==== ISSUE 143 ==== CONSUMABLE ======== [May 12, 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, Paul Hanson, 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: Rey Roldan 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. ================================================================== .------------. | Contents | `------------' REVIEW: Massive Attack, _Mezzanine_ - Simon West REVIEW: Sonic Youth, _A Thousand Leaves_ - David Landgren REVIEW: Bran Van 3000, _Glee_ - Simon Speichert REVIEW: Various Artists, _Interpretations_ - Tracey Bleile REVIEW: Reverend Horton Heat, _Space Heater_ - Bill Holmes REVIEW: Jason & the Scorchers, _Midnight Roads & Stages Seen_ - Rey Roldan REVIEW: Liquor Giants, _Every Other Day At A Time_ - Joann D. Ball REVIEW: Long Fin Killie, _Amelia_ - Daniel Aloi REVIEW: Tattoo of Pain, _Vengeance is Mine_ - Krisjanis Gale REVIEW: Fleshtones, _More Than Skin Deep_ - Bill Holmes REVIEW: Dez Dickerson, _OneMan_ - Jon Steltenpohl REVIEW: Spoon, _A Series Of Sneaks_ - Jason Cahill REVIEW: Pure, _Feverish_ - Daniel Aloi REVIEW: Morta Skuld, _Surface_ - Paul Hanson ERRATA: East Side Digital NEWS: CD indie store, Triplefastaction, Pet Shop Boys / Duran Duran TOUR DATES: Bjork / u-ziq, John Wesley Harding / Steve Wynn, Tommy Keene, Liquor Giants, Gary Numan, Trinket THE READERS WRITE BACK! Back Issues of Consumable --- REVIEW: Massive Attack, _Mezzanine_ (Virgin) - Simon West The originators of the genre now known as trip-hop, the world's coolest band, return with the long awaited follow-up to 1994's _Protection_. Is _Mezzanine_ as essential as that album and _Blue Lines_, their astonishing debut? Oh yes. _Mezzanine_ kicks off with "Angel", a menacing, ominous rumble that sounds great until the inimitable vocals of reggae legend Horace Andy begin to float over the top, and the wailing guitar kicks in, at which point it sounds simply fantastic. It's got a little darker in the Massive's world - the soul of "Unfinished Sympathy" is still here, but there's significantly more trip than hop. Horace reappears elsewhere on the album, most notably on "Man Next Door." His haunting, delicate voice more than compensates for the absence of a Tricky or a Nicolette on _Mezzanine_. Cocteau Twin Liz Fraser is another featured vocalist. She's most effective on current single "Teardrop", which is simply stunning. A haunting melody fading in over a scratchy drumbeat, dramatic piano chords and Fraser's ethereal vocal all combine to weave a spell unbroken for five and a half minutes. Absolutely beautiful. Fraser's only slightly less effective on "Group Four", an almost ambient eight minute epic. There are weaknesses here as well - "Exchange" is an instrumental that leans rather too close to muzak for comfort, though it's redeemed somewhat by Horace Andy's vocal work over the top of it as "Exchange Part 2". "Dissolved Girl", featuring hitherto unknown vocalist Sarah Jay, is rather ordinary too, a touch of album filler. It's easy to forgive this, however, when the highlights are so bloody high. At its best, which is most of it, _Mezzanine_ is a brilliant album. Dark, dramatic, but as affecting as the best of Massive Attack's previous work, it's one of only a couple of absolutely essential releases of the year. Peerless is an overused word, but it applies here. Reading about _Mezzanine_ does absolutely no justice to the soaring heights of "Angel," "Teardrop" and first single "Risingson". It's one of those albums that simply refuses to leave the CD player, regardless of what else you've bought since. Go and buy it, for God's sake. Play it loud, in the dark. Still the coolest band in the world. Samples of all tracks are available at http://www.massiveattack.co.uk --- REVIEW: Sonic Youth, _A Thousand Leaves_ (Geffen) - David Landgren Can't believe that Sonic Youth are onto their fourteenth release with this album. To get to the point, I could sum it up as follows: if you didn't like _Washing Machine_, you're probably not going to like this either - but if you want to hear the sequel to "The Diamond Sea", you're going to love it. I empathize with anyone who says they just want to listen to _Daydream Nation_ for the rest of their life. But I have to point out that what SY is doing now is just as relevant now as ever. They still have the touch: the guitars tuned to a different standard, the dissonance and noise, the melody and the lyrical imagery. But I just happen to think that Sonic Youth are one of the few bands I can count on to improve as the years go by. The opening moments of the album is the essence of white noise: static flooding out of an amp, over a backdrop of growling feedback. Kim murmuring into a microphone. "A thousand leaves, for your disguise... The leaves are falling... up... and down". Indeed. Thurston Moore apparently said that the title of the album is that each album is a leaf, and that they're going to stop after one thousand albums. This is evidently just a smokescreen to throw us off the track, but I can't see what it really means. Maybe Patrick White's "A Fringe of Leaves". Who knows? The album really kicks off with "Sunday", the single that has been released in the States for the past month. A vibrant upbeat piece: sharp upfront lead guitar and hugely distorted rhythm guitar swelling up from