==== ISSUE 108 ==== CONSUMABLE ======== [May 9, 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 | `------------' INTERVIEW: Cibo Matto - Al Muzer REVIEW: Depeche Mode, _Ultra_ - Simon West REVIEW: Various Artists, _The Saint_ - Sean Eric McGill CONCERT REVIEW: Orb / Chemical Brothers - Simon West REVIEW: Iggy and the Stooges, _Raw Power_ - Al Muzer REVIEW: Gene, _Drawn To The Deep End_ - Bob Gajarsky REVIEW: Rich Hopkins & Luminarios, _El Paso_ - Joann D. Ball REVIEW: George Thorogood & The Destroyers, _Rockin' My Life Away_ - Simon Speichert REVIEW: Birdbrain, _Let's Be Nice_ - Jamie Roberts INTERVIEW: Outhouse, _Welcome_ - Simon Speichert REVIEW: Marcy Playground, _Marcy Playground_ - Jon Steltenpohl REVIEW: Mogwai, _Ten Rapid_ - Jamie Roberts REVIEW: Sterling U.K., _Monster Lingo_ - Al Muzer NEWS: Less Than Jake, London Suede, Ric Ocasek, Too Much Joy TOUR DATES: Big Back Forty, Bobgoblin, Chainsuck / Lycia, Chemical Brothers, Churchills, Crown Heights, Dada, Descendants / Less Than Jake, Drain S.T.H., Mary Ann Farley, Gene, Jayhawks, Eric Johnson / Cravin' Melon, London Suede / Longpigs, Lunachicks Marilyn Manson / Helmet / Rasputina, John Mayall, Metallica / Corrosion of Conformity, Professor & Maryann, Q-South, Samples, Shonen Knife, Silverchair / Automatic, Stella, Stone Temple Pilots / Cheap Trick, U2 THE READERS WRITE BACK! Back Issues of Consumable --- INTERVIEW: Cibo Matto - Al Muzer Selected by more critics and music publications for their "best of" lists than any other record released last year save Beck's _Odelay_, Cibo Matto's delightful, 10-song Warner Brothers debut, _Viva! La Woman_, speaks a universal language understood the world over - food. Seasoned by the quirky, underwater sounds and unusual electronic twitters of DJ/creator-of-noises Yuka Honda and garnished with the oddly compelling song-poetry of vocalist Miho Hatori, tracks such as "Apple," "Beef Jerky," "Sugar Water," "Birthday Cake," "Artichoke" and "White Pepper Ice Cream" layered subtle tastes of bossa nova, hip-hop, French pop, trance, Cuban jazz and hypnotic lounge schmaltz over a steaming plate of Duke Ellington, Paul Weller, Francis Lai and Ennio Morricone samples for one of the most enchanting records of 1996. On the road for most of the year promoting _Viva! La Woman_ during national tours with Boss Hog, Beck, the Butthole Surfers and Everything But The Girl, the Japanese-born duo returned to New York just before Christmas and immediately began working on the recently released, nine-song _Super Relax_ EP. Taking their captivating, everything-in-the-pantry menu of found sounds, refried beats and exotic spices to the next level, Yuka and Miho's latest effort features four versions of "Sugar Water" (including remixes by the appropriately-monikered Coldcut and Beastie Boy Mike D. working with Jon Spencer Blues Explosion cohort Russell Simins); two new songs named after food ("Crumbs" and "BBQ"); one track named for an eating utensil ("Spoon"); a curious take on The Rolling Stones' "Sing This All Together"; and a hauntingly beautiful version of Antonio Carlos Jobim's "Aguas de Marco." "Food is the one thing that all cultures and all people share, understand and identify with," proclaims Hatori in hesitant, charming, not quite fluent (she moved to America four years ago) English. "Yuka and I wanted _Viva! La Woman_ to speak to all people on all levels and I'm grateful that so many have let our music into their lives." "I listened to a lot of American music when I was growing up - but I spoke only Japanese, so I couldn't understand what anyone was singing," she laughs as she explains her unique, frequently beautiful, stream-of-conscious poetry and spoken-word couplets that double as lyrics. "I was always singing along, but, I had no idea what I was singing," Hatori continues, "so I just sang what I thought was right. I always 'felt' the melody and I knew a few [English] words; for the words I didn't know, I either hummed - or I used wrong words that sounded good there." "I didn't realize, at first, how words and music went together. When it finally happened," she recalls in wonder at the first time everything "connected," "it was so amazing! It was just so powerful for me!" "Words are powerful things. They can be misunderstood too easily," Hatori muses before adding cautiously, "so I use as few as possible and choose them very carefully." --- REVIEW: Depeche Mode, _Ultra_ (Mute/Reprise) - Simon West Everyone is obviously aware by now of the Dave Gahan heroin/overdose/suicide attempts story of the last couple of years, so we'll leave it alone. What is relevant is the first album in five years from a three-piece Mode, and a return to a more traditional keyboard driven sound. _Ultra_ kicks off with first single "Barrel of a Gun," an abrasive, distorted affair that sounds like a reflection on Gahan's dark period, though Gore, as usual, would deny this. It's atypical of the