==== ISSUE 140 ==== CONSUMABLE ======== [April 3, 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, Tim Mohr, Al Muzer, Joe Silva, Lang Lang Whitaker Correspondents: Tracey Bleile, Lee Graham Bridges, Scott Byron, Jason Cahill, Patrick Carmosino, Arabella 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: Pulp, _This Is Hardcore_ - Simon West REVIEW: Morcheeba, _Big Calm_ - Joe Silva REVIEW: Spacehog, _The Chinese Album_ - Bob Gajarsky REVIEW: The Bluetones, _Return To The Last Chance Saloon_ - Simon West REVIEW: Tommy Keene, _Isolation Party_ - Joann D. Ball REVIEW: Rebekah, _Remember to Breathe_ - Jon Steltenpohl REVIEW: Two, _Voyeurs_ - Lee Graham Bridges REVIEW: David Poe, _David Poe_ - Arabella Clauson REVIEW: Loudon Wainwright III, _Little Ship_ - Bill Holmes REVIEW: Bond, _Bang Out Of Order_ - Simon West REVIEW: Van Dyke Parks, _Moonlighting_ - Tim Kennedy REVIEW: Various Artists, _Random (02) Mixes of Gary Numan_ - Joe Silva REVIEW: The Hunger, _Cinematic Superthug_ - Linda Scott CONCERT REVIEW: Cramps - Al Muzer REVIEW: Various Artists, _Cover You: A Tribute To The Rolling Stones_ - Bill Holmes REVIEW: DAS EFX, _Generation EFX_ - Lang Whitaker NEWS: Pretenders / B-52's, Sand Rubies, Massive Attack TOUR DATES: Addict, Agents of Good Roots, Cherry Poppin' Daddies, Cravin' Melon, Curve / Freaky Chakra, Alana Davis, Feeder, John Wesley Harding , High Llamas , Irving Plaza , Liquor Giants, Ziggy Marley & Melody Makers, Mono, Promise Ring, Radiohead, Sherry Rich, Smart Went Crazy, Elliott Smith, Superdrag / Apples In Stereo / Tuscadero, Third Eye Blind / Rebekah THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Pulp, _This Is Hardcore_ (Island) - Simon West Once there was bright upbeat pop, kitchen sink dramas and sex-soaked vignettes, lingerie and underwear. And then it all went dark. "This is the sound of someone losing the plot," moans Jarvis Cocker on "The Fear", a disturbing, atmospheric account of a panic attack. "The sound of loneliness turned up to 10." Compare this with the last album's opener "Misshapes", an upbeat rallying call to the alienated and uncool of the world, and it becomes immediately apparent that we're in vastly different territory here. A staccato blast of feedback five minutes later, and the mood becomes reflective and vulnerable. "Dishes" sees Jarvis examining his life at the age of 33 - "I am not Jesus, though I have the same initials/I am the man who stays at home and does the dishes." "Party Hard", with its distorted Bowie-esque vocal and rattling guitar, is more lively, but not much brighter, looking at the party scene and asking "Why do we have to half kill ourselves just to prove we're alive?" The first British single "Help The Aged", up next, actually sounds upbeat by comparison. The title track, just released as a single, is an astonishing six and a half minute epic. It's life in a porno film, it's brutal, dramatic, haunting. Sod "Boogie Nights" - this belongs on a soundtrack with Soft Cell's "Baby Doll" - the darker, sadder side of sex. It's one of the most unlikely singles ever - the fact that it entered the British charts at number 12 is more a testament to Pulp's core fan base than anything else. Utterly bleak, but an absolute masterpiece. It's followed up with the rather lightweight "TV Movie", and then the mood begins to brighten somewhat. Much of the second half of the album stands in stark contrast to the first half. There's still a vulnerable, more personal aspect to the lyrics than before, but it's nowhere near as dark. "A Little Soul" is a jangly pop affair with a touch of Cure guitar and, indeed, a little soul, plus one of yer Jarvis talky bits. "I'm A Man" is as close as we get to _Different Class_, a sardonic reflection on what it is to be a man. "Seductive Barry" is an atmospheric, almost ambient seduction fantasy, a crooning, growling Jarvis complemented by Neneh Cherry on backing vocals. "Sylvia" is terrific, a classic Jarvis girl song a la "Pink Glove" and "Do You Remember The First Time" with some distinctly un Pulp-like guitar action. The final two tracks are as good as anything Pulp have ever done. "Glory Days" is pure brilliant pop, Jarvis explaining that "I could be a genius/If I just put my mind to it", and exhorting "Make it up yourself/You don't need anybody else". Irresistible chorus, good double-tracked vocal bits, it's a classic, begging to be sung along to. "The Day After The Revolution" sounds almost hopeful and optimistic, a sweeping epic that looks to the future: "We are the children of the new world," and ends with a spoken "Bye bye" that invites speculation about Pulp's future, given recent interviews. The U.S. release contains a bonus track, "Like A Friend" from the _Great Expectations_ soundtrack. A more typical Pulp tune distinguished by a radical tempo change mid-song, it's a little out of place at the end of _This Is Hardcore_, and would have worked better as a b-side or a single in its own right. Fans converted by the likes of "Common People" and "Disco 2000" are unlikely to be delighted by _This Is Hardcore_. It's nowhere near as accessible as _Different Class_ or even 1994's _His 'N' Hers_. The voyeurism and heavy breathing have been replaced by a world-weariness and despair, though this lightens somewhat by the end. It's a demanding album, but well worth the effort. _This Is Hardcore_ is dark, complicated - and absolutely terrific. --- REVIEW: Morcheeba, _Big Calm_ (Sire/China) - Joe Silva After their debut, the buzz behind Morcheeba was strong in enough to lure in old school hipsters like David Byrne for servicing. That and fair amount of touring behind them (with the likes of Live no less...), the