underfoot, layering together into a characteristic Youth riff where you never quite know where the chord progression is headed to. The verses roll by, the song ambles along until it explodes into a crescendo of guitar that spits and fuses like water droplets in boiling oil. If previous concerts are anything to go by, seeing this live will be an event. On CD the song lasts over four minutes, but Messrs Moore and Renaldo could easily draw this out into a fifteen minute jam in concert. "Female Mechanic On Duty" is a highly dissonant piece sung by Kim Gordon. It's not one of my favourites, but then again, I'm partial to her singing "Tunic (Song for Karen)" on _Goo_, much more than a "Quest For The Cup" on _Experimental Jet Set_. By the same token, it's also why I don't like "French Tickler" all that much. So that's my bias. But it has still much to recommend it, with its Sergeant Pepperish "A Day in The Life" two-songs-in-one approach: the second song in the song is simply gorgeous. Try to spot the album title in the lyrics here as well. In many ways a continuation of the path explored by _Washing Machine_, "Wildflower Soul" is a longer track, slower in pace, with long lead breaks. The first break being more Steve Shelley on drums, the second break more a free for all between the guitarists. This idea of a slowing down, of a certain maturity, is confirmed by "Hoarfrost". This latter song debuted as an instrumental that blew everyone away at last year's (1997) Tibetan Freedom Concert in New York. Well, now there are words to accompany it. And you can trace their lineage all the way back to "Me & Jill" from _The Whitey Album_. I've been listening to _A Thousand Leaves_ for a week, heavy rotation, basically trying to get my memory to dredge up the answer to the question of what riff did they recycle for "Snare, Girl". I have a feeling it's either something by Bacharach or The Carpenters. SY has always spread the net of their musical sources far and wide; this is merely the most overt expression of that. Usually their references are far more subtle and take years to decrypt. For instance, why do the names Heather and Karen reappear in song titles? Whatever "Karen Koltrane" is ultimately about, it is above all an excellent song, with a stunning industrial jam. And the ending simply has to be heard to be believed. I strongly recommend you go and see Sonic Youth next time they tour your part of the world - or else organise your foreign travels in conjunction with where they are touring. This album, as strong and rich as it is, as skillfully produced as it is by Wharton Tiers and Don Fleming (who appear to have performed a minor miracle insofar as the album appears so completely "unproduced"). In many ways, _A Thousand Leaves_ represents a snapshot of the band as they were in a particular point in time. These songs are going to evolve over the coming months as the band play them live and explore them for themselves. For instance, "Heather Angel" is made up of three distinct parts, and the middle part is just some idle studio doodling that won't stand up to the light of day. It'll be interesting to see what they make of this. I'd say the first part, sung by Kim, would be perfect closing material. Just chop the rest out. All in all a rich album, something I'm pretty sure I'll be playing for many years to come. Hell, I still play _Evol_ every few months or so. Unless something pretty major comes up before the end of the year (such as a release from My Bloody Valentine), I name this my Album Of The Year. Sonic Youth are also about the only band who have truly mastered the small CD format. Rather than have a booklet, or foldout sheet, you get a number of sheets, and you choose your own cover du jour. I may just have to go out and buy a copy. Maybe I'll get it on vinyl; it seems fitting. Last words must go to Thurston Moore, who sums it up best: "We're not, as some people maintain, obsessed with pop culture so much as we're obsessed with its possibilities for stratification and dateability." --- REVIEW: Bran Van 3000, _Glee_ (Capitol) - Simon Speichert Wow. I don't think I've heard an album as eclectic as this since, well, ever! But I guess that's what you get when you assemble thirty-some people to make music. Bran Van 3000 isn't so much a band, but a collective of musicians that comes together under the direction of one man, James "Bran Man" DiSalvio, who ends up acting as a sort of "conductor" on almost every track. As such, the musical styles on _Glee_ vary wildly. From the old-school rap of the cleverly titled "Old School", to the experimental-ness of "Une Chanson" and "Oblonging", the folky "Mama Don't Smoke", and the electronic pop of the hit single "Drinking In L.A." This is a fantastic album, because every track is so different from the next; it holds your interest without ever getting boring. Thus, there is literally something for everyone on this album. Plus, there's a bonus cheese factor: the hilarious acoustic cover of glam metal band Slade's "Cum On Feel The Noise". While _Glee_ is Bran Van's first U.S. release, they have already made it tremendously big in Canada for an independent band, getting heavy rotation on MuchMusic with the video for "Drinking In L.A.", winning a MuchMusic Video Award for that video, and literally becoming a