==== ISSUE 137 ==== CONSUMABLE ======== [March 4, 1998] Editor: Bob Gajarsky Internet: gaj@westnet.com Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Al Muzer, Joe Silva, Lang Whitaker Correspondents: Tracey Bleile, Lee Graham Bridges, Thomas Brown, Scott Byron, Jason Cahill, Patrick Carmosino, Arabelle Clauson, Krisjanis Gale, Eric Hsu, Tim Hulsizer, Robin Lapid, Scott Miller, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West Technical Staff: Chris Candreva, Dave Pirmann Address all comments, subscriptions, etc. to gaj@westnet.com ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== Help rate Consumable! The Ultimate Magazine Database is allowing people rate their favorite online magazines - go to http://www.DOMINIS.com/cgi-bin/ZineQuery?category=Music&src=catpg&name=Consumable&submit=Search and enter the 'music' area, then go to Consumable to rate us! ================================================================== .------------. | Contents | `------------' REVIEW: 16 Horsepower, _Low Estate_ - Scott Byron REVIEW: Black Grape, _Stupid, Stupid, Stupid_ - Simon West REVIEW: Front 242, _Mut@ge.Mix@ge_ - Lee Graham Bridges REVIEW: Far, _Water & Solutions_ - Jason Cahill REVIEW: Various Artists, _We Are Not Devo_ - Al Muzer REVIEW: David Arnold, _Shaken And Stirred - The James Bond Project_ - Patrick Carmoisno REVIEW: The Posies, _Success_ - Scott A. Miller REVIEW: Talking to Animals, _Manhole_ - Arabella Clauson REVIEW: China Drum, _Self Made Maniac_ - Bob Gajarsky REVIEW: Muckafurgason, _Tossing A Friend_ - Robin Lapid REVIEW: Richie Sambora, _Undiscovered Soul_ - Linda Scott REVIEW: The Wrens, _Abbott_ - Al Muzer REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed & Amplified_ - Daniel Aloi REVIEW: Robert Miles,_23am_ - Thomas Brown NEWS: Billboard Talent Net, Jeff Buckley, Sheryl Crow / Sting, Trent Reznor / Josh Wink TOUR DATES: Better Than Ezra, China Drum, Cravin' Melon, Dakota Moon, Dave's True Story, Dream Theatre, Everclear / Jimmie's Chicken Shack / Feeder, Fatboy Slim, G. Love & Special Sauce / Alana Davis, Goldfinger / Sugar Ray, High Llamas, Irving Plaza, Chantal Kreviazuk, Megadeth, Ziggy Marley & Melody Makers, Princess Superstar, Reel Big Fish / Pilfers / Mr. T Experience Shake Appeal, Third Eye Blind / Smash Mouth / Fat, Tim, Zeke Back Issues of Consumable --- REVIEW: 16 Horsepower, _Low Estate_ (A&M) - Scott Byron From the opening notes of _Low Estate_, it's clear that 16 Horsepower are something special. There's a primal urgency to the band's music, a propulsive energy that drives the music forward, but there's also a rock-solid foundation. The first thing you notice is David Eugene Edwards' voice, an odd, compelling squawk that resonates deeply, but is used in a freewheeling, sometimes caterwauling way. There are echoes of Tom Waits, Hank Williams and Nick Cave here, but it's no slavish imitation. Edwards is always the center of attention, but there's lots more to recommend 16 Horsepower. The instrumentation is fascinating, a sorta proto-retro-psycho-honky-tonk that's performed mostly on vintage instruments, including bandoneon (an old accordion-like instrument that creates an eerie ambiance for many of the tracks), banjo, cello and fiddle, along with the more usual (today) bass, guitar and drums. The drumming, by Jan-Yves Tola, is the brilliant foundation that drives the music forward. His jerky timing is a wonder, centering on odd little snare patterns that accent the rhythms perfectly. Once the music draws you in and has its impact, it's the words that hold your interest, and reveal themselves slowly with repeated listening. Edwards' lyrics reflect great joy and despair, faith and passion, truth and soul. They're delivered with a preacher's fire that draws the listener into his world; there's a palpable intensity to his imagery, drawn from personal pain and spirituality. This quintessential American Music has so far caught more ears in Europe (where they get lots of media attention and play the festival circuit) than in their homeland (though two band members are French, the band is Denver-based and the music definitely reflects Southern-American roots). One can only hope that _Low Estate_, the group's second album, raises their profile at home. I've experienced 16 Horsepower live, and they're well worth seeing when they come your way later this year. As this music doesn't fit easily into any of the radio/media categories that usually expose new music today, it may be hard for them to find their niche. If you're the least bit intrigued, I encourage you to take a leap of faith and seek them out. --- REVIEW: Black