==== ISSUE 141 ==== CONSUMABLE ======== [April 13, 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 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 Also Contributing: Franklin Johnson 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/Zines/ByCategory/Music then go to Consumable to rate us! ================================================================== .------------. | Contents | `------------' INTERVIEW: High Llamas' Sean O'Hagan - Joe Silva REVIEW: Semisonic, _Feeling Strangely Fine_ - Scott Slonaker REVIEW: Bonnie Raitt, _Fundamental_ - Tracey Bleile REVIEW: Junkie XL, _Saturday Teenage Kick_ - Lang Whitaker REVIEW: Soundtrack, _Shooting Fish_ / _City of Angels_ - Bob Gajarsky REVIEW: Goodie Mob, _Still Standing_ - Lang Whitaker REVIEW: Triplefastaction, _Cattlemen Don't_ - Scott Slonaker REVIEW: Alannah Myles, _Arival_ - Jon Steltenpohl REVIEW: Todd Snider, _Viva Satellite_ - Scott A. Miller REVIEW: Dakota Moon, _Dakota Moon_ - Linda Scott REVIEW: Pitchshifter, _www.pitchshifter.com_ - Franklin Johnson NEWS: Luscious Jackson, Mammoth, Run DMC / Jason Nevins, Rhino Reissue Exchange Program TOUR DATES: Addict, Agents of Good Roots, Cherry Poppin' Daddies, Cows, Cravin' Melon, Alana Davis, Kyle Davis, Dismemberment Plan / Calvin Krime, Flick, John Wesley Harding / Steve Wynn, Irving Plaza (NYC concert hall), Kerosene 454 / Bluetip, Liquor Giants, Luna, Ziggy Marley & Melody Makers, Mono, Morcheeba, Promise Ring / Jimmy Eat World, Radiohead, Slackers, Smart Went Crazy, Elliott Smith, Superdrag / Apples In Stereo / Tuscadero, Third Eye Blind / Rebekah / Dance Hall Crashers, Trinket THE READERS WRITE BACK! Back Issues of Consumable --- INTERVIEW: High Llamas' Sean O'Hagan - Joe Silva Without as much as a bit of fanfare or dimming of lights, savvy Irish pop musos The High Llamas take the stage at Athens, Georgia's 40 Watt Club. It's St. Patrick's Day, but there's little going on in the way of outrageous merry making. The shabby settees are full of lounging townies unflustered by the band's arrival. Only a handful of the slightly more animated among them approach the front of the house once the band strikes up. The room is instantly a-glitter with vibes, harmony, and warbling electronics. What started as a gentle tip of the hat on senior pop deity Brian Wilson on their second LP (_Gideon Gaye_), became the sprawling tribute on the follow-up (_Hawaii_), and the extremely distilled essence of the great man on their latest release, _Cold and Bouncy_ , possibly perfecting a vision they embarked upon four years prior. If I had to own just one album and wasn't too caught up in witnessing the evolution, I'd take the new one. Some would cry heresy, but all bear the same quarter note keyboard lines, the lush backdrop of harmonies and strings, and the same oblique lyrical flourish. More elegant nods to Mr. Wilson's brilliance could possibly be had from Jellyfish and XTC (particularly during their Dukes period), but the depths to which the Llamas have accurately probed his tenets have won lead Llama Sean O'Hagan face time with the master himself. But O'Hagan maintains that their next record will have a fresh tack and it seems that he's satisfied with the lengths of which they've been able to take their current formula. In the midst of the media swirl that surrounds South By Southwest, Sean commented on the where the Llamas are headed and where they've been. Consumable Online: Just looking over your history, I noticed that you actually did some road time with U2 while you were in Microdisney. Sean O'Hagan: Well, Ireland is a small place and it was natural that we'd play with them. I don't think it's any big deal, though. U2 are fine and they're nice people and all but I don't think they do anything significant musically. I'm not a fan. It was a business thing. C.O.: Looking back to the first LP, it seems like the songs on _Santa Barbara_ have far more structure to them. Do you think you've come a long way from that at this point? O'Hagan: Oh, definitely. It was that album that really convinced me that I had to abandon that way of working. I found that method very restrictive. It only addresses one ethos, one emotion, one kind of artistic level of communication. There's enough people out there doing that. At best that record should have been (like) John Cale, but unfortunately most people don't know that and might sit down and think it sounds like Neil Young or Steely Dan or something. And as much as I like Steely Dan and Neil Young, I don't want to be artistically in that court. So on _Gideon Gaye_ , I had to reposition the band very obviously and very dramatically. And once we did that, I realized we had found our spiritual home. C.O.: So how does a song evolve for you these days? What are the mechanics like now? O'Hagan: Well I still work at either the piano or acoustic guitar, but instead of writing the song all the way through, I write it almost in a sample form - the way a DJ would work. I just basically record ideas onto a four track or tape recorder and collect them over six or seven months. And then when we come to work in the studio, I'll actually call on (them) and sort of re-associate those parts. That's really the beginning of the undermining of the traditionalism of the writing. When we start to actually put the tracks down we always explore the filtering option. It's almost like there are new sounds out there and new ways to listen to music. But we still work with harmonies and with a lot of bands there aren't any (harmonies). Even with the experimentation, even with the amount of risk, we still