single had reached the street. Real McCoy broke out of Berlin and re-invented the playing field for those acts. With multiple top 20 hits from the debut triple platinum album _Another Night_, the German group seemed likely for the sophomore jinx. But rather than fall victim to a slump, the resulting album, _One More Time_, has established Real McCoy not only as the real deal, but a bonafide pop act which can be counted on for quality dance music. The title track for _One More Time_ has already broken through on the pop charts, and is likely to repeat the top 20 success of some of Real McCoy's earlier hits. This one (and the second track, "I Wanna Come (With You)" ) are hybrids between 2 Unlimited's many smashes and RM's own "Run Away". The female duet of Vanessa Mason and new member Lisa Cork play their vocals off of O'Jay's deep raspy rap and offer a stronger contrast (and greater listener interest) than your typical dance act. While these two songs are likely to get dance floors pumping, _One More Time_ offers a greater diversity than _Another Night_. The Expose'-like ballad, "Look At Me", could become a prom song for the class of 1998. The faux-reggae/synth beat of "Give A Little Love" parallels Ace of Base's "The Sign" and reappears on the final cut, on "Tonight". However, the one track most likely to be played in the late morning hours (and stays closest to Real McCoy's beginnings) is "Love Save Me". Oddly enough, this was partially written by pop-meister, Billy Steinberg, but the driving keyboards (including a pseudo-sample used to back numerous dancehall songs) ensure that with a proper remix, even fans who think Real McCoy are too "pop" will love this song. Probably the most unusual effort is their complete re-working of the Shania Twain country smash, "(If You're Not In It For Love) I'm Outta Here." Rather than the typical Eurodisco cover, this version breathes a new life and vigor into the track and will make some people even forget there *was* an original version. By touching the pop edges of techno and rap, Real McCoy won't win the affection of the underground clubbers - but that's not their audience. The mainstream club-goers, or even people from the 'burbs, have found (and will continue to find) Real McCoy's brand of dance music irresistible. And somehow, although none of the songs will be played into the ground by top 40 radio (see: "Another Night") Real McCoy have produced a sophomore album, _One More Time_, which is stronger than their debut effort. --- REVIEW: McRackins, _Best Friend_ (Shredder) - Al Muzer Quite possibly the most prolific group of costume-wearing, three chord loving lunatics in Canadian music history, Vancouver's Bil, Fil and Spot McRackin (who favor egg suits, dog costumes, loud noises and crazed beats) follow last year's eight-song Short And Sweet with another smarmy, eight-rant blast of hyperspeed Dickies-meets-Misfits-meets-Descendents fun 'n' furious snot nosed pop. Boasting big, sweeping, punked out guitars, Raspberries-worthy bubblegum hooks, giddy three-part harmonies, and playful lyrics about stuff like Chinese Food ("Dim Sum"), best friends, being a McCrackin (Get Crackin' "), loud music, slapping the monkey ("Slap The Monkey"), mass murder ("Willy Killigan") and, on the surprisingly acoustic, amazingly melodic "What Comes Around," gleeful revenge - the McRackins prove once again that clowns still rule. Check out the band's slightly strange web site at: http://www.bunglehead.com/mcrackins/index.html --- REVIEW: Knapsack, _Day Three of My New Life_ (Alias) - Joann D. Ball Knapsack is a college band in every sense of the word. The type of band that evokes the sound, smell and feel of those tiny, rocking