Grape, _Stupid, Stupid, Stupid_ (Radioactive) - Simon West Black Grape's 1995 debut, _It's Great When You're Straight...Yeah_, was the party album of the year, a raucous, hugely enjoyable mess of beats, brass, soul, rap, guitar, and the shouty genius of Shaun Ryder. They've opted for more of the same with _Stupid, Stupid, Stupid_, and the result is the party album of the year. The album kicks off with first single "Get Higher", an atypically laid-back slice of funk and dance, during which Ronald Reagan (or a reasonable facsimile thereof) reveals his and Nancy's heroin and marijuana addiction. Typically silly, good stuff, it is then upstaged completely as the tempo kicks into overdrive and it's time for silly sexual innuendo, a Ryder specialty. "I wanna get cheeky with ya/I wanna get squeaky inside ya", yells the man on "Squeaky", the first of four brilliant upbeat stomps in traditional Grape style. "Marbles" is up next, currently getting much airplay with its insistent chorus of "Why you say yes when you mean no." Back to sex. "Any chick with matching tits/My dad just had to shag" explains Shaun on "Dadi Was A Badi", a shoutalong anthem in the style of the first album's "Tramazi Parti", and probably the best track here. "Cheeba cheeba cheeba", he inexplicably shouts on the joyfully chaotic "Rubber Band." This is all you really need to know. The tempo never wavers much - the nearest Black Grape get to 'slow' is a cover of Frederick Knight's soul hit "I've Been Lonely For So Long", though, presented here as "Lonely", it's hardly a ballad. The future of Black Grape is currently in some doubt - cancelled gigs and alleged mass firings are among the recent stories. Ryder's volatility is well documented, but it would be a shame for Black Grape to pack it in when they're still putting out albums like this. Best listened to with a load of people and a shitload of beer, the ten songs here are the sound of a hell of a party in full swing. There's not a lot new here, simply more of the same chaotic genius that Ryder's been displaying since Happy Mondays. "Stupid, stupid, stupid"? Hardly. Entertaining as hell. --- REVIEW: Front 242, _Mut@ge.Mix@ge_ (PIAS/Never) - Lee Graham Bridges Keyboardist Patrick Codenys said in an interview following Front 242's Lollapalooza stint that during the 80's "it was very difficult [doing aggressive electronic music]; you know how music is. If you take the cinema industry, it's way more open minded. Music is a very traditional branch." Like other fans, Front 242 was my official breakthrough in understanding the creative entity in music. People are increasingly constrained to the image of music over the substance; the MTV-ization of music has created a strange gospel for most: a sickeningly sweet pop rhetoric that permeates society, attached by claws of desperate normalcy. Strangely, those who reject this lifestyle often end up creating a similarly ridiculous clique of their own in an effort to share safety in numbers, rather than a mutual respect for aesthetic of composition and performance. Before I knew anything about industrial or electronic music or any sort of "scene" derived from either of these genres, I appreciated the individual contribution Front 242 was making to music. Though I've owned it since its release eight years ago, _Tyranny For You_ remains one of my most listened to albums. Bands with such a respect for Front 242 (founded in 1981 and most commonly pronounced "two-four-two") have remixed the band's material according to their own equally pioneering styles. Needless to say, every remix album (or perhaps any remix in itself) deserves a fair amount of scrutiny. What fans expect in a remix album sold under the band's name may be quite different from what they receive - in this case, a tribute to the band by other artists. _Mut@ge.Mix@ge_ succeeds where other such remix albums have failed. A balance has been carefully constructed between the remixers' own voice and adherence to the atmosphere created by the original track. The album is a collection of remixes of Front 242 material by mostly dance oriented electronic artists: the Orb, Prodigy, Underworld, etc. Four original tracks from Front 242 are also included, and half of the remixes by other bands were previously unreleased. The original tracks referenced by these remixes come from 242's last three studio albums: _Tyranny For You_, _06:21:03:11 Up Evil_, and _05:22:09:12 Off_. The band's own contributions include the supersensory "Junkdrome" - a highlight of _05:22:09:12 Off_ - as well as other newly-titled reconstructions of their work which can be recognized by sound structures salvaged