have a harmonic basis. C.O.: What sort of interplay exists between the musicians? I assume you do the majority of the idea construction. O'Hagan: Yeah, the writing as far as the chords and the top line goes, I still do. As a band, we've been doing it for quite a few years, so we've really come to understand the workings of the studio. The idea of arranging in the studio isn't scary to us. We're pretty much able to make it up as we go along. So there is a certain amount of collaboration and improvisation in the studio when it comes to arrangement and counterpoint. However, we kind of build in these methods to stop us from remaking our old records really. We do kind of check each other. That's why we kind of filter everything. You know, "What does it sound like fresh? What does it sound like filtered? Okay, why don't we split the signal and have one filtered and one kind of dry." It gives you a mixing option. At the mix, we employ the same method of deconstructing the song that we've been doing over the past three records and I really haven't gotten tired of it. I really think it's a good idea to deconstruct the songs immediately after we mix it. I would like to think that the way you listen to a Llamas record sounds like a kind of fusion and de-fusion. If you looked at it anatomically, you'd basically have a molecular structure that has a kind of freestyle activity and it gather and then the gathering solidifies and that's a song. Then it kind of scatters and that's the deconstruction of the song. That's how we view the linear experience of the record. C.O.: Have the records done well enough in the U.K. that you have the budgets now to take that notion further? O'Hagan: We make our records quite cheaply and we don't use huge budgets. We work in cheap studios and just try to keep everything under control. I think once you get into the realm of big budgets and expensive studios, the working practices (change) and you don't control the event. I think it's very important to stay in control of things. So ultimately the best thing to do is to build your own studio, which you can do quite cheaply and work within a settled criteria. C.O.: Are you guys on the way to having your own space? O'Hagan: We pretty much have access to a space regularly that's very cheap. C.O.: Whatever similarities that might exist sonically between the last three records, do you think that you're going to take another angle to your sound? O'Hagan: Yeah, I think we have to really. Since you've identified those last three records almost like as a trilogy and even though that's got all sorts of conceptual aspects to it, which may or may not be accidental, I don't think I can take it on much further. I think it would be disingenuous. The spirit of the band is investigation and re-associating ideas and sonic experimentation, so by the very nature of that ethos we do sort of have to work out a new avenue of discovery. C.O.: Does that mean we can look for more instrumental stuff? O'Hagan: Definitely and electronic as well. C.O.: How comfortable are you going to be doing that in a live forum? O'Hagan: I don't think you should ever connect the two. The minute you try to envisage how you are going to perform something and make a decision on that basis, you're restricting the idea. I think the very fact that it's the same people and you might be working from the same basis of composition that's enough to relate the two activities. I think it's very important to keep the two separate. C.O.: As far as the lyrics are concerned, do you see any distinct progression? O'Hagan: I think my lyrics are completely unimportant. I'm not a literary person. When there's a vocal, the lyric is almost like a technique to inspire images. Now having said that, when there is a lyric I'll work hard to make sure that I'm comfortable with it. But I won't use any gratuitous cliche or anything like that. What I'll do is try to create a kind of impression with wordplay or imagery. There's actually no theme, there is no one idea that runs through a song. They're separate lines and each line represents a sort of reduced idea, theme, story or whatever. I'm very interested in the idea of the rise and fall of the symbol and the color of the word. C.O.: Do you not ever feel the need to express something personal? O'Hagan: No, in fact I'm totally against that. One thing I find very annoying is when critics talk about the Llamas not involving themselves in passion. I think that should be a credit. I think passion is an overused word and that it's disingenuous, and an over-attributed virtue. Most of it is clinical and a marketing tool. I think that the idea that your voice kind of slightly cracks when you deliver a heartfelt line or a terribly personal line is kind of corny (laughs). I hate it and I don't enjoy it. I don't see how or why that's a virtue. I love the idea of a totally simulated vocal to the extent that that vocal is part of an arrangement - the vocal is not something your are attracted to. You're attracted to the music as a whole and the arrangement as a whole and the vocal is not a distraction. The lyric should be a visual and the vocal should be a kind of instrumental counterpoint and the vocal harmony should be as textured as a brass harmony. When you get something so crass as Oasis, that are supposed to be so great because they've got a passionate vocal; when it's reduced to that, you just realize that it doesn't stand up as a legitimate form of expression. C.O.: Well to bring their name up again, U2 (or specifically Bono) is a manipulator of sorts by the way he tries to