live music clubs with a stage that's just barely off the ground. The type of band that easily helps you forget your obligations and encourages you to just drink some beer and hang with your buds while you soak up their no frills rock. The type of band that a college radio station without commercial intentions would play in a set with Generation X, The Godfathers, Leaving Trains and early Replacements. Formed at University of California at Davis in 1993, Knapsack consists of vocalist/guitarist Blair Shehan, drummer Colby Mancasola and bassist Rod Meyer. An unpolished chip off the same rock as early Goo Goo Dolls, Knapsack's sound is simple but gets the job done. Shehan sounds like a Dave Pirner (Soul Asylum)/David Lowery (Cracker) hybrid with raspy touches of Richard Butler (Psychedelic Furs) as he sings his way into a sort of yell-shout that convinces you he's putting everything he has into the delivery. _Day Three of My New Life_, the band's sophomore release, was produced by Drive Like Jehu's Mark Trombino. And Knapsack opens with "Thursday Side of the Street", a number propelled by Shehan's vocal surge, power chords, pulsating bass, pounding drums and crashing cymbals. Typical of the offerings here, its hook is the big crescendo at the chorus where Shehan belts his guts out. "Diamond Mine", "Heart Carved Tree" and "Sleeper Than We Thought" stand out here as the few tracks which forego the build-up but retain the energy and drive. Knapsack's high fueled approach is short and to the point, with all ten tracks clocking in under five minutes. But like a good roller coaster or thrill ride, it will keep you coming back for more. --- REVIEW: Engine 88, _Snowman_ (Caroline) - Al Muzer Creators of songs with cryptic, one word titles that'll pound yer puny little ass like nobody's business, this San Francisco four-piece follow last year's truly outstanding _Clean Your Room_ with 13 edgy, inspired, jagged-edged tunes that rank as some of the best agit-power-punk-pop noize to be released all year. An exciting morph of PIL's snotty whine, Husker Du's furious pop pulse and Big Black's barely-in-control guitar chaos and sparse, elliptical sound; songs such as "Istanbul," "Manclub," "Seconal," "Butchery" and "Snowman" are a head-spinning, mid-air collision between lead vocalist Tom Barnes' navel-intensive, semi-autistic world observations and lead guitarist Damon Wood's furious, eyes-closed, over-caffeinated string mangling. --- REVIEW: Einstein, _Einstein_ (Whirled) - Simon Speichert Einstein is a talented band. Somehow, they've been able to fit songs from different genres, and totally different sounding songs, onto one CD. The styles covered on this CD range from heavy metal/hard rock to classical to lofty, poetic ballads. A bunch of studio musicians made this album, and that's why I think it works. Einstein could never be a garage band. It takes a considerable amount of studio knowledge to combine a wide variety of songs in such close proximity to one another (the songs, that is). Einstein is three people. Those three people are guitarist/singer Stan Janowski, drummer Jonathan Mover, and keyboardist/bassist/rhythm guitarist Jani Mangini. Einstein's self-titled debut album features 11 spell-binding tracks including "Between The Cracks" (which has a very strange time signature), "Mirror Mirror", "Pain" and the classical number "Dance of the Poltergoost". It's an album that should appeal to a lot of people. Sadly it appears not many people will hear it, as it's on a small indie label, Whirled. But if you can find it, pick it up. --- NEWS: > The Rhino Musical Aptitude Test, sponsored by the label of the same name, will take place live on Sunday, April 27 to