from past tracks and reworked. For instance, "Dancesoundtrackmusic" merges familiar melodies and sounds from at least three tracks on _Tyranny For You_ ; an entirely new composition results. "Rhythm of Time," from the _Tyranny For You_ album, is remixed twice by The Orb. The "victor the cleaner" mix is a bit fuller and less ambient/minimal than the "messengers of Neptune" mix, and includes more samples from the original track. The vocals are treated with a metallic distortion, and the rhythm enhanced; in effect, the Orb has done an excellent job of updating this track by merging their infectious sound sensibilities with those of Front 242. However, Underworld's versions of "Happiness" diverge a bit more from the original. The "dub" mix comes on slow and builds to a somewhat peaceful climax. The "dance" mix sounds similar but faster. Smooth bass tones wind tightly between big drums, piano sounds and other subtle elements. Prodigy contributes remixes of "Religion". The "bass under siege" mix sounds as rehashed and impotent as the "trance u down" mix sounds vibrant and wickedly sweet. In the latter, the sampled "burn you down!" vocal, distorted and scary, penetrates the mix as the beat erupts like cannons all around, and consonantal beeps and strings soar above the whole composition. Which proves the main point: the material on _Mut@ge.Mix@ge_ is not a rehash of Front 242 - -far from it. It's a reconstruction of the band's best moments, but done so in a fitting manner by other bands. The contributors have, in their original work as well as in these remixes, strived to pull the listener in and create for them the same kind of overwhelming of the mind that Front 242 did in their most shining moments--which, thankfully, are not at all isolated. It seems that _Mut@ge.Mix@ge_ might, as a result, provide a truer definition of "remix" than what has been utilized in other cases. At press, another live album, _Front 242 Live_, will hit the shops this spring. Front 242 also plans to tour the U.S. in July. For more info visit http://www.front242.com --- REVIEW: Far, _Water & Solutions_ (Epic) - Jason Cahill When Far released their major label debut, _Tin Cans With Strings To You_, many dismissed it as sloppy, noise driven rock. This assessment wasn't too far off, as Tin Cans' kicking and screaming attitude grew tiresome by the album's end. Now, two years later, the band have released _Water & Solutions_, an album rich in sound and surprising in its maturity. Fans of Far's previous efforts will be impressed with the band's growth and those listening for the first time will simply be impressed. To begin with, _Water & Solutions_ is an emotionally jarring and surprisingly focused album. Credit producer D. Sardy (Helmet) with having the good sense to pull back on the reins just enough so as not to smother Far's raw energy and honest approach. The result is an album as intense as it is good. The music on _Water & Solutions_ is reminiscent of bands like Catherine; soft, intense vocals giving way to an outpouring of guitar based rage. The album's first and finest track, "Bury White", begins with an almost anthemic, pulsing bass over gentle vocals, eventually culminating in a chorus of unbridled sonic release. "Mother Mary", perhaps the album's most radio friendly fare, is a powerful rocker, rich in melodies and an underlying intelligence. Other standouts include the tender, atmospheric "In 2 Again" and the blistering "The System". The album's brutally honest and introspective lyrics more than make up for what they lack in complexity. Songwriter Jonah Matranga manages to give the listener twelve intimate, emotional selections, leaving almost nothing left to reveal by the album's end. While _Water & Solutions_ does contain its share of typical "love gone wrong" songs, Matranga's heartfelt sincerity can't help but seep to the surface as it does so vividly in "In 2 Again" when he sings, "...I worry that everyone but me will be laughing at something I didn't see". In the end, _Water & Solutions_ marks a turning point of sorts for Far. Proof that underneath their hardened exterior and hard core roots lies a maturity and insight absent until now. --- REVIEW: Various Artists, _We Are Not Devo_ (Centipede) - Al Muzer Much better than the concept, budget, bands involved, group honored, label and, for that matter, the songs selected would lead you to expect, _We Are Not Devo_ defies seemingly astronomical odds and logs in not only as one of the finest tribute discs released in recent memory, but as a valid contender for year-end Top 10 album lists across the nation come December. A glowing