household name. Let's hope that success follows suit south of the 49th. --- REVIEW: Various Artists, _Interpretations_ (EMI/Capitol) - Tracey Bleile A new offering in the Essentials series takes the vision one step further to encompass the purpose of the series, which focuses on obscure song versions and live material from influential "alternative" artists - by creating a tribute to the label itself. So here we have _Interpretations_, (released in Europe as _Come Again_) which has "new" EMI artists paying homage to "old" EMI artists. With two discs full to sift through, it breaks down about like you'd expect: the obvious, the inspired, and the kitschy. And with three broad strokes, there it is. What do you expect when about three-quarters of the material comes from dead -center 70s artists? The mysterious number three appears again in performers. The Americans working with UK talent and UK artists who have had the international exposure generally seem to be freer and more willing to truly interpret the artists they've chosen to cover than the newer UK artists who mainly have not even been broken in the States. First, the obvious. Two Bowie songs, with neither artist departing too far from home (in all fairness, how could you, when Bowie was so far ahead of his time?) and White Buffalo sounds far too much like Bush for me to stomach their cover of "Ziggy Stardust" (like we needed another one...). The newer Brit talent seems far more content to hide behind their keyboards and make the pop songs so sweet you'd swear it was Prom Night all over again (Gluebound's "Where Did Our Love Go", Supernaturals' take on Queen's "You're My Best Friend" and Terrorvisions' cover of Slik's "Forever and Ever" are bound and determined to keep you in the Time Warp for all eternity) rather than do anything too daring with their influences' work. Wavering on the hairsbreadth between this category and the next are Dubstar's "Jealousy" and Feline's "The Air That I Breathe" - with the first's dance pulse slowed way down to analyze the lyrical content, and the reading on the vocals of the second bordering on obsessive, but it's hard to tell if the talent is more than skin deep here. But onward: the truly inspired - the whole reason you want to dig through both discs - the pairings of Belinda Carlisle (yeah, her, tremulous vocals and all) and Radiator slamming through the Stranglers "Submission" and at the opposite end, Sparklehorse (featuring the incomparable Thom Yorke of Radiohead) is even more hushed and mournful than the original on Pink Floyd's "Wish You Were Here". Some other major high points are Mike Scott's (Waterboys) beautiful reworking of Kate Bush's "Why Should I Love You?", where he shares the aspects of an instantly recognizable voice and dreamy layered instrumentation to capture the mood perfectly. A surprising 180 degree turn by Jesus Jones has the interpretator reinventing themselves instead of the song and throwing down guitar work aplenty on the Stranglers' "Go Buddy Go". And when the Foo Fighters take a radio staple like Gerry Rafferty's "Baker Street", and replace *everything* with guitars, all their chemistry burns right through the speakers. Other honorable notes go to Fun Lovin' Criminals and Robbie Williams for daring to go back more than two decades and give classy turns to Louis Armstrong and Ella Fitzgerald, respectively. We glide to the last category on flourish of Moog tones, and kitschy honors go hands down to Cecil's take on Dr. Hookšs "When You're In Love With A Beautiful Woman" and White Town's eerie contemporary reading of Glen Campbellšs "Rhinestone Cowboy". Murray Lachlan Young turns the set's closer "Doo Wah Diddy Diddy" into a Monty Python number just to show he who laughs last, laughs best. It's a lot of material to wend through, but chances are, most of you reading this are just about the right age to be okay with reliving a little bit of child- (or, well, okay, teenybopper) hood, and _Intrepretations_ is just like twisting the tuner knob when you were big enough to be allowed in the front seat of that '72 Torino. TRACK LISTING: Disc One John Butler "Ode To Billy Joe", Belinda Carlisle & Radiator "Submission", Cecil "When You're In Love With A Beautiful Woman", Dubstar "Jealousy", Feline "The Air That I Breathe", Foo Fighters "Baker Street", Fun Lovin' Criminals "We Have All The Time In The World", Gluebound "Where Did Our Love Go", Jesus Jones "Go Buddy Go", Kenickie featuring /Errol Brown "It Started With A Kiss", My Life Story "Duchess" Disc Two Octopus "Starman", Mike Scott "Why Should I Love You?", Sparklehorse with Thom Yorke "Wish You Were Here", Supernaturals "You're My Best Friend", Terrorvision "Forever & Ever", White Buffalo "Ziggy Stardust", White Town "Rhinestone Cowboy", Robbie Williams "Ev'ry Time We Say Goodbye", Wireless "See Emily Play", World Party "Martha My Dear", Murray Lachlan Young "Do Wah Diddy Diddy --- REVIEW: Reverend Horton Heat, _Space Heater_ (Interscope) - Bill Holmes Imagine a recording that draws comparisons to Black Sabbath and Flatt & Scruggs! Seriously! When you jump in the rumble seat with this Texas trio, you spin that radio dial from the pickin' n grinnin' "The Prophet Stomp" all the way to the left where a more talented Black Sabbath might have pounded out "For Never More" in