capture a person's attention or emotions, but don't you think he means it to a degree? O'Hagan: It's disingenuous. I think he might be just a very good businessman. Don't you make that connection between marketing and performance? C.O.: Hmmm...hard to say. Considering their position, you'd have to wonder why they would feel the need to resort to that kind of posturing. O'Hagan: Well because they started off with that. It was their initial tool, wasn't it? And they obviously don't want to abandon that. They have abandoned that to a point. They were very much into the idea of pop being disposable, which they didn't really succeed at very well, but I had much more respect for them for actually trying that. But U2 aren't on my hit list, but I'll tell you who is. Radiohead. I don't believe them (Radiohead) for a second. I'm not vehemently down on them, as I am say Oasis, but I hate the way that that record ( _O.K. Computer_ ) is supposed to be the greatest record of all time and so radical. I don't think there's anything radical about what they do. They're careful, well-honed cliches. The perfect marketing tool and I think those things need to be exposed. I mean I hate to sound so bitchy about it, but I think it's incumbent upon people to make that point. Pavement excite me. I completely believe them. I got to know Steve on the last tour and was so excited to tour with them. Lyrically, they do things that I'd never be able to do; work with literature and rock and roll in such an intelligent way. I think Air is also making good pop music. C.O.: Now looking at the music from a visual perspective, is that a concern? As in the video for "The Sun Beats Down"... O'Hagan: That video started off as a great idea and was very badly executed. Apologies all around for that one. I think "Nomads" is totally us. Completely bang on. C.O.: Just out of curiosity, have you picked up the (Beach Boys) _Pet Sounds_ box? O'Hagan: Oh yeah, I've had to write about it. C.O.: What was your take? O'Hagan: I enjoyed the studio interplay between Brian and the musicians. I loved hearing the musicians improvise around the tunes. From a purely academic point of view, I liked analyzing the chords because there were certain chords that I could never pick out before. The stereo mix was okay; the acapella mix I wasn't too knocked out by. C.O.: In terms of somebody like Brian, who's much older now and struggling to recapture some of his glimmer of old, where do you see yourself gravitating to as you get older? O'Hagan: I think the obvious place for me to go is into film. One thing I want to allow myself, even though I love pop music, is to work outside of the pop format. I went to see Music for Eighteen Musicians by Steven Reich a few weeks ago in London, which had never been scored until recently when a student did it as a thesis. Well, it can be performed now and he performed it with the Steven Reich ensemble and it was very much done on shorthand musical notation and cues. So there's Steven Reich, talking about it at the age of 58, working with this piece of music and it makes perfect sense. And you wouldn't even envision even an element of cringe or embarrassment in it. It was totally legitimate. I don't think that when I'm 58 and trying to perform music from Hawaii, I could conceivably do it justice (at that age). That's why I want to work with instrumental music. It's a natural area. C.O.: So what's up next? O'Hagan: I'm going to go back to England and record another single for "Turn On" , which is my other project with Tim Gane from Stereolab. There are remix projects all piling up; Pizzicato Five, Kid Loco. A lot of people think that the High Llamas are about the orchestral pop thing when we actually have a lot of people from club culture that enjoy our music. That doesn't surprise me, though. I'm actually kind of warm and flattered by it. --- REVIEW: Semisonic, _Feeling Strangely Fine_ (MCA) - Scott Slonaker When it ain't broke, don't fix it. Last time around, the Minneapolis trio Semisonic recorded _Great Divide_ , one of 1996's best (and most criminally unheard) records. A shining pop masterpiece, it was, all unforced emotion and classic dynamism. Perhaps a little bad luck and a little bad marketing (placing the gorgeous "f.n.t." on the soundtrack to the retread action flick _A Long Kiss Goodnight_ wasn't exactly a powerful push) were to blame. For the follow-up, there obviously wasn't much the band or producer Nick Launay could add to the formula; singer/guitarist Dan Wilson and bassist John Munson have been honing their take on classicist pop/rock since the mid '80s with Trip Shakespeare. So, they did what too many artists can't seem to do. They left well enough alone and did what came naturally. _Feeling Strangely Fine_ kicks off with the first single, "Closing Time", now blasting from radios across the country, which resembles _Great Divide_'s "If I Run" plus some deft studio seasoning (drum machine on the breaks) that adds additional dimensions. "Singing in My Sleep"'s soaring chorus and propulsive rhythms might just make it the best of any of the band's songs. Besides, it's about a mix tape. How could it go wrong? It's when we hit the middle of the album that it becomes apparent where the band's sound may be heading. "Secret Smile", "DND", and "Completely Pleased" all have a slightly more breathy, relaxed, R&B-styled spin that is not only effective, but refreshing, especially when put up next to the histrionic wailing-masquerading-as-sincerity (Matchbox 20, etc.) that is shoved down our throats on a daily basis. "Completely Pleased", in