example of how to absorb a unique, challenging and fairly well-known catalog of material and reinvent it as something completely your own, the (mostly) So-Cal bands that appear on _We Are Not Devo_ obviously love, respect and, more importantly, grew up listening to the songs that turn up on producer/label head Jim Goodwin's Devo-sanctioned (Mark Mothersbaugh even contributed artwork) disc. Despite the appearance of Possum Dixon's bizarre, Santana-on-acid shot at "Mongoloid," the Voodoo Glow Skulls' super-ska version of "Time Out For Fun," Lagwagon's energetic assault on "Freedom Of Choice," The Vandals' neurotic romp through "The Day My Baby Gave Me A Surprise" and outstanding contributions from Supernova, Face To Face, SNFU, One Hit Wonder, The Aquabats and Jughead's Revenge; the album is practically stolen by relative unknowns Ridel High (who check in with a truly urgent update of "Blockhead") and the Don Knotts Overdrive's disc-dominating take on "Snowball." --- REVIEW: David Arnold, _Shaken And Stirred - The James Bond Project_ (Sire) - Patrick Carmoisno David Arnold's pedigree is without dispute. Having participated in a terrific collaboration with Bjork, "Play Dead", as well as composing and realizing a cache of the most stylish and sonic soundtracks (Stargate, Independence Day etc.), putting a James Bond tribute in Arnold's hands should be a natural thing. The results of _Shaken And Stirred_, though, are not so natural and none too special. The general sound of S&S is nice, just about quaint. A collection of classic Bond themes that pit Arnold's atmospheres with some of the more intriguing characters of pop culture (Iggy Pop, David McAlmont, Leftfield, LTJ Bukem, Chrissie Hynde, Martin Fry, Pulp, Propellerheads and more) is bound to at least achieve that. The lack of gravy, so to speak, is what disappoints. Amongst the few highlights of S&S is Aimee Mann's unique take on "Nobody Does It Better", which features a claustrophobic mix of compressed, dry vocals, harmonium and sitar. This gives the song a brutal sensuality that got covered up in the glamorous production that was Carly Simon's original version. Iggy Pop's mournful croon on "We Have All The Time In The World" is also a great aural pleasure to be held. It would be too apt if it were to be his swan song effort. S&S also further reveals the talents of David McAlmont, whose "Diamonds Are Forever" is a fitting tribute to the exotic elegance of Shirley Bassey's original take. Arnolds work on McAlmont's upcoming release will probably prove to be a better fit for the diva-esque singer than his previous project with ex-Suede guitarist Bernard Butler. Other than that, the collection is really an offbeat take on James Bond music; nothing more, nothing less. If you already had imagined the sound of Pulp doing "All Time High" or Chrissie Hynde merely replacing the vocals of Paul McCartney on "Live And Let Die", then there is no need to hear them outside of your head. Other none-too-special moments include LTJ Bukem's cover on "The James Bond Theme" adding up only to token drum n bass artist insertion. What's worse is he does not stretch the limitless capabilities of drum n bass with a track custom-built for such a stretch. Unfortunately, it incorporates some already heard, cozy d n b beats with the famous film noir-ish coda laid down in the breaks. Propellerheads show no indication here of why exactly they are being lauded as the future of electronica, with the symphonic melody of "On Her Majesty's Secret Service" simply sampled over some Chemical Brothers-friendly beats. Overall, _Shaken And Stirred_ is a rather harmless collection best suited for James Bond completists, completists of the artists involved and shopkeepers in search for happening in-store music. The greatest harm here is that it doesn't fully reveal the musical genius of David Arnold. --- REVIEW: The Posies, _Success_ (Pop Llama) - Scott A. Miller Why would The Posies turn triskaidekaphobic now? They've been through line-up changes, popular apathy in the face of incredible songwriting and performing, and label indifference. Of COURSE they'd release a CD called _Success_ (Pop Llama) on Friday (February) the 13th. What's the worse that could happen? Well for one this could be, as the press kit states, the last we see of The Posies on record. John Auer, one-half of the songwriting team that includes Ken Stringfellow, has already formed his own project, Lucky Me, and was on tour with it just before this album was scheduled to come out. At a recent Posies radio appearance, Auer also said "the Posies as a way of life are over." For another, the completely