their garage. And that's not even conjuring up the very scary Perry Como singing-Spanish-at-gunpoint "Mi Amor"... Yup, the boys are at it again - another mishmosh of geetar swangin' that may put a smile on your face or drive you crazy, depending how wide your bandwidth is as well as your tolerance for genre-jumping at the drop of a hat. Five albums in, those unfamiliar should know that there aren't many (if any) better purveyors of slap-bass, snap-drum, percolatin'-guitar than "The Rev", and cuts like "Lie Detector" and the self-depreciating "Jimbo Song" (Jimbo is the bassist, y'see) are prime slices of roadhouse rock. No such thing as reverence for topics, though - one read of the hilarious "Couch Surfin' or "Baby I'm Drunk" will set that right. Then again no one listens to the Rev for lyrical inspiration anyway. Produced and mixed by the wonderful Ed Stasium (who also handled Love Nut's _Baltimucho_, so he's having a hell of a year!), _Space Heater_ is all over the map from the Duane Eddy rebel rousing "Pride Of San Jacinto" to what can only be described as "cowpunk rap" on "Revolution Under Foot". Whether instrumental, vocal or butchering Spanish ("Cinco de Mayo", "Mi Amor"), Stasium coaxes a sound that captures the energy of the performances without falling into a redundant pattern. While not a solid wall-to-wall winner (I would have roped it in a little more), there's plenty here to get you up off your butt so you can shake it better. File this next to Webb Wilder in the "airplay be damned, we're gonna light your ass on fire" school of southern cooking. --- REVIEW: Jason & the Scorchers, _Midnight Roads & Stages Seen_ (Mammoth) - Rey Roldan As a studio band, Jason & the Scorchers are a really good band. With releases like their fascinating debut _Fervor_ to _A Blazing Grace_, their first for their current label Mammoth Records, Jason and his Scorchers have led the cowpunk revolution from the 80s straight through the 90s without a sacrificing any of their fiery fervor. While their recorded energy always seemed at just one inch short of blistering, their live performances were always, well, scorching. So, it only seemed appropriate and necessary that Jason & the Scorchers release a live record, and with _Midnight Roads & Stages Seen_, they do just that and demonstrate what really makes them probably one of the most entertaining live acts. Brimming with stage charisma that transcends imageless audio, Jason Ringenberg leads his three-piece band through a 23-track tour de force recorded over two shows last November in Nashville. Starting with nary a pause, Jason launches into "Self Sabotage", a heated send-up from their recent bag of newly penned tracks, and keeps going without filler to be found. Their take on Bob Dylan's "Absolutely Sweet Marie" turns the otherwise harmless tune into a pubhouse anthem with Perry Baggs' drums anchoring Warner Hodges' searing slide guitar and Kenny Ames' nimble bass. A favorite at live shows, this recorded version lacks none of the verve that Jason is famous for. Their re-rendering of "Pray for Me Momma (I'm a Gypsy Now)" (from their debut EP _Reckless Country Soul_) bottles all the charm of the original and instead of updating it for the 90s, plays it straight and faithful to the 1982 version. It is this reverence to the belief "If it ain't broke..." that makes Jason still endearing after all these years. Unlike other bands who have reformed from the 80s to the tune of nostalgia, Jason & the Scorchers don't so much pander to his faithful audience as he plays for himself with them in mind. Instead of smirking their way through hits and trademark tunes, they present an honesty that really comes through, giving you a "gosh darn, they're just such nice guys" sentiment that renders all other reunions fraudulent and insincere. While disc one pulls out the a wide smattering that spans their 15+ years, disc two is largely populated with songs from their early years, including the catchy twang of "Harvest Moon" and the perennial favorite "If You've Got the Love (I've Got the Time)". Although most live sets are used to fulfill contractual obligations and are nothing more than a less-than-stellar rehashing of album cuts, _Midnight Road..._ stands as a worthy testament to the widely held notion (mainly of those who have witnessed their live gigs) that Jason & the Scorchers are one of the best live bands. It doesn't take a lot to make a live record, but to make it memorable is something that's innate in Jason Ringenberg - and he's got it in spades. --- REVIEW: Liquor Giants, _Every Other Day At A Time_ (Matador) - Joann D. Ball Ward Dotson knows that his is the sound of the season, that of the endless summer. Granted, Dotson and his band the Liquor Giants are from Los Angeles. But the band's newest and best record, _Every Other Day At A Time_ , suggests sunshine and warm nights because it's got the kind of songs that would have fit perfectly on AM Top 40 radio in decades long past. In fact, that's just what makes this fourth Liquor Giants effort so irresistibly good. The 14 songs on this short but sweet compact disc have that old familiar way of just getting into your head and under your skin, and then staying there for days. Dotson is obviously a dedicated fan and student of pop-rock classics. Not