==== ISSUE 146 ==== CONSUMABLE ======== [June 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, Krisjanis Gale, Emma Green, Paul Hanson, Eric Hsu, Tim Hulsizer, Robin Lapid, Linda Scott, Scott Slonaker, Chelsea Spear, 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. ================================================================== .------------. | Contents | `------------' REVIEW: Garbage, _Version 2.0_ - Joann D. Ball REVIEW: Charlatans U.K., _Melting Pot_ - Bob Gajarsky REVIEW: Girls Against Boys, _Freak*on*ica_ - Scott Slonaker REVIEW: Bill Laswell, _Panthalassa - The Music of Miles Davis 1969-1974_ / Various Artists, _Dubmission 2 The Remixes_ - Joann D. Ball REVIEW: Scott Thomas Band, _California_ - Emma Green REVIEW: Liquid Soul, _Make Some Noise_ - Joann D. Ball INTERVIEW: Evelyn Forever - Al Muzer REVIEW: Pressure Drop, _Elusive_ - Krisjanis Gale REVIEW: Push Kings, _Far Places_ - Chelsea Spear REVIEW: Nadir, _Rust_ - Paul Hanson TOUR DATES: Connells, Evelyn Forever, Irving Plaza, Ivy, Paul Kelly, Megadeth / Monster Magnet, Saw Doctors, 12 Rods, Josh Wink Back Issues of Consumable --- REVIEW: Garbage, _Version 2.0_ (Almo Sounds) - Joann D. Ball Garbage is on the streets again, this time with record number two, the ambitious _Version 2.0_. The computer reference is especially appropriate given how important computer recording technology is to Garbage's creative process. The Madison, Wisconsin quartet skillfully enhance the lyrics and basic guitar, bass, keyboards and drums combination with a variety of loops, effects and scratching and sucessfully avoid the sophomore slump. Shirley Manson and her technical wizard counterparts Butch Vig, Duke Erikson and Steve Marker clearly immersed themselves in the studio while making this record, taking nearly all of last year to craft the follow-up to the 1995 debut record. Even though Garbage's eponymous first release had endless special effects, it still seemed like more of an adventurous rock effort with a punk edge and a few hip-hop moments. The follow-up, though, which is a full exploration of electronic, techno and industrial terrains, makes its predecessor seem relatively stripped-down in comparison. Although it seemed to take forever for American commercial radio to pick up Garbage the first time around, alternative and Top 40 radio has already given "Push It" the momentum needed to make _Version 2.0_ click with the public. Manson slinks her way through this somewhat dark and moody lead single until it explodes into the chorus. "Push It" is also notable for its prominent use of what Garbage calls an "interpolation" of the Beach Boys' "Don't Worry Baby." On this and the other tracks, Shirley Manson is up front and center, but Garbage is clearly a fully functioning four piece. Her male partners lay the instrumental and technical foundation to support her stellar vocals and mature, slice-of-life lyrics. While there's nothing on _Version 2.0_ that surpasses the raw energy and intensity of "Vow" (the best track on the debut album), Manson again sings of obsessions and extreme behavior on the first track "Temptation Waits." During the chorus of "Temptation Waits," Manson sounds a bit like Debbie Harry on the Blondie classic "Heart of Glass." There are nods to other female artists on this record, including Karen Carpenter on the hauntingly beautiful song "The Trick Is To Keep Breathing." But it is Chrissie Hynde of the Pretenders whose style seems to surface throughout the twelve-track compact disc. It's common knowledge that Manson and Hynde admire each other's work, but _Version 2.0_ contains indisputable evidence that the Edinburgh, Scotland native has been positively influenced by Akron, Ohio's favorite rock 'n' roll daughter. Shirley Manson sings the opening lines of "I Think I'm Paranoid" with Hynde's trademark throaty sultriness. And on "Medication" Manson borrows again from Hynde's bag of tricks by making her deep breaths audible at the most strategic moments for full effect. But it is on "Special" where Manson does her best tribute to the great Pretender. The very title of this bright, upbeat song is a reference to the Pretenders' breakthrough single "Brass In Pocket (I'm Special)" and Manson sings the word "special" with intentional Hynde-infused flair. In the event this not-so-subtle tribute was somehow missed, "Special" ends with yet another nod to the Pretenders as Manson sings "talk of the town" in reference to that band's song of the same name. The opening synthesizers on "When I Grow Up" make it sound like the theme to a psycho thriller film, but it soon bursts into an catchy pop song on which Manson swears that everything will change when she finally matures. The guitars and synthesizers create a childlike spinning sensation around Manson as she sings the chorus. One of the best songs on the record, this track has great potential for a hit single with its carefree spirit and summertime feel. "Hammering In My Head," "Dumb" and "Sleep Together," on the other hand, are all dancefloor burners with a techno-industrial feel. "Hammering In My Head" is a standout in part because of the 100-plus tracks of loops and noises that make their impact on the song. On "Dumb" Manson's melodic lines resemble those on "When I Grow Up" and "Special" but are dropped into the middle of