==== ISSUE 111 ==== CONSUMABLE ======== [June 3, 1997] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, 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, Patrick Carmosino, 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: Nine Inch Nails, _"The Perfect Drug" Versions_ - Lee Graham Bridges REVIEW: Bis, _The New Transistor Heroes_ - Bob Gajarsky REVIEW: Paul McCartney, _Flaming Pie_ - Al Muzer REVIEW: Beth Orton, _Trailer Park_- Patrick Carmosino REVIEW: Hanson, _Middle of Nowhere_ - Bob Gajarsky REVIEW: Mighty Mighty Bosstones, _Let's Face It_ - Sean Eric McGill REVIEW: Mojo Nixon, _Gadzooks!_ - Tim Hulszier REVIEW: Soundtrack: _Grosse Pointe Blank_ /_Romy and Michele's High School Reunion_ - Joann D. Ball INTERVIEW: Tonic - Al Muzer REVIEW: Material Issue, _Telecommando Americano_ - Bob Gajarsky REVIEW: Veruca Salt, _Eight Arms to Hold You_ - Eric Hsu REVIEW: Tuatara, _Breaking the Ethers_ - Joe Silva REVIEW: Orbit, _Libido Speedway_ - Scott Slonaker REVIEW: Deadsy, _Deadsy_ - Stephen Lin REVIEW: Stella, _Stella_ - Al Muzer NEWS: Jeff Buckley, Rock For Rent, Ian Brown, Spearhead, Stee TOUR DATES: Buck-O-Nine, Camber, Cellophane, Cheap Trick, Cravin' Melon, Mary Ann Farley, Five For Fighting, Fluffy, Indigo Girls, Rickie Lee Jones, Wayne Kramer, Matchbox 20, Moxy Fruvous , My Life With The Thrill Kill Kult, Ozzfest, Iggy Pop, Q-South, Sevendust, Silver Jet, Skeleton Key, Todd Snider, Space, Spearhead / 311, Third Eye Blind / Coward, U2, Vallejo, Vasen Back Issues of Consumable --- REVIEW: Nine Inch Nails, _"The Perfect Drug" Versions_ EP (Nothing) - Lee Graham Bridges So here it is - the first significant release of Nine Inch Nails material since _The Downward Spiral_ era. For those searching for the radio-friendly, single version of "The Perfect Drug," check out the recent _Lost Highway_ soundtrack. But for those more interested in hearing instrumental work built to interface with the thematic undercurrents of the song will be glad to know that five remixes of this song by various artists have just been released under Trent Reznor's pen name as _"The Perfect Drug" Versions_ EP. Similar to _Downward Spiral_'s remix project, _Further Down the Spiral_, as well as Reznor's musical and otherwise sonic contributions to the popular PC game _Quake_, the theatrics are as present in _"The Perfect Drug" Versions_ as in any original material NIN has ever released - but they rely much more on musical fortitude than harrowing lyrics; only snippets of vocals from the original are included in these versions. For this reason, many who adopted NIN as a new favorite merely on the verbal frankness of songs like "Closer," might be disappointed in this disc. However, those who appreciate the quality and originality of the compositions of Reznor and these other top-notch remixers in their individual studio settings, and those who have recognized the solidly thematic nature of their better work will also appreciate the work done here by Reznor and some of his colleagues. Meat Beat Manifesto, led by Jack Dangers and signed to Reznor's Nothing Records, contributes the first of the five outstanding remixes, splicing Reznor's vocals and elements of the original with his characteristic scratching, kinetic bass sound, and busy, maximized percussion. The listener, now at takeoff speed, is slowly lifted into the atmosphere by Plug's fuzzy, darkly ethereal mix. Reznor then lays down a mix that starts as a whisper, rambles through a drum-and-bass pattern, and drags through heavy, insistent bass tones and cracking vocals to reach a quiet end in a dreary, repeated piano melody (much like certain tracks from _The Downward Spiral_). The air clears and Spacetime Continuum adds a track that is less a remix of "The Perfect Drug" than an original composition--an ambient techno tune - with occasional vocals from said song. Still, it is a nice break from the brain-scraping before the Orb's bubbly, scary, acid-infected dub swing provides a perfect ending, distorting the usual air of sonic stoicism and precision accompanying most work associated with NIN, and highlighting what seems to be a musical, chronological progression of the mind - appropriate to the title - from the grounded motion of the beginning to the skies, through space, and drifting to the brink of insanity. But beyond the allusion to a physical-mental journey, and more important, is the suggestion of an emotional journey. For instance, in the midst of the intensity of the Plug mix, at a key moment, the original guitar or piano riffs appear as a conveyance of sadness and lethargy, as Reznor sings "take me with you" over and over again. Although this disc features a stylistic variety of skilled remixers, far less overdriven guitar than previous NIN material, and a slightly more electronic aural quality, it is no less in keeping with NIN's standard of truth-telling mixed with fantasy, spotless mechanics of composition, and relentless intrusion of the psyche. What makes Nine Inch Nails and associated projects (such as _"The Perfect Drug" Versions_) so exceptional is their inability to be defined in terms of genre. While the disc certainly emphasizes electronics more than previous releases, it is hardly a transition to drum-and-bass as several uninformed, uninterested critics have already proclaimed on the basis of the original single version. With the aid of the remixers, _"The Perfect Drug" Versions_ is an amazing testament to Nine Inch Nails' innovation; Reznor still maintains creative integrity despite his sudden popularity. In short: it will be more than a little awkward to see NIN's new material alongside other "alternative" radio favorites, especially if it is anything like this. --- REVIEW: Bis, _The New Transistor Heroes_ (Grand Royal) - Bob Gajarsky The first unsigned band to be featured on Britain's Top of the Pops, Scotland's Bis have endured a lot of hype throughout their career. British tabloids such as NME and Melody Maker trumpeted their arrival on the music scene in a fashion usually reserved for bands on the way out before their second single ever hits the stores. But, defying the odds, Bis have not only released their debut