only does the former Gun Club and Pontiac Brothers guitarist capture the essence of vinyl, he re-creates and revitalizes many of the elements that made those Beatles, Kinks, Hollies, Byrds and Beach Boys records so incredible. It's all here - the melodies, harmonies, hooks and guitars galore. And Dotson's ooohs, ahhhs and lalalas are everywhere. Maybe that's why _Every Other Day At A Time_, like the other Liquor Giants releases, will click with the hipsters, like-minded and similarly inspired musicians, as well as the music critics who know a good thing when they hear it. The record's first track, "It's Raining Butterflies" is chock full of pop nuggets including spirited handclaps which take you straight back to the Fab Four's early tunes and backing vocals that evoke the innocence of the Beach Boys. "Dearest Darling" and "Kentucky Lounge" are both honest songs about dedication, although the objects of longing are entirely different. And while you don't have to know what a "Multicolored Hipshake" is to enjoy its upbeat brightness, you might sympathize with the tale of loneliness that is "It Only Hurts When I Smile." One of the best tracks here, though, is "Riverdale High" which echoes the brilliance of labelmate Tommy Keene with its chiming guitars and short, stinging solos. Finally, the image-filled "Summer School" rounds off the compact disc and the the Liquor Giants make even this teenage experience something to remember with foundness. If _Every Other Day At A Time_ leaves you craving more Liquor Giants, check them out live on tour, or through the Matador's website at http://www.matador.recs.com --- REVIEW: Long Fin Killie, _Amelia_ (Too Pure / Beggars Banquet) - Daniel Aloi This Scottish group hasn't yet taken its place in the modern rock celebrities club, but it should enter the name-recognition roster for its artful, mood-enhancing music. On _Amelia_, the band reaches the emotional core of their songs with intelligently reserved displays of instrumental prowess. Relatable and personal without being too conventional, and following their own course, the songs are marvels of precision guitar and bass playing, insistent drumming, and the use of the odd mandolin, bouzouki or kalimba. Saxes and piano play off a lolling bass line and cymbal-tapping in the noirish "Chrysler," and the nearly voice-less "Resin" is carried through beautifully with a violin as the lead instrument. Doesn't sound too commercial, does it? It can win you over nonetheless. As one of lyrics state, "To hell with style." In high and low voices, sometimes within the same song (as on "Ringer"), and always intimating in near-whispers, singer Luke Sutherland seems to be entirely confessional. As an affecting way of connecting with the listener, he insinuates the songs to the listener almost on some synaptic level -- they are felt, absorbed rather than merely heard. One song, "Bigger Than England," is happier-sounding than the rest, chugging along (that bass again) like a vintage Cure single. (Any vocal resemblance to Robert Smith could be purely intentional). The band remains one of the prime acts on Too Pure, a U.K. label that formerly had a domestic partnership with Rick Rubin's now-in-limbo American Recordings (how I do miss those press releases on colored paper) and in the U.S., on Beggars Banquet. The Too Pure roster has them in good company, with certified alt-rock star club members Stereolab, Mouse on Mars, Th' Faith Healers, Moonshake and Laika. For more information, contact Too Pure at P.O. Box 1944, London NW10 5PJ, U.K. --- REVIEW: Tattoo of Pain, _Vengeance is Mine_ (Antler/Subway) - Krisjanis Gale I would have expected much better from Praga Khan and Oliver Adams, who produced such great work with Lords of Acid, as well as Digital Orgasm, Channel X, and The Immortals, and who've also produced and remixed Alice in Chains, White Zombie, and Gravity Kills. Perhaps they've spent such a lengthy amount of time in the industry they can no longer see the forest from the trees; this album tries too hard to do too little. It is, sadly, formulaic. Anyone can be Tattoo of Pain. They need only follow this recipe: introduce some totally random synthetic sequence of odd sound and vocal samples that only bear a passing resemblance to what your song is trying to say; rip to shreds whatever ambiance that had just built up in your intro with a premature explosion of deeply distorted lead guitar, backed by an overpowering and painfully simple drum sequence; continue slipping random vocal samples into your song, which is now effortlessly looping with the sort of utter redundancy that sells so well nowadays; layer atop this mess some cheesy apocalyptic lyrics, just too quiet to hear; repeat until you've reached that standard five minute mark; and top it all off with an abrubt ending, containing the musical artistry you really meant to put in your song, loop for about ten seconds more, then stop. Important preparation note: use only three notes to compose your "music." Don't get me wrong, there are little glimpses of brilliance here. But they're consistently and quickly destroyed by some deep-seated need to appeal to a listening audience who now love that the likes of Ministry have gone Metal, and forgotten all about their Industrial roots, retreating into the indistinguishable