an aggressive, high octane sonic assault. In the end, though, Garbage brings _Version 2.0_ to a gentle close with the potential hit "You Look So Fine." Garbage spreads out a bit on _Version 2.0_ and comes up with yet another collection of great songs. The band is touring in Europe in support of the record and should turn up Stateside by the end of the summer. Visit the band's website at http://www.garbage.com for the latest on Garbage and more details on how to make the most of _Version 2.0_. --- REVIEW: Charlatans U.K., _Melting Pot_ (Beggars Banquet) - Bob Gajarsky It was 1990 when I first heard the Charlatans (UK). A tape exchange with a British friend netted me a plethora of songs which I had never heard before, and one which was just barely starting to get played on hip American radio stations, "The Only One I Know". Mixing the wah-wah sound with a Hammond organ, the Charlatans immediately took hold of my heart - and for some reason, I instantly felt that this band wouldn't be another one of the UK 'Bands of the Week'. When the debut album _Some Friendly_ was released, I had to race out and purchase a copy. The organ so prominently featured on "One" became the band's trademark, distinguishing them from the Stone Roses, who were stealing the charts and magazine covers in their native land. And when their first U.S. show was held in New York at a now-defunct club (located between 10th and 11th avenues, and leading to the title of their second album), I, along with a few hundred other souls, was there. Moving and swaying to the music, from the never-ending "Flower" to the great introduction song, "You're Not Very Well", the Charlatans had the audience in the palm of their hands. And even if UK wags couldn't hear the difference in their songs. coyly calling them "The Only Song I Know" (well, they *were* right with the second single, "Then"), it seemed like the Charlatans were destined for bigger and better things. Yet, it didn't happen. While the Stone Roses were on their self-imposed exile, spending Geffen's millions and eventually releasing a sub-par second album before imploding, and the Happy Mondays were fretting about the loss of Bez, the Charlatans were outshining their compatriots. Tracks such as "Weirdo" and "Can't Get Out Of Bed" were instant favorites on the then-burgeoning Modern Rock radio stations, While critics slowly started chiseling away at the band, wondering if the band was stuck in the past, lead singer Tim Burgess looked towards the future. Collaborations with the now-cutting edge dance bands and remixers such as the Chemical Brothers ensured that the Charlatans music was welcomed by a new generation of club goers. Maybe it was because Ecstasy wasn't as commonly available in the States as the UK, or because the raves here only consisted of techno music (as opposed to the Floydian styles of the UK trilogy), but the Charlatans never quite caught on in the States. Being lumped in with the Roses and Mondays didn't help; tbe Charlatans didn't cancel tours or delay albums with the frequency of Msrs. Brown and Ryder. Any problems, such as the arrest (and eventual death) of Rob Collins, were always dealt with in a professional manner, with the music coming first, rather than as an afterthought. The focus of the Charlatans never changed during the years, and as a result, we (the listeners) get to appreciate a band's growth and maturation without seeing signs of their decline. _Melting Pot_ isn't the normal greatest hits collection; B-sides are included (such as the instrumental "Theme From The Wish") and several big UK hits ("How High", "North Country Boy") are excluded. But for those who missed out on the Charlatans the first time around - or, heaven forbid, don't own any of their albums - here's the time to catch up with the past. Absolutely essential. TRACK LISTING: The Only One I Know, Then, Opportunity Three, Over Rising, Sproston Green, Weirdo, Theme From The Wish, Patrol (Chemical Brothers Mix), Can't Get Out Of Bed, I Never Want An Easy Life If Me & He Were Ever To Get There, Jesus Hairdo, Crashin' In, Just Lookin', Here Comes A Soul Saver, Just When You're Thinkin' Things Over, One To Another, North Country Boy --- REVIEW: Girls Against Boys, _Freak*on*ica_ (DGC) - Scott Slonaker "Yeah, I got a taste for the hype." - "Pleasurized" Girls Against Boys are one of those up-from-the-underground (in this case, Washington, D.C.'s '80s hardcore scene) acts that is preceded by much more press and critical approval than sales or radio airplay. Just about every music magazine has published some sort of profile or feature on this foursome. So, since a) the band's history and unique sound (muttered vocals, double-bass throb, industrial guitar and huge drums) are so well documented and b) they have been living up to the hype shoveled on them quite nicely, let's cut said filler and talk about _Freak*on*ica_, their sixth record and major-label debut. The advance press has labeled this record a step towards pop concession (hinting at a "sellout", of which there is no such thing) and away from the thunderous, locomotive-like grooves on 1996's _House of GVSB_. I beg to differ. Instead, the band is continuing a trend begun on 1993's _Venus Luxure No. 1 Baby_ and 1994's _Cruise Yourself_, a slow but sure gravitation from the Grunge-O-Rama