full length album, _The New Transistor Heroes_, but have succeeded in living up to the hype and accolades. _The New Transistor Heroes_, released on the Beastie Boys ultra-cool Grand Royal imprint, is a wild joyride combining the original party fever of the "Rock Lobster"-era B52s with the breakneck pace which was a constant with the Sex Pistols, the Ramones and other bands crucial to the punk movement. Too wild to be pop, too organized to be truly punk, Bis combine the two genres with an experience which belies their youth. Though Sci-Fi Steven, John Disco and Manda Rin have superhero names, the songs are firmly down to earth. "Tell It To The Kids" is the punk equivalent of Republica's "Ready To Go", while I'll dare you to stand still during "Everybody Thinks They're Going To Get Theirs" or "Sweet Shop Avengers. The eighteen tracks might blend together a bit, but there's enough standouts here to generate repeated listens. The Teen-C generation, as the gen which Bis are a part of, offer hope that the future of fast-paced party punk songs will continue. There's a certain bit of irony in that the band - who are between the ages of 19 and 21 - weren't even born when the punk movement was getting started. Yet they wave the flag strongly today... --- REVIEW: Paul McCartney, _Flaming Pie_ (Capitol/MPL Records) - Al Muzer Not quite the obvious masterpiece many had hoped for, the cutest old (55) Beatle's umpteenth album since that group's dissolution shines with a warm, personable, up-front charm similar to that found on his first two solo albums. While the normally heavy hand of co-producer Jeff Lynne makes itself felt on the eight tracks he contributes to (dig the nod to "Don't Bring Me Down" on "Flaming Pie"), the former ELO frontman is surprisingly tasteful in his efforts to bring McCartney's vocals into the front of the mix while he adds a crisp, almost dramatic instrumental sound to excellent returns-to-form such as the moving look back ("The Song We Were Singing") that starts the album; a brilliant bit of Nick Lowe-caliber pop ("The World Tonight"); a low-key, "Messin' With The Kid" knockabout jam with a bit of "Emotional Rescue"-era Stones vocalizing, a great Byrds-like 12-string riff and Ringo Starr on drums ("Really Love You"); and "Souvenir," which cops a minor "I Want You (She's So Heavy)" groove. With Macca self-producing "Some Days" (a beautiful "For No One" update), "Used To Be Bad" (which sounds like a Steve Miller track), Young Boy" and "If You Wanna" (both written with Steve Miller and easily the best songs on the record) and George Martin co-producing "Calico Skies" (which was recorded in 1992 but sounds as if it was waxed during the same session that produced "Blackbird") and "Great Day," which was written in the mid-'70s - there are no shortage of fab-like highlights (relax fans, Paul even tosses in a "luv" on "Somedays") here for those who grew up with McCartney. What may surprise more than a few folks, however, is the fact that there's more than enough vitality, playfulness, excitement, emotion, honesty and fun contained in these 14 tracks to still qualify McCartney as a relevant recording artist while also making him one of the few members of his peer group in recent memory to actually produce something worth hearing. --- REVIEW: Beth Orton, _Trailer Park_ (Dedicated/Heavenly) - Patrick Carmosino Couldn't think of a much tastier way for top UK indie Heavenly Records to make its official US debut than with this gem. Beth Orton's vocals have previously graced efforts from such electronica boffos as the Chemical Brothers and Red Snapper. This solo effort finds a basic trio of stand-up bass (played by the Snapper's Ali Friend), acoustic guitar and Orton's airy vocals occasionally visited by drums, violin, cello and keyboard, that dynamically veer around sounds you have and haven't heard before. Or, in silly critic talk, think Bobby Gentry finding film noir and yearning to her liking. There are songs here such as "Live As You Dream", "Sugar Boy" and "Whenever" which update, in a very comforting way, a certain subtle early 70's singer/songwriter style that brings to mind early Carly Simon or prime Carole King. In fact despite her youth and her current cool placement in the British electronica scene, Orton reveals some of the sources she draws on, on the Ronettes' classic "I Wish I Never Saw The Sunshine". Here she brings out as much emotion with voice and acoustic guitar as the Spector wall of sound did many moons ago. "Tangent" and the ten-minute opus "Galaxy Of Emptiness" brings the world of acoustic, down-tempo trip hop to the edge...oh the wonderful sounds that a stand-up bass can make. Dealing with this low-key project is nothing new to producer Victor Van Vugt (Tindersticks, Nick Cave), who gives the basic sound plenty of room to breathe and roam with a dubby elegance to boot. Andrew Weatherall (Primal Scream, Happy Mondays, Slab) comes in on the trippier tracks to refine their sheen. Beth Orton draws on international cultural knowledge (I mean fer fuck's sake, given the title of the album, I find it fascinating that someone who probably hasn't seen the Jenny Jones show, has that much interest in American trash culture), intelligent, pretty steadfast lyrics and an eye on a cutting-edge sound to make _Trailer Park_ a fine debut effort to sink into as the long hot summer passes you by. --- REVIEW: Hanson, _Middle of Nowhere_ (Mercury) - Bob Gajarsky Ah, to be young and famous... By now, the story of Hanson - three songs of oil financier Walker Hanson who have catapulted to fame, fortune, and countless television exposure - has been heard by music fans throughout the globe. The deeper question is: what does their major label debut album, _Middle of Nowhere_, offer? The first single, "Mmmbop", has already hit the top of the charts. The irresistible hook of this song will immediately send you referencing towards those Jackson 5 songs, whether towards their cover of "Rockin' Robin" or "I Want You Back". However, while Motown guided the careers of Michael and his brothers - and the Jacksons could only sing - these three siblings form a harmonizing group who not only write