particular, has a pulsating, serpentine vibe that is almost totally absent from most of today's "white" rock music. Wilson adds a croony element to his already wondrous voice that is absolutely intoxicating. Semisonic's penchant for studio experimentation again surfaces near the end of the album. "All Worked Out" has dressings reminiscent of Brian Wilson and _Pet Sounds_, "She Spreads Her Wings" the spare, whispery intimacy of John Lennon's best solo work, and the string quartet that sweetens the final track, "Gone to the Movies", brings the record to a gentle close. Not since the days of Badfinger in the early '70s and Crowded House in the mid '80s has the mainstream been blessed with a pop band such as Semisonic- and actually responded. Why is it that bands without gimmicks or trendy sonic trappings have such a tough time? The success of "Closing Time" serves as a reminder that even in today's corrupt image-obsessed, next-big-thing marketplace, talented musicians can still make it based solely on their music. Congratulations to all involved; and add another record to the preliminary Best of '98 list. --- REVIEW: Bonnie Raitt, _Fundamental_ (Capitol) - Tracey Bleile In a twist on the "old dog learns new trick" cliche, Bonnie Raitt's newest effort _Fundamental_ has Bonnie and her co-producers, Latin Playboy/honorary Los Lobos members Mitchell Froom and Tchad Blake blending the best of what they know to create great musical synergy. Throw in the extremely good taste to round up members of Los Lobos and NRBQ as a backing band (who also contributed original songs for Raitt) and it's Super Dirty Blues with a serious head of steam. How refreshing and ironic that the signature keyboard-happy/ deep bottom end/noisy brass of Froom's experimentation that got used to excess in Los Lobos' _Colossal Head_ serves here instead to gently frame and not overwhelm Raitt's rusty-blade-dipped-in-honey voice. Raitt's signature twang and squeal bottle slide blues guitar becomes part of the picture without having to dominate the scene, and the many different sounds produced are definitely going to give guitar aficionados a thrill. This hybrid of raunch and orchestral arrangement is definitely going to give mainstream listeners a pleasurable kick in the pants, period. Bonnie seems to relish more than ever that she is a rare creature - a female blues artist whose paid her dues, and proves she deserves to be where she is by infinitely expansion of her range any way chooses. Even on the more trademark straight-ahead blues Raitt plays on "Spit Of Love", she sounds more free, and lyrically this album has some of the raciest lyrics since "Slow Ride". She's sad, she's sassy, she's lounge-y. Thanks to her long-time friend John Hiatt (who seems to have a never-ending wellspring of songs that sound so good on her) she's even ultra-torchy on "Lovers Will". And because she is an old pro, she deftly throws in those couple of songs that will get all the airplay they can muster, just 'cause they're bouncy and cool and you can belt out the chorus with her, and you know you wanna when you hear that long flowing guitar wail intro. She neatly delivers unto us just such a pop/blues crossover with "Blue For No Reason". There are a couple of times the music doesn't feel like original Raitt, as in a calypso-flavored number echoing of Blondie (read "Tide Is High"), right down to the spoken word break, but even that can't detract from the overall flow. At the end, "One Belief Away" closes with an all-out Latino flair (courtesy of The Texicali Horns doing up the mariachi sound) that fades off with Raitt playing an almost Hawaiian guitar flourish. Makes you glad that a true professional knows when and how to roam into amateur territory. --- REVIEW: Junkie XL, _Saturday Teenage Kick_ (Roadrunner) - Lang Whitaker If the term "crossover" doesn't sound like a viable music genre to you, then you've obviously never listened to Tom Holkenborg's latest project, Junkie XL. "For me, crossover has always been the ultimate musical direction," says Holkenborg. "Bands don't usually blend Rock and Electronica well...what I try is to blend the guitars and dance elements into something new so they don't lose their original strengths." And blend he does, like Isaac behind the bar on the Promenade Deck. The best way to describe the sound of Junkie XL is to think of Prodigy minus the psuedo-punk posturing and multiple piercings. Dance floor beats thump underneath crunching guitars and pulsating sine waves. On top of it all, rappers Rude Boy (Urban Dance Squad) and Dino Cazares (Fear Factory) tag team on a stream of consciousness about pride, underacheivers, and even billy clubs. "Metrolike", with a lyrical flow reminiscient of U2's "Numb", eventually decomposes into a sea of beeps and pops. It is immediately followed by the funky, fuzzy guitar and clean drums of "X-panding Limits". "War"'s first shots are a totally dissected drum loop that explodes into a Roni Size-d trip-hop fury. The title track is a rollicking blast fueled by Mountian Dew and nicotine, an ode to pre-pubescent weekends spent chasing tail. There are plenty of other people out there trying to do what Junkie XL does. The difference between those posers and these players? Junkie XL does it well. Really well. There are no let downs on the CD, save for the 18-minute long "Future in Computer Hell", for which a more apt title might be "Present in Computer Hell". From the first few seconds of the album, beats flow forth like sexual harassment allegations against Bill Clinton. It's easy to see how one could become a junkie