sophomore disc has hit the bins. Despite the fact that the chanteuse and her accompanying knob twiddlers is no longer a formula that draws much attention, Morcheeba remain big time contenders in that arena. Not giving themselves over to the sophomore panic that gripped Portishead, Morcheeba remain keyed in on the songs and do not become consumed with conjuring the big atmospherics that can drown your standard electronic pop group when they do not spring naturally. The fraternal mindspring of the brothers Godfrey (Paul - buttons, Ross - guitar) matched with the silky strains of Skye Edward move easily from their native urban boulevards to the eastern ghettos and back to their soul digs via the avenues of chic pop, mild-mannered dub, and string-laden folk. But for all the toe dipping into the various pools of experimentation, _Big Calm_ is far from cluttered or herky jerky. Skye's voice sound righteous in all of the above formats, and the Godfrey lads display a delicate touch throughout while gently prodding you the listener from groove to groove. From the start ("The Sea"), Ross Godfrey enjoys reeling off his slick ethereal funk solos while his brother butts strings and scratches up against them. There's straight up sitar to follow ("Shoulder Holster") and even a Kansas-style ballad ("Over & Over") for afters. And all the while, Edwards comes off natural, focused, and hell bent on setting up the trancey vocal that's full-on sultry and equal parts plaintive and spooky. So while Portishead are forced to retreat from the spotlight, and new kids on block Mono sport a single that sounds more like a vintage commercial for some second rate perfume, _Big Calm_ is not to be overlooked in a year that is still fairly thin in quality and a full three months gone. --- REVIEW: Spacehog, _The Chinese Album_ (Sire / Warner) - Bob Gajarsky New York-meets-Leeds (England) in the four member rock group Spacehog. Darlings of the musical press after _Resident Alien_, their second release - _The Chinese Album_ - is a collection of promises made, but never fulfilled. The glam, bam, thank you ma'am sound of leadoff single "Mungo City" and "Captain Freeman" are ripped right out of the pages of Ziggy-era Bowie, and "Carry On" teases the listener with a set of hooks so irresistible that, if recorded twenty years earlier, would be a staple today on 'classic rock' stations. Unfortunately, Spacehog has abandoned their familiar territory for rougher terrain throughout the remainder of _The Chinese Album_ with mixed results. "Skylark" is the answer to Van Halen's cover of "Happy Trails", and much of the remainder of the disc falls by the wayside into various levels of anonymity. Michael Stipe's guest appearance on "Almond Kisses" would fit in nicely in R.E.M.'s _Out Of Time_ outtakes - but in the context of Spacehog, only highlights the inconsistencies with the rest of this disc. Ironically enough, the first song of _The Chinese Album_ ("One Of These Days") includes a sample of the Talking Heads' "Seen and Not Seen". In this case, Spacehog should have sampled a song that would more appropriately fit _The Chinese Album_ - say, the Pretenders "Middle of the Road". --- REVIEW: The Bluetones, _Return To The Last Chance Saloon_ (A&M U.K.) - Simon West The Bluetones rode the Britpop wave to the top in their native England, releasing a series of bright, poppy singles, notably the excellent "Bluetonic" and "Slight Return". The debut album, _Expecting To Fly_, was also quite good, rather Stone Roses influenced, and occasionally let down by Mark Morriss's rather underpowered singing style, but decent second division stuff. Many of the Britpop bands of two or three years ago have fallen by the wayside now, but The Bluetones return with their long-delayed second long-player. Worth the wait? Just about. It's pleasant enough stuff, and the style has progressed - a lot louder, a little more experimentation. The album kicks off with the tribal, vaguely Adam & The Ants style drumbeat of "Tone Blooze", a two minute western instrumental that blends into the equally western sounding "Unpainted Arizona". Oasis have already ventured down this trail with "Fade In/Out", and unlike Liam Gallagher, Mark Morriss' voice really isn't suited to it. "Solomon Bites The Worm", a bluesy rocker, starts off with Mariachi-style cries and yelps and then Morriss wanders in, and the vocal still doesn't really match the style, but the song's strong enough to pull it off. There are some good songs here. "Sleazy Bed Track" starts out as a nice little ballad before grinding unexpectedly into a brash chorus that has Morriss suggesting "all you've gotta do is baby kick off your shoes/And lay down," which would sound a little more natural in almost any context other than a Bluetones song, but works all the same. "If" is probably the best track here. An infectious bassline thumps up and down a scale accompanied by a scratchy guitar riff. "It's all I can do to/Sing these stupid songs to you" sings Morriss, bravely, and goes into some classic "na-na-na" action. It's great. "The Jub Jub Bird" is another good one - a heavy guitar rocker - traces of Zeppelin or Second Coming period Stone Roses, plus a thrashing middle bit and a great vocal. Much of the rest however, particularly on the latter half of the album, is simply unremarkable, inoffensive stuff you'd be hard pushed to remember an hour after you'd heard it. The tempo and structure don't change around much - it just doesn't really go anywhere. Still, a decent follow-up, and a reasonable evolution from the debut, but as a whole, it's rather unaffecting - it's difficult to imagine anyone being overwhelmed by the urge to