==== ISSUE 148 ==== CONSUMABLE ======== [July 14, 1998] Editor: Bob Gajarsky E-mail: editor@consumableonline.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 Also Contributing: Rey Roldan Address all comments to staff@consumableonline.com ; subscription information is given at the end of this issue. ================================================================== 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: Barenaked Ladies, _Stunt_ - Bob Gajarsky CONCERT REVIEW: Jesus and Mary Chain - Robin Lapid REVIEW: James, _The Best Of_ - Rey Roldan REVIEW: The Connells, _Still Life_ - Joann D. Ball REVIEW: Robert Pollard, _Waved Out_ - Robin Lapid REVIEW: Dan Bern, _Fifty Eggs_ - Bill Holmes REVIEW: Emmet Swimming, _Big Night Without You_ - Scott Slonaker INTERVIEW: Hub Moore - Chelsea Spear REVIEW: The Young Dubliners, _Alive, alive'O_ - Daniel Aloi REVIEW: 10 Speed, _10 Speed_ - Bill Holmes REVIEW: Creeper Lagoon, _I Become Small and Go_ - Robin Lapid REVIEW: Plastikman, _Consumed_ - Simon Speichert REVIEW: Backsliders, _Throwing Rocks At The Moon_ - Tracey Bleile INDEPENDENT REVIEWS: Pete Forbes / Tabitha's Secret / Genghis Angus - Bob Gajarsky REVIEW: The Kelly Affair, _Welcome To The Kelly Affair_ - Bill Holmes NEWS: B-52's, Pretenders, God Lives Underwater, Kinks, Simpsons TOUR DATES: Tori Amos, B 52's / Pretenders / Royal Crown Revue, Black Crowes, Blue Oyster Cult, Deni Bonet, Connells, Cravin' Melon, Culture Club / Human League / Howard Jones, Firewater, Front 242, God Lives Underwater / Stabbing Westward, Grinspoon, HORDE Tour, Iron Maiden, Joan Of Arc, Freedy Johnston, Chantal Kreviazuk, Lilith Fair, Ziggy Marley & Melody Makers, Metallica / Jerry Cantrell / Days of the New, Phish, The Samples, Smokin' Groovies, Third Eye Blind / Our Lady Peace / Eve 6 Back Issues of Consumable --- REVIEW: Barenaked Ladies, _Stunt_ (Reprise) - Bob Gajarsky It takes a different kind of fan to appreciate the Barenaked Ladies sense of humour. Some would call it childish, others would call it good clean fun - but it has to be called different. What else could you use to describe a band that thinks the best part of having a million dollars would be all the Kraft macaroni dinners they could buy? However, after the effervescent debut of _Gordon_, BNL took a more 'serious' tact. Sure, there were the periodic returns to form on "Alternative Girlfriend" and "Shoe Box", but it seemed that the exuberance which earmarked _Gordon_ might be history. And after the Stateside success of the 90210-aided track "The Old Apartment", one could be excused for thinking that the Ladies would cater to fans who purchased their latest single. Fortunately - and with a great sense of relief - _Stunt_ marks a return to the fun days gone by without abandoning those who are new to the Ladies pirate ship. Just as a teenager has to make a difficult transition to an adult, BNL are making a challenging move into their own new domain. The leadoff single "One Week" captures the essence of a BNL live show, where a rap of Public Enemy's "Fight The Power" or a singing/rap/dancing medley of current hits frequently completes the set list. Rather than contrast them to Chuck D, think more of a Beastie Boys-style rap without the urban 'edge'. It wouldn't work for 99 other bands - but it's perfect for this one. While an ode to Brian Wilson was one of the group's early hits (and a remixed version appeared in stores last year), "It's All Been Done" rests firmly in the power-pop lap of many of Wilson's self-appointed disciples. Complete with the requisite "la la la"s and "woo hoo hoo", it appears that the Barenakeds have been boning up on yet another element of today's pop music. "Who Needs Sleep?" will probably be *the* key live cut from _Stunt_. This playful tale of an insomniac could serve as a perfect introduction to all the Ladies are about: wordplay, a sing-along refrain, call-back within the group, and an irresistible hook. "Never Is Enough" is a list of things that BNL never want to do - including getting honoured at Wendy's restaurants - complete with the notes that guitarist Ed Robertson was Employee of the Month in July 1985 at a fast-food chain. Now that the band have used McDonald's and Wendy's in their songs, can Burger King be far behind? Covering a wider assortment of music styles than on any of their previous efforts, "Alcohol" could be a dead-ringer for a Morrissey / Boz Boorer rockabilly track, circa _Your Arsenal_, while "Leave" would nicely reside near efforts from the Son Volt / Wilco camp and the calypso-tinged "Some Fantastic" offers yet another avenue to express the group's