rest of the album, as lead-in singles have tended to be for Depeche (vis: "Personal Jesus" from _Violator_, "I Feel You" from _Songs of Faith and Devotion_). The album as a whole is a surprisingly slow affair, with a sparse, unlayered sound that may partly be due to main musician Alan Wilder leaving the band. There's some solid Depeche Mode to be found within the new album. The second single "It's No Good" is a classic single of the "Enjoy the Silence" school - lyrically weak as usual, but with superb vocals and the typical irresistable hook. "Useless" employs real guitar, drums and bass to achieve the least synthesized sound on the album. "Insight" is a Gore/Gahan duet of sorts, similar to _Violator's_ "Waiting For The Night", with the added bonus of a superb chorus. Martin Gore takes two vocals, as usual, with "The Bottom Line" and "Home", both rather typical Gore affairs - "The Bottom Line" is similar in style and instrumentation to his solo _Counterfeit_ E_. Stylistically, _Ultra_ is closest to 1990's _Violator_, and the band themselves have suggested that it would be a more logical follow-up than the now apparently accepted unsuccessful deviation into bombast that was _Songs of Faith and Devotion_. One striking difference from previous outings is Gahan's voice. Apparently so wrecked by heroin and its associated abuses that he had to get a vocal coach, Gahan has discovered a more expressive style than the deadpan baritone of old, and more disciplined than the unpleasant wail frequently employed on _Songs of Faith_. The only song that remains from the original recording sessions during the height of Gahan's troubles is "Sister of Night", seemingly about drugs, and rather chilling given the circumstances under which it was recorded. Nothing particularly ground-breaking then - a small step sideways, if you like. Depeche Mode are back to playing to their strengths, however, and this album finds them back on form for what may be their swansong, if recent interviews are anything to go by. _Ultra_ has overtones of _Violator_, Music For The Masses_, even the bleaker _Black Celebration_ in places. Mode fans will rejoice - this is an excellent Depeche Mode album. Others will ignore - about par for the course. --- REVIEW: Various Artists, _The Saint_ (Virgin) - Sean Eric McGill Nobody was as surprised as I was to see The Saint, one of the most heavily promoted films of the early 1997 film season fade quickly into the box office sunset (nobody, that is, except maybe the cast, crew, etc.). Consequently, nobody was as surprised as I was to open up Billboard one day and find Prodigy climbing the singles chart. Electronica - which has been billed as everything for the soundtrack for the next millennium to this years grunge - has been sitting patiently in clubs and on college radio for a while now, just waiting for their chance at the brass ring. Grunge got its shot with the _Singles_ soundtrack and hardcore got a giant boost from _The Crow_ soundtrack. See a pattern here? The soundtrack to _The Saint_ is - you guessed it - almost exclusively made up of electronica artists. Or, as the promotional material puts it, an "unprecedented array of electronica innovators". And there are risks taken on this album - but not unprecedented ones. Sure, bands like Daft Punk and Sneaker Pimps get to go along for the ride (and even get their tracks released as singles - eight of which are coming off the disk), but tracks by Chemical Brothers, Moby, and the ever-evolving David Bowie are there too, just in case. Interestingly enough, it's the new kids who really shine the brightest. "6 Underground" by Sneaker Pimps and "Da Funk" by Daft Punk are two of the highlights of the album, both packed with the kind of good, solid grooves that makes DJs and dance audiences alike salivate. And while all the tracks are solid, "Dead Man Walking" from Bowie and "Out of My Mind" from Duran Duran - now with only two original members - seem the most out of place ( oddly enough, "Dead Man Walking" is one of the better tracks from Bowie's _Earthling_ album). But perhaps most interesting thing about _The Saint_ soundtrack is that the one track which is the furthest from electronica, Duncan Sheik's "In the Absence of Sun", is the best track on the disk. A lush ballad full of string arrangements, Sheik's performance is scaled-down in comparison to the rest of the disk, and certainly proves that sometimes, less is more. Overall, _The Saint_ soundtrack is almost air-tight in its composition. There is something for everyone interested in this new avenue of music expression, and the high number of singles should help sell the album pretty well if the majority of them catch on. This kind of commercialization of a new genre of music is usually unsettling, but you dont get that feel of the disk overall. Chemical Brothers on a movie soundtrack doesn't bother me - when they do a Ford commercial, then I'll be