their own songs, but also play their own instruments. So, 11 year old Zac is sitting back, playing the drums - not at the level of a Vinnie Colaiuta, but competently enough. And with the Dust Brothers contributing production efforts, even with a nonsensical refrain, this will be one of the top singles of the year. Hanson is no one-hit wonder. Assisting in the writing of their songs are some of the most prominent names in the business - Barry Mann and Cynthia Weil, as well as Desmond Child - to put the finishing touches on this threesome's work. "Where's The Love" is an obvious followup single likely to duplicate the top-of-the-charts success of "Mmmbop", but it's not all a one trick pony. The bonus track "Man From Milwaukee" is a tale of a homeless man set to a pop backing, "Speechless" owes an awful lot to the Beatles' "Come Together" and "Madeline" steals some ideas from the Jackson 5's "ABC". The ballads such as "Weird", "Lucy" and "I Will Come To You" don't do anything for me, but are guaranteed to make the pre-pubescent girls swoon. "Yearbook" could be a hidden smash as well, of a schoolmate who is no longer with them. Where will Hanson go from here? Possibly down the road of power pop; the track "A Minute Without You" foregoes the usual lead vocals of Taylor Hanson for the older, more mature voice of brother Isaac. The switch is quite effective and is the song most likely to click with folks who don't want to engage in flashbacks to Motown and bubblegum pop, although it doesn't depart much from the path which Hanson are walking. Michael Jackson was once a child prodigy, turned into the self proclaimed King of Pop, and many would now say that the letter "o" should be added to that title. The gloved one would do fine to take a listen to _Middle of Nowhere_ to hear what pop really sounds like. Guaranteed to be on the top of the charts for a long time in 1997. --- REVIEW: Mighty Mighty Bosstones, _Let's Face It_ (Mercury) - Sean Eric McGill The Mighty Mighty Bosstones really don't fit into any easy categorizations. Even with the rash of ska-ish bands currently permeating the music scene, they still seem outside of all of it. Part of it may be because they've been around longer than most of their now-popular genremates. They're a lot like the kid who decided to have a party, then didn't really seem to want to join in. Which is not to say that their new album, _Let's Face It_, isn't enjoyable - it is. While 1993's _Don't Know How to Party_ proved to be an ironic title (most of the songs were basically party songs in musical style and more often than not lyrical content), and 1995's _Question the Answers_ put more of a serious lyrical attitude to the Bosstones' style, _Let's Face It_ bridges the gap and emerges as the band's best release to date. Your first indication that something is a bit different is the vocals of Dicky Barrett. On the earlier releases, Barrett's came off like Henry Rollins in plaid - either he was screaming the lyrics, or on the verge of it. On _Let's Face It_, however, he actually sings - and sings well. Songs like "The Impression That I Get" (featured on a benefit album and in the film Chasing Amy) and "Another Drinking Song" show off Barrett's new vocal stylings especially well. The album is a quick listen, with twelve songs that clock in at under forty minutes in the best punk/ska tradition (the longest, "Another Drinking Song" comes in at just under a whopping four minutes). The arrangements are tight, the lyrics fluid, and when it's time for a song to end, the band does just that, instead of grandstanding. Of course, this is perhaps in response to the sheer size of the band - seven members in all, including a dancer - which would make grandstanding seem to be a lost cause. This leaves you never being overwhelmed by the size of the band because the music all flows so naturally. I've heard cover bands try to do Bosstones tunes without the horns and with keyboards filling in the horn parts, and both times it has seemed phony. The musicians which make up the Mighty Mighty Bosstones are a unique unit. And while their style and sound may now be acceptable in musical circles (thanks to bands like No Doubt), it would do us all well to check them out. --- REVIEW: Mojo Nixon, _Gadzooks!_ (Needletime) - Tim Hulszier Mojo Nixon has paid his dues. For more than 10 years, he has been releasing albums that garnered him plenty of popular acclaim and some good critical notice, but not the greatest record sales. He has also built up a pretty hefty fan base, particularly in college radio stations where his music has met with the most airplay. His early albums with Skid Roper and without (self titled, _Frenzy_, _Get Out Of My Way!_, and _Bo-Day-Shus!!!_) depict a portrait of a man at war with popular culture while living day to day in the confines of an MTV reality. It's no accident that his song "Stuffin' Martha's Muffin" is all about that Neutrogena pitchwoman herself, MTV alumnus Martha Quinn. Mojo has had one eye (heh heh) cocked (double heh heh), casting a baleful glance at the idiosyncracies of living in the U.S.A. His lyrics have always mixed up the clever with the absurd, and his sense of satire is always in attendance. He has sung about tabloid topics ("The Amazing Bigfoot Diet", "Elvis Is Everywhere", etc.), government ("I Ain't Gonna Piss In No Jar", etc.) and of course, Christmas (the must-own album, _Horny Holidays_). Mojo has spread the word as well, playing dates in the far corners of the world and right here in that BBQ you had last summer in the backyard. He is a man of the people who knows that the best way to say something is the direct way. Thus, he has told us that "Don Henley Must Die", something we probably already knew in our hearts, but which we were no less the wiser from hearing it from the prophet's lips. What remains? After dozens of records that skewered the stupidity of McDonald's and the presidency, what should the Man do for an encore? Why, release the rarities of course! As 1997 dawned, Mojo Nixon released the hounds on an unsuspecting populace, and _Gadzooks!!!