creative thoughts. For those fans who long for slower material, _Stunt_ offers cuts which can fill their appetite without leaving them feeling as if it's two hours after a Chinese take-out meal. "Light Up My Room" and "Call And Answer" are this album's answer to "The Old Apartment". And while BNL are often lighthearted, the introspective look towards youthful fooling around (and manipulation, without penetration) on "In The Car" and the wish to be the desired one, and wanted by others, has never been stronger than on "I'll Be That Girl". Returning to the same successful bounciness that earned _Gordon_ a permanent spot in some fans' disc changers, _Stunt_ is the album that fans hoped would come out four years ago. Welcome back, Barenaked Ladies. You've been away far too long. --- CONCERT REVIEW: Jesus and Mary Chain, San Francisco - Robin Lapid Some people still worship the Jesus and Mary Chain. In a town like San Francisco, where you can go to a different goth club every night of the week, locals hold a certain reverence for time-honored bands like the Mary Chain. Now signed to Sub Pop Records, the tour in support of their latest release, Munki, is more like seeing a reunion tour; you applaud politely for the newer songs, but you call out and dance to your old favorites like it's an 80s flashback weekend. The Mary Chain delivered enough of those old favorites to get the initially sluggish crowd on their feet and cheering. The band played a short set of reverb goodies among a set strewn with pink and white Christmas lights. Lead singer Jim Reid leaned into his mike, dipping into his raspy bedroom vocals for just enough added affect with minimal effort. William Reid, brother and guitarist, added that classic pre-grunge chord riffing that made the Jesus and Mary Chain so good in their day - the thick and fuzzy pop of "Head On" and "Teenage Lust" were the standout numbers in the set, only because I could pick them out among the trademark sound that seems to have congealed into a nice but stale and fuzzy confection. There was little between-song banter, but considering the set lasted about 45 minutes with one brief encore, that was plenty. William responded to the relatively laidback crowd midway through the set with, "You're too polite," and continued to the next song. The Jesus and Mary Chain bookended the show with "I Love Rock 'n Roll" and "I Hate Rock 'n Roll" from the new album. William closed the performance by improvising lyrics from "Reverence" from Honey's Dead. "I wanna die just like disco," he sang, before the reverb finally faded. The funny thing is, one could argue that disco hasn't really died, and neither have the Jesus and Mary Chain. --- REVIEW: James, _The Best Of_ (Mercury) - Rey Roldan Few bands have survived the UK's Madchester Movement better than James. But then again, like fellow Mancunians The Smiths and New Order, James weren't shaggy for the sake of cashing in on a scene (i.e. Soup Dragons, Northside, EMF - none of whom were actually from Manchester). Though they employed trademark Madchester rhythms and pyrotechnics, this consistently fascinating band has managed to change not with the times, but with their fancies, which sometimes weren't always successful (witness 1994's tedious _Wah Wah_ or _Gold Mother_'s "Walking the Ghost"). That's why this _Best of_ is a welcome addition (or introduction) to one of Manchester's most artful pop bands. Filled with tracks from their PolyGram years (the band was originally signed to Factory and then to Sire), _The Best of_ compiles music starting with 1990's _Gold Mother_ and concluding with two new compositions, the anthemic "Destiny Calling" and the semi-forgettable "Runaground" (the compilation, in fact, is arranged in a nonlinear fashion). The newer material - _Whiplash_'s "Waltzing Along" and "She's a Star" - doesn't fare so well, especially when sized up next to such sparkling gems as _Laid_'s "Sometimes" and "Say Something_, _Seven_'s "Born of Frustration" and "Sound", and their UK smash "Sit Down". But that doesn't diminish their art-popistry, since a not-quite-up-to-par song for James far surpasses what makes up current pop drivel. Even the anemic "She's a Star" is better constructed pop song than most everything found in Billboard's Top 40. As can be said of most best-of collections, there are some notable omissions from James' career such as the Inspiral Carpets-collabration "Gold Mother", the acoustic version of "Protect Me" (from the limited edition EP _Set List_ ) and "Ya Ho" (from the Sire album _Strip Mine_ ). But as a whole, this stands as a well-chosen collection that showcases