stick it on the stereo. Existing fans should be happy enough, but The Bluetones have yet to fulfill the potential they seem to be capable of. --- REVIEW: Tommy Keene, _Isolation Party_ (Matador) - Joann D. Ball Power pop reigns supreme on _Isolation Party_ , the latest release from pop guru Tommy Keene. The follow-up to his first album for Matador Records, 1995's _Ten Years After_, Keene's second release is a well-crafted pop music delight. Infused with the same heaping portions of melody, textured guitars and upbeat tempos found on his other four critically aclaimed albums, _Isolation Party_ also contains Keene's simple but honest brand of songwriting. And Keene's heartfelt emotions are present in all of the thirteen tracks here, which faithfully echo the spirit of such pop royalty as the Who, Cheap Trick and Big Star. Keene starts the party with "Long Time Missing" and keeps it going with "Getting Out From Under You" Both are perfect road trip songs, irresistible uptempo tunes with straight ahead guitars and a solid beat which will get you drumming on the dashboard in seconds flat. "Take Me Back" is a bit slower than the first two, but still marked by Keene's distinctive vocals and ringing and chiming guitars. Other notable tracks here include "The World Outside," with its classic Keene harmonies and interweaving lead guitar, "Battle Lines," and "Waiting Without You." And for good measure, Keene also throws in a cover of Mission of Burma's "Einstein's Day," on which his guitar solos take flight over solid power chords. For those unfamiliar with Keene, his distinctive sound has influenced such fans as Teenage Fan Club, Wilco and the Gin Blossoms. In fact, Wilco's Jay Bennet and Jeff Tweedy make an appearance here along with former Blossom guitarist Jesse Venezuela. Keene is also connected to two other rock contemporaries, writing most of the material on this CD between tours as guitarist with former Replacements' leader Paul Westerberg and Velvet Crush. Like the woefully ignored popster Adam Schmitt, who has worked with Keene on previous efforts and assists with the mastering and editing here, Keene has chosen to craft this pop offering largely by himself. Keene recorded most of the instruments and produced the sessions on his own, and spent a lot of time in the state of Illinois during the process. In addition to working with the Champaign-Urbana, Illinois based Schmitt, Keene recorded _Isolation Party_ upstate, in the Zion studio of underground pop heroes the Shoes. The critically acclaimed Keene should have taken American radio by storm in the mid-eighties, but unfortunately Rolling Stone Magazine's prediction didn't anticipate the label problems at Geffen which stalled Keene's power pop revolution. But more than ten years after, Keene continues to produce pop masterpieces and has developed a small but dedicated following Stateside and an even bigger fan base in Japan and Europe. Tommy Keene has more than paid his dues, so hopefully _Isolation Party_ will finally do the trick and give him the widespread radio airplay and exposure that he has so long deserved. This is Keene's most commercially accessible record since 1989's brilliant, but grossly ignored, _Based on Happy Times_. Unlike that last Geffen effort, though, _Isolation Party_ is much more stripped down, revealing the natural elements of Keene's signature power pop. With few studio touches and excellent production, the addictive blend of Keene's melodies, harmonies, chiming guitars, steady bass and solid beats make _Isolation Party_ one you'll wanna crash again and again. For more information about the host and when the party will be held in your town, check out the Matador Records website at http://www.matador.recs.com --- REVIEW: Rebekah, _Remember to Breathe_ (Elektra) - Jon Steltenpohl In their great race to beat a genre into the ground, the music industry has been signing up every promising bit of female talent they can get their hands on. Blame it on Sarah McLachlan or Sheryl Crow or Melissa Etheridge, but you can't get away from the newest breed of woman pop stars with a little folk, a little alternative, and a little rock thrown in. Rebekah represents the latest offering from Elektra, and she embodies a disturbing legacy of musical cradle robbing. Before reaching her current tender age of 25, Rebekah first flirted with engineering school, art school, and acting before find her true love of playing pop music. Her parents were in charge of the church choir, but Rebekah's style doesn't have much in common with Christian contemporary or Gospel. Instead, she's a pop/rock musician taking off the gloves to give Jewel and Paula Cole little jabs and left hooks. Regretfully, you can see where she's aiming, but Rebekah never lands the knockout punch. "Sin So Well", the first single from _Remember to Breathe_ has already garnered airplay on some radio stations. It captures perfectly everything that's masterful and mediocre with this promising debut. For the first 24 seconds, "Sin So Well" is the best pop song you've ever heard. A punky little guitar starts out the beat. Rebekah puts on a little girl voice and sings, "Momma doesn't like when I sin so well / heaven's kind of far / but I swear that when I'm coming it's close / 'cause we sin so well / lead us not into temptation / oh, but what a way to go." And then, she launches into this horrible verse of wailing souls cast into the depths of hell. Rebekah's voice strains and power chords and cymbals rip the wicked for their sins. Seconds later, you're back to pure pop candy. There's even a bridge with strings thrown in for good measure plus a full minute at the end that repeats the