_ was born. The latest CD is subtitled "The Homemade Bootleg", and it comprises unreleased stuff, compilation tracks, and some amazing album leftovers. It starts off Mojo enough, with the truck-driving classic "UFO's, Big Rigs, & BBQ", recorded with the World Famous Blue Jays. Next up is a modern-day classic, "Bring Me The Head of David Geffen" ('Why David Geffen? Because he brought back Aerosmith and the Eagles, that's why!'). Oh my, seldom has vitriol sounded so sweet. Third on the album is "I Like Marijuana" from the compilation a few years back called _Marijuana's Greatest Hits Revisited_. The rest of the album continues on in fine Mojo Nixon tradition, with a funky vibe that sometimes includes an accordion. Included on the album is even Mojo's earliest song recorded, "Death Row Blues", and plenty of songs about liquor. Hearing is believing. So now Mojo Nixon has done it all. He's given us an album of holiday classics and radical interpretations, he's made several albums that defined college radio in the 80's and 90's, he's vented his spleen on every subject that's near and dear to a trailer family's life, and he has released his rarest gems for public consumption. Should we want more? Can he possibly have anymore to say? Hell yes! Here's a hearty slap on the back for Mojo, and a wish for many more albums and live dates to come. His songs go down smoother than "two toads fornicating in a bucket of mucous membrane", and they say something to boot. Elvis may be everywhere, but Mr. Nixon is the real King of rock'n'roll. --- REVIEW: Soundtrack, _Grosse Pointe Blank_ (London) / Soundtrack, _Romy and Michele's High School Reunion_ (Hollywood) - Joann D. Ball These days, one doesn't have to have a good memory to remember the music of the 1980s. All one has to do is turn on the local commercial "alternative" radio station for an 80s flashback, or pop into the nearest record store for an 80s compilation of some sort. Obviously, there's much money in old school memories and it was only a matter of time before Hollywood film producers cashed in on the trend. At long last, reunion movies for those of us who came of age with John Hughes films and the Brat Pack in the form of _Grosse Pointe Blank_ and _Romy and Michele's High School Reunion_. Both were released earlier this Spring, and although they both feature a 10 year high school reunion, they are as similar as night and day. The Class of 1986 can accompany John Cusack back to his old school and old flame in _Grosse Pointe Blank_. And the Class of 1987 is invited to join Mira Sorvino and her friend Lisa Kudrow as they make a fashion statement in _Romy and Michele's High School Reunion_. Since these movies about twentysomethings would be incomplete without lots of music, each has a soundtrack which captures the essence of the back to the future experiences featured therein. The plot of Cusack using his 10th reunion to rethink his job as professional hitman is more a comment on the human condition than a chronology of decade specific events. Thus, the 13 tracks tracks on the _Grosse Pointe Blank_ soundtrack are thematically relevant without regard to actual release date. The collection opens with the original version of the crafty "Blister in the Sun," and includes the blissful "I Can See Clearly Now" and smart "Absolute Beginners." The recurring theme of pressure surfaces here on "Under Pressure" and "Pressure Drop." And a slower, more introspective version of "Let My Love Open the Door" is followed by an acid jazz tinged update of the opening track, which is renamed "Blister 2000." Contrast the thinking man's _Grosse Pointe Blank_ with the bubbleheaded bleach blonde silliness of _Romy and Michele's High School Reunion_. While The Clash appears twice on the former soundtrack, two songs by The Go-Go's and Belinda Carlisle's "Heaven Is A Place on Earth" take center stage on this celebration of young womanhood. Flashbacks are prominently featured in the movie, and the soundtrack includes such 80's no-brainers as "I Want Candy," Venus," "Turning Japanese," and "Dance Hall Days." The only misfit on this 11 track "remember when" adventure is The Smithereens' "Blood and Roses," which seems too advanced to be in such company. Like the main movie characters, the soundtracks from _Grosse Pointe Blank_ and _Romy and Michele's High School Reunion_ succeed in what they set out to do. The former takes life and music seriously while the latter celebrates adult silliness and musical youth. But that's precisely the bizarre coexistence that made high school and the music of the 1980s so special. So, whether you're preparing for your own 10th reunion or just having a get together with friends, just put both soundtracks in the cd changer, hit random and let the music play! TRACK LISTING: _Grosse Pointe Blank_ Blister in the Sun - Violent Femmes, Rudie Can't Fail - The Clash, Mirror in the Bathroom - The English Beat, Under Pressure - David Bowie and Queen, I Can See Clearly Now - Johnny Nash, Live & Let Die - Guns & Roses, We Care A Lot - Faith No More, Pressure Drop - The Specials, Absolute Beginners - The Jam, Armagideon Time - The Clash, El Matador - Los Fabulosos Cadillacs, Let My Love Open the Door - Pete Townshend, Blister 2000 - Violent Femmes TRACK LISTING: _Romy and Michele's High School Reunion_ Our Lips Are Sealed - The Go-Go's, Venus - Bananarama, (There's) Always Something There to Remind Me - Naked Eyes, Dance Hall Days - Wang Chung, Turning Japanese - The Vapors, Blood and Roses - The Smithereens, Karma Chameleon - Culture Club, I Want Candy - Bow Wow Wow, Everybody Wants to Rule the World - Tears for Fears, Heaven Is A Place on Earth - Belinda Carlisle, We Got the Beat - The Go-Go's --- INTERVIEW: Tonic - Al Muzer Yet another shining example of the return of good, melody-based songwriting and deep, thoughtful lyrics that come straight from the heart; the success of Tonic's 12-song Polydor Records debut, _Lemon Parade_, really shouldn't come as too much of a surprise. With the first single, "Open Up Your Eyes" holding its own in the Billboard Rock Radio Top 10 charts for more than 25 weeks; the second single, "If You Could Only See," threatening to surpass those figures on the Alternative, Rock Radio and AAA