their songwriting prowess. While their moniker may suggest something quite generic, James stands uniquely on its own. Madchester should be proud. --- REVIEW: The Connells, _Still Life_ (TVT) - Joann D. Ball After a much needed break, Raleigh, North Carolina's all around good guys The Connells return to the forefront of the pop-rock vanguard with the bright and focused _Still Life_ . On their seventh release, The Connells capture the essence of thirty-something life and deliver a record that celebrates maturity, love, friendship, fellowship and fun. _Still Life_ would probably never have materialized had it not been for the honest soul searching and tenacity of the band's six members. After nearly 15 years as one of the brightest stars among the original alternative/college bands, The Connells have consistently delivered outstanding records and entertaining, high-energy live shows. But after a trying period of extensive touring for their last two releases, 1993's _Ring_ and 1996's _Weird Food & Devastation_, the band succumbed to a serious case of artistic and physical burnout. in early 1997, the _Weird Food_ tour came to a painful end when lead singer Doug MacMillan was diagnosed with diverticulitis, which necessitated surgery. But in the midst of adversity, The Connells found strength in their friendship, their hometown and the music which initially brought them together. _Still Life_ reveals a healthy and happy band that is brimming with energy, enthusiasm and confidence. The record opens with ""Dull, Brown and Gray" which is anything but that, given the trademark whirling and twirling guitars of MacMillan, Mike Connell and George Huntley. And the rhythm section of drummer Peele Wimberley and bassist David Connell is ever-tight and solid under Steve Potak's swirling organ. The fact that things aren't as bad as they seem is an ongoing theme on this record, evident on the punchy second track "The Leper," and the upbeat "Bruised." Huntley spins his usual folksy fun tales on "Curly's Train" while the mellow "Gauntlet," one of two tracks penned by MacMillan, has a sensitivity and directness that is incredibly moving. With 13 well-crafted songs, _Still Life_ has an eveness that makes it a delightful listen. Without a doubt, The Connells have returned to the musical high road they've always claimed as their own with intelligent and sincere lyrics and inspired musicianship. Each of the six members of the band contribute at least one track on the record, making it a truly collective project. For the first time in years, The Connells are positive and optimistic about the future of the group. And rightfully so, because given all that preceded it, _Still Life_ is one hell of an accomplishment. --- REVIEW: Robert Pollard, _Waved Out_ (Matador) - Robin Lapid Dayton, Ohio's Guided By Voices are one of the best reasons that the nebulous terms "indie" and "lo-fi" were created, turning out a slew of Beatles outtakes and pop songs that hovered anywhere from 30 seconds and up. Lead singer and mastermind Robert Pollard has put out a second solo album, and with _Waved Out_, he attempts to expand his muse beyond beautifully jarring lo-fi pop into prog and postpunk freakouts. The tracks on _Waved Out_ tend to fit more snugly into the radio-friendly 3-minute format, and drift from psychedelic and punk experimentation to GbV-flavored tunes like the lovely acoustic "Caught Waves Again" and the one-minute "Steeple of Knives," which would be just as at home on _Alien Lanes_ as they would on a Pollard solo work. There's a bit more prog guitar on the album, though, and relatively less "lo-fi" sound, but Pollard's almost scratchy, almost-plaintive voice always sounds like the epitome of good lo-fi pop to me anyway. I can't see any GbV or Pollard fan being disappointed in the work, although they might be a bit disrupted by the shifts in soundscape. --- REVIEW: Dan Bern, _Fifty Eggs_ (Work) - Bill Holmes Imposingly bald with aggressive lyrics and street cred that includes homage (and now, production) from anti-folk queen Ani DiFranco, Dan Bern should by all means scare the living shit out of the casual observer. And that's as it should be, because Bern is anything but a casual artist. His voice alternates from just on key to just off, the acoustic settings range from straight ahead folk to bluesy swagger to six string punk, and he can cram in more words per second than just about anyone. If you're thinking Dylan, you're not as far off as you might think. Mix Mister Zimmerman with Ed Hamell and you're closer to the mark. Bern's songs are acute social observations, from the humorously