find the one music geek whose head is filled with the most useless information and crown that person the "Ultimate Music Geek". The contest will take place live in New York (Tower Records, 66th St./Broadway), Los Angeles (Tower Records, Sunset Blvd.) and live on the Internet. Winners will receive a "Rock N Roll Musical History Tour", and jukeboxes stocked with Rhino discs. The registration process to enter the contest ends on Thursday April 17. For further information on the contest, check out the Rhino web site at http://www.rhino.com/rmat/rmathomepage2.html > Seattle-based group Soundgarden have decided to end their career as a group after 12 years. The breakup, deemed by a spokesman as "amicable", will result in all members pursuing individual projects in the music industry. --- TOUR DATES: Art Alexakis Apr. 13 Santa Monica, CA McCabe's Backsliders Apr. 12 Columbia, SC Rockafella's Apr. 14 Cleveland, OH Wilbert's Apr. 15 Lexington, KY Lynagh's Apr. 16 Detroit, MI Magic Stick Apr. 17 Berwyn, IL Fitzgerald's Apr. 18 Minneapolis, MN 7th Street Entry Apr. 19 Chicago, IL Schuba's Blink 182 Apr. 12 Lake Tahoe, CA Boreal Ridge Bobgoblin Apr. 12 Dallas, TX Orbit Room Boiled In Lead Apr. 12 Berkeley, CA Freight & Salvage Apr. 13 Pinole, CA House Concert Apr. 15 Eugene, OR John Henry's Apr. 16 Seattle, WA The Backstage Cellophane Apr. 12 Cincinnati, OH Top Cats Apr. 13 Austin, TX ESPN EXTREME GAMES -6th St. Apr. 16 Birmingham, AL The Nick Apr. 17 Columbia, SC Rockafella's Apr. 18 Jacksonville, FL Moto Lounge Apr. 19 Orlando, FL Tsunami Theater Apr. 20 Miami, FL ESPN EXTREME GAMES -South Beach Chainsuck / Lycia Apr. 17 Pittsburgh, PA Charlie's Bistro Apr. 18 Lakewood, OH Phantasy Apr. 19 New York, NY Bat Cave Apr. 20 Providence, RI Met Cave Shawn Colvin / Freedy Johnston Apr. 12 San Diego, CA 4th & B Apr. 13 Los Angeles, CA Wiltern Theatre Apr. 15 Phoenix, AZ Union Hall Apr. 18 Santa Rosa, CA Luther Burbank Center Cordelia's Dad Apr. 12 Bar Harbor, ME College of the Atlantic Crown Heights Apr. 12-14 Detroit, MI Shelter Apr. 16 Toledo, OH Wit's End Apr. 17 Cleveland, OH Euclid Apr. 19 Minneapolis, MN 7th St. Entry Apr. 20 Fargo, ND First Avenue Bar Daddy Longhead Apr. 18 Boston, MA Loud Fest Boston Darlahood Apr. 12 Chicago, IL Double Door Drain S.T.H. Apr. 12 Boston, MA The Rat Apr. 13 Portland, ME The Pavillion Apr. 14 Poughkeepsie, NY The Chance Apr. 15 Asbury Park, NJ The Saint Apr. 17 Erie, PA Sherlock's Apr. 18 Cleveland, OH Sidekick's Apr. 19 Columbus, OH Alrossa Villa Apr. 20 Canton, OH Sadie Rene's Five-Eight Apr. 12 Baton Rouge, LA LA State U. Apr. 14 Carrboro, NC Cat's Cradle Apr. 16 Greensboro, NC Babylon Apr. 17 Columbia, SC Rockafellas Apr. 18 Charleston, SC Music Farm Apr. 19 Savannah, GA Bay St. Bar Humble Gods Apr. 12 Witchita, KS Forum Apr. 15 Albuquerque, NM State Of The Union Apr. 17 Phoenix, AZ Nile Theater Apr. 18 Riverside, CA Barn Apr. 19 Hollywood, CA Roxy Apr. 20 San Diego,CA Hurricane's Irving Plaza (New York Concert Hall - http://www.irvingplaza.com) Apr. 15 Samples Apr. 16 Dick Dale Apr. 18 Jupiter Coyote / Acoustic Junction Apr. 19 Kula Shaker Marilyn Manson / Helmet / Rasputina Apr. 12 Biloxi, MS Mississippi Coast Col. Apr. 13 Atlanta, GA International Ballroom Apr. 15 Orlando, FL Univ. of Ctr. FL Arena Apr. 16 West Palm, FL West Palm Beach Aud. Apr. 17 Jacksonville, FL Jacksonville Coliseum Apr. 19 Winston, NC Lawrence Joel Vets Mem. Apr. 20 Columbia, SC Carolina Coliseum John Mellencamp / The Why Store April 12-14 New York, NY Theater at Madison Square Garden Metallica / Corrosion of Conformity Apr. 12 Greensboro, NC Greensboro Coliseum Apr. 14 Nashville, TN Arena Apr. 16 Cincinnati, OH Riverfront Coliseum Apr. 18 Tampa, FL