charts; and the album itself netting the group Billboard's top New Alternative Artist title two weeks in a row while rocketing up the magazine's Top 200 charts - _Lemon Parade_ has already been named to year end Top 10 lists by several critics and should reach a sales figure far beyond the wildest childhood dreams of singer/guitarist Emerson Hart. Formed in Los Angeles by Hart and New York guitarist Jeff Russo with bassist Dan Rothchild (son of the fabled Doors producer) and native Californian Kevin Shepard on drums; Tonic began sharing the bill at the Kibbutz Room in Canter's Deli with the then up-and-coming Wallflowers not long after Russo walked into an L.A. pool hall where Hart was working one afternoon in 1993. Practicing constantly and playing at just about any club that would let them, the band plastered the town with flyers, recorded a few demos and wound up with a six month-long Sunday night gig at the Mint that eventually drew the attention of A&R representatives from a slew of major labels. Deciding to cast their fate with Polydor, the group hit the studio in 1995 and spent the next seven months writing and recording what would become _Lemon Parade_. Released in the summer of '96, the opening track, "Open Up Your Eyes," immediately began receiving airplay and Tonic soon found themselves supporting Semisonic on a national tour that segued into another North American trek opening for Dishwalla and The Refreshments. Returning to L.A. for a short break that found them with barely enough time to do their laundry and throw out the spoiled milk and moldy Chinese take-out festering in their refrigerators; Rothchild left the band under friendly circumstances and was replaced by Jersey boy Dan Lavery, videos were shot, the tour bus was gassed up, the beer cooler was replenished - and Tonic hit the road with The Verve Pipe for yet another chapter in their seemingly endless "see all of America" tour. In the midst of that tour, Hart spent some time answering a few questions... C: It seems as if Tonic has been on tour almost non-stop since the album was released - do you enjoy life on the road? Has the grind begun paying off for you as far as crowds and a fan base goes? Hart: Oh yeah. Our label and manager are both really behind the idea of us touring as hard as we have been - and so are we. When we were first signed we told them, 'We don't care what clubs we do or what tour we're on, just get us out on the road.' We've been touring almost non-stop for about a year now. I think I might've had, maybe, four weeks off total over the last year and most of those days off still had something to do with the record. You know interviews, photo shoots, video shoots, breaking in a new bassist. It's all been worth it, though. We're really trying to build up our fan base and get people involved in the band because we're not just thinking about this one record, we're in this for the long haul. It's not just about one song for us. It's about writing and recording as many good songs - and as many shitty ones [laughs], as we can. When we started out it was like, 'Tonic, taking America three people at a time.' But the hard work seems to be paying off, I think, because each time we come through parts of the country we've played before, we see more and more people out there in the crowd who're obviously there for us. C: Tonic was signed in late-1994/early-1995, right? The group's sound isn't really typical of what's commercially popular now, and it certainly wasn't what was popular at the time you landed the deal - did you have trouble attracting labels at first? H: Oh, yeah. We definitely weren't in the running for any of the 'big bidders' because we really weren't what was happening commercially at the time. Our A&R rep at Polydor [Tom Storms] was, thankfully, totally behind us and totally into what we're doing musically. We were even a little surprised by his interest at first, [laughs] but he was like, 'Look, it's good songwriting and that's what we're into, that's what we want.' C: That's one of the first things that grabbed me about the album as well - the songwriting on_ Lemon Parade_ really is top notch. So much of what's popular these days seems to be little more than sound-bites thrown over a cool riff whereas with Tonic... H: I do like to draw from my Irish heritage when I write. You know, we're constantly being called a 'guitar' band and are often compared to, like, Led Zeppelin or Boston by music critics, which is cool, I guess. I think that's just the fact that critics need to put a label on something or offer something to their readers as a basis for comparison. I mean, sure I listened to those bands when I was a kid, but I also listened to bands like the Cars as well, you know? We are what we are, we're into melody and we're into songs. I always hoped there would be a few people who liked the record, who understood where we were coming from - but I didn't expect it to do this well. C: What's it like for you to be featured in the music magazines and on the video channel you grew up devouring? H: It's really hard to say yet. On one hand you're like 'Hey, wow, that's me!' and you're pretty excited about it all. After a while though, it's kind'a like, 'Wow! I look really ugly in that photo.' The whole MTV thing is fairly strange as well. I mean, I understand the need for a good video, you know? But it's really weird seeing myself up there on television. I'm like, 'Oh my God! I look like such a dork.' You kind'a get used to seeing yourself - but we try our best not to dwell on the magazine and TV stuff because we don't want that to effect us as a band. We don't want all that to distract us from what we're trying to do and have always tried to do, as a band - which is simply to make music that we believe in. --- REVIEW: Material Issue, _Telecommando Americano_ (Rykodisc) - Bob Gajarsky With only one album hitting Billboard's album chart, a music fan could be excused for not following the career of Material Issue closely or knowing their significance in the rock and pop scene. But to those people who witnessed Material Issue's Jim Ellison in his natural habitat - performing live in concert - Ellison's taking of his own life was nearly a death knell to the breathtaking pop scene which Material Issue was helping to keep alive. After three national releases on Mercury (with _International Pop Overflow_ cracking the top 100), the band and the label severed ties with each other. Ellison expressed his displeasure with his then-label's lack of promotion in a 1994 issue with Consumable while on tour for the band's final Mercury album, _Freak City Soundtrack_. Yet just three years earlier, a huge push had been given to the debut, which turned out to be in the wrong place at the wrong time. So, rather than dwell on what could have been and why, it's time to focus on Rykodisc saving the remnants of the posthumous (and final) Material Issue album, _Telecommando Americano_. The opening "Satellite" recalls all the reasons why Material Issue's fans couldn't seem to get enough - electrifying guitars, simple yet catchy lyrics, and hooks that leave you humming and coming back for more. Ellison, who usually wrote about cars and girls, continues the tradition on the guitar-exchange filled "What If I Killed Your Boyfriend". This time, however, he doesn't lament of a past love, or how some guys get all the breaks; now Ellison wonders 'What if I killed your boyfriend...What if I shot him down...maybe then you'd want me around.' Just slightly off-kilter for a love song, but then again, Material Issue didn't always produce the expected results. "2 Steps" is an updated version of their own "Chance Of A Lifetime", while "Young American Freak" contains a guitar riff just slightly higher than the Jam on "Start". And "Carousel" is just pure bliss. Sure, the Ramones meets Cheap Trick sound of the band is still there, but _Telecommando_ ultimately witnesses the Chicago band retaining their pop roots while reverting to more of a garage band sound. As a final bonus, Material Issue's 1987 six song EP is tacked on to the end of _Telecommando Americano_. Although "16 Tambourines" was not included on this EP (and still remains a key find in the collection of any M.I. completist), most fans can now have the initial pre-Mercury Ish releases that helped get the band signed in the first place. As if to demonstrate the quality of those songs, three of the six tracks - "She's Going Through My Head", "Chance of a Lifetime" and the E.L.O.ish "Very Good Thing" - eventually wound up on the band's first three albums. With this release, we close the door on Material Issue, with a look back at what had been, and a glimpse forward to what might have been. Jim Ellison, you're sorely missed. --- REVIEW: Veruca Salt, _Eight Arms to Hold You_ (Outpost) - Eric Hsu "I told you about the Seether before..." goes the middle section of "Volcano Girls", "Here's another clue if you please... the Seether's Louise!" Throw in the Beatles reference in the title, and I took it as a sign that the band was going to take advantage of their initial success and explore musical frontiers. They had a hit with "Seether" by combining a grungy wall of fuzzy guitars with aggressive girl-group harmonies. And in fact there are a number of rewarding songs, especially when they submerge the cliche grunge guitar and concentrate on the poppy catchiness and sharp harmonies: "Awesome" has a beautiful melody and striking chorus harmony, and "One Last Time" has yelling and dissonance that conveys an actual emotion. Throughtout there is some play with sound, some flange, some slide guitar, some undistorted guitar, whispering, some backwards guitar: at least an attempt at atmosphere, which is unfortunately lost under the dual distorted guitars playing in unison. The grunge sound and the constant harmonies (admittedly sharp) give the entire record an undistinctive homogeneous feel. You hear little hooks rising up, fighting against the fuzz, and some occasionally stick in your head. But it's surrounded with a number of more average songs harder to like, whose real but less powerful charms are crushed under the waves of fuzz. In fact, it's the use of fuzzed up guitars on the quieter songs that does the most damage to the album listening experience, because it really locks in the feeling of sameness. It's distracting at best, numbing at worst. By the time you hit the last song, "Earthcrosser", which begins with soft guitar and quiet vocals, you hold out a little hope that the inevitable wall of guitars won't pile in, and when they do double volume, it almost sounds like a joke. The first three songs use a metal-heavy sound on what are actually pretty good songs whose subtleties are somewhat buried in the heavy-handed arrangement. "Straight" is actually about wanting a boyfriend to stay straight, but at maximum volume it just sounds like an anonymous sneer. "Volcano Girls" also survives this treatment, and "Don't Make Me Prove It" makes it too (barely), but the sequence is a little tiring. I can see that they might want to avoid the trap of becoming tame acceptable female product, but their strengths unfortunately are towards the pop end and not the heavy end. There's plenty of room between this record and pop fluff: it's like finding the line between expressing a furious and real anger and incoherent screaming. This record reminds me of Nirvana's _In Utero_, on which Kurt Cobain felt like he had to adhere to the soft-loud grunge formula he pioneered. His next record was to be acoustic and more like the _Unplugged_ segment. In some way I hope Veruca Salt's next record is unplugged. They have lyrics that aren't trivial, and a real flair for short, sharp, catchy pop songs with the occasional killer harmony. But the sound they've adopted really detracts from their many positives, and I come away from this record feeling exhausted and regret for wasted melodies and songs. So, if you still like the grunge sound, you may like this record better than I did. The second side is significantly weaker than the first. The first five songs are the best, so sample those in your local record store, and don't miss the sparkling "Awesome". --- REVIEW: Tuatara, _Breaking the Ethers_ (Epic) - Joe Silva It's usually a fairly suspect proposition when a clutch of various rock folk