Lounge house band to sophisticated, industrial-edged, beefed-up '80s-era synth-dance-rock. Not that the first single, "Park Avenue", shows much of that. The leadoff track's buzzsaw crunch might just get GVSB filed next to Korn at some of the more clueless hard-rock radio stations. But "Pleasurized", track two, brings in some of the more recent additions to the ever-expanding GVSB canon. Star Trek phaser-ish blippy synths and the occasional odd turntable scratch meld with the more familiar elements to create a potent edge-of-apocalypse disco tune. Tracks like "Exorcisto" and "One Firecracker" showcase the band's expert rhythm section of bassists Johnny Temple and Eli Janney and drummer Alexis Fleisig. The sound they create is positively monstrous. There may not exist a more potent rhythm section in current rock music. Then, there is "singer" Scott McCloud's raspy, debauched voice, which is able to walk the line between muttering and singing like no one since Lou Reed and Leonard Cohen. Lyrics, however, are more for atmosphere than much else, utilizing futuristic and pop-culture references ("You do yourself insane Disneyland, NYC", "You're thinking Calvin Klein") that do functionally little to flavor the potent soundscapes created by the music. No matter, though- GVSB is about the groove. This is not intended to be brain food. Girls Against Boys possess immense talent and a distinctive sound. _Freak*on*ica_ may not be able to match _House of GVSB_'s sheer sonic impact, but it displays a developing pop sense that manages to walk the line squarely between the Cure and Ministry without sounding even remotely derivative; the band is much more real and raw than the former, and more flexible and seductive than the latter. If they hit the big time, they'll deserve it. Such a talented and unique band belongs in the spotlight. --- REVIEW: Bill Laswell, _Panthalassa - The Music of Miles Davis 1969-1974_ (Columbia) / Various Artists, _Dubmission 2 The Remixes_ (Qwango/Island) - Joann D. Ball Summer means construction time again on America's highways and byways. In the world of music, though, it's the perfect season for reconstruction. High on the summer listening reconstruction projects list are Bill Laswell's _Panthalassa: The Music of Miles Davis 1969-1974_ and a various artists compilation called _Dubmission 2: The Remixes_ . Laswell proves with his reconstruction and mix translation that there's much more to jazz that the watered down stuff that commercial smooth jazz stations play. And while _Dubmission 2: The Remixes_ was released a few months ago, this Jamaica hot reggae dub and remix collection warrants your attention because it's solid proof that there's much more to reggae than Bob Marley. Reconstruction and remixes are two of the most innovative projects within the world of electronica and dance music. Much like old school hip-hop which sampled forgotten or overlooked soul and rock tracks, reconstruction and remixing allows electronic artists to pay tribute to classic jazz and reggae artists while creating new music from these rich sources. In this way, reconstruction and remix projects effectively turn on new audiences to jazz and reggae and provide new support and energy for these often ignored genres. To their credit, reconstructionists and remixers are very explicit about their inspirations, sources and intentions as they take jazz and reggae classics to another level. Such honesty and integrity deserves to be recognized and credited, particularly given the history of rock and roll which was largely built upon the shameless white-washing of blues and "race records" for profit. Additionally, the creativity that is involved in reconstructing and remixing jazz and reggae exceeds that which is all too typical of contemporary Top 40 remixes which are designed to prompt additional record sales for artists who are already popular. Producer and bassist Bill Laswell captures the essence of Miles Davis' exceptional work during the experimental period of 1969-1974 and breathes new life into the jazz master's intricate and complex pieces. Davis was exploring unknown territories nearly decades ago, and it is here that Laswell returns with his reconstruction tools. Laswell connects diverse and multi-faceted Davis classics and give them an incredible flow and eveness, making _Panthalassa: The Music of Miles Davis 1969-1974_ a captivating hour-long listening pleasure in the process. _Panthalassa_ is divided into four sections or tracks and each weave a textured soundscape that is detailed and vibrant. Track one includes "In A Silent Way/Shhh/Peaceful/It's About That Time," and Laswell begins this reconstruction by highlighting the gentle tenderness of Davis' work. About midway through this almost fifteen-and-a-half minute piece, Davis' horn surfaces along with percussion and bass and the instruments eventually overflow with an incredible richness and fullness. Clocking in at slightly over sixteen minutes, track two includes "Black Satin/Pete Cosey/Agharta Prelude Dub." This piece should immediately appeal to fans of acid jazz band Liquid Soul which is no coincidence since that band's musical director Mars Williams has previously worked with Laswell. Track two also includes hints of the direction the late Jimi Hendrix was taking before his untimely