scared. --- CONCERT REVIEW: Orb / Chemical Brothers, Dallas, TX - Simon West The Orb and The Chemical Brothers kicked off their US tour in Dallas before a rather tightly-packed crowd at the Bomb Factory, and proved that the 'next big thing' has already connected with the public. Clearly enthusiastically oversold, the Bomb Factory hosted a mainly quite young, very mixed crowd - eighties Bauhaus graduates in leather pants to seasoned ravers to hip-hop kids to at least one poor bugger in a Stetson and Wranglers. The doors opened at 8pm, The Orb hit the stage around 9:30, and The Chemical Brothers weren't on until 12:30, so it was going to be a rather long night for anyone who hadn't come to dance. An hour of rather ordinary techno enticed few to the dance floor for the first hour. It took a while for the crowd to get into The Orb - perhaps a combination of the sardine-tin atmosphere and The Orb's mix of ambient and dance. Orb maestro Dr. Alex Patterson hunched down in his pyramid for close to two hours, mixing tracks from new release _Orblivion_ with classic material from previous outings. The usual bizarre projection images were beamed onto the screens, and a particular highlight was a version of "These Are A Few Of My Favorite Things" sounding exactly like the Julie Andrews original, barring the highly sexual lyrics. By about halfway through the set the crowd was bobbing up and down enthusiastically, though no sign of substance-assisted mad dancing yet. An hour intermission with some bog-standard techno fare, and then the bright white searchlights hit the crowd. "Brothers gonna work it out" said the screen and the speakers. And they did. The Chemical Brothers appeared behind their equipment banks and kicked straight into a "Leave Home"/"Block Rockin' Beats" mix. The crowd went nuts, the whole place began to move, and that's the way it stayed for the next 90 minutes or so. The particularly animated Brothers (bouncing, clapping, jumping) kept the crowd moving to a virtually continuous mix, showcasing latest album _Dig Your Own Hole_, and including tracks from the debut _Exit Planet Dust_. Strobes and searchlights played over the increasingly active audience. It's a stripped-down sound live, abandoning some of the studio nuances for straight-up drum n' bass, and it does what it's designed to do. A sweaty and happy crowd by the end of the evening. If the Brothers hit your town, don't miss it. --- REVIEW: Iggy and the Stooges, _Raw Power_ (Columbia/Legacy) - Al Muzer Boasting the raw, throttling, out-of-control energy of a spastic, super-inebriated Jim Morrison fronting a punchier version of the MC5; the direct influence of Iggy and The Stooges (guitarist James Williamson, drummer Scott Asheton and bassist Ron Asheton) via this, one of the all-time filthiest sounding major musical influence ever recorded, can still be seen, felt or heard thanks to the thousands of bands who've cited or stolen from it in the 25 years since its release. Bemoaned for its "speakers in a garbage can when it was mixed" sound, Columbia/Legacy recently commissioned Iggy to remix, remaster and otherwise repair the damage he and David Bowie inadvertently did to the album during production back in 1973. Still sounding as if it were originally recorded in someones garage on a cheap cassette deck, Iggy's contribution to the tweaking of a classic was to intensify and increase the impact of the bass and drums on all tracks; clarify elements such as the acoustic guitar and tambourine on "Gimme Danger," the celeste on "Penetration" and the piano on the title track; add proper endings to songs that used to fade-out; and reduce the thin, fragile, tinny sound of the guitars and vocals throughout. The end result is the extreme power and sonic wallop always promised - but never quite delivered - by one of the rock-era's most important records. Featuring a 14-page interview with the Iggster and a slew of classic Mick Rock photographs, this is the definitive version of an essential piece of work. --- REVIEW: Gene, _Drawn To The Deep End_ (Polydor) - Bob Gajarsky From the moment the British band Gene landed on the front of British music tabloids such as NME, comparisons to the Smiths were inevitable. Lead singer Martin Rossiter's voice invokes comparisons to Smiths' frontman Morrissey, the music on their debut album _Olympian_ at times seemed a tribute to guitar wizard Johnny Marr, and even the band's name (a possible mispelling of the B-side to "This Charming Man" - "Jeane") was cited by conspiracy theorists as an allusion to the Smiths. On the band's second disc, _Drawn To The Deep End_, Gene simultaneously break some of the comparisons to their British forefathers while reinforcing others. From a musical standpoint, _Deep End_ witnesses the band exploring areas which were off-limits on their previous release. "We Could Be Kings" opens with a U2-like guitar ("One"), and returns to a traditional rock melody