opening. The end result is a jumbled song with just enough catchy points to keep you hooked. It's something that shows potential for more, but seems unpolished. Unfortunately, most of the songs on the album are like this. There's enough there to like, but not enough to commit yourself. Two notable exceptions stand out as unique and not produced for the radio world. "Pining" is a song of melancholy desire that features only piano and string quartet. Rebekah's voice is reserved and focused. She aches in just the right places, and the accompaniment is sparse and sad. The chords of the strings just sing. "Cardboard Boxes" takes on a completely different genre. Funky and fun, it's got wakka-wakka guitars and raspberry horns. Rebekah is loose and smooth, and she seems right at home with a chorus of "doo, doo-doo, doo, doo"'s. These two songs along with "Keep It A Secret", "Be Your Own", and "Little Black Girl" reveal a great talent in the making. While _Remember to Breathe_ doesn't consistently satisfy, it's not Rebekah's fault. She's got a lot of talent, but Elektra signed her too early. Bits and pieces of her songs stick in your head all day, and, on the whole, _Remember to Breathe_ is pretty good rookie effort. But, it doesn't come together like a more experienced artist's album would. A few more songs in her songbook and a few more years on the road will mature Rebekah into the musician she's capable of being. (Visit http://www.elektra.com/rock_club/rebekah/rebekah.html for a bio and 3 song samples.) --- REVIEW: Two, _Voyeurs_ (Nothing/Interscope) - Lee Graham Bridges At the center of the new band/project Two is ex-Judas Priest frontman Rob Halford and the executive producer of _Voyeurs_, Trent Reznor. The band builds its songs from components which beg comparison to those of other bands: one might hear the vocal textures of Perry Farrell (Jane's Addiction) or Richard Patrick (Filter); guitar riffs with all the characteristic rhythm of Metallica, but the extra punch found in the work of White Zombie. _Voyeurs_ was the result of Halford and Lowery's songwriting and performance *reinterpreted* by Reznor. For instance, "If" contains some spacy ambient noises, and fast-paced, drum'n'bass-esque interludes substitute for the default hardcore guitar riffs. The eccentric intro to "Stutter Kiss" is pure Reznor, and further demonstrates how this record became his stomping grounds from a production standpoint. Unfortunately, the pattern of Two's music is a bit formulaic, if not predictable. If the songs cannot be best described as following verse-chorus-verse, they are certainly mostly arranged according to a mellow-loud-mellow sonic schematic. Lyrics could be stronger; choruses in particular are sometimes tediously repetitive and long. But, despite its difficulties, _Voyeurs_ really does rock, plain and simple. Between the clean guitar skills of John Lowery and the elaborate percussion design and ingenious use of sampling evident in this and other Reznor productions, it might be the music itself that sells Two to the crowds as such a powerful package. _Voyeurs_ is a great choice for fans of modern hard rock and metal, or for Judas Priest fans interested in seeing Halford's latest work. A delicate balance is set up between art and spontaneity - despite all Halford's intimations that he is an "artist" in recent interviews, and Reznor's decidedly thematic style and supposed disinterest in metal in general, _Voyeurs_ still rolls out of the studios as the product of unpretentious motives, while retaining artistic integrity. Fans can only hope that in their future work, Two avoid toppling unfavorably toward a ridiculous, contrived "artistry," or on the other hand, mediocrity. --- REVIEW: David Poe, _David Poe_ (550 Music) - Arabella Clauson On his self-titled debut, David Poe matriculates himself in the school of eclectic folk-rock among classmates Ani Difranco and Peter Mulvey. Drifting from Dayton, Ohio to New York City and playing in numerous punk, folk, and eclectic ensembles over the past 15 years, the singer-songwriter has developed a uniquely experimental, acoustic-based sound to call his own. Poe refined his West Village sensibilities through stints at New York's acclaimed C.B.'s Gallery and performing in a drum-guitar duo with Rollins Band member Sim Cain. _David Poe_ features a marvelous collection of stripped-down tunes defined through sparse instrumentation, capturing all the authenticity of live performance within the confines of recorded media. The songs themselves seem to organically bleed into each other, taking on a life of their own and blending across surprisingly smooth edges. They flow into one another with a mature vision of creative expression highlighted through the work of producer T-Bone Burnett (Wallflowers, Counting Crows). Poe marks "Telephone Song" with the steady hum of earthy vocals, and follows with the catchy, infectiously melodic overtones of "Blue Glass Fall." An eery slide guitar introduces "California," and the classically trained musician winks at Pachelbel's Canon on "Moon" through simple, yet highly sophisticated guitar arpeggios. The bossanova beat of "Apartment" emphasizes Poe's raspy, warm vocals inscribed within eclectic, slow-paced guitar work. His sardonic wit emerges on "Bloody" (which he calls "the sick joke that everybody gets") as he quips, "If I saw you getting beaten in the street/I would stop them hurting you and finish the job with my own words." At the South by Southwest Music Festival, Poe admitted sticking to depressing themes. "A friend told me all my songs were depressing to him. I tried to write a happy song, but I failed miserably." Which is not to say