death, as distorted guitar sounds are prominently featured in the first two-thirds of this psychedelic piece. Track three contains "Rated X/Billy Preston" and the first half of this fourteen-and-a-half minute piece is notable for its tight, precise polyrhythms which are a prototype for jungle music. In contrast, the second half of the piece has an urban grittiness thanks to a throbbing and pulsing bass and Davis' melodic horn. _Panthalassa_ ends with the thirteen-plus minute "He Loved Him Madly" which is instrumentally layered for a peaceful, laid back, meditative effect. As Laswell's _Panthalassa: The Music of Miles Davis 1969-1974_ suggests, the world of electronica, with its hybrid of cultures, styles and sounds, complicates the meaning of "new." In addition to using jazz as critical resource, some of the most intriguing electronic offerings also draw heavily on dub reggae for inspiration and direction. This approach is skillfully represented on _Dubmission 2: The Remixes_ . Conceived by Tomas of Umoja Soundsystem, _Dubmission 2: The Remixes_ includes new interpretations of some reggae and dub classics. A number of British and American new school drum n' bass producers pay their respects to some of the most famous of Jamaican reggae artists. Among the classics that get the dub and remix treatment here are Gregory Isaacs' "Night Nurse," "Eye Market," "Chill Out" and "Fleetyfoot" by Black Uhuru, Burning Spear's "Slavery Days," and the Tamlins' "Baltimore." An informative history of dub reggae and its relationship to drum n' bass is included in the CD jacket, and an extremely helpful chart listing the details about the original, dub and remix versions is included on the back of the CD case. There are a total of ten reconstructions here which run a total time of about an hour, and several of them are simply outstanding. Cottonbelly, the alter ego of Sade band member Stuart Matthewman, remixes "Night Nurse" and accents the percussion for an erotic effect. The Thievery Corporation, based in Washington, D.C. stir up a magical remix of Black Uhuru's "Eye Market." Retitled "Boof N' Baff N' Biff," it creates the sensation of a wonderful high. Also destined for repeat play are the two remixes of Sly and Robbie's "Demolition City." The Riddim Twins' masterpiece "Demolition City" is actually a dub version of the Tamlins' classic "Baltimore." On _Dubmission 2_, original dubsters Sly & Robbie get the remix treatment by Smith & Mighty who show off a "Dread City Mix" and Tom Chasteen who digs up and offers "Graveyard City-The Skull Valley Remix." The repetition of the phrase "slave in the graveyard" gives the latter version an irresistibly wicked yet funky vibe on what is definitely the best club/dance number here. When you are stuck in miles of traffic this summer, be sure to use the occasion as a prime opportunity for enjoying some reconstruction projects. Bill Laswell's _Panthalassa: The Music of Miles Davis 1969-1974_ on and the various artists collection _Dubmission 2: The Remixes_ will lower your stress level and lift your spirits. And when the traffic clears you may even want to take a trip to your local record store to check out the jazz and reggae sections and further enhance your CD collection. --- REVIEW: Scott Thomas Band, _California_ (Elektra) - Emma Green Imagine an album opening with an acoustic step-around reminiscent of "Hotel California" before evolving into its own repetitive riff, ironically titled "California." Then imagine alternative-country, straight-ahead rock, and surf sound morphing into each other for a few songs before Jeff Buckley's ghost descends down to mumble and gently float through a closing ballad. Such is the first impression of the _California_, a debut from the Scott Thomas Band. Scott Thomas is a natural explorer; it's just not clear if he's searching for love, purpose, or himself. "Sad Girl" almost perfectly captures the essence of the disc as Thomas wails in his warm husky voice, "Please somebody notice me." If his songs were a little more original, the friendly DJ might give them a second spin. While _California_ is a solid collection of hearty meat-and-potatoes West Coast rock, it adheres to the verse chorus verse syndrome more closely than Casablanca follows the classical Hollywood paradigm. There's a little surf rock ("Happy"), a dark and morbid "Black Valentine" ("She shares my blood with everyone"), a powerful compelling "Full Moon Painter," leading down towards the finale, a gentle lullaby ballad ("Goodnight baby"). Once again, the opening riff syndrome returns with "Days of Hours," which vaguely recalls Air Supply's 1980s ballad "All Out of Love." But once Thomas catches the listener's attention with his melodic riffs, he takes the notes and orchestrates them into songs of his own. Good, solid rock songs... but nothing particularly striking. Vocally, one can easily locate Thomas somewhere between the melodic hookiness of Tom Petty and Nashville alternative-country rocker Todd Snider; at times harsh, warm and raspy, and other times impassioned, particularly on the catchy "Full Moon Painter," the only real standout track. Thomas co-produced _California_ with guitarist Andrew Williams (The Williams Bros., Peter Case), who together seem to march to the beat of the Tom Petty's resonating drum. It seems