which could come from any of a number of talented groups - neither including or excluding the Smiths. "Fighting Fit" showcase the melodic side of Gene in a song about the sexual fit tearing Rossiter apart. "Voice Of The Father" rocks with the fury of a garage pop band, breaking down in the middle for a brief interlude before jolting the listener again with its bravado. Jack Hues helps out with some string and brass arrangements on the album, and the Hammond organ and mellotron are included on several tracks. But yet...there's something which draws the group back to the Smiths. "Why I Was Born" could have been an alternate take for "Asleep", and the lyrical content of this album keeps returning to the Smiths. "I can not stand alone / I'm incapable of breathing / Incapable of love" is the refrain to the key track, "Where Are They Now?" These words might easily have come from Morrissey's lips, though he may have playfully juxtaposed the first phrase to read "I can not stand myself". Rossiter acknowledges there is hope for the future, while questioning whether his past friends will be there at the moment he needs them most. Similarities abound between Rossiter and Morrissey. See "The More You Ignore Me, The Closer I Get" and contrast that with further lyrics from "Where Are They Now?" - "You said that I should stop trying to call you / You've had it up to here / I know your sort / but I just can't ignore you". The personnas of both men can be easily compared; Rossiter, although admitting to liking both men and women, doesn't want to be tied down to any *label*...and anyone who has read or witnessed a Morrissey soundbite can vouch for his distaste for any sexual labels, with periodic self-professions for similar likings. The remainder of _Drawn To The Deep End_ revolves around love (and lack thereof), questioning the future, and insecurity. Similarities to Marr and Morrissey notwithstanding, Gene have taken the first steps to firmly establishing their own independent identity. A new generation who didn't grow up with the Smiths can look towards Gene to be their musical savior - recommended for followers of British music who don't want to hear recycled and repackaged versions of the Beatles. --- REVIEW: Rich Hopkins & Luminarios, _El Paso_ (Contingency Records) - Joann D. Ball Like a hot desert wind stirring up everything in its past, Rich Hopkins and Luminarios blast through their latest release _El Paso_. With the Luminarios, an informal group of talented musician friends, Tucson songwriter/guitarist Rich Hopkins blazes once again the musical territory he calls home. As he did with the Sidewinders (later renamed Sand Rubies after a legal battle over the name), Hopkins delivers a series of blistering guitar rockers that demand and keep your attention. The twelve tracks here are all outstanding, from the catchy and upbeat "Careless" to the raucous send-off of "3 Sheets to the Wind." "Wildweed" and "Gunny Black" are hook-filled mid-tempo songs, the latter featuring violin and bouncy acoustic guitar. But _El Paso_ is at its hottest on "Love and Death," "Unglued" and "Apology." This is where Hopkins unleashes scorching guitar, playing with an authentically branded Neil Young intensity. "Love and Death" actually recalls the melody of Young's "Cowgirl in the Sand," but the electric guitars here are much louder and more powerful. Amazingly, Hopkins achieves in the studio the same type of unforgettable fire that Young usually only delivers live. Rich Hopkins & Luminarios' _El Paso_ is a slash and burn adventure that just doesn't want to stop. In fact, it slows down and cools off only twice, on the poignant "Nacadoches" and the instrumental, acoustic campfire number "Coffee Grounds and Goodbyes." This release is a must for anyone who likes great guitar and well crafted songs, and who believes that classic rock is not just a thing of the past. --- REVIEW: George Thorogood & The Destroyers, _Rockin' My Life Away_ (EMI) - Simon Speichert Ah, George Thorogood. Today's master of yesterday's rock and roll. A man who has had major hits with classic songs like "Who Do You Love" and "Bad To The Bone". George and his backup band, the Delaware Destroyers, have a new album out, entitled _Rockin' My Life Away_, and they have certainly done just that. _Rockin' My Life Away_ is a great record, because the 45 year old Thorogood doesn't seem concerned with keeping up with today's rockers. As a result, this album - like most of Thorogood's other works - would fit right into the 1950's. The album is composed of 12 songs, 10 covers and 2 originals. Some of the better songs are "Get Back Into Rockin'", "Trouble Everyday", a Frank Zappa song, and "Living With The Shades Pulled Down". Although Thorogood's classic guitar sound is toned down a little bit, _Rockin' My Life Away_ will prove to be the best Destroyers album in a long time. So, take a listen if you're an old fan, or just stuck in