ocean of guitar rock. --- REVIEW: Fleshtones, _More Than Skin Deep_ (Ichiban) - Bill Holmes With song titles like "Blow Job" and "God Damn It", it's apparent that this record was not destined for widespread airplay. One listen to the opening track "I'm Not A Sissy" and you know that's a GOOD thing. Cheesy keyboards, harmony vocals that don't quite align (but work anyway) and determined rhythm guitar frame the earnest vocals of Peter Zaremba, and if there were a better way to indoctrinate a newcomer to the beauty that is "garage", please tell me. For alongside The Skeletons and the late, lamented Del Lords, the Fleshtones stand tall among the best American rock bands to cruise the aural turnpike. As the eloquently state in their liner notes, "no LA-type session cats have been flown in to play the Fleshtones instruments for them on this recording". Amen, brothers! There's nothing complex about "Laugh It Off" or "Anywhere You Go" or the eloquently raucous highlight "God Damn It" - it's three chord rock and roll sung with passion and fire, the key elements missing from most of the crap that passes for music on your radio. Assuming you've had that life-changing moment, can you remember that spine-tingling body vibe that made you grab your air guitar or simply dance like a person possessed? Do you remember rock and roll? Well these Fleshtones do, and they've taken it upon themselves to document that chill, record after record, as undesignated Ambassadors of the art form. Drummer Bill Milhizer and guitarist Keith Streng are the other two-thirds of the current nucleus (Streng and Zaremba share the workload of the songwriting) and fellow believers in the Church of Turn It Up. There's thirteen tracks here and you're in and out in just over half an hour. That's fine - it will give you a chance to play the whole damned thing again, as I guarantee you'll do many, many times. Play it loud and open the windows - by track three there will be a party at your house. Oh yeah - "Blow Job" is an instrumental. But it does feature oral sax. --- REVIEW: Dez Dickerson, _OneMan_ (Absolute) - Jon Steltenpohl Straight from the "Where are they now?" file comes Dez Dickerson. As the guitarist for Prince on such songs as "1999" and "Little Red Corvette", Dickerson was on top of the musical world. (Dez was the one with the Japanese flag headband.) Turns out Dickerson was going to try a solo career rather than commit to the next few years with Prince, and things didn't go so well. Already a born again Christian, Dickerson ended up in Nashville as a Christian rock producer and executive. Now, some 14 years later, he's released his solo project to launch his own label, Absolute Records. Make no bones about it, Dickerson is all about Christian rock. He feels like he is a man on a mission. However, unlike some Christian rock artists, Dickerson is first a musician and second an evangelist. He first wanted to be Jimi Hendrix at age 14 and was the only one of hundreds of guitarists auditioned whom Prince liked. 70's and 80's Christian rock was mainly dominated by poseurs that, while theologically correct, didn't really make good music. Amy Grant started the change, and now-a-days groups like The Newsboys have shown that there can be an equal balance between music and message. (Dickerson has been executive producer of bands like The Newsboys for a number of years.) Prince historians have noted the changes in his sound after _Purple Rain_, and his subsequent demise on the pop charts. Dickerson's _OneMan_ provides the missing link. Here is the guitar driven, rock sound that allowed Prince to cross over his brand of 80's funk to Top 40. Although Prince regularly indicated that he wrote, produced, and performed everything on his albums, Dickerson's guitar sounds remarkably familiar. "Hello Again" has that melodic pop-rock feel to it that Prince's music had when Dickerson was with the band. "Hello Again" also features The Rembrants' Phil Solem on guitar and backing vocals. "For You For Me" crunches with stadium rock riffs with little choruses of dreamy keyboards and steady drum beats. It's 1984 all over again. Take a track like "Fall Into Me". It's a power ballad with quiet, atmospheric verses and a guitar driven chorus. It's also half a step away from being an out-take from _1999_. Sometimes, Dickerson crosses the line from "atmospheric" into "psychedelic" pop-rock (anyone remember Enuff Z'nuff?), but for the most part it's kept in check. Usually, it feels more like a Beatles knock off. "Real To Me" closes the album with an impassioned ballad about belief that uses the Beatles' patented extended chorus with some horns to great effect. Other songs, such as "The Way I Feel", are just straight on guitar songs. On the "Christian" side of Christian rock, Dickerson is remarkably low-key. Unlike some albums which are loaded with agenda, Dickerson seems to sing more from the heart than the desire to be featured on the 700 Club. He witnesses rather than preaches, and the effect is an album that won't turn anyone off. In this sense, he's much like an Amy Grant. Dickerson simply includes his Christianity as one of many sources to draw lyrics from. Sure, there's a few songs that are just about Jesus, but most are about Dickerson's own disillusionments and subsequent joy at