pointed "Cure For Aids" to the scathing "No Missing Link" ("They look for the missing link / there is no missing link / we are the genetic mutation / aliens came and fucked the monkey.."). "Different Worlds" is composed of nothing but innocent observations about how different black and white people can be, yet the overall effect is like a bucket of cold water. And for those who are fans of anthemic folk songs, steer yourself to "Rolling Away". Bern spatters his songs with namechecks - "Monica" is an apologetic ode to Seles, "Chick Singers" could be the Lilith Fair's national anthem, and somehow, within a song called "Tiger Woods" he uses Woods, Ali and Madonna as props to hammer home the idea of standing up and taking chances. The device works well - Bern's songs demand your attention. And just when you think it's all cynicism and outrageous lyrics, Bern slips in a ballad like the almost doo-wop "Everybody's Baby" or "Oh Sister", a sweet homage to sister Jennifer... "Down Midwest backseat bumpy streets /You sang my Beatle songs with me / I sang your Broadway melodies / Bad Harmony / And where would Willie Mays have been / Without Jackie Robinson..." Fans of literate music - Wainwright, Dylan, Hiatt, Earle - should be happy to find another member of the team. Although it's too soon in his career to toss Bern into such lofty veteran company, _Fifty Eggs_ is a great step forward from his eponymous record. As Dan himself says, "beauty shows up where you least expect to find it." --- REVIEW: Emmet Swimming, _Big Night Without You_ (Epic) - Scott Slonaker Taking up residence somewhere on the musical landscape between a more earnest Barenaked Ladies and the Southern guitar-pop of the Connells and Better Than Ezra are Fairfax, Virginia's Emmet Swimming, now four albums old with the release of their third major-label record. No, this band does not break what one would term "new" musical territory. Emmet Swimming trades heavily in catchy, passionate, vaguely rootsy barroom rawk that can be compared to such a huge variety of things that it's not worth bothering to try and peg it exactly. Music like this is best evaluated on the quality of its individual songs, and _Big Night Without You_ scores rather well on that scale. The opening track, "Guru", has one of those utterly perfect fifteen-second intros that sounds made for the radio. Singer Todd Watts does a wonderful job sounding impassioned without oversinging (paging Mr. Rob Thomas, please) and the pretty, Big Star-ish guitar chimes, courtesy of guitarist Erick Wenberg, make the song a perfect four-minute sampler of the band's strengths. After the stellar opener and the fine "Fist Like a Glove" (dig those "woo-hoo-hoo" vocal harmonies) establish the sound, it is up to the band and producer Peter Collins (Jewel, Indigo Girls, Cardigans) to keep the song-based album fresh by walking the tightrope between variety and schizophrenia, and both, especially Collins, rise to the challenge. ("Off Key Choir" features backing vocals that are appropriately grating, and there are fun vocal samples injected into "Stealing From the Joneses".) _Big Night Without You_ ends, oddly enough, with its single. "Sunblock" is obviously meant as a summer hit, and it succeeds wildly. Save Ferris lend their horn section, Wenberg stomps on his guitar's "skank" pedal, and the whole group jumps in on the "I'm goin' on a big vacation" chorus. It may not sound quite like the rest of the record, but who cares? Emmet Swimming have managed to steadily increase their fan base over four albums without the benefit of anything closely resembling a hit single through extensive touring, and it is nice to see a major label ease off on the pressure that is so often placed on emerging acts to write that hit. Not only may Emmet Swimming have written that hit, they've put together a well-written, solid album that deserves its moment in the sun. If Matchbox 20 can do it, so can these guys. --- INTERVIEW: Hub Moore - Chelsea Spear Hub Moore can't sit still. His lanky frame is slouched over in the pink vinyl chair opposite me in London Records' meeting room, and his arms snap to attention, gestures illustrating or underlining points of interest. However, this fidgety nature is at odds with his speaking manner, which is low-key and free-floating. This is an apt metaphor for the singer/songwriter's debut album, _Hub_ (Slash/London). Moore's intelligent, observant lyrics and dreamy melodies collide with bristling, ambient production to create atmospheric pop that suggests a cross between Luna and Paul Westerberg. Born into a family of architects, Moore drifted