listening to addictive music like this. --- REVIEW: Soundtrack, _Shooting Fish_ (Capitol) / Soundtrack, _City of Angels_ (Warner) - Bob Gajarsky To paraphrase Dickens, this is a tale of two soundtracks. Both feature a fair number of previously-released cuts, but that's where the similarity ends. One is constructed with the best bands money can buy (or license). The other is built with cutting edge acts that won't likely bring big bucks to the label, but can provide endless pleasure to its record buyers. Can you guess which is which? _City of Angels_, the Nicholas Cage/Meg Ryan flick, looks like the invite list at a music awards show. Industry vets such as John Lee Hooker, Jimi Hendrix, Eric Clapton, U2 and Peter Gabriel team up with newcomers including Sarah McLachlan, Paula Cole, Alanis Morrissette and the Goo Goo Dolls to make this a star-studded album. The Goo Goo Dolls' "Iris" includes a 20-piece string ensemble and the eagerly-anticipated Alanis Morrissette "Uninvited" also features strings - is completely unlike anything from _Jagged Little Pill_. Alanis' first new contribution since the 15 million selling _Jagged Little Pill_ makes a sharp departure from that drum programmed album. Morrissette *sings* on "Uninvited", exposing her vocals to previously unexplored new heights. Depending on your feelings towards Alanis, the vocals are either stunning or awful - and there's some justification for both sides of the fence, as her voice sometimes can't reach the new limits. Glen Ballard is nowhere to be found on this cut, and Morrissette explores with mid-eastern influenced strings in this slow, haunting song. "Uninvited" fits in well with the remainder of the soundtrack, due to its slow, downbeat feeling. Gabriel's "I Grieve" best pulls off the trick, but songs such as "Biko" set the trail for this effort. Although it will likely sell millions, this is more on behalf of the vehicle (marketing team and movie) than the quality of the cuts within. On the other hand, _Shooting Fish_ - pays homage to an era gone by. Featuring uptempo 'British' music with roots firmly planted in the 60s Bacharach era, this soundtrack is dominated by lesser-known 'modern' acts from the other side of the pond. Two top 10 (UK) singles from Space's debut record, _Spiders_, may be unfamiliar to American listeners ("Me & You Vs The World", "Neighbourhood"), but are instantly recognizable in their native land. Unfortunately, since the band was recently dropped from their American label (Universal), Yanks may not get to see any music from Space without going to the import bin. The Bluetones "Bluetonic" is a dead ringer for vintage Stone Roses, and Supereal's "Body Medusa" - appearing in a mix from Leftfield - is the perfect antithesis for the lounge scene. Dubstar's "In Charge" is two and a half minutes of synthesized harmonized Britpop, and the Supernaturals "The Day Before Yesterday's Man" is more Britpop which pays respect at the bedside of Brian Wilson. Oldtimers Jackie DeShannon and Dionne Warwick are also included here, along with another Bacharach-covered song ("I'm A Better Man (For Having Loved You)") by David McAlmont. Two soundtracks with different marketing budgets. Two different ends of the alternative spectrum. But still, either one is an infinitely better soundtrack than one about a boat which sunk 80 years before... --- REVIEW: Goodie Mob, _Still Standing_ (LaFace) - Lang Whitaker Jesus Christ once told his disciples that they should be in the world but not of the world. Similarly, on Atlanta rap group Goodie Mob's second album, _Still Standing_, the hip-hoppers discover the benefits of being in the world but not of the world on this, the best rap release of 1998. Straddling the divisive line between hypocrite and helper, Goodie Mob delivers a pointed missiveat teh very community they reside in. _Still Standing_ is a breathtaking showcase of maturation and expansion sprouting from Goodie Mob's first record, _Soul Food_. The four men (Khujo, Big Gipp, T-Mo, and Cee-Lo) use _Standing_ to smartly side-step the now played out gangsta fury that cropped upthroughout _Soul Food_. Instead, on _Standing_ they focus their sharp commentary and biting wit on the problems facing society, specifically the inherent flaws of the inner-city black community. The album starts with "The Experience", a showcase for Cee-Lo's unusual testifying from his personal pulpit. His gold-toothed grin gives his intelligent rhymes an immediate credibility. Setting the tone for the rest of the record, Cee-Lo says, "You ain't a nigga because you black, you a nigga because of how you act." The son of two southern Baptist preachers, Cee-Lo is the most underrated talent in hip-hop today. HIs nasal singing and pontificating brings to mind the love child of Jesse Jackson, Martin Luther King, Al Green, and a helium baloon. The genius of Goodie Mob is in the way all four members' voices weave together into a beautiful yet raw tapestry, exploring the dynamic spectrums like the Robinson Family. Playing off of Cee-Lo's divine drawl and Big Gipp's conversationist concerns, T-Mo delivers an ever shifting flow, while Khujo brings a possesed social conscience, referencing current events from the Ennis Cosby shooting to genocide. For production, Goodie once again collabrated with the Atlanta collective Organized Noize (TLC, OutKast). Instead of relying on the cymbal heavy sound now prevalent in hip-hop, they've created a sound they termed "techno-gothic funk", where phat bass lines serve as a foundation for trip-hop beats and clean guitar noodlings. Unlike many other rap groups, each