he writes nothing but ballads; quite the opposite, as many of his songs have an upbeat rhythm underlying the mournful lyrics. If he could give voice to a generation, David Poe speaks to all the twentysomethings who detest the Generation X label. Highly sophisticated instrumentation, lyrical intelligence make this a startingly original, organically experimental release. Now well into the school of eclecticism, pray he never graduates to something too worthy for fringe culture. --- REVIEW: Loudon Wainwright III, _Little Ship_ (Virgin/Charisma) - Bill Holmes Sometimes I wish every record came with a lyric sheet, because many people flat out mumble and it would be nice to know what they are really singing. Then there are times when I'm glad they don't, because it makes me listen to the words as they're being sung and spoken. I'd never turn to the last page of a novel to see the ending, and I like to savor the words of a good song in much the same way. Which is just my longwinded way of saying that master songwriter and storyteller Loudon Wainwright III makes me laugh, sing along, think and get choked up along with him, and it's better when I don't know what's coming next. Like the whistling solo on the island flavored title track. Oops..... As a vocalist, Wainwright has gotten much better over the years. His phrasing on delicate songs like "Four Mirrors" and "Primrose Hill" is just one example of the difference between a good singer and a pedestrian vocalist. Radio will no doubt try to feature louder, uptempo songs like "Mr. Ambivalent" or "I Can't Stand Myself", and they're very good songs. But where his louder, faster songs tend to be nudge and wink stories, it's his softer, slower moments that let him weave his magic better. Besides the poignant "Primrose Hill", other strong moments include "The Birthday Present II" and Shawn Colvin's duet vocal on "Our Own War". Wainwright is a certified wise ass and one of the best live performers you will ever see. At his shows, crowds laugh uproariously and sing along in unison, but when he pulls out one of his pensive, dysfunctional family themed gems (and he has a truckload), the crowd is quiet with equal parts interest and awe. It's hard to recapture those two polarities on a studio record, but alongside the cock-strut of "Breakfast In Bed" you have a song like "OGM" (outgoing message), where Loudon picks a lone guitar as he sings. It's a beautiful but sad song, the low self esteem yin to the unbridled frustration yang of The Replacements' "Answering Machine". Maybe my favorite moment is the hysterical "Being A Dad". As usual, the record is littered with great lyrics, but this one is wall-to-wall great ("it's as hard as it looks/you gotta read 'em dumb books/and you end up despising Walt Disney"). The over-the-top performance comes complete with chanting chorus, and then right when he has you laughing your ass off, he slips in the somber, final couplet ("Being a Dad can make you feel sad/Like you're the insignificant other/Yeah right from the start they break your heart/In the end every kid wants his mother...") For a funny guy, it's obvious that he has had family issues wear some of the tread off his tires over the years, but as usual, his catharsis is our gain. Loudon fans will be thrilled, and those willing to sit and give this an hour of their time to _Little Ship_ will realize why those in the know stopped talking about "Dead Skunk" a long time ago... --- REVIEW: Bond, _Bang Out Of Order_ (Work) - Simon West Catchy three minute songs in a Britpop fashion with a cockney lead vocal and lyrics dealing in pop culture and everyday life. _Parklife_ era Blur, right? Not this time. Bond's debut is a lively affair, dropping beats and keyboards on top of guitar driven hooks and singalong choruses. The overall effect isn't particularly original, but it's undeniably entertaining. Highlights include "Starbucked", a great shoutalong about groupies, full of unpleasant sexual puns: "Her gasm is in ore/My balls are in her court." "Anne Grenade" sounds a bit like Everclear might if Art Alexakis came from Sarf London. "Retronoyoko" veers just a little too close to Blur territory but entertains regardless, with a lyric dealing with the retro scene where "Everyone's retro/Sorta mono/Kinda Yoko/Ono." "I'm A Bastard" sounds a bit like Squeeze might if Squeeze went out for a heavy night on the piss and then wandered past a fairground. Bond aren't all daft puns and pop culture. First single "Nothing Fits", combining backward guitar and a dub-style rhythm with one of the catchiest choruses of the year, seems to be about having a bloody awful day. "Disposable" is surprisingly slow, with great harmonized vocals and lyrics with vaguely religious undertones. It's one of the best tracks on the album, and proof that Bond has more to offer than simple raucous pop. _Bang Out Of Order_'s radio-friendly sound may be partly due to producer Matthew Wilder (No Doubt), but various Bond members have chart experience, from Shakespeare's Sister to Black Grape - ex-Grape Martin Slattery is the keyboardist here, and tracks such as "Starbucked" are a little remeniscent of the chaotic anarchy of Ryder and company. Nothing earth-shattering here then - a bit of Madness, a touch of 90's Britpop, fuzzy guitar riffs and a bit of sax here and there, but stamped with Bond's own personality. A consistently entertaining debut album, well worth checking out. --- REVIEW: Van Dyke Parks, _Moonlighting_ (Warner) - Tim Kennedy This collection of songs, performed live last year in a cozy atmosphere at the Ash Grove is a superb showcase of the strange but potent talent who weaved his mercurial way through the