away from his famillial trade to pursue music at a young age. "My father bought me a ukelele when I was a kid, and then I got a guitar when I was in fourth grade or something, and just got into it right away. I'd kind of known that I wanted to do that ever since then. I think I started young enough that I didn't consider -- well, no kid considers 'what the hell am I getting myself into?' I was just like, 'this is what I want to do.' I had bands in high school, and just continued doing this forever. I never wanted to do no architecture!" Cutting his teeth on the local music scene in Boston, he eventually moved to New York City, where his literate songs found an enthusiastic audience in the form of renowned filmmaker Hal Hartley. "A friend of mine, a roommate at the time, was working on his first film. This was before he was the renowned guy that he is now -- this was his first thing. She was working in the props department or something. It came the end of the movie and he said, "do you have any ideas and suggestions?" Basically he was looking for music for this film that he could use for free, that was unknown. She gave him a tape of mine, and he used a song in his first film, and it went from there." Hartley continued to use Moore's songs in his films, eventually writing an on-screen role for him in _Surviving Desire_. " I called him after _Trust_ had come out and done pretty well ... just to say thanks, and he said, 'I wrote a part for you in my next movie.' I was like, 'Jeezus!' It was just gonna be a guy and a guitar, but he changed the idea to this whole band, as if you'd bring a whole band to serenade this girl. This is a very Hartley-esque idea. Originally it was gonna be this strummy ballad for this guy, but then he changed it." Though the director's usage of Moore's songs suggests a Greek chorus in the way the tunes commented on the action in the movie without intruding on it, the songwriter was never commissioned to write anything directly for the films. "With _Trust_ I gave him a bunch of songs, and he just picked what he liked. What happened with that was that we had a four-track recording, which in the world of recording is pretty crude -- although it was good for a four-track recording, and he really liked a few of the songs. We went into a bigger studio to re-record them, and he ended up liking the first ones better, and that's what he used in the film." Though Moore describes his present musical output as being "entirely too cerulean" for the edgy atmosphere Hartley favoured in his next few films, he found himself collaborating with the director on the music for his latest film, _Henry Fool_. "He's been doing incidential music for his own films -- he plays guitar, and he wrote little things that would tie scenes together, like little guitar riffs, but not quite songs. I guess he'd always wanted to try turning some of these ideas into songs, so he got together with me and this singer, Lydia Kavanaugh ... and Jim Coleman. He brought us in to help him flesh out the ideas and perform these songs. He was sort of directing us, like we were in his film, and how he wanted these songs to be shaped. But he had never really done that, so he needed some people who actually had experience playing more chords than him." Hartley didn't use Moore's songs for his previous three films. During that down time, Moore contacted his friend Chris Herford and started work on what was to become his solo debut. "Just when we started this project, I'd called him up and asked him if he'd be interested in producing something. I hadn't worked with him collaboratively since then, though we'd played together on and off. We came up with the whole sound of it -- it's murky and sort of strained." Herford's background in production gave the project an unusual, dreamy sound. "It wasn't a conscious descision to be unique or anything, it was more like Chris was trying to bring out the best in my voice. It wasn't a conscious descision to be unique or anything, it was more like Chris was trying to bring out the best in my voice. How to surround my voice with the right sort of stuff that's going to complement it. ... We started out with voice and a guitar, and started building around that. He had some really good ideas, just sonically. I'd produced my stuff beforehand, and I always felt there was more to it there was more to it than what I was able to bring out. He was saying things like, 'your voice takes up a certain amount of room on the tape.' That's interesting -- I never really thought of it that way. Usually you play some guitar, you play some drums, and you put a voice