so conventional these days. --- REVIEW: Liquid Soul, _Make Some Noise_ (Ark21) - Joann D. Ball Put Liquid Soul's _Make Some Noise_ (Ark21 Records) in your CD player and imitate the sounds on the instructive opening track, "Intro." Yes, that's right, go ahead and throw some ice cubes in a big glass tumbler, pour some libations into it, and take a nice long sip. Then allow yourself to groove along freely with Liquid Soul as the acid jazz scenesters pay homage to the legends of jazz. The Chicago-based Liquid Soul blend the best of hip-hop, rock, salsa and Mediterranean dance with jazz in order to serve up an intoxicating musical cocktail. The ten-piece band is led by Mars Williams, a classically trained saxophone player who has more than paid his dues on the jazz and rock circuits. Williams has played his unique brand of saxy funk in the free jazz group NRG Ensemble, and has served time with number of rock bands including the Psychedelic Furs, Bill Laswell's Massacre, and the Waitresses. A major supporter of the diverse Chicago music scene, Williams has also contributed his talents to the rock/pop band Social Act, one of the Windy City's best kept musical secrets. But it is as Midwestern acid jazz pioneer and musical director of Liquid Soul that sax maniac Mars Williams will make his biggest splash. Joining Williams in the band are premier Chicago DJ Jesse De La Pena, guitarist Tom Sanchez, bassist Rick Showalter, drummer Dan Leali, rapper Dirty M.F., keyboardists Frankie Hill and Chris "Hambone" Cameron, trumpeter Ron Haynes, and John Janowiak on trombone. Together they produce a potent mix of grooves that has knocked out audiences across the country. These ready for prime-time players have made a scene at Chicago Bulls player/ personality Dennis Rodman's birthday party and the 1996 Presidential inauguration. Recently, Liquid Soul was also one of the first acid jazz groups to play the esteemed Newport Jazz festival. The funky, hi-energy vibe of Liquid Soul's live marathons are fully captured on _Make Some Noise_, the group's second studio release on Miles Copeland's Ark21 Record label. Produced by Mars Williams, this thirteen track freestyle trip samples rap cuts, jazz masterpieces, soul classics and spoken word performances. Liquid Soul does the impossible on the secondtrack "Threadin' The Needle" and blends the best of old school jazz and old school rap with samples of "The Breaks" by Kurtis Blow. These two styles are mixed once again on "Salt Peanuts/Chocolate Covered Nut" as samples from Dizzy Gillespie's "Salt Peanuts" are sweetened by Dirty M.F.'s chocolate flavored rap. Dirty M.F. keeps the rhymes flowing and turns up the heat with soulful female vocalist Omega on "I Want You To Want Me," while Williams showcases his sax skills on the jumpin' Latin tinged number "Ricky's Hat." And Dirty M.F. adds much flavor to "Cabbage Roll" which is filled with bits of James Brown's "More Peas" and K.C. and the Sunshine Band's "Let It Go." The Godfather of Soul's "Say It Loud, I'm Black and I'm Proud" is prominent on "No Cents" while "My Three S.O.B.'s" contains spoken elements from jazz legend Eddie Harris over a salsa beat. Liquid Soul bring the set to a close with the hot and steamy "Opium Jacuzzi," and the CD ends with the sound of footsteps walking down Chicago's gritty streets with the famous "L" train in the background. Liquid Soul keeps its promise and delivers on _Make Some Noise_. From start to finish, the record is a refreshing, invigorating and energizing combination of hot jazz and streetwise hip-hop with a splash of rock and twist of salsa and other exotic sounds. Like George Clinton and the P-Funk All-Stars, Liquid Soul crosses all known boundaries to create a completely new and unique sound which is filled with positive energy. One can only hope that Liquid Soul will flow for at least as many years as the Mothership has sailed. --- INTERVIEW: Evelyn Forever - Al Muzer In a world of "Sex And Candy," "Flagpole Sittas," folks that wanna fly, "Wannabes" who claim to be a little "Torn" and "Bittersweet Symphonies" that've made a bunch of rich wrinkles richer - you can't get much more simple, honest, basic or direct than the urgent plea Evelyn Forever give voice to on "What I Need," the lead single on their 1997 Airplay Label debut, _Nightclub Jitters_. Nothing fancy. No résumé required. Photo optional. No description asked for or expected. Just a girl. Any girl. Nothing more and nothing less. Sportin' four (count 'em!) truly unforgettable, radio-ready, potential hits - the Beatles-inspired "Rock 'N' Roll Girl"; the brilliant, Cure-ish blast of "17"; a peppy burst of sing-along angst ("What I Need"); and the ringing pop attack of "Double Dip" - the obvious singles are bolstered by strong support tracks (the rollicking "Wonderful," the giddy rush of "Never Once" and the full-bore assault of "Telephone" earn special mention) that are the sonic equivalent of what passes for "A" tracks on countless major label releases. A young band clearly destined for something bigger. A large part of the charm, appeal and undeniable catchiness of New Brunswick, New Jersey's Evelyn Forever - and one of the things that should land the group a major label deal before the year is out- is the fact that this young four-piece ignores the