member of Goodie Mob appears content playing his own part, recognizing that the sum is greater than its parts. Here's hoping everyone else realizes how great it is. --- REVIEW: Triplefastaction, _Cattlemen Don't_ (Deep Elm) - Scott Slonaker Even though they may not see much any more in the way of radio aiplay (excepting "I Want You to Want Me" and maybe the occasional soft-rock spin of "The Flame"), the American Midwest's own Cheap Trick have left quite a lasting legacy on today's rock bands - and, of course, they continue to this day. Triplefastaction, who share the Trick's home state of Illinois, have survived harsh treatment (signed in '94, album held up until spring '96, then unceremoniously dropped) at the hands of a major label, then landing at an indie to record their second album of Tricksteresque rough-edged, supercharged guitar-pop. Frontman Wes Kidd, despite a somewhat indistinctive voice that is somewhere between Paul Westerberg and Kurt Cobain, still manages to pen a batch of tunes that stick to the cranium quite nicely. The melodies are what get the job done, with prominent choruses and bridges that have that knack for making the listener feel that twinge of not-quite-placeable recognition. The first song, "Pure", kicks off with a clatterous drumroll and a mutant cousin of the "Wipeout" riff before launching into a brawling, aggressive raveup punctuated by the occasional falsetto croon. It may not be complicated, but it's plenty effective enough. The band does throw in enough curveballs to keep things just the slightest bit off-balance. "If" explodes into a eardrum-scorching compost heap of feedback. The title track is an uncharacteristically restrained ballad. The single, "I'm Ready", has a chugging, sirenlike rhythm that would do its job nicely (prove hummable for hours) if given half a chance on the radio. And the horns that suddenly flare up in the middle of the gentle "Sent Them Straight" are an unexpected treat. The canonical list of Rules for Producing '90s Rock may have dictated that a certain Nirvana-ness hang over the proceedings contained on _Cattlemen Don't_, but don't be fooled. Under the rough exterior, Triplefastaction are just looking for a little of their own "Hot Love". And there aren't any grimace-inducing Beatles or Elvis covers in the bunch. Give this talented and overlooked band a look on the web at http://www.rockfetish.com/deepelm/triple. --- REVIEW: Alannah Myles, _Arival_ (Ark21) - Jon Steltenpohl It's tough being a one hit wonder. Alannah Myles rocketed straight to number one with her bluesy song "Black Velvet", sold 7 million albums, and then plunged straight into the footnotes of pop music history. Now, on her 4th album, she's on Miles Copeland's Ark 21 label, and she's free to do her own thing. As it happens, her own thing sounds very much like "Black Velvet", but without as much pop polish. This is straight forward rock music with a strong classic rock and blues influence. There's a homage to Led Zeppelin called "Everything Missing", and some early Rolling Stones tunes are hiding behind a few tracks. Myles' love of Janis Joplin goes a little too far into the shredded vocal chord realm at times, but, as producer, she thankfully avoids looping her voice to hide the flaws. Warts and all, _Arival_ is an album with integrity. Myles is a true musician with a stable touring band backing her. She shares songwriting credits with 11 different cowriters including Eric Bazilian and Desmond Child. Her collaboration with those two, "Bad for You", is a cliche with chords. Fortunately, she sings it with just a hint of tongue in her cheek, and it works. "What Am I Gonna Do With You?" doesn't fare so well. It starts out with a beautiful vocal and piano melody, and then, with an awkward key change, trots out a line of pure cheese -- "You struck me like a match / and I had to burn," recalls Myles. As the song goes on, the simple melody gets forced louder, and Myles' voice gets scratchier and more strained. But more often than not, _Arival_ is a decent album. Despite the years in her voice, she sings boldly and confidently in a style that fans of "Black Velvet" will relate to. At times, she is reminiscent of a cross between Pat Benatar and Melissa Etheridge (before she became a lesbian poster child). The lyrics are serious, but not too deep, and the melodies are catchy. "Kisses are Weapons" has a "Love is a Battlefield" feel to it and is punched up with a bluesy harmonica and sharp drum beat. Myles sings with force, but manages to avoid the vocal pitfalls of some other tracks. Alannah Myles seems to have no problems living in the shadow of her past success. _Arival_ is not a formula-driven stab at reclaiming ancient history. Instead, it's a loose, well-produced album of uncompromised blues rock. Myles vocals are an acquired taste, but if acquired, _Arival_ reveals itself to be a decent release. For more information and a muddy real audio version of "Bad for You", visit http://www.ark21.com --- REVIEW: Todd Snider, _Viva Satellite_ (MCA) - Scott A. Miller What's Tom Petty up to these days? Heck, I don't know. But with Todd Snider putting out stuff this good, I don't have to know. _Viva Satellite_ swaggers across southern rock territory so confidently I'd swear Snider had stolen Petty's muse, got it drunk and won its everlasting love. This is Snider's third album, a minor miracle in an industry that demands you hit a home run with your first swing of the bat (and then you better keep hitting homers or you're outta there). But this Memphis songwriter has two things going for him: a