West Coast scene of the sixties and collaborated on the majestic Beach Boys _Smile_ album-that-never-was. The album is at once soothing and inspiring. The orchestral and piano backing provides a far more satisfying backdrop for VDP's theme of yesterday's America than the jarring 'modern pop' production on 1997's _Orange Crate Art_. Whilst VDP has a pleasant voice, it would be nice to hear Brian Wilson also singing to this altogether preferable backing as he did on the studio _Crate_ album. The melodies are lilting yet still challenge, and at least to these ears provide a welcome antidote to stale familiar guitar patterns. The songs recall a little of Newman, Wilson with a touch of Gershwin. This ain't rock 'n' roll, and it is often sedate music but nonetheless it is music with a lot of heart, music that knows no cynicism. An echo of the _Smile_ sessions is clearly to be heard here, with its harking back to old times. The rustic theme of "C-H-I-C-K-E-N" recalls the still unreleased _Smile_ song "Barnyard", as does the inherent humour of this album. VDP jokes and chats in between songs, on occasions reading poetry by the likes of Robert Frost. He reads from the travel writings of Louis Moreaux Gottschalk, leading into the Latinesque "Night In The Tropics". Fans of Van Dyke's solo work, his work with the Beach Boys, lovers of romantic music from older times, and maybe people who just like unusual stuff will love this CD. Suffused with humour and intelligence, this music is timeless. --- REVIEW: Various Artists, _Random (02) Mixes of Gary Numan_ (Beggars Banquet) - Joe Silva It's generally agreed that while he lacked the critical verite at the time, Gary Numan's kicking at the hands of the press, leftover punks, and disco dollys of the day, Gazza can be credited with reducing the amount of flak that the bulk of synth bands to follow would have surely had to absorb. Even with "Cars" already in pocket, not many wanted to hear about his wanky, paranoid visions of the future. A generation or two removed from all of his benefactors, however, comes the second installment of the _Random_ tribute. Beggars, initially swamped with material and a healthy throng of co-conspirators, decided not to put off the masses that might initially snap up the project by working in the techno mixes that came with the flood of interest. And true enough, neither Damon Albarn's excellent take on "We Have A Technical" or An Pierle's (pronounced "Peer-lay") super Tori-esque "Are Friends Electric?" from the first double CD (!!) installment would have been easily meshed alongside the way-extended club visions included on the follow-up. But the two editions should not exist separately either. Right out of the gate it's obvious that Robert Armani's six minute treatment of "Metal" should not have been lost to space reserved for a more marketable entry. Distilled down to his essence as it is here, Numan's material still maintains its bleak but arresting flavor. Of the two distinct approaches to "Cars," the Mike Dearborn deconstruction is probably the preferred version. Having seemingly little to do with the original, unlike the following (and largely faithful) Dave Clarke take, the ceaseless thumping is mo' satisfying in it's abstraction. With not much more than two notes and a snatch of re-worked vocal from the original, the same can be said of Liberator DJ's "Are Friends Electric?" And even if his own LP might be a complete snoozer, Steve Stoll's work is engaging as he endlessly does a house loop around "I Was Vapour." When things aren't quite as bumping, as in Peter Lazonby's closer "The Iceman Comes" or the excellent "Dans Le Parc" by D.J. Hell, it's apparent that Numan's essence becomes easier to secure. For all his naff, second-hand Bowie faculties, _Random_ makes clear that Gary's detachment was valid enough to shine through to the future he desperately felt more of a kinship to. So now the only coal that remains to be stirred is - will the pale airborne android touch down amongst us once again now that terrain below appears a trifle more welcome? --- REVIEW: The Hunger, _Cinematic Superthug_ (Universal) - Linda Scott _Cinematic Superthug_ is a crossbreed of industrial and hard rock. Imagine Nine Inch Nails' electronics combined with Metallica's whipsaw hard rock, and you have a good fix on this album. Bringing it to you is a Houston-based band, The Hunger, together since the late 80's. Featuring brothers Jeff and Thomas Wilson on vocals/keyboards, their bandmates are Stephen Boyle (guitars), Brian Albritton (bass), and Max Schuldberg (drums). When The Hunger started, they played dance music and then evolved into a rock band. They then became an industrial band in a big way but are now doing industrial rock with more rock leanings. Their debut album for Universal was _Devil Thumbs A Ride_ , which produced the top five rock single, "Vanishing Cream". The Hunger toured relentlessly in support of their album and opened for such bands as Sponge, the Toadies and their heroes, Kiss. While the debut album emphasized the industrial sound, _Cinematic Superthug_ has a richer, melody-driven sound. The tracks are loud and brash but different from the usual industrial noise band. The rock base and meaningful lyrics should increase The Hunger's appeal. Tracks such as "Ray" and "Closer To Me" are good examples of The Hunger's new sound; guitars and effects, thoughtful lyrics and vocal hooks which have an industrial sound but are heavily underpinned with rock's emotions. _Cinematic Superthug_ is a good choice for fans of industrial and hard rock that are interested in hearing a new sound. Check the band's web site at http://www.thehungeronline.com