on there. He was like, 'your voice is going to take up this much space, so you only have this much to put the other stuff in.' If you start with the voice, you know how much space is left, as opposed to putting all those instruments on and then putting a voice on top, and there might not be much room left for the voice. It's a concept I hadn't really thought of, but when I started doing it -- the voice just had so much more breathing room than it ever did before. That's what I think made the whole thing come alive and sound the way it does." Lyrically, much of the album, particularly the lovely "Sane", with its observation that "the foundation is crumbling all around us," seems to have been inspired by the urban landscape surrounding him. "There's so many problems (in New York) that you really have to block out, like homelessness. I live across the street from a project of some sort, it's like three big buildings and lots of activity. You'll be sitting in your room, and you'll hear a child screaming, but you can't be like, 'what is it? let me save you!' -- because this is New York City. You can't get involved with everything that happens. I don't know if it's a question of thinking you're going to get shot or something, but if you followed up every lead of everything that happened, you'd be frazzled." The initial pressing of _Hub_ was self-released, and interest quickly spread through the music industry. When the flurry of interest arose, Moore decided to sign with Slash, the stalwart punk/alternative arm of PolyGram records. "I'd say the reason we went here was because of the people, obviously. Bob Viggs has such great history to him, and all the bands he's worked with -- mostly Slash and Warner Brothers, but it was all his vision and his taste. The main thing that struck me about that was looking at all those bands and where they sit in the world of music. They're kind of like -- highly accessible but not right up the middle. They're kind of left of center. A lot of his bands have had long careers and put out a lot of records. Los Lobos, X, Violent Femmes -- even the new bands, like Soul Coughing. It's just a lot of great music. ... The main thing was that Bob ... he was like, 'I know how I can make this work'. The other labels would say, 'I like it!' This guy's talking on a whole 'nother level. The things he's done in the past lead you to believe that he can make these things work. They're not obvious, they're kind of unusual -- it's a little stranger than Hanson." The release of his self-titled debut finds Moore coming full circle with his background in movie music. "One of the guys in the Great Outdoors, and he was the contact person for them, so he's been getting all sorts of email over the years. 'We're looking for this music in the record stores! Where is it? Nobody's heard of it.We've reached an impasse!' I've compiled all these emails from over the years, of these people looking for this band that didn't exist ... I've been sending information on this out to all these people, all over the place. Got an email from a guy in London who bought it as an import just the other day. (mock British accent) 'I've finally found your CD! It was a bit more expensive, but well worth it.'" Indeed. --- REVIEW: The Young Dubliners, _Alive, alive'O_ (Earth / Cargo) - Daniel Aloi You may have heard them, without realizing it, on the recent season finale of "Brooklyn South" or on CNN's "Showbiz Today" -- or seen them playing in the reception scene in "The Last Don." Or at the San Jose stop of The Guinness Fleadh this past weekend, where their name might have inspired images of a Van Morrison-inspired Menudo. There are some career perks, it seems, to being the best Celtic rock band in Southern California. Not that San Diego's Young Dubliners didn't work for that exposure -- they tour the Golden State tirelessly and have embarked on national tours to support every release (they're out in the western states all summer, in fact). Fulfilling a long-standing desire to have their fiery live shows preserved on disc, they released "Alive, alive'O" earlier this year. Recorded by "noise guru" Steve Albini at their premier home club, The Belly Up Tavern, in 1997, the seven-song live set catches the Dubs in fine form. It also throws their genre-blending into stark relief -- are they an Irish band perfect for a drunken good time (the fiddle-infectious "Rising," "Follow Me Up to Carlow"), or straight-ahead roots-rockers with a tuneful modern rock sound ("What Do You Want from Me?" and "One and Only")? Yes, and yes. Nowhere else in music does traditional meet contemporary with