keyboard song "Start a Life" might, against all the odds, become an incredibly huge hit - think Smashmouth's "Walking on the Sun" - and the band would become known as a one-hit wonder. Stranger things have happened, but that would be the greatest indignity to a band whose power pop output rivals that of any band in the genre. _Success_ finds the band closing the circle of its career on the beloved Seattle label that gave Auer and Stringfellow their start, Pop Llama. Their first album, _Failure_, hinted at a songwriting team with what one critic called "a deep wellspring of talent." Geffen snapped the boys up and three excellent, commercially ignored albums followed. After 1996's _Amazing Disgrace_ failed to find the band a wider audience, Geffen backed away. The good news for both those new to the band and longtime fans is that _Success_ provides a decent overview of the band's unique abilities: fine melodies, great vocals and thought-provoking takes on (mostly failed) relationships. "Somehow Everything" provides an upbeat start to the 12-song set. It's followed by "You're the Beautiful One," arguably one of the prettiest songs the band has ever produced. With its feedback drenched chorus, "Placebo" sounds like an "Amazing Disgrace" song, while "Farewell Typewriter" and "Every Bitter Drop" would not have seemed out of place on the gentler "Dear 23." The biggest surprise of the album is the aforementioned keyboard lament "Start A Life." Fans of Tim Finn (former Split Enz and Crowded House) will love this song to death, from its quiet bossa nova percussion opening to the ghostly keyboard riff that floats throughout. The deceptively simple lyrics hint that danger lurks around every corner for those who try to take a different path. As a "Seattle band" who mostly eschewed grunge in favor of pop, The Posies know a little about that. This worthwhile effort is probably readily available throughout the northwest United States. For those who can't find it at the record stores, call Pop Llama at 206-527-8816. Tell them you want PLCD-3232. (Backwards that catalog number is 2323 -- get it?) --- REVIEW: Talking to Animals, _Manhole_ (Velvel) - Arabella Clauson A long time in coming, Talking to Animals finally releases the highly anticipated _Manhole_ after living for two years in limbo. The band was previously signed with Sony's Columbia label, which ruthlessly dropped the developing artists on the eve of their major-label debut last January. Strangely enough, the Columbia website still lists them as "coming soon." After shopping around for a few months, band successfully gained distribution through small label Velvel. It seems impossible to describe Boston's Talking to Animals without acknowledging a most prominent element, Juliana Nash, who possesses an absolutely stunning vocal range. Nash pens all the songs and then takes them to the band for musical interpretation, which is usually refined through live performance. The result of this continuous songwriting process is _Manhole_ , which really begs for the attention of words like dynamic and powerful. This is a slightly grungy, but disturbingly refreshing disc evoking Sarah McLachlan's _Surfacing_ disc on "Mouth Tattoo," the likes of Mazzy Star on "Breathe" and "Kid is not Alright," and unquestionable Concrete Blonde influences on "Turning Into Beautiful," which is perhaps the most impressive track capturing the emotional uncertainty of a first date through a hook driven chorus. "Little by Little" illustrates street life in New York City through punchy, powerful vocals. Nash has a most incredible voice, commanding and essentially lifting the band out of a dreaded "alternative" rut. She has the driving passion of Johnette Napolitano coupled with a vocal talent the music industry deperately needs, like that of the much underrated Atlanta native Michelle Malone. If Nash's melody-driven, energetic songs themselves fail to capture attention, her voice refuses to allow just the casual listen, adding a sultry depth to what might otherwise be a fairly typical music base. --- REVIEW: China Drum, _Self Made Maniac_ (Beggars Banquet) - Bob Gajarsky The trio of the brothers McQueen - Dave on bass and Bill on guitar - and singer/drummer Adam Lee have returned with their latest full length release, _Self Made Maniac_. Featuring instant in-your-face guitars, with periodic background harmonies (!), the pop-punk, Ned's meets Inspiral Carpets and Wonderstuff sound of China Drum proves the perfect medicine for those sick of Green Day wanna-be's. The first single and pseudo-title track, "Fiction of Life", dispels any myths that punk can't