tongue-in-cheek, by-the-numbers, overly-reverential approach to Beatle-, Badfinger-, Cars-, Records- and Cheap Trick-inspired pop taken by groups such as Weezer, Teenage Fanclub and Fountains Of Wayne and, instead, play their less-than-trendy, but always irresistible, fresh-faced jangle straight from the heart. Girls, telephones that go unanswered, unrequited love, girls, serious crushes, rules that don't make sense, romantic heartbreak, wimmin again, the frustrations of youth, things that suck, dangerously-surging hormones and more girls - Evelyn Forever concentrate on the things that matter and don't waste time on babes who date bikers, sweaters that unravel, shirts that get tight or love as a high concept. Boasting four very distinct, extremely likable personalities (hmmm, just like the Beatles) in vocalist/guitarist Mark Sanderlin, vocalist/bassist Eddie Yoo, drummer/vocalist Matt Lewis and guitarist/vocalist "Reef" Fanous; brilliant two-, three- and, occasionally, four-part harmonies (like the Beatles); two primary lead vocalists and two not-quite-as-primary harmony vocalists (insert Beatles comparison here); two primary songwriters (hello JohnPaul); a ton of "whoa-oh-ah's," "ooh's," "na na na's" and "ahhh's" (ditto); a tendency to keep their tunes under the four-minute mark (yeah, yeah, yeah); and an instant classic ("Rock 'N' Roll Girl") that kicks off with damn-near the same intro as the Fab Four's "When I Get Home" - the only obstacles in the way of E4E's inevitable climb up the national pop charts are a major distribution deal and one lucky break. An unabashed Evelyn Forever fan and a Beatle fanatic from way back, Al Muzer babbled with bassist/vocalist Eddie Yoo while the rest of the band lugged equipment from their Belmar-based practice space to Matt's parent's garage in Piscataway in order to avoid the summer rent hike. Consumable: The band is starting to get some choice gigs (opening for the likes of Pee Shy, Soul Asylum and Letters To Cleo) and is beginning to accumulate an impressive stack of press clippings (Billboard, Option, Pop Smear, Jersey Beat and, of course, this magazine); are you feeling a momentum kind'a thing happening? Eddie: You know ... it's [success] such a monstrous mountain for any band to have to climb - let alone a pop band. But, we can definitely feel, like, a gradual build-up going on behind us ... almost like a train starting to pick up speed. [Yoo chuckles at his own cliche'] It's been a very slow, very deliberate kind'a thing, so it doesn't really seem like such a big deal to us yet. We have spurts of days or weeks where every minute seems to be occupied by something related to the band. On the other hand, we also have the luxury [laughs] at this stage in our career of days and weeks where the only band activity is rehearsal or hanging out together. CO: You're also beginning to land more out of state gigs [including Los Angeles' International Pop Overthrow Festival this August] - what sort of reaction do you get playing away from home? E: We've got this great thing goin' on in 'Jersey, right? ... but, if we go play a show in, say ... Rhode Island, Connecticut or Boston, we're virtually unknown. It's almost like we're given a fresh start each time we play somewhere. There is, apparently, some word of mouth happening, which translates into ... well, a few people anyway. I really think the 'road' is the best thing about all this. I mean, there are gigs where people really could care less about what's up on stage, ya' know? Then there are those other shows where people who've never heard anything about us seem to enjoy what we're doing and wind up hanging with us afterwards. It's also pretty cool when people tell us, 'Oh, I heard about you guys from so-and-so who saw you at the Metro Cafe' [Washington, DC] and I had to come and check you out for myself.' CO: Everyone in the band is in their early- to mid-20's, right? Which means you should be trying to cop some eighth-generation ska influence, borrowing liberally from Matchbox 20 or trying to mold a Chili-funk riff to a programmed techno-cluster. How'd ya'll get so heavily into stuff that I grew up listening to? Eddie: It is kind'a strange, isn't it? I know that Mark was always into really cool shit and I've been into music since I was really young - first or second grade, I think - anyway, when I first started listening to music it was the stuff that was all over the radio at that time. Evelyn Forever's music ... there really aren't that many people in our age group we know of who are into the same thing. The thing that is really surprising me lately, however, is that there's this whole contingency of young kids I was never aware of who are, like, totally into pop music to the point that they're actually listening to the Beatles again! These are 15-, 16- and 17-year-olds, which I find completely incredible because I figured they would feel the same way so many other people seem to feel about it - that it's an old person's music. It's nice to know there's an audience out there for the music we love to play. I mean, we'd be playing it with or without fans ... but, it definitely helps knowing we're not alone. CO: Do you have any long-term goals as a band, or are the four of you just sort of playing it as it goes? E: The usual, you know? Limos, money [laughs] ... actually, my