decide to commit their otherwise idle time to tape. But Tuatara's maiden release may gain back some of the respectability lost to the years when the supergroup devolved into...well, Asia for instance. Longstanding pals Barrett Martin and Justin Harwood (of Screaming Trees and Luna, respectively) extended invitations to left-coast, multi-instrumentalist Skerik and full-fledged rock God Pete Buck to add their sentiments to various tracks for a side project. Coalescing into a four piece over a year, each member was able to parcel out time between day jobs to seeing _Breaking The Ethers_ to a common birthing. Where Tuatara delivers in just under an hour's time is fully-baked vision of modern musical aestheticisms couched in old world flavours and smooth melodies. It's what you might drop into the CD player after the evening's bout of hardcore lounge has seen you through your first sheaf of cocktails and there's a requirement for something of similar audio depth but with decidedly more sonic intrigue. Laced with everything from elegant marimba lines and free-flowing exotica like the udu, tabla, and a Taos thunder drum (!!), a major opportunity for monotonous wanking over a faux world-music premise is actually wrestled into a sound and experimental tryst amongst earnest musicians. Skerik's sax lines and Harwood's upright bass give much of the material its twentieth century footing, while Martin's percussion and various other flavourings (cello, tibetan horns, congas) are the true font of the Tuatara vibe. The spaces left for Buck to protrude from are not as obvious as the rabid R.E.M.-fan might hope for, but six-string bass and slide guitar contributions ("Land of Apples") once again shows the breadth of his sensibilities and how easily he can morph skills as need be. Also seen onboard are Pearl Jam-mer Mike McCready trading opposing guitar passages with Buck, Young Fresh Fellow Scott McCaughey adding steel drum ("Eastern Star"), and some fantastic bass penny whistle brought in by Los Lobos-man Steve Berlin ("Saturday Night Church"). Not ostentatiously fashioned for the widespread consumption like other "supergroup" outings, Tuatara manage to keep their respectability about them while prancing gingerly through the world music garden. Together they kick up a bit of smart mystique for those who occasionally tire of the 4/4 dominion. --- REVIEW: Orbit, _Libido Speedway_ (A&M) - Scott Slonaker An initial description of _Libido Speedway_ as an 'archetypal Replacements/Pixies neo-tribute channeled through the modern four-lane highway of post-Nirvana guitar-rock' is likely to turn off this piece's more musically adventurous readers. Still, read on. Orbit's approach and attitude injects some kick into an overly well-represented genre. Miscellaneous, confused garage chatter and an abortive attempt at a guitar riff begin "Yeah", the album's first track, but the simple, driving step-rhythm and rattletrap vocals are nevertheless endearing. Singer Jeff Lowe Robbins eventually reveals himself to sound a lot like Paul Westerberg minus the whiskey rasp (in other words, the Goo Goo Dolls' Johnny Rzeznik). This is evidenced in the now-traditional soft-loud (and also very radio- hooky) arrangements of "Bicycle Song". Drummer Paul Buckley and bassist Wally Gagel are both fluid and rock-solid, and the band's own clean, polished production leave everything easily palatable to the ear without squashing effect. "Medicine (Baby Come Back)", the first single, updates Better Than Ezra's "Good", adding some blistering guitar crunch and subtracting the cheesy 'Uh-oh!' (In other words, a well-deserved, if familiar, radio hit.) Interesting fuzzed-out bass distortion and clean, Afghan Whigs-ish guitar leads drive "Wake Up". (A tad like a grunge-rock remake of "Roxanne" might be a good parallel.) "Amp" revisits the fast-loud fun of "Yeah", with Robbins doing his best raw-throat punk posturing. "Rockets" strikes a compromise between the pop contours of "Medicine" and the garage grime of "Amp". The endearing thing about _Libido Speedway_ is the sense of fun it carries. Normally, one would expect the lyrical accompaniments to such musical patterns to be self-obsessed, semi-therapeutic, oblique teenage poetry. Not so for Orbit. 'We're gonna drive tonight! Oh, yeah!' exhorts Robbins in "Motorama", a rollicking, careening romp through Stoogedom (as in Iggy and the). 'Don't know why you won't dance with me,' he wonders in "Why You Won't." Sensitivity also occasionally peeks through the Bachman-Teenage Overdrive, as evidenced in "Medicine" ('She's a car broken down on the highway/She's a good little girl, but her daddy don't know.') But, for the most part, cars and girls are the common lyrical themes, even managing to reign prominently without resorting to overheated, AC/DC panting or macho, Jon Spencer-like posing. So, while Orbit does not sonically distinguish themselves (initially, at least) from acts such as Everclear and the Foo Fighters, do not discount them as copycats. On _Libido Speedway_, Orbit more than prove themselves worthy of their own recognition. --- REVIEW: Deadsy, _Deadsy_ (Sire) - Stephen Lin Wow, where to begin on this one? I must say that Deadsy virtually sounds like nothing else on the market. However, the individual characteristics of each song could be attached to one influence or another; some current, some dating back fifteen years ago. I'm still not sure how I feel about the drastic blending of similar, yet conflicting styles. The first thing I noticed were the synthesizers used throughout the album. They sound like they were picked up at a yard sale along with an Atari and a Big Wheel. Remember Gary Numan's "Cars?" Same synth-sound. Add to this a healthy portion of big-thick Korn-like fuzz bass. Two cups of early 80s goth (a la Bauhaus and Sisters of Mercy). A dash of Marilyn Manson and Crash Test Dummies vocals. And perhaps, occasionally, a smidge of Bush-esque lead guitar. For one thing, the synths stick out like sore thumbs. But they're terribly nostalgic and almost refreshing in comparison to the daily sludge we often receive from mainstream radio. The drums and percussion are fairly lethargic