turning his life around. _OneMan_ is an album that's a bit unexpected. Take the guitarist from one of the most popular bands ever, convert him to Christianity, hide him from the public eye for 14 years, and what do you have? None other than one of the best Christian rock albums ever recorded. The style is more rock than anything, and reminds you of that cool sound Prince had in the early 80's. Dickerson's guitar is masterful, but his modest approach allows it just to be another instrument. Who should buy this album? Well, for Christian rock fans and Prince collectors, _OneMan_ is a no brainer. For everyone else, the .wav files at http://www.absoluterecords.com/ should be enough to tell you if you'd enjoy it or not. Regardless of the market though, Dez Dickerson's _OneMan_ is a solidly produced, enjoyable album. --- REVIEW: Spoon, _A Series Of Sneaks_ (Elektra) - Jason Cahill When I was in college, I remember reading an album review in, of all places, New York Magazine. The album was World Party's _Goodbye Jumbo_ and the reviewer kept talking about how it had been in his CD player for three straight weeks and he still enjoyed listening to it from start to finish. At this point I hadn't heard one song off the album and yet, based on this one review, shelled out my fourteen bucks and bought it. Again, without having heard one song. My thinking was that if this reviewer could listen to one album consistently for three straight weeks without growing tired of it, then it must be good. And it was. Granted, Spoon's major label debut, _A Series Of Sneaks_, isn't quite the album that _Goodbye Jumbo_ was, but it has remained stuck in my CD player for the past three weeks. If it were a record, I surely would have worn down the grooves by now. The album, the third release from this Austin based trio, is an original collection of finely crafted rock tunes, each with its own unique and different sound. In fact, the album's twelve songs are so unique and different from one another, its almost as if the band threw ideas at a wall to see what would stick. A similar method of song selection was tried earlier this year by Scott Weiland to much different and unfortunate results. The album opens with "Utilitarian", a quick, right to the point song which owes more to Brit-rockers like Blur than it does to the Austin sound Spoon helped establish. "The Guest List / The Execution" borrows its guitar riff from INXS' "Guns In The Sky", while the bridge in "Reservations" might as easily found itself in the middle of a Manic Street Preachers record. The most obscure influence on the album is found in "Metal Detektor", whose verses are reminiscent of Jackson Browne, circa "Lawyers In Love". Does all this detract from the overall sound of the album? Not at all. In fact, it helps separate Spoon from all the other run-of-the-mill alt-rock bands. Each song on _A Series Of Sneaks_ is completely different from the last, with different melodies, structures and tempos. In all, _A Series Of Sneaks_ is an album overflowing with effort. It's almost as if the band just said, "Fuck it, we're going to try everything and if it works, great; if it doesn't, so be it." The really masterful thing about the album is that it works. --- REVIEW: Pure, _Feverish_ (Mammoth) - Daniel Aloi I admit I've joined the other complainers that much of the so-called alternative music hitting the airwaves today is too serious and self-important, to the point that the acts are indistinguishable from one another. On the other hand, you can always look to Jordy Birch of Vancouver's Pure to arch an eyebrow at life's absurdities while all the other boys in bands are wallowing in wasted woe and wanting to push you down. On _Feverish_, Pure actually sounds at times like one of those bands (whose name rhymes with Neverclear), but without a spot of the misanthropy. Instead, we get Birch's dry wit throwing us observational curves in travel stories like "Trucks, Campers and Trees" and "My Surfboard and My Dog." Imagination certainly kicks his muse, conjuring "Palm Springs" while sitting in rainy British Columbia and "The Elvis Hooker" from some street scene taken to an absurd extreme. Add rubber-band guitar chords and the surrealism takes hold. Originally inspired by a snippet of overheard conversation between airline stewardesses, "Sunshine and Happy Hours" is a beery country stomp crossed with an Irish tavern ditty about the supposed good life. Instead of lampooning the sentiment, Birch backs it up. I've liked this band for a few years, for the albums _Pureafunalia_ and _Generation 6-Pack_. Any number of Pure songs could be their "Santa Monica," and maybe in the bargain someone would get the joke. I'd rather hear someone being tickled than tortured any day. You'll be seeing and hearing a lot more from Pure and songs from _Feverish _ - the video for "Chocolate Bar" is being played on MuchMusic and MTV's 120 Minutes, and will be featured in an upcoming Disney Movie of the Week, "Mail to the Chief," on ABC. The band is also a featured artist this month at http://www.Pepsiworld.com, and the song "Tennis Ball" will be on the soundtrack for "BASEketball" from "South Park" creators Matt Stone and Trey Parker. --- REVIEW: Morta Skuld, _Surface_ (Pavement) - Paul Hanson Armed with blast beats, throaty vocals