for tour information as well as band photos and discography. --- CONCERT REVIEW: Cramps, Asbury Park NJ - Al Muzer The first-ever Jersey Shore (Asbury Park) appearance of The Cramps was one of those mind-warpin' time-travel highlights you're still talking about if you were lucky enough to witness - and're still kicking yourself over if you missed. Proving once and for all that a life-long avoidance of the sun can keep you young and pale forever, coolly-detached, leather-clad, one-time dominatrix Poison Ivy Rorschach spewed up a continuous barrage of echo-laden surf-twang and super-fuzzed power chords while the frothing, fish-in-the-sand stage antics and dysfunctionally-erotic lyrics of Lux Interior had the crowd bouncing along furiously to the band's kitschy, junk-laden, slightly askew world view before you could say "It Thing Hard-On." Kicking their enthusiastically performed set off with "Cramp Stomp" from their latest CD, _Big Beat From Badsville_ (Epitaph), Lux, Ivy, drummer Harry Drumdini and bassist Slim (ex-Mad Daddys) Chance [the latter two are spittin' images of long-ago predecessors Nick Knox and Bryan Gregory] covered all stages of the band's 20-plus-year, trash-lovin' career with no special emphasis placed on the last two albums ( _...Badsville_ and 1994s _Flamejob_) and their full attention focused on making as much racket as possible. Doing noisy justice to staples such as "Love Me," "Garbage Man," "I Was A Teenage Werewolf," "Sunglasses After Dark," "Creature From The Black Leather Lagoon," "God Monster," "Goo Goo Muck," " Naked Girl Falling Down The Stairs," "The Hot Pearl Snatch," "What's Inside A Girl?," "Ultra Twist," "TV Set," "Can Your Pussy Do The Dog?" and "Human Fly"; the band barreled through a loud, over-the-top, tunefully-obnoxious 19-song assault on all that is decent, rock-a-billy and right with the power, energy, vitality, noise and freakish sexuality of the Gravest Hits-era four-piece in full, pale-skinned bloom. --- REVIEW: Various Artists, _Cover You: A Tribute To The Rolling Stones_ (Hip-O) - Bill Holmes Hip-O's tribute collections gather previously recorded versions of an artist's work rather than commission current bands to take a whack at the catalogue. So where the latter project might have the benefit of one-upmanship as bands try to come out on top of the pile, the older versions were done individually as true tips of the cap, especially when you consider the caliber of the artists involved. Like _Meet The Covers_ and _Chuck B,. Covered_, this gathering is as eclectic as Hip-O's Beatles and Chuck Berry discs. While many have heard Linda Ronstadt's tepid version of "Tumbling Dice", few will have heard Sugar Blue's jazzy harp-laden "Miss You" (he played harmonica on the original cut). Ditto a nice collaboration between two of the better guitarists on Earth, Charlie Sexton and Ron Wood. And while I miss Devo's unique attack of "Satisfaction", soul legend Otis Redding sounds a lot more like a man in need than Jagger did. White soul shouter Mitch Ryder issued one of the most intense rock albums of the era with _Detroit_; the inclusion of his growling "Gimme Shelter" is the best thing on the record. Dueling soul Queens Aretha and Tina Turner are here also, with Ike and Tina ironically offering "Under My Thumb"! Country blues is the bastard father of rock and roll, and while Jason & The Scorchers rip it up with "19th nervous Breakdown", Johnny Cash's 1978 version of "No Expectations" sounds like "Folsom Prison Blues" with different words. Steve Earle and Johnny Winter (with Rick Derringer blazing alongside him every step of the way) close out the disc with live versions of "Dead Flowers" and "Jumpin' Jack Flash", respectively. There are fourteen songs, and besides the Ronstadt cut, the only mistake that Hip-O made was in the liner notes which begin: "Mick Jagger and Keith Richards may not be thought of as one of the great songwriting teams of the modern era..." Maybe not on your planet! As a die hard, long time, watched-them-on-Sullivan-as-a-kid fan, I've known better all my life. Even during that period of the 1960's when the unwritten rule said you had to choose between the Beatles and The Stones (couldn't - gasp - like both!), I knew which side my rock was buttered on. So does Hip-O. --- REVIEW: DAS EFX, _Generation EFX_ (Elektra) - Lang Whitaker By its very nature, rap music is supposed to chafe you a little bit. As Chuck D once noted, "Rap music is CNN for black people", and as a result, rap music, once a happy-go-lucky boasting contest, has evolved into a hardcore reporting industry. But if rap music is indeed "CNN", then DAS EFX would be "Style with Elsa Klench". As they have established on their three previous albums, EFX has an unmistakable vocal style that they mine for all it's worth. In the middle of about every fourth word, Skoob and Drayz insert a vocal tick that sounds like "iggity". For instance, "This is CNN", in DAS-speak, would be "This is C-iggitty-NN". The vocal tick is at first grating, but it soon becomes second nature. Skoob and Drayz work extremely well together, with a flow that rivals the camaraderie between Run DMC. DAS EFX's voices sound smooth together, as the both have an intensity and concentration that shows. The album appears to be sequenced with a purpose. The tracks rotate back and forth between hard-core and party jams, but for their part, DAS are rock steady. The songs on _Generation EFX_ are never earth-shattering, production-wise, but appear to have been written with the radio in mind; each song has spoken verses with sing along choruses. The sugar coating of _Generation EFX_ is a welcome change to the raw and