the 50's. --- REVIEW: Birdbrain, _Let's Be Nice_ (TVT) - Jamie Roberts Other bands have done it, for sure, but you have to hand it to them - Birdbrain does it well. Maybe as well as Ruth Ruth (who they sound similar to), with that extra twist of Stone Temple Pilots' radio-ready sensibility. I think the general public might just eat up an album like this... straight ahead, driving, almost-punk rock that has a melodious pop-like sensibility. "Youth Of America" is a *real* obvious one - almost a 'write me-a-hit'. That, my friends, does not make it a bad song. Actually, I played it over and over like a mental patient. It also appears on the soundtrack to the horror genre big-winner movie, _Scream_, as the lead track. Also recognizable is that guitar riff on "Tell Me" - you tell *me* where you've heard that one before. The vocals are surly, the bass is a heartbeat, the guitars rage from start to finish, and the songs are well-written. What more can we ask for? They are not the most original band, but _Let's Be Nice_ and forget that part... --- INTERVIEW: Outhouse, _Welcome_ (Mercury) - Simon Speichert Outhouse's debut album, _Welcome_, is a superb record. In listening to this album, I thought to myself, "Could there possibly be a better way to make a first impression?" I don't really think so. A three-piece rock group from Kansas City, Outhouse inspire new thought in rock, at least to me. Their unique songwriting and real lyrics are a switch from the old alternative methods of "here's a riff, mumble some words". _Welcome_ has 13 different songs, different in sound, and different from each other. A reason this album differs from others is the length of songs. Most of Outhouse's songs average three minutes, while songs by other bands stretch too long. It's a refreshing change. Ah, yes, the songs. When listened to repeatedly, the lyrics imply deep introspection. The music is great, not too heavy, not too soft, and some great hooks. It's hard to pick out the better songs, because they all are quite good. Well, I'll give it a shot. Some of the "better" songs on _Welcome_ are the title track, with its catchy vocal hook, the Paul Westerberg -inspired "Nowhere Man", "Savior" and "Lie". Well, I've pretty much summed it up, so if you'd like to get hooked on a new band before MTV gets to them, hurry down to your local record store. Consumable was able to catch up with Bill Latas, guitarist and lead vocalist of Outhouse and get a few comments from him. Here's some of the feedback: Consumable: The standout track is "Nowhere Man", which is much like an early Replacements song. How much has Westerberg or the 'Mats influenced your records? Outhouse: Paul's songwriting has influenced me and the rest of us greatly. I don't think we try to sound like that but just the quality of those songs!!!!! Man if I can ever write em that good! You know, "Nowhere Man" sounds like that because of the way we play it. Sometimes we'll do it slow like a ballad and it takes on a whole new vibe. But yes, the 'Mats RULE! C: The searing guitars remind me of the "Seattle sound", but the lyrics are realistically hopeful, rather than wasting away. What's your feelings on lyrics which are deliberately depressing? OUT: I think anything deliberate other than honesty is just plain borish. Anymore, it seems to be the trend but I also feel that artists are moving away from that. Just the same, to write a "happy" song if you're not happy is bullshit. I find it amazing how easy it is to spot someone who is not being honest in their art. Either something hits me deep inside or it just hits the wall behind me, ya know? I also know that someone could listen to our music and it might wind up on their living room wall when I'm bearing my soul in a song and I absolutely mean what I'm saying. I guess it is in the delivery. Some will tell a story in a song that has no first person perspective but you take that story like it was the absolute truth. I've always admired that in writers. Even fiction can be honest. So, to say "I'm going to write depressing lyrics because I think I should" is ridiculous. Yeah, I think that I'm ultimately hopeful in my lyrics because that is what I truly feel and believe. C: On "Savior", you sing "What about my savior, laying down and waiting? / What about my savior, where is he now?" Is this a questioning of God through the eyes of a poor or downtrodden person? Labelmate Joan Osborne got into a bind with "One Of Us", asking much less pointed questions. OUT: I hate to admit this but I tried NOT to make "Savior" into a song about faith. I couldn't do it. That was what was on my mind. I was always taught that to have "faith" was the one thing that you could always fall back on. When everything else seemed hopeless, you could still have faith and in my life, I have felt that. That has seen me through. Now, that is speaking of faith in-general which most of the song can be held as. However I'll