at times, but perfectly apt for the surrounding layers of music. The droning baritone vocals of Elijah Blue are surprisingly animate considering their eerie and methodical delivery. "The Elements" is the first single off of _Deadsy_. Knowing that it is being geared for College and Alternative radio, I wonder if it has enough mainstream potential for success. The hooks (if they are even hooks) aren't very memorable. It isn't something I could see myself humming in the shower. This is not to say that it isn't a good song; only that in a crowded rotation of hook-oriented alterna-pop, "The Elements" may get lost. The one major gripe I have about the album is that, as a whole, the album has no dynamics. Every song is mixed approximately the same. The vocals are produced the same. The fuzz bass is always ready for more. The Gary Numan synths seemingly never stop wailing over the course of the nine track album. If I had a penny for every song that sounded somewhat the same well, Id have eight cents. The song that stands head and shoulders above all others is "Future Years." It's an epic, ballad-y, depressing song which slowly builds strength over a simple yet absolutely beautifully orchestrated chord progression. "Future Years" has such a basic structure; the simple progression allows the natural aesthetics of the actually song to shine through the gloom. This song alone makes the album more than worthwhile. --- REVIEW: Stella, _Stella_ (Beggars Banquet) - Al Muzer "California" incorporates lots'a Cheap Trick-style energy and rocks in a way Bush merely wish they could while "The Sun" swaggers mightily and features a dramatic, Sonic Youth-like guitar riff plastered to over-the-top vocals. A third track adds a bit of psychedelic Beatle-fuzz to the proceedings, while "Azure" is a haunting, Radiohead-caliber acoustic ballad and yet another reason to rush out and pick up this Nashville by way of Charlotte, NC four piece's debut. --- NEWS: > Although still officially missing, it is believed that Jeff Buckley has drowned last Thursday evening in a Memphis, Tennessee marina. Memphis authorities believe that an undertow caused by passing boats swept Jeff away from his original location and, ultimately, underwater. > On June 6 at 8 pm, six New York City performers - Brenda Kahn, Agnelli & Rave, Bianca Bob, George Usher, Kirk Kelly and Gene & Mimi - will be performing acoustic music at that city's Sidewalk Cafe at a free concert for Rock For Rent. Proceeds & donations benefit The NYS Tenants & Neighbors Coalition, a leading tenant advocacy group fighting to preserve rent laws for all New Yorkers. > Former Stone Roses lead singer Ian Brown is at work on his solo debut album, tentatively titled _Under The Pavement At The Beach_. Other ex-Roses, bassist Mani and drummer Reni, are expected to contribute to several of the tracks. > Spearhead has gone on the web with a site inspired by the film Willy Wonka and the Chocolate Factory. 'Michael Franti and the Spearhead Factory' covers not only Franti's music, but social issues close to his heart. The site is located at http://hollywoodandvine.com/spearhead > Steve Winwood will be performing a live concert at the Los Angeles Sunset Boulevard Virgin Megastore on June 8 at 6 pm PST. The concert will also be broadcast live over the Internet at http://www.liveconcerts.com --- TOUR DATES: Buck-O-Nine Jun. 8 Charlotte, NC Fat City Jun. 10 Dallas, TX Orbit Room Jun. 11 Austin, TX Emo's Jun. 12 Houston, TX Fitzgerald's Camber Jun. 12 Hoboken, NJ Zell's Cellophane Jun. 8 San Francisco, CA Pier 32 (ESPN Extreme Games) Cheap Trick Jun. 8 Baltimore, MD Bohager's Jun. 10 Scranton, PA Tinks Jun. 11 Pittsburgh, PA Metropol Cravin' Melon Jun. 12 Greenville, SC Characters Mary Ann Farley Jun. 11 New York, NY Hotel Galvez Five For Fighting Jun. 10 Cambridge, MA Middle East Jun. 11 New London, CT El N Gee Jun. 12 Washington, DC Bayou Fluffy Jun. 5 Seattle, WA Crocodile Cafe Jun. 6 Portland, OR EJ's Jun. 8 San Francisco, CA Pier 32 Jun. 11 San Diego, CA Casbah Jun. 12 Tempe, AZ Gibson's Indigo Girls Jun. 12 Cuyahoga Falls, OH Blossom Music Center Rickie Lee Jones Jun. 9 Santa Cruz, CA Catalyst Jun. 10 San Francisco, CA Fillmore Jun. 12 Seattle, WA Showbox Wayne Kramer Jun. 10 Austin, TX Electric Lounge Jun. 11 Houston, TX Fitzgerald's Jun. 12 New Orleans, LA Howlin Wolf Matchbox 20 Jun. 3 Atlantic City, NJ Hard Rock Jun. 4 Sea Bright, NJ Tradewinds Jun. 5 Washington, DC 930 Club Jun. 6 Roanoke, VA Valley Country Jun. 7 New York, NY McGathy Convention Jun. 8 Boston, MA Great Woods Jun. 10 Columbus, OH Ludlow's Jun. 11 Cincinnati, OH Yoatsman Cove Moxy Fruvous Jun. 12 Baltimore, MD Bohagers (w/ Billy Bragg) My Life With The Thrill Kill Kult Jun. 10 Denver, CO The Ogden Ozzfest (Ozzy Osbourne / Type O Negative / Machine Head / more) Jun. 8 Philadelphia, PA Blockbuster Entertainment Center Jun. 10 St. Louis, MO Riverport Jun. 12 Detroit, MI Pine Knob Iggy Pop June 10 Pittsburgh, PA Starlake Q-South Jun. 5 Asbury Park, NJ Saint Sevendust Jun. 10 Pittsburgh, PA Three Rivers Stadium Silver Jet Jun. 4 San Antonio, TX Sneakers Jun. 6 Dallas, TX Deep Ellum Jun. 7 Austin, TX Liberty Lunch Jun. 8 Houston, TX Numbers Jun. 10 Memphis, TN Six-One-Six Jun. 11 New Orleans, LA House of Blues Skeleton Key Jun. 4 Portland, ME Zootz Jun. 5 Cambridge, MA Middle East Jun. 6 Providence, RI Met Cafe Jun. 8 Portchester, NH 7 Willow St. Jun. 12 Asbury Park, NJ The Saint Todd Snider Jun. 12 Put In Bay, OH The Boathouse Space Jun. 3 Detroit, MI Shelter Jun. 4 Chicago, IL Metro Jun. 6 Denver, CO Bluebird Jun. 9 Vancouver, BC Starfish ROom Jun. 10 Seattle, WA Moe Jun. 11 Portland, OR La Luna Spearhead / 311 Jun. 10 Seattle, WA Showbox Jun. 11 Vancouver, BC Rage Jun. 12 Portland, OR La Luna Jun. 13 San Francisco, CA Maritime Hall Third Eye Blind / Coward Jun. 4 New York, NY Westbeth Theatre U2 Jun. 8 Philadelphia, PA Franklin Field Jun. 12 Winnipeg, MN Winnepeg Stadium Vallejo Jun. 8 San Francisco, CA Pier 32 Jun. 12 Tahoe City, CA Humpty's Lake Tahoe Vasen Jun. 8 Monterey, CA Fairgrounds World One Festival Jun. 11 Seattle, WA Tractor Tavern --- 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 ===