have pop sensibilities. And if you listen closely, you can almost hear sped-up R.E.M. guitar chords, on this one (bits resembling "Second Guessing") and "Down By The River", with its opening similar to "Ignoreland". "Guilty Deafness" veers perilously close to Metallica, but reverts just before crossing the line into never-metal land. "Another Toy" showcases the band's darker side, with its 'When I'm broke and you are gone, you will find another toy' lyrics accompanied by appropriately brooding guitars. Unfortunately, some of the punk attitude (think early Husker Du) which marked their first release, _Goosefair_ (510/MCA), and European EPs has veered more towards the pop-rock side. This maturation process may lose some fans who favoured three chords and a cloud of dust, but those who stick around for the entire trip will be pleased with the final results. --- REVIEW: Muckafurgason, _Tossing A Friend_ (Deep Elm) - Robin Lapid Don't ask me what Muckafurgason means, because I don't know either. It may be a fitting amalgam of any number of different words or just a jumble of sounds that somehow make sense to the ear. If that's the case, it's a fitting monicker. The band, comprised of "one Brit and two Yanks," start off their debut full-length album with Weezer-esque pop harmonies and glide effortlessly from there into any number of genres, be it country, hip-hop, or punk rock. The music hinges on a lo-fi pop mentality with enough playfulness in style and lyrics to keep everything from turning stale. In terms of influences, Muckafurgason happily wear their hearts on their sleeves. Each song is a tongue-in-cheek tribute to anything and everything, whether it's the fuzzy Clash guitars of "Punk Rock" or the human beat-box Beck anthem about "Lunch," or a nostalgic pop song about a beloved Atari game ("Plug it into the back of my TV/ Come with me back to 1983/ Reliving my happy childhood/ With my 2600"). There are even the appropriate indie-pop culture references -- I have to admire any band that aspires to be the next "Cute Band Alert in Sassy Magazine." Rather than make demi-god knock-offs of their favorite bands, _Tossing A Friend_ sticks to sparse, often folk-inflected pop that's wondrously devoid of pretension. And that's the sincerest form of flattery. --- REVIEW: Richie Sambora, _Undiscovered Soul_ (Mercury) - Linda Scott Richie Sambora is best known as the long time lead guitarist for Bon Jovi and his marriage to actress Heather Locklear. More than just a respected guitar player, Sambora has co-written Bon Jovi lyrics, produced the songs, and helped manage the band's extensive business dealings. He and Jon Bon Jovi took the New Jersey bar band and piloted it to world wide success. Under their guidance, the band has evolved from big hair glam, to metal, to hard rock, to rock/pop. With prosperity insured, Sambora is going the solo route, using the downtime following Bon Jovi's world stadium tour in support of _These Days_ (1995). He's soloed before - see 1991s _Stranger In This Town_ - which netted decent reviews but not producing the big sales figures. Given Sambora's lead guitar status in Bon Jovi, _Undiscovered Soul_ is a surprise. Expectations of a Jeff Beck-style guitar solo album will be quickly put aside. The showcase here is not Sambora on guitar but Sambora as song writer, vocalist and guitarist - which sounds much like the work of Bon Jovi, but sans Jon's lead vocals. Sambora has an above average voice in which there are echoes of Jon Bon Jovi, especially in the phrasing. And with heavy hitter contributions ranging from Kenny Aronoff to Don Was, there's no lack of fellow musicians. Sambora is given guitar credit, of course, but there are no endless guitar solos or show stopping riffs. The guitar playing on _Undiscovered Soul_ is a spare, clean, Clapton-like sound - which shouldn't come as a surprise, since Richie cites the guitar legend as one of his major influences. If you like Bon Jovi - or even Def Leppard or Extreme - chances are you'll like _Undiscovered Soul_. --- REVIEW: The Wrens, _Abbott_ - Al Muzer Pop music you almost have to be in the mood for as opposed to pop music that works every time you hear it, The Wrens are still, apparently, thoroughly pissed at Grass Records for the screwing-over the poorly-run label/brilliantly-conceived tax write-off gave 'em after they couldn't make anything happen with 1994's _Silver_ or the critically-acclaimed _Secaucus_ two years later. With the dust finally settled, Sett, Whelen G.E., Charles Mexico and Jerome MACdonnell return with six lyrically bitter pills of XTC-like punk-centric guitar-quirk that try their best