truckload of rock 'n' roll attitude and a couple of kegs of smart-ass to tap into whenever the mood suits him. _Satellite_ is chock full of lines Todd Snider fans are used to. "I don't ever wanna have to go work for my dad, I guess that's about the only dream I ever had" is from "Out All Night." "I gotta make my last stand, this time I can't be bought, then again on the other hand, how much ya got?" is from "Can't Complain." But where Snider's words really hit their mark this time out is when he's spewing real venom, like on "Positively Negative." A guy turns the tables on his lying, cheating girlfriend. Nothing new there. But when Snider sings "if you think you're jaded now, babe, wait 'til you've seen the rest of me," it isn't a warning, it's a promise. And an evil one at that. For all the snide lyrics, there are even more hooks and riffs. Snider's band, The Nervous Wrecks (Will Kimbrough, lead guitar; Joe Mariencheck, bass; Paul Buchignani, drums), travels easily from acoustic rock to rock anthem to blues to gospel, all on this album. The lead-off single, "I Am Too," showcases a tight rhythm section while throwing in a few power chords that would have made Molly Hatchet proud. The band's take on Steve Miller's classic "The Joker" struts out the song's original hook while Snider adds just the right cocky tone to the braggadocio lyrics. And stick around for the "theme" song hidden track at the end. It's a rip-the-knobs-off rocker. I'd be doing a disservice to Snider if I didn't mention that he's capable of more than macho wise-acre commentary (and I mean that in the best way)."Never Let Me Down" is one of the best love songs I've heard. And he does a great job of channeling the emotion of some rural country gospel singer on "Once He Finds Us." This CD was originally set for release in January, but was delayed several months because (the label said) the artwork wasn't ready. I hope that means it's going to get the push it deserves, because Todd Snider is the real rock 'n' roll deal. --- REVIEW: Dakota Moon, _Dakota Moon_ (Elektra) - Linda Scott Dakota Moon's self-titled album is a pleasant change from other recent debut albums. The first difference - these guys can sing! Consequently, the vocals are mixed high so that the listener can understand every word. Dakota Moon has a knack for storytelling, and every song tells a story of romance and life that most listeners will relate to. The band harmonizes in a style reminiscent of Boyz II Men. All four performers get vocal credit. Ray Artes is on bass, Joe Dean and Ty Taylor are on guitar, and Malloy is on percussion. On this album, vocals are first with the music supporting, not starring. Hailing from Los Angeles, Dakota Moon have been working on their live show over the past two years. With club dates all over LA providing them the needed exposure and experience, the band was asked to open on the Tina Turner tour. The band's been busy, but they found time to blend pop and R&B for the thirteen tracks of _Dakota Moon_. Their influences range from The Eagles to Bill Withers. If you like soft, romantic music, you'll like _Dakota Moon_. The band doesn't show a lot of range here, but this debut album clearly showcases their strong suits of vocals and lyrics. If this band gets MTV exposure, they're going all the way with this one. --- REVIEW: Pitchshifter, _www.pitchshifter.com_ (Geffen) - Franklin Johnson Web sites are most definitely a creature of the 1990s. So is industrial and aggressive rock and roll. Combining two of the more prominent aspects of this decade is the recipe for Pitchshifter on _www.pitchshifter.com_. The band's fifth album - and first for a major label - is a facial barrage of machine-gun guitars for a new generation. If Henry Rollins, Trent Reznor the Prodigy and Extreme Noise Terror put their heads - and tattoos - together, they might sound like Pitchshifter. To afficionados of the British band, the Prodigy is already a prime focal point - guitarist Jim Davies has already put down licks for "Firestarter" and "Breathe". "Genius", with its 'dysfunction is a function' lyrical refrain, and the NIN-like "Civilized Society" offer listeners a good starting point into the beast known as Pitchshifter. Finally, when the album's 13 tracks are complete, the band offers you the opportunity to go to their website and obtain 50 samples which the band utsed on their album - and fans are encouraged to 'steal' them to make their own music (with proper credit given to the band). I don't have to tell you the band's web site, do I? --- NEWS: > Luscious Jackson keyboardist Vivian Trimble has departed the band in an amciable split from the group to pursue other musical interests. Luscious Jackson is currently demoing material for its follow-up to 1996's _Fever In Fever Out_ , with plans to begin recording in the late spring. > Mammoth Records has redesigned their website, located at http://www.mammoth.com , with advance previews of new singles and videos, as well as much of the Mammoth catalog. In addition, all future single artist CD releases will contain a multimedia CD-Rom tracks. > Run DMC helped revive Aerosmith's career with their rap modernization of "Walk This Way", so it's only fair that Jason Nevins picks up the trio's sagging career with his update of "It's Like That". Nevins is set to also remix another Run DMC song, and is at work on updating a tribute version of Falco's "Rock Me Amadeus". > Reissue king Rhino Records has announced their Insane CD Exchange Program. This allows consumers to exchange one of their "lesser-quality various artist, best-of, or reissue