ultimate thing is for us to have even one song that lasts forever, you know? A song that'll sound fresh and timeless throughout the decades regardless of record sales, how famous you are, whatever - to've written a song that still reaches people years after you wrote and recorded it ... let's just say that there are bands who've written songs that'll last forever, songs that'll always be there and will always be sung along to - I want Evelyn Forever to be remembered as one of those bands. For more information on Evelyn Forver, contact The Airplay Label at PO Box 851, Asbury Park, NJ 07712. The disc _Nightclub Jitters_ is available for $10 + $2 s/h. E-mail only? Try gimchipop@aol.com. --- REVIEW: Pressure Drop, _Elusive_ (WORK) - Krisjanis Gale This Is Art. Outspoken, blatantly honest creativity. Aching, piercing beauty. The sheer, bleeding edge of The New Jazz. Whole orchestras of sound skillfully controlled by two mere men, quite intent on painstakingly serving up dark and jazzy illbient backgrounds truly befitting a barrage of spoken word, driven to evolve the human condition beyond its current state of capitalist dogma. This is Pressure Drop. The men in total control of soul are The Blood Brothers Justin Langlands and Dave Henley. The talented possessors of satin vocal cords are Anita Jarrett, Constantine Wier, and Martin Fishley. Joining them, with a passionate love of music, are Scott Garland on saxophone and flute, Duncan McKay on trumpet, Godhead on harmonica and clarinet, and Chris Taylor on drums. All of them have somehow managed to get it together and produce one of the most beautiful albums of the decade, perhaps even the century, seamlessly blending old and new, and succeeding in creating something utterly timeless. Imagine attending an open mic poetry session. Imagine an army of musicians, arriving one by one, each sitting down, then playing along with a perfect understanding of the poetic atmophere, each contributing their own views on it, with music, not words. Imagine two DJ's in the background, giving life to it all with deeply moving breakbeat, droning basslines, soaring orchestras, and an arsenal of effects. Imagine that each element complements another in a way only true musicians can comprehend. Imagine yourself listening to it all, finding yourself no longer confined to a chair, but free to move through that vast expanse of your own mind, experiencing both intense joy and pain; not only swimming through the murky depths of distant memory, discovering lost emotional treasure, but also flying high above your own past, seeing your future unfold on the horizon. Now imagine that this does not even begin to describe the mind expanding process of listening to this album. When you see _Elusive_ on record store shelves, please disregard where it may have been classified, put aside any and all prejudice you may have against "electronica" because it is so much more than just that. If you love music, if you love art, or if you love life itself, on this fair and endangered blue planet, you must give this album a listen. It will haunt you until the end of your days. --- REVIEW: Push Kings, _Far Places_ (Sealed Fate) - Chelsea Spear Early last year, the Push Kings released their first album, a debut filled with melodic songwriting and Carnaby Street style. True, their songs paid tribute to favourite albums in their collection as opposed to helping them sharpen their approach and find their own musical style, but the guys had energy and pop smarts with which to engage an audience. I bring this up not as some form of indie-pop history lesson, but as Exhibit A in examining the new album by Boston's Crown Princes of Pop, _Far Places_. The melodies you grew to love on their previous creative output are in full abundance here, but there's not much to recommend it beyond that. Okay, the songs are here too, but not in as full force as the band's last album. Three slices of teenage symphonies to girls and candy stand out on their own beneath the layers of production and stylistic overload -- a far cry from the first album, where every song was a keeper. Beyond that, there are some good ideas that aren't explored far enough or meanderings that just don't work, like the ditty with an extended electronica noodling. The most disturbing thing _Far Places_ reveals is that the Push Kings still haven't developed their own style. While I was listening to this record, I kept wondering: if you took away the band's record collection, stripped them of their mod garb and left them on a desert island with nothing more than their love of music and desire to play, what would they sound like? I don't think even they have an answer to that question. What's more, this album offers evidence that the band views artistic evolution as changing the era of emulation from album to album. The first album tipped its hat to the mod era, conjuring up an image of what would happen if Herman's Hermits were the house band in the movie _Blow-Up!