Tampa Bay Ice Palace Apr. 19 Miami, FL Miami Arena Apr. 20 Orlando, FL Orlando Arena New Bomb Turks Apr. 12 Detroit, ML Magic Stick Apr. 14 London, ON Call The Office Apr. 17 Toronto, ON Opera House Apr. 18 Montreal, QC Foufounes Electriques Apr. 19 Ottawa, ON Grand Central Apr. 20 Quebec City, QC L'arlquin Apr. 21 Burlington, VT Club Toast Ruth Ruth Apr. 12 Detroit, MI Shelter Apr. 13 Bowling Green, OH Bowling Green Univ. Apr. 15 Chicago, IL House Of Blues Apr. 16 Lawrence, KS Bottleneck Apr. 19 Nashville, TN 328 Perf. Hall Samples / Guster Apr. 12 Boston, MA The Avalon Apr. 13 Providence, RI Lupo's Apr. 15 New York, NY Irving Plaza Apr. 17 Portland, ME The Pavilion Apr. 18 Burlington, VT Memorial Aud. Apr. 19 Bethlehem, PA Lehigh University Apr. 20 Syracuse, NY Syracuse University Sexpod Apr. 12 New York, NY Coney Island Apr. 13 Cambridge, MA Middle East Apr. 14 Providence, RI Living Room Apr. 17 Cleveland Heights, OH Grog Shop Apr. 18 Detroit, MI Shelter Apr. 20 Chicago, IL Lounge Ax Shonen Knife Apr. 12 Santa Cruz, CA Palookaville Apr. 14 Eugene, OR Wow Hall Apr. 15 Portland, OR La Luna Apr. 17 Seattle, WA RCKCNDY Apr. 18 Vancouver, BC Graceland Apr. 19 Victoria,BC The Limit Apr. 21 Edmonton, AB The Rev Sister Hazel Apr. 12 Gulfport, MS The Zoo Apr. 16 Memphis, TN Newbys Apr. 17 St. Louis, MO Side Door Apr. 19 Springfield, MO Shrine Mosque Elliott Smith Apr. 12 Princeton, NJ Terrace Club Apr. 13-14 New York, NY Brownie's Squirrel Nut Zippers Apr. 12 Pittsburgh, PA The Byham Theater Apr. 14 Chicago, IL Park West Apr. 15 Minneapolis, MN First Avenue Stillsuit / Downset / Earth Crisis Apr. 12 New London, CT El N Gee Club They Might Be Giants Apr. 18 Westminster, MD Western Maryland College Verve Pipe Apr. 12 Fayetteville, AR Univ. of Arkansas Auditorium Apr. 14 Huntington, WV Huntington Civic Arena Apr. 16 Fort Wayne, IN Pierre's Apr. 17 Madison, WI Barrymore Theatre Apr. 18 Milwaukee, WI Rave Apr. 19 Minneapolis, MN First Avenue Josh Wink Apr. 12 Toronto, CA Warehouse (w/King Britt) Apr. 19 Washington, DC Capital Ballroom --- THE READERS WRITE BACK! > Great review on the Aersomith cd; I am now convinced it will be the next cd that I buy! - Donald D., Alabama > I must agree with the review of Aerosmith's latest album, _Nine Lives_. It is by far the best work this group has release in years! If you are into rock n' roll Aerosmith style and you don't already own _Nine Lives_ go out and get it. You won't be disappointed! - H.P., Canada > (About the review of the Clarks _Someday Maybe_) Thanks for taking the time to review the guys album. It was great to see some homeboys 'make good'. These guys work as hard as any band I've worked with. You picked up on some interesting items in the review. The entire album for _Someday Maybe_ was originally funded by the Clarks for King Mouse Records - and then picked up pretty much 'as is' by Way Cool and MCA. Most major label releases have a budget at least three to four times that (of the King Mouse release), and it's still pretty cheap. The recording sessions for _Someday Maybe_ yielded 15 songs; 13 appeared on the original version, and 14 on the Way Cool/MCA version. Also, I appreciate your mentioning my name in the review, but it's spelled 'Bomba', not 'Bamba'. - Tim Bomba, producer, Clarks. > Is Valerie Ghent the same person who was in the exceptional 80's pop band Dizzy & the Romilars? Just curious. - F. (Ed. note: Yes, it's the same person) > FYI, there is a difference between jungle & drum n bass- the former is a much "ruffer" sound, a bit darker and more dancey than the latter which is more laid back & "intelligent". - Ian F., Uxbridge, UK --- 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 ===