rough recent past of rap. The best song on the record is "Generation EFX", a song where Drayz and Skoob stake their claim as the voices of their generation. Adding vocals and production on the song is the legendary EPMD, and Erick and Parrish sound as tight as ever. The first single, "Rap Scholar" features Redman, another member of EPMD's extended stable of talent, and is built around a sample of The Brick's "Dazz". Maybe _Generation Effects_ isn't the most groundbreaking record, but it doesn't have to be. No one likes to have news shoved down their throats, and as Mary Poppins and DAS EFX have found, a spoonful of sugar helps the medicine go down. --- NEWS: > The Pretenders will be hitting the road this summer with the B-52's, and tour dates will be announced in mid-April. Meanwhile, the Pretenders continue to put the finishing touches on their upcoming studio record, selections from which will be undoubtedly previewed at the outdoor gigs this summer. > The Sand Rubies (formerly known as the Sidewinders) will be issuing a greatest hits album in late May. Titled _Sand Rubies: The Sidewinders Sessions_, the disc is a precursor to the band's newest album, due to be issued later in the year. For more information, check out http://www.contingency.com > Massive Attack's newest album, _Mezzanine_ - slated for a May 12 in-store release date - will be available in its entirety before that on the Internet. The album will appear in stages over the course of two weeks via a special page on Virgin Records America's web site ( http://www.virginrecords.com/massive_attack ). The entire album, along with the first video ("Teardrop"), was put on the Virgin site on March 30. --- TOUR DATES: Addict Apr. 3 Chicago, IL Double Door Apr. 4 Detroit, MI Shelter Apr. 5 Cleveland, OH Grog Shop Apr. 7 Toronto, ON Horseshoe Apr. 9 Boston, MA Middle East Apr. 10 Washington, DC 930 Club Apr. 11 Philadelphia, PA Pontiac Grille Agents of Good Roots Apr. 9 New York, NY Wetlands Apr. 12 Killington, VT Pickle Barn Cherry Poppin' Daddies Apr. 3 Washington, DC 930 Club Apr. 4 Philadelphia, PA TLA Apr. 5 Pittsburgh, PA Metropol Apr. 8 Minneapolis, MN First Avenue Apr. 9 Chicago, IL Riviera Apr. 10 Detroit, MI St. Andrews Apr. 11 Cleveland, OH Agora Cravin' Melon Apr. 10 Winston Salem, NC Ziggy's Apr. 11 Asheville, NC Be Here Now Curve / Freaky Chakra Apr. 6 Chicago, IL Double Door Apr. 8 San Francisco, CA Slims Alana Davis Apr. 6 San Francisco, CA Bimbo's Apr. 7 Portland, OR La Luna Apr. 8 Seattle, WA Showbox Apr. 11 Minneapolis, MN Ground Zero Apr. 12 Chicago, IL Park West Feeder Apr. 7 Toronto, ON Horseshoe Tavern Apr. 8 Montreal, QC Cabaret Apr. 9 Cambridge, MA Middle East Apr. 10 Washington, DC 9:30 Club Apr. 11 Philadelphia, PA Pontiac Grill John Wesley Harding (All at Borders Books) Apr. 3 New York, NY Apr. 4 Bryn Mawr, PA Apr. 6 Seattle, WA Apr. 7 Redmond, WA Apr. 8 Portland, OR Apr. 10 San Francisco, CA Apr. 11 Santa Monica, CA Apr. 12 Torrence, CA High Llamas Apr. 6 Philadelphia, PA T.L.A. Apr. 7 Providence, RI The Call Apr. 8 Boston, MA Middle East Apr. 9 New York, NY Tramps Irving Plaza (NYC concert hall - www.irvingplaza.com) Apr. 3 Charlie Hunter / Galactic Apr. 4 Skatalites Apr. 7 Creed / Samiam / Cool For August Apr. 9 God Lives Underwater / Semisonic / Fuel Apr. 10 Leftover Salmon Apr. 11 Robert Hunter Liquor Giants Apr. 10 Seattle, WA Crocodile Apr. 11 Portland, OR Satyricon Apr. 13 Los Angeles, CA The Troubadour Ziggy Marley & Melody Makers Apr. 6 Palo Alto, CA The Edge Apr. 7-8 Los Angeles, CA House of Blues Apr. 10 Maui, HI Maui Arts and Cultural Center Apr. 11 Oahu, HI Turtle Bay Hilton Mono Apr. 8 Los Angeles, CA El Rey Theatre Apr. 10 Atlanta, GA Cotton Club Apr. 11 Washington, DC 9:30 Club Promise Ring Apr. 6 Boston, MA Middle East (Downstairs) Apr. 7 Montreal, QC Petit Campus Apr. 8 Ottowa, ON Liquid Monkey Apr. 9 Toronto, ON Club Shanghai Apr. 10 London, ON Call The Office Apr. 11 Detroit, MI Magic Stick Apr. 12 Cleveland, OH Speak In Tongues Radiohead Apr. 6 Vancouver, BC Pne Forum Apr. 8 Calgary, AB Max Bell Center Apr. 12 Toronto, ON Maple Leaf Gardens Sherry Rich Apr. 8 Nashville, TN Exit / In Smart Went Crazy Apr. 7 Tuscon, AZ Scrappy's Apr. 9 Los Angeles, CA NO Life Apr. 10 Berkeley, CAGilman Apr. 11 Santa Cruz, CA UC Santa Cruz Apr. 12 San Francisco, CA Bottom of the Hill Apr. 13 Chico, CA Blue Room Elliott Smith Apr. 4 Orlando, FL Sapphire Supper Club Apr. 5 Atlanta, GA Point Superdrag / Apples In Stereo / Tuscadero Apr. 10 Asheville, NC Be Here Now Apr. 11 Spartanburg, SC Magnolia St. Pub Third Eye Blind / Rebekah Apr. 7 Panama City, FL Spinnakers Apr. 8 New Orleans, LA House of Blues Apr. 9 Houston, TX Bayou Place Theatre Apr. 10 Corpus Christi, TX Texas Sky Park Amphitheater Apr. 11 Austin, TX Music Hall --- THE READERS WRITE BACK! > I love your publication and although I am a new subscriber, I can see that this is already well worth my while. In an Internet world full of mass mailings, it's nice to find a newsletter with some significant content. I had to respond to this latest newsletter containing the review of new artist Natalie Imgruglia and her single "Torn". I feel that to be fair I needed to share this information with you. "Torn" is actually an Ednaswap song! It was their second promotional single release from their self-titled 1995 debut album, following "Glow". The band has recorded and re-recorded "Torn" numerous times from 1995-1997 for varying EPs and releases. This information comes directly from the Ednaswap website located at http://spaa.simplenet.com/ednaswap/torn.html Thank you for your time - Therese M., New York --- 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 ===