to blend the sparseness and elliptical hooks of the Police with a noisy, hyperactive, Brian Wilson-on-crank desire to fill every single second with some sort'a ringing, chiming, clanging, attention - getting noise. The Wrens can be contacted at PO Box 81, Ocean View, NJ 08230. --- REVIEW: Joe Canzano and the Rhythmic Revolution, _Armed & Amplified_ (Rocket Bomb) - Daniel Aloi If you miss the late Bon Scott and don't want to shell out big bucks for the AC/DC box set, you can hear the next best thing to the late Aussie screamer - and much cheaper. This New Jersey rock trio's namesake lead singer-guitarist has Scott's well-documented vocal histrionics down - even if his band doesn't hew too closely to the car-crushing simplicity and volume of Angus Young and company's arena rock. The rock'n'roll they play is straightforward, to be sure, but it goes beyond being plain fast'n'loud. Canzano adds touches like Zappaesque phrasing and a Lou Reed feeling to some of the lyrics and arrangements, reflecting two influences from the artier end of the '70s musical spectrum - making this more than the barroom rock'n'roll it first appears to be. The rhythm section of Eric Rachel (bass) and Rob Eastlund (drums) adds more than the beat to the effort, meshing with and complementing Canzano's riffs and rants like "Sort of Antisocial" and "Total Garbage." Some songs are from the New Jersey working-class school, especially "If I Were a Millionaire" (which continues its chorus: "You'd be in love right now.") I don't hear a lot of airplay potential here, but this album's production suggests the band is a high-energy live act, and the CD, like the band itself, wouldn't be unwelcome at a keg party. The 10-song CD is available for $8 postpaid from Rocket Bomb, an Internet record label. Go to http://www.rocketbomb.com for info, sound clips, and free subscriptions to the electronic newsletter The Red Glare Record. You can also write to the label at P.O. Box 70, South River NJ 08882 or call 800/995-0393. --- REVIEW: Robert Miles,_23am_ (Arista) - Thomas Brown 23am is Robert Miles second release to date. His first album, _Dreamland_ yielded the international hit titled "Children", which went to number 1 in most of Europe and won many awards along the way. Robert, being both a DJ and a clubber, said he wrote the songs to calm people down, because of all the deaths caused by kids going clubbing in Italy. Kids taking a deadly mix of drugs and liquor were being charged by the hard and fast techno music, which made their adrenalin skyrocket. They would then climb into their cars and would drive at insane speeds. They would, on top of that, ignore all the road signs and the result would be up to twenty and thirty deaths each week. 20,000 mothers joined together into something called the "Mamma Anti-Rock" protest movement. They would march down streets in Europe to raise awareness about the kids of today. Troubled by all the deaths of kids, Robert Miles took that fast, hard techno and made it slow. The result made Robert Miles an overnight sensation and everyone loved it. The results were _Dreamland_ and _23am_, with Robert making use of all his composing, producing, piano, and DJ'ing experience into these songs. I found this album quite relaxing. While sleeping and listening to this record images would pop into your mind, such as, high cliffs with water crashing on them, babies crying, long elegant beaches, green pastures, snow caped mountains, and many other things. These are the results of the soothing samples, lyrics, pianos, and other delights of this record. The booklet is incredibly good also, with a black figure standing on a street. The only part I hated about this record was the vocal input by Kathy Sledge. If you are into this slow piano-techno genre, then _23am_ is for you. --- NEWS: > Billboard Talent Net, sponsored by the music magazine of the same name, is designed to help unsigned artists get recognized by industry professionals around the globe. Further information on this is available at their website, at http://www.billboardtalentnet.com > _Sketches (for my sweetheart, the drunk)_, a two-disk collection of new songs and performances by the late Jeff Buckley, compiled in conjunction with his family, will be released on May 19. Disc 1 contains ten tracks from his studio sessions; disc 2 contains his last compositions, personal four-track recordings of new songs and refinements of older songs. > Sheryl Crow and Sting will be collaborating with Waylon Jennings on "She's Too Good For Me" from Jennings' forthcoming album, _Closing in on the Fire_. > Trent Reznor will be contributing vocals