CDs - from any label or mail order house" - for any Rhino single CD. There is a limit of one exchange per person per lifetime. For further information on the promotion, check out Rhino's web site, located at http://www.rhino.com --- TOUR DATES: Addict Apr. 14 Atlanta, GA Point Apr. 16 Sacramento, CA Bojangles Apr. 17 San Francisco, CA Paradise Club Apr. 18 San Jose, CA Cactus Club Apr. 20 Phoenix, AZ Mason Jar Apr. 21 San Diego, CA Casbah Apr. 22 Los Angeles, CA Troubadour Agents of Good Roots Apr. 18 Washington, DC Bayou Cherry Poppin' Daddies Apr. 13 Atlanta, GA Masquerade Apr. 14 Lake Buena Vista, FL House of Blues Apr. 15 Miami Beach, FL Cameo Apr. 16 St. Petersburg, FL Jannus Landing Apr. 18 New Orleans, LA House of Blues Cows Apr. 14 Tallahassee, FL Cow Haus Apr. 15 Baton Rouge, LA Bayou Apr. 16 Houston, TX Fitzgeralds Apr. 17 Austin, TX Emos Apr. 18 Dallas, TX Galaxy Apr. 19 Oklahoma City, OK Vzd Apr. 20 Kansas City, MO Hurricane Apr. 21 Lincoln, NE Duffy's Apr. 23 Denver, CO Bluebird Theatre Cravin' Melon Apr. 18 Raleigh, NC Walnut Creek Alana Davis Apr. 14 New York, NY Irving Plaza Apr. 15 Boston, MA Avalon Ballroom Apr. 16 Philadelphia, PA TLA Apr. 17 Pittsburgh, PA Metropol Apr. 20 Cincinnati, OH Bogarts Apr. 21 Cleveland, OH Odeon Apr. 22 Detroit, MI Clutch Cargos Apr. 25 Charlotte, NC City Fest Kyle Davis Apr. 20 New York, NY Bottom Line Apr. 21 Philadelphia, PA The Kyhber Apr. 23 Nashville, TN 12th & Porter Dismemberment Plan / Calvin Krime Apr. 14 Baltimore, MD Otto Bar Apr. 15 Boston, MA Middle East-Upstairs Apr. 16 New York, NY Coney Island High Apr. 17 Providence, RI RISD Apr. 18 Cleveland, OH Grog Shop Apr. 19 Flint, MI Empire of One Apr. 21 Minneapolis, MN Terminal Bar (w/ Smart Went Crazy) Apr. 22 Minneapolis, MN 7th Street Entry Flick Apr. 14 Lawrence, KS The Bottleneck Apr. 15 Columbia, MO The Blue Note Apr. 16 Springfield, MO Juke Joint John Wesley Harding / Steve Wynn Apr. 16 Alexandria, VA Birchmere Apr. 17 New York, NY Mercury Lounge Apr. 18 Cambridge, MA TT's The Bear's Place Apr. 19 Albany, NY Valentine's Apr. 20 Burlington, VT Club Metronome Apr. 21 Rochester, NY Milestones Apr. 23 Ann Arbor, MI Gypsy Cafe Irving Plaza (NYC concert hall - www.irvingplaza.com) Apr. 14 Sister Hazel / Alana Davis Apr. 15 String Cheese Incident Apr. 16-18 Radiators Apr. 20 Specials Apr. 23 Tori Amos Kerosene 454 / Bluetip Apr. 14 Chicago, IL Fireside Bowl Apr. 15 Kalamazoo, MI Club Soda Liquor Giants Apr. 16 Costa Mesa, CA Club Mesa Apr. 18 San Francisco, CA Boomerang Apr. 19 San Francisco, CA Bottom Of The Hill Luna Apr. 17 Amherst, MA Amherst College - Front Room Ziggy Marley & Melody Makers Apr. 15 Norfolk, VA The Boathouse Apr. 16 Hampden Sydney, VA Hampden Sydney College Apr. 17 Philadelphia, PA Electric Factory Apr. 18 Gettysburgh, FL Gettysburgh Univ. Apr. 19 Richmond, VA Mayo Island Music Apr. 21 East Lansing, MI Michigan State Univ. Apr. 22 Romeoville, IL Lewis University Apr. 23 Chicago, IL Park West Mono Apr. 13 Boston, MA Paradise Apr. 14 New York, NY Shine Apr. 17 Toronto, ON Lee's Place Morcheeba Apr. 13 Vancouver, Canada Richards on Richards Apr. 14 Seattle, WA Showbox Theatre Apr. 16 San Francisco, CA Bimbo's Apr. 17 Los Angeles, CA El Rey Theater Apr. 20 Boulder, CO Fox Theatre Cafe Apr. 22 Minneapolis, MN First Avenue Apr. 23 Milwaukee, WI The Rave Promise Ring / Jimmy Eat World Apr. 14 Columbus, OH Ohio State University Apr. 15 Bloomington, IN Rhino's Apr. 16 Champaign, IL Blind Pig Apr. 17 Normal, IL Illinois State Apr. 18 Columbia, MO Blue Note Apr. 19 Chicago, IL Fireside Bowl Radiohead Apr. 13 Montreal, QC Molson Center Apr. 15 Worcester, MA Worcester Centrum Apr. 17-18 New York, NY Radio City Music Hall Slackers Apr. 16 New York, NY Artist Space Apr. 17 Wheaton, MD Phantasmagoria Apr. 18 Philadelphia, PA Philadelphia Textile College Apr. 19 Pittsburgh, PA Laga Smart Went Crazy Apr. 14 Portland, OR E.J.'s Apr. 15 Seattle, WA Velvet Elvis Apr. 16 Boise, ID 507 15th St. Apr. 17 Salt Lake City, UT U. of Utah Union Theatre Apr. 18 Denver, CO Double Entandre Apr. 19 Lawarence, KS Replay Lounge Apr. 20 Omaha, NE Cog Factory Apr. 21 Minneapolis, MN Terminal Bar Apr. 23 Green Bay, WI Concert Cafe Elliott Smith Apr. 15 Boston, MA Middle East Apr. 16 Princeton, NJ Campus Club Apr. 17 Washington, DC Black Cat Apr. 18 Philadelphia, PA Pontiac Apr. 22 New York, NY Tramps Superdrag / Apples In Stereo / Tuscadero Apr. 15 Washington, DC 9:30 Club Apr. 16 Philadelphia, PA Trocadero Apr. 17 Boston, MA Paradise Apr. 18 New York, NY Tramps Apr. 21 Syracuse, NY Styleen's Apr. 23 Cleveland, OH Agora Ballroom Third Eye Blind / Rebekah Apr. 13 Las Cruces, NM NM State Univ. - Pan Am Ctr. Apr. 14 Tucson, AZ Prima County Fair Apr. 17 San Diego, CA UCSD/RIMAC Arena Third Eye Blind / Dance Hall Crashers Apr. 18 Santa Barbara, CA County Bowl Apr. 19 Claremont, CA Bridges Aud. Apr. 21 Reno, NV Lawlor Events Center Apr. 22 Redding, CA Redding Civic Center Apr. 23 Sacramento, CA Memorial Aud. Trinket Apr. 17-19 St. Petersburg, FL Pier Apr. 20 Daytona, FL Oasis Apr. 21 Gainesville, FL Univ. of Gainesville Apr. 22 Jacksonville, FL Milk Bar Apr. 23 Athens, GA 40 Watt Club --- THE READERS WRITE BACK! > Just a note, again, your magazine amazes me. I am getting sick of writing what a big fan I am and how much I appreciate it..... Could you suck just for a while so that I could get mad? It seems strange not being mad at music reviews. Peace, Scott G., New Hampshire --- Founded in August, 1993, Consumable Online is the oldest music reviews publication on the Internet. 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