_. _Far Places_ finds the band trying a new decade on for size by aligning their sound with Motown soul and the teen-angel croonings of David Cassidy. Their connection with Motor City soul feels forced and smacks of derivation. The band's output has been nothing if not derivative, but listeners got the feeling with the previous releases that the band had a real affinity for mod pop and shuffley Pavement rock. The soulful approach in particular feels less like an honest passion and more like another stylistic disguise to hide behind. On their previous releases, Eric Masunage proved an adept hand at production with an appealing, back-to-basics approach. Unfortunately, he takes a confusing, cluttered approach to _Far Places_. Bizarre instrumentation and other elements fight for space, and the overall effect leaves the listener dizzy and a little confused. The real kicker with this is that the band released a 7" single, presumably from the same sessions. The difference between the songs that appear on the single, while not a drastic, night-and-day dissimilarity, offer an interesting contrast. "Blowin' Up!" finds the band stripped of the cramped production, playing two simple pop songs and letting the energy come out. While the songs seem like tunes that didn't make it to the recording sessions of the previous PKs effort, this is what I enjoy listening to when I throw on an album by the band. All in all, the Push Kings' melodic tunes would be a feather in anyone else's cap. On _Far Places_, excessive production and their own affectations overshadow what they could be doing. Though I loved the debut, I can't say I particularly like the places they're taking themselves in on this record. I hope the third album by these occasionally infectious popsters finds them cutting back on the frills and coming into their own. --- REVIEW: Nadir, _Rust_ (Self-Released) - Paul Hanson No, you probably haven't heard of New Zealand's Nadir. Their disc _Rust_ offers an "alternative to the alternative metal bands" cluttering up the national AOR stations. Playing a groove metal likened to Tool, Alice in Chains and even the Deftones, Nadir know how to rock. And, more than being just another heavy metal album, that is what strikes me about this disc: they actually rock. They don't try and amaze you with a riff played at 1000 mph - they'd rather produce a mid-tempo groove and let the music speak for itself. A case in point is opening riff of track 3, "Why Me?". In a cool Alice in Chains mode, guitarists Nathan Newumann and vocalist/guitarist Rob Lambert set up that good mid-tempo rock groove. As Lambert holds his vocals over the guitar riff, the song completes a metamorphosis closer to Tool as the song rides that motif out. The tempo increases its speed. "Killer of All Things" stands out as well for its chorus full of "Fuck you's." Lambert sounds peeved as he disses all the people that didn't believe in him: "Believing our time was free /I laid out my roses/ Fuck you you left me no choices/ Fuck you fed me that same shit/ Fuck you reigned on my pride/ Fuck you, and killed my defences." Obviously, Lambert does not hold back his emotions. All in all, Nadir needs to come to the United States, latch onto a festival tour and get some recognition for the music they are creating. Since the Ozzfest '98 lineup has yet to impress me, I'd vote for a second stage slot for them. If that happened, there might suddenly be a lot more fans of Nadir than the Deftones. For more information on Nadir, check out their website at http://www.nadir.co.nz -- TOUR DATES: Connells Jun. 18 W. Hollywood, CA Troubador Jun. 19 San Francisco, CA Great American Music Hall Jun. 20 San Diego, CA Brick By Brick Evelyn Forever Jun. 17 Richmond, VA Alley Katz Jun. 18 Freehold, NJ Freehold Fest Jun. 20 New York, NY Arlene's Grocery Jun. 21 Cambridge, MA T.T. The Bear's Irving Plaza (NYC concert hall - www.irvingplaza.com) Jun. 17 Slayer / Clutch Jun. 19 Jazz Is Dead Ivy Jun. 16 Cleveland, OH Peabody's Down Under Jun. 17 Detroit, MI Shelter Jun. 18 Chicago, IL Metro Jun. 19 Minneapolis, MN First Avenue Jun. 22 Seattle, WA Crocodile Cafe Jun. 23 Portland, OR Roseland Annex Jun. 25 San Francisco, CA Slim's Jun. 27 Los Angeles, CA Troubadour Paul Kelly Jun. 15 Washington, D. C. Metro Cafe Jun. 16 Cambridge, MA TT the Bear's Jun. 17 New York, NY Wetlands Jun. 18 Philadelphia, PA Pontiac Grill Jun. 22 Atlanta, GA The Point Jun. 24 Austin, TX Stubb's Megadeth / Monster Magnet Jun. 16 Billings, MT MetraPark Arena Jun. 17 Casper, WY Casper Event Ctr Jun. 19 Sioux Falls, SD Sioux Falls Arena Jun. 20 Fargo, ND Memorial Aud Jun. 21 Deluth, MN DECC Auditorium Jun. 22 Cedar Rapids, IA 5 Season Ctr Jun. 24 Des Moines, IA Supertoad Jun. 25 Peoria, IL Madison Theater Jun. 27 Buffalo, NY Agri HAll Saw Doctors Jun. 17 Rochester, NY Water Street Jun. 18 Buffalo, NY Lafayette Square Jun. 20 Chicago, IL Arlington Racecourse (Fleadh) Jun. 22 Minneapolis, MN First Avenue Jun. 23 Kansas City, MO Hurricane Jun. 24 Denver, CO Bluebird Theatre Jun. 26 San Juan Capistrano, CA Coach House Jun. 27 Portland, OR Oaks Park Jun. 28 San Jose, CA Spartan Stadium (Fleadh) 12 Rods Jun. 15 Kalamazoo, MI Club Soda Jun. 16 Chicago, IL Metro Jun. 18 Madison, WI Mango Grill Jun. 20 St. Louis, MO Cicero's Josh Wink Jun. 15 Philadelphia, PA HMV Jun. 16 Los Angeles, CA Viper Room Jun. 17 Los Angeles, CA Firehouse Jun. 19 San Francicsco, CA Live 105 at Shoreline Amphitheater Jun. 20 Minneapolis, MN One Off Jun. 21 Columbus, OH Red Zone Jun. 27 Miami, FL Zen Festival at Bayfront Ampitheater Jun. 28 Orlando, FL Firestone --- 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 ===