and a guitar sound reminiscent of Slayer, Milwaukee's Morta Skuld come to the national spotlight with their new release Surface on Arizona-based Pavement Music records. After 8 years of thrashing around, it's about time the national scene hears this band! Joining labelmates Malevolent Creation, Forbidden, Crowbar, and one of my favorite new bands, HatePlow, Morta Skuld's disc is a sonic tour of the underbelly of Beer Town, USA. And what an underbelly it must be! Opening track "The Killing Machine" starts the tour with the aforementioned blast beats. In the middle of the song, a melodic guitar introduces a new musical theme. Then, after riding that groove, the band returns to the original theme, all the while the double bass sixteenth notes are going for the subtle 'feeling, not hearing' groove. The second track, "Save Yourself", confronts technology with these lyrics "We suffer in the system of technology / Freedom is the cage we all call home." Lyricist/guitarist/vocalist Dave Gregor doesn't really expand the genre of death metal growls; his vocals are often uncomprehendable, which is why including the lyrics works to the band's advantage. Gregor is an intelligent and thought-provoking lyricist. In "If I Survive," Gregor ponders "Man has destroyed all in his way/ He has no remorse, he will have his day/ Forgotten by many, lost to some/ In an age where brother betrays brother/ Animal instincts are alive/ It has taught us to survive/ Faceless to the some, a number to the many." Drummer Kent Trucenbrod shines through this track, mixing his ferocious double bass with a simpler drumbeat. In the next decade, metal will need to grow and prosper if it is to survive and become the flavor of the month. Morta Skuld is one of several new bands that are trying to break into the national scene and leave their mark. Surface is an above average slab of death metal with intelligent lyrics and heavy guitars. --- ERRATA: > In last week's issue, we reported about the Blood Oranges' releases on East Side Digital. This was falsely reported as no-longer-in-existence. As reported to us by Drew Miller of ESD, "Rumors of ESD's demise are untrue, although the label has for the most part exited the Americana/alt.country genre. In response to demand, ESD is reissuing _The Knitter_ (and Bill Llloyd's _Set To Pop_ ) June 9th, at a $9.98 list price." --- NEWS: > A new online CD store, http://www.joesgrille.com , is devoted solely to independent and import releases. Some tracks are available in RealAudio, to enable fans hear independent artists of lesser-known artists, and usually at a cheaper price than at conventional music stores. > Triplefastaction are playing their last show on May 24 at Chicago, IL's Metro. > The October 17, 1994 issue of Consumable Online included a poll in which readers expressed their votes on which albums (or could-be compilations) should be available on compact disc. Three and a half years later, two of those wishes have come true. EMI/Capitol has released compilations for two bands with enormous cult followings: the Pet Shop Boys and Duran Duran. The Pet Shop Boys' _Essential_ includes 6 songs previously unavailable on commercial CD, including the original U.K. 7" version of "Opportunities"; the Duran Duran collection includes 11 remixes of their hits, including several from the rare _Carnival_ E.P. --- TOUR DATES: Bjork / u-ziq May 12 New York, NY Hammerstein May 15 Washington, DC Capital Ballroom May 18 Chicago, IL House of Blues May 21 San Francisco, CA Warfield John Wesley Harding / Steve Wynn May 12 Phoenix, AZ Nita's Hideaway May 14 Austin, TX Cactus Cafe May 15 Dallas, TX Trees May 16 Houston, TX Mucky Duck May 18 Birmingham, AL The Nick May 19 Atlanta, GA Smith's Olde Bar May 20 Carrboro, NC Cat's Cradle May 21 Baltimore, MD Ram's Head Tavern Irving Plaza (NYC concert hall - www.irvingplaza.com) May 14 Holly Cole Tommy Keene May 13 Cambridge, MA TT the Bear's May 14 New York, NY Brownie's May 15 Washington, DC 9:30 Club May 16 Philadelphia, PA Pontiac Club May 17 Cleveland, OH Grog Shop Liquor Giants May 12 Fargo, ND First AVenue May 13 Winnepeg, CAN Royal Albert Arms May 15 Calgary, CAN The Night Gallery Gary Numan May 14 Vancouver, BC Starfish Room May 15 Seattle, WA The Fenix 21+ May 17 San Francisco, CA The Fillmore May 19 Los Angeles, CA Palace Trinket May 12 Washington, DC Black Cat May 16-17 Providence, RI Kennedy Plaza May 20 New York, NY Arlene's Grocery May 21 New York, NY Mercury Lounge --- THE READERS WRITE BACK! > I enjoyed Lang Whitaker's review of Marc Cohn's, _Burning The Daze_ in the last issue, and will probably pick that album up soon. Thanks (again), Consumable. Whitaker called Cohn's disc "a great album from one of the lone remaining male American singer/songwriters." And went on to say, "Bob Dylan, Robbie Robertson, and [Lyle] Lovett aside, there really aren't that many male artists around these days, doing what Cohn does best - singing with soul and confidence." I fully agree it's a lamentably short list. But I think I can expand it by adding two: Freedy Johnston and James McMurtry. Each is a gifted storyteller with a keen eye for human foibles and a keen ear for melody. I'd recommend any of their rewarding albums. - Matthew M., Hong Kong --- 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 ===