to the debut album by Josh Wink, slated for release in June. --- TOUR DATES: Better Than Ezra Mar. 14 San Antonio, TX Six Flags China Drum Mar. 13 Philadelphia, PA Pontiac Grill Mar. 14 Boston, MA Bill's Bar Mar. 15 Providence, RI The Call Cravin' Melon Mar. 7 Elon College, NC Elon College Mar. 10 Myrtle Beach, SC House Of Blues Mar. 13 Annville, PA NACA East Regional Mainstage Showcase Dakota Moon Mar. 10 Dallas, TX Dark Room Mar. 11 Atlanta, GA Smith's Old Bar Mar. 12 New York, NY Mercury Lounge Dave's True Story Mar. 4 New York, NY Baby Jupiter Mar. 7 New York, NY Postcrypt Dream Theatre Mar. 4 Helsinki, Finland House of Culture Mar. 6 Bremen, Germany Pier 2 Mar. 7 Hannover, Germany Music Hall Mar. 8 Stuttgart, Germany Messe B Mar. 10 Munich, Germany Colosseum Mar. 11 Mannheim, Germany Capitol Mar. 13 Dusseldorf, Germany Philipshalle Mar. 14 Munster, Germany Halle Munsterland Mar. 15 Berlin, Germany Huxley's Everclear / Jimmie's Chicken Shack / Feeder Mar. 4 Lake Buena Vista, FL House Of Blues Mar. 5 Charleston, SC Music Farm Mar. 6 Charlotte, NC Tremont Music Hall Mar. 7 Norfolk, VA The Boathouse Mar. 9 Richmond, VA The Flood Zone Mar. 10 Hartford, CT Webster Theater Mar. 11 Portland, ME The Asylum Mar. 12 Burlington, VT Club Toast Mar. 13 Buffalo, NY The Show Place Mar. 14 Columbus, OH Newport Music Hall Fatboy Slim Mar. 6 Washington, DC The Ballroom Mar. 7 Atlanta, GA The Roxy Mar. 9 Miami, FL Salvation Mar. 10 Miami, FL Groove Jet Mar. 12 San Francisco, CA Warfield Theater Mar. 13 Los Angeles, CA Palladium Mar. 14 Seattle, WA Showbox G. Love & Special Sauce / Alana Davis Mar. 10 Omaha, NE Ranch Bowl Mar. 11 Milwaukee, WI Modjeska Theater Mar. 13 Columbus, OH Newport Music Hall Mar. 14 Cincinnati, OH Bogart's Mar. 15 Cleveland, OH Odeon Goldfinger / Sugar Ray Mar. 6 San Francisco, CA Warfield Mar. 7 Los Angeles, CA Palladium High Llamas Mar. 14 Washington, DC 9:30 Club Mar. 15 Carrboro, NC Cat's Cradle Irving Plaza (NYC concert hall - www.irvingplaza.com) Mar. 14 Insane Clown Posse Chantal Kreviazuk Mar. 6 Boston, MA Paradise Mar. 7 Providence, RI Lupo's Mar. 9 Virginia Beach, VA Pavillion Mar. 11 Vienna, VA The Barns Mar. 12 New York, NY Shine Megadeth Mar. 5 Vancouver, BC Rage Mar. 6 Seattle, WA Paramount Theater Mar. 7 Portland, OR Roseland Theater Mar. 8 Boise, ID Idaho Center Mar. 11 St. Paul, MN Wilkens Auditorium Mar. 13 Chicago, IL Aragon Ballroom Mar. 14 Dayton, OH Hara Arena Mar. 15 Toledo, OH Sports Arena Ziggy Marley & Melody Makers Mar. 4 Hanover, NH Leede Arena - Dartmouth College Mar. 5 Millersville, PA Pucillo Gym - Millersville Univ. Mar. 6 Providence, RI Lupo's Mar. 7 Westbury, NY Westbury Music Fair Mar. 8 Killington, VT The Picketbarrel Mar. 10 Washington, DC 9:30 Club Mar. 11 Baltimore, MD Bohager's Mar. 12 Winston-Salem, NC Millenium Mar. 13 Boone, NC Appalachian State Univ. Mar. 14 Myrtle Beach, FL House of Blues Princess Superstar Mar. 5 New York, NY Knitting Factory Mar. 6 Philadelphia, PA Upstairs At Nicks Mar. 11 Washington, DC Black Cat Mar. 13 Chapel Hill, NC Cave Mar. 14 Atlanta, GA Criminal Records Mar. 15 Atlanta, GA Dottie's Reel Big Fish / Pilfers / Mr. T Experience Mar. 5 Hartford, CT Webster Theatre Mar. 6 Philadelphia, PA Electric Factory Mar. 7 Worcester, MA Palladium Mar. 8 Pittsburgh, PA Metropol Mar. 9 Columbus, OH Newport Music Hall Mar. 10 Pontiac, MI Clutch Cargo's Mar. 11 Cincinati, OH Bogart's Mar. 12 St. Louis, MO Mississippi Nights Mar. 13 Chicago, IL Riviera Mar. 14 Milwaukee, WI Rave Mar. 15 Sioux Falls, SD Pomp Room Shake Appeal Mar. 5 Chapel Hills, NC Local 506 Mar. 9 Athens, GA High Hat Club Mar. 11 Orlando, FL Go Lounge Mar. 13 Pensacola, FL Handle Bar Third Eye Blind / Smash Mouth / Fat Mar. 4 Boston, MA Orpheum Theatre Mar. 5 Burlington, VT Memorial Auditorium Mar. 6 Hamilton, NY Colgate U./Cotterell Court Gym Mar. 7 San Francisco, CA California Music Awards Mar. 10 Toronto, ON The Docks Mar. 11 Cleveland, OH Agora Theater Mar. 12 Columbus, OH Veterans Memorial Aud. Mar. 13 Detroit, MI State Theater Mar. 14 Ada, OH Ohio N. Univ. - King Horn Ctr Tim Mar. 12 Philadelphia, PA Khyber Mar. 13 New Brunswick, NJ Melody Mar. 14 West Chester, PA Rex's Mar. 15 Doylestown, PA Siren Records Zeke Mar. 12 Eugene, OR John Henry's Mar. 13 San Francisco, CA Paradise Lounge Mar. 14 Hollywood, CA Dragonfly --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.westnet.com/consumable (Delphi) Music Fandom forum; GO ENT MUSIC To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". To unsubscribe, send a message to the same address stating "unsubscribe consumable". 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 ===