spare you the asking and go ahead and say that, yes, the bridge is describing, in first person, the Crucifixion. What a visual, huh? I was a while ago, very into Christianity and what I'm saying in this part of the song is that I'm questioning all of that now. "Turn my head against my will, and run like hell but I still know just where he is, God rest my soul." I guess I'm also asking for forgiveness at the same time as I'm running away from that. To get back to your question, it's not so much a questioning of God at all as much as it's a questioning of my own beliefs. It's a man at the end of his rope, yet still wanting to let go and also knowing that someone will catch him. Strange world I live in, huh? C: Does it concern you that this song might raise people's concerns? OUT: It raised my concern enough to write the lyrics and I only hope that other people will ask the same questions about themselves regardless of the answers. I'm not worried about any stigma or connotations from the song. I'll speak my mind and what I find to be true for me and if people can relate, cool. If not, too bad...I mean the whole song started from an idea that I got one day while driving. I saw a sign that said "lost dog found today" in someone's yard. I also saw that sign the next day and knew that it was lying purely because it said "today" and I had seen it yesterday! You can't believe in every sign you see...although it's twisted because one day, that sign was true and the next, it wasn't. Go figure... C: Which bands are your inspirations, or favorites before being a group? OUT: As a kid it was Kiss, Rush, and then U2. I think we all come from the age of huge arena shows and big productions. I love that stuff. I mean seeing a band in a club is great. But the big stuff? Oh yeah! Trip Shakespeare that will always hold a special place in my life; genius stuff! C: Was there ever any apprehension about signing with a major label, as opposed to an indie? OUT: Mercury, so far, has been absolutely great to us and I think we really have a shot at a long term thing here. There was no apprehension in signing to a major, either. We knew that this was right. It FELT right. We held out and waited on some other things. We have always made good decisions; that has been critical in achieving our goals. You have to be smart. The only thing that worries me with a major is the commitment to a long term build. I hope that we can construct a career instead of just a couple of records and I know that we have to keep writing great records to do that. I don't think that will be a problem, either. --- REVIEW: Marcy Playground, _Marcy Playground_ (EMI) - Jon Steltenpohl Minneapolis is the land of quirky, yet excellent musicians. Take Prince, Information Society, Boiled in Lead, and Semisonic (formerly Trip Shakespeare) for starters, and you've already gone full circle around the musical map. Now add John Wozniak's band, Marcy Playground, to the list of strange and stunning. Their self titled debut is a decent collection of dreamy alterna-pop songs backed by a simple three piece band. While enrolled in the experimental "Marcy Open School", Wozniak spent the better part of his youth gazing out at the playground and daydreaming. This, the bio explains, gave birth to Wozniak's knack for envisioning the meandering trail of stories on this album. The first track, "Poppies", is a little shanty set "Long, long ago in China" about pirates and their true "magic" treasure. The second track, "Sex and Candy", is a fantasy about a retro girl "in platform double suede". Sings Wozniak, "And then there she was like disco lemonade. I smell sex and candy here, mm-hmm." Lou Reed might raise a knowing eye brow, but the track does its own thing just fine. Wozniak doesn't stop his lyrical tour until he's been around to the dog eat dog world of business, a lonely suicide from a country bridge, elves and magic spells, and New York's night life. Such themes aren't exactly typical fare for alterna-pop albums these days, but Marcy Playground does just fine with their own lyrical agenda. The few personal songs, "Saint Joe on the School Bus" and "Sherry Fraser", are excellent, but there's no brooding angst to be found here. You'll only find yourself popping this CD in to enjoy hanging out with friends on a lazy afternoon. Musically, Marcy Playground reflects a cross between Matthew Sweet, The Lemonheads, and Semisonic. Wozniak and producer Jared Kotler use a slower, less distorted version of the standard three piece band that most listeners are used to. Acoustic guitar is featured on most of the songs, and the tunes go from melodic to hazy to loopy and carefree. Wozniak's cool and mellow voice is featured prominently in a mix that conspiciously lacks back-up vocals. He sings with virtually no force, and whenever Wozniak croons, "yeah" or "ah...ahh", the tone just trails off into nothingness. The self-titled debut from Marcy