such undeniable force as in the Dubs' lively, well-crafted rock'n'reel. While not as overtly political as their east coast counterparts in Black 47, the Dubs' music is no less compelling. The live set also gives fans six new songs, as well as a faithful and joyous cover of The Waterboys' "Fisherman's Blues" and a new studio recording, "Blink," an upbeat contemporary love song. _Alive, alive'O_ is distributed to stores by Cargo, and the single "Blink" has received airplay in markets across the country, from L.A. to Akron to Brooklyn. Also well worth seeking out are the band's Scotti Bros. releases -- the _Rocky Road to Dublin_ EP showcases their diversity well, as does the 1995 full-length _Breathe_ -- and the label's _Straight Outta Ireland_ compilation on which the Dubs appear. The band's website is at http://www.youngdubs.com ; you can also email dubs@youngdubs.com to get on a mailing list for tour news and updates. --- REVIEW: 10 Speed, _10 Speed_ (A&M Records) - Bill Holmes Supreme hype in place, A&M seems poised to toss this band into the great void left by Kiss and Queen. The opening track is bombastic, pompous...and stunning. High energy rock, it will remind the listener of Bowie singing "John I'm Only Dancing" at breakneck speed. The follow up track "It Makes Me Crazy" is also a potential single, with an Alanis Morissette beat (think "Hand In My Pocket") and goat quiver vocals. But the chorus sounds VERRRY 70s, much more Philly soul than glam. "Space Queen" - perhaps the single - can best be described as asteroid rap; Will Smith singing "Space Oddity". It's interesting for a bit, and is actually more akin to Lollipop Factory than Queen or Jellyfish. But the over-the-top goofiness of the lyrics are soon met head-on by the songs that follow - "I Hate You", "Suicidal Psychopathic Freak", "When Your Lips Are Blue" and "Head Splits Open". Uhh....what the hell is going on here? "When your lips are blue, you're gone". Jeez, I HOPE so.... The BIG drums and the BIG sound (and probably the BIG hair) are there throughout, and despite some stone clunkers (the hidden track is like P-Funk on ludes) the players are obviously talented. But somehow you know that behind the glam, the hair band licks, the first-name basis (Hutch, Dimitry and Newman?) and all the fanfare, there are probably some very calculated snickers in the dressing room. And I'm not talking candy bars. This is probably great camp as a live show (I have not had the pleasure) and I imagine if you take 10 Speed as seriously as they take themselves, everything will be just fine. Crank it up, open the windows, pop that beer and don't listen to the lyrics. Party on, Garth. --- REVIEW: Creeper Lagoon, _I Become Small and Go_ (NICKELbag) - Robin Lapid San Francisco band Creeper Lagoon have already generated a strong following among locals as well as positive critical buzz. With their debut full-length album, they prove the viability of their versatile lo-fi rock. _I Become Small and Go_ is an effortlessly stylish mishmash of music showcasing the band's ability to learn -- not pilfer -- from their influences and from them create a signature whole. Singer/guitarist Ian Sefchick possesses a melodic vocal style that can drift from a Thurston Moore to a Steve Malkmus in tune, to a Robert Pollard, full-bodied but distinctly emotive. The album is a hi-fi version of lo-fi rock. Swirling My Bloody Valentine guitar provides the atmosphere for "Sylvia," a semi-acoustic number laced with sampled grooves and Sefchick's gentle melodies. "Drink and Drive" has a langorously experimental Beck vibe to it. "Empty Ships" begins like old-school Guided By Voices and rolls into a straight-ahead pop song, and "Dear Deadly" has a plaintive Pavement rock vibe to it -- both songs were two of the three tracks produced by the dub-happy Dust Brothers. Creeper Lagoon possess the knack for layering dubs, grooves, indie rock, and trip-pop samples into a cohesive whole. I'm glad for any opportunity to hear a band with a fine pedigree of influences *and* the ability to make these sounds their own. --- REVIEW: Plastikman, _Consumed_ (NovaMute) - Simon Speichert This album is as close you can get to an electronic concept album as possible. Richie Hawtin, the mastermind controlling Plastikman, astounds the listener with a different style than he has employed previously. Past Plastikman albums have been more "dancable", but _Consumed_ seems to be a mixture of ambient and trance. Listening to _Consumed_ is like being - well - consumed by some large beast. During "Contain", the beast corners you. In "Consume", you are swallowed. "Passage [in