Playground launches the band into friendly company in the alterna-pop world. You would think this style of music is easy to make, but even established bands like Matthew Sweet and The Lemonheads only get it right every other album if they're lucky. Surprisingly, Marcy Playground gets it right on their first time out. That's no small task, and it makes this self-titled album worth a few spins in your CD player. On the Web ,check out http://www.marcyplayground.com for more information. --- REVIEW: Mogwai, _Ten Rapid_ (Jet Set) - Jamie Roberts It has been a long time (possibly since My Bloody Valentine's _Loveless_) since I have heard a record that made me feel like I was listening to Orchestra-caliber Indie Rock. Mogwai have arranged an album of atmospheric, carefully crafted orchestral rock music that takes the listener on a textured journey through sound. _Ten Rapid_ begins with "Summer" which swirls beautiful melodies and intense guitar riffs and changes its intensity as unpredicatably as a summer breeze, and features "New Paths To Helicon" which seems to be played forward (Pt.2) and backward (Pt.1) on this album. Other tracks - "Angels vs Aliens" and "I Am Not Batman" also combine the most beautiful and the most harsh sounds imaginable. Mogwai are sparing with their lyrics... when they appear, they are but a whisper ("Tuner"). Having only 9 songs, _Ten Rapid_ is a short, intense musical journey that is not easily explained. It is experienced rather than just listened to - sit in a dark room with a walkman, pop this tape on, and deal head-on with the incredible sensory stimuli of Mogwai. --- REVIEW: Sterling U.K., _Monster Lingo_ (Beggars Banquet) - Al Muzer Beach Boyz harmonies and a great hook brighten the raw and fuzzy "Is This The Time?"; NIN, Nature, Sponge and Monkees influences are layered over a full-throttle beat on "Intravenous"; a ravaged Paul Weller is brought to Top 10 life on the ebullent "Out Of The Sunlight"; an edgy, sonic doom is achieved on the frenetic "Shiver"; and a bizarre prog-rock brand of lounge pop is explored on "Crawl Mary." Sort'a what Bush would sound like with Bob Mould frontin' 'em at times, the highlights on Sterling U.K.'s Monster Lingo come at you fast and frequent. --- NEWS: > Less Than Jake will be launching an interactive bingo game. Cards can be obtained from record stores and at their concerts; players then need to go to http://hollywoodandvine.com/ltj to obtain the square "called" for the week. Winners for the contest will receive a special-made Howie Reynolds spoken word disc. > The London Suede will have an online chat from New York City's Supper Club on Thursday, May 15 at 6:00 p.m. - check http://www.sonicnet.com for more details. > Former Cars lead singer Ric Ocasek has signed to Columbia Records as an artist and producer, returning to active duty as a recording artist in his own right after some three years of producing other acts including Weezer, Nada Surf and D-Generation. > Sugar Fix Recordings (http://www.sugarfix.com) will re-release Too Much Joy's 1987 debut _Green Eggs and Crack_ - previously unavailable on CD - on May 20. The disc includes the classic track "Drum Machine" as well as five bonus tracks that have never appeared on any Too Much Joy album: two from the _Crack_ sessions and three from 1993, including the first ever Internet only single "Frustrated." The CD will be available by mail order and in record stores. The first 500 copies sold via mail order are limited editions, with a green plastic CD tray and "goodies" inside. --- TOUR DATES: Big Back Forty May 9 Pittsburgh, PA Electric Banana May 10 Lancaster, PA Chameleon Club May 11 Buffalo, NY Mohawk Place May 13 Burlington, VT Club Metronome May 14 Boston, MA TT The Bear May 15 New York, NY Mercury Lounge May 16 Philadelphia, PA Fergie's Pub May 17 New Brunswick, NJ Paul's Tavern May 18 Richmond, VA Alley Cats Bobgoblin May 12 Cleveland, OH Euclid Tavern May 13 Cincinnati, OH Sudsy Malone's May 14 Indianapolis, IN Emerson Theater May 15 St. Louis, MO Hi-Pointe May 16 Stillwater, OK Wormy Dog May 17 Dallas, TX: Deep Ellum Live Chainsuck / Lycia May 12 Minneapolis, MN Mirage Chemical Brothers May 12 Boston, MA Avalon (w/Orb) May 13 Toronto, ON RPM Warehouse (w/Orb) May 16 Philadelphia, PA Electric Factory May 17 New York, NY Manhattan Center Churchills May 10 New York, NY Mercury Lounge Crown Heights May 14 Louisville, KY Butchertown Pub May 15 Morgantown, WV Nyabignhi Dance Hall May 17 New York, NY Brownie's Dada May 12 St. Louis, MO Galaxy May 13 Kansas City, MO Hurricane May 15 Denver, CO Bluebird Theater Descendents / Less Than Jake May 9 Chicago, IL Metro May 10 Cleveland, OH Nautica May 11 Detroit, MI State Theatre May 13 Montreal, QC Metropolis May 14 Providence, RI Lupo's May 16 New York, NY Roseland May 20 Washington, DC 9:30 Club Drain S.T.H. May 11 Cincinnati, OH Sudsy Malone's Mary Ann Farley May 13 Belmar, NJ Java the Hut May 14 New York, NY Meow Mix May 16 Washington, DC Tower Records May 17 Vienna, VA Tower Records May 17 Fairfax, VA Tower Records May 18 Rockville, MD Tower Records Gene May 16 Montreal, QC Foufones Electronique May 17 Toronto, ON Opera House May 20 New York, NY Irving Plaza Jayhawks May 11 Nashville, TN 328 Performance Hall May 13 Lexington, KY Lynagh's May 14 St. Louis, MO Mississippi Nights May 15 Columbia, MO Blue Note May 16 Lawrence, KS Bottle Neck Eric Johnson / Cravin' Melon May 9-10 New York, NY Symphony Space May 11 North Hampton, MA Pearl ST May 13 Providence, RI The Strand May 14 Boston, MA Berklee Performing Center May 15 Long Branch, NJ Pollack Auditorium May 16 Hartford, CT Webster Theater May 17 Rochester, NY The Spectrum May 19 Buffalo, NY Marquee May 20 Toronto, ON Phoenix Concert Hall London Suede / Longpigs May 11 Montreal, QC Metropolis May 14-15 New York, NY Supper Club May 17-18 Boston, MA Paradise Lunachicks May 9 Cleveland, OH Grog Shop May 10 Detroit, MI Shelter May 11 Chicago, IL Lounge Ax May 12 Green BayAZ , WI Cambert Cafe May 15 Kansas City, MO Davey's Uptown May 16 Denver, CO Area 39 May 17 Salt Lake City, UT Dv8 Basement May 19 Seattle, WA Crocodile May 20 Portland, OR May La Luna Marilyn Manson / Helmet / Rasputina May 11 Camden, NJ Blockbuster Sony Center John Mayall May 11 Portland, ME Raoul's May 12 Cambridge, MA House of Blues May 14 Buffalo, NY Tralf May 15 Philadelphia, PA Theatre of Living Arts May 16 Norfolk, VA Town Point Park May 17 Myrtle Beach, SC House of Blues Metallica / Corrosion of Conformity May 16 Spokane, WA Spokane Arena Professor & Maryann May 17 Princeton, NJ Peace Cafe Q-South May 17 New York, NY Lions Den Samples May 13 Boulder, CO Fox Theatre May 14 Denver, CO Bluebird Theatre Shonen Knife May 11 St. Louis, MO Galaxy May 12 Kansas City, MO Hurricane May 14 Boulder, CO Fox Theatre May 16 San Diego, CA Casbah May 17 Los Angeles, CA House of Blues Silverchair / Automatic May 12 Santa Monica,CA Santa Monica Civic Center May 13 San Francisco, CA The Warfield Stella May 10 Charlotte, NC Tremont Music Hall May 13 Washington, DC Black Cat May 15 New York, NY Coney Island High May 18 Hoboken, NJ Maxwell's May 19 Boston, MA Mama Kin Stone Temple Pilots / Cheap Trick May 11 Nashville, TN Starwood May 13 Wichita, KS Coliseum May 14 Tulsa, OK Fairgrounds May 16 Amarillo, TX Civic Center May 17 Albuquerque, NM Tingley Arena U2 May 12 Dallas, TX Cotton Bowl May 14 Memphis, TN Liberty Bowl May 16 Clemson, SC Death Valley Stadium --- THE READERS WRITE BACK! > Thank you for being the independent and "alternative" (whatever that might be), voice of music on the Internet. I read Consumable religiously and enjoy it immensely. A quandary exists, however; major alternative darlings are conspiculously absent from your concert listings (indeed, I've never seen reviews or news about these guys either), Pavement and Dinosaur Jr, both undertaking US concerts. While I appreciate listings for bands such as Collective Soul and other mainstream (read: sounds like everyone else on the alternative tip) bands, {I'd appreciate} some coverage of the truly alternative bands out there. - Scott G Scott - Your letter brings up several distinct, but commonly asked issues. The first point concerns tour dates; we take what the labels and publicity places wish us to have. If they don't contact us with the information, we can't publish it. Ironically enough, if we have too many "name" artists listed in the tour section, we'd have to eliminate some of the lesser known artists' tour dates. The other issue concerns individual reviews. Some reviews take longer than others to appear; for instance, Dinosaur Jr. is forthcoming, and J Mascis' solo album was reviewed last summer in Consumable. However, in addition to that, some labels and publicity firms do not fully recognize our importance to our readers, and do not help support Consumable. In those unfortunate instances, we will not provide a review. - Bob Gajarsky, Editor in Chief > Ich hatte nur eine kleine Frage: Gibst es noch ein Out In The Green in Frauenfeld dieses Jahr? Danke für die Antwort. Viele Grüsse - Eric Federau, Switzerland (Translated and answered by Reto Koradi): I just have one little question: Will there be an Out In The Green in Frauenfeld this year? Thanks for the answer. Best regards.. ANSWER: The "Out In The Green" festival was written about in Consumable a couple years ago, so this was probably found in one of our back issues. But, yes, there is an Out In The Green this year from July 11-13. The (in my opinion, disappointing) program and additional information can be found at: http://www.outinthegreen.ch --- 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. Consumable Online is featured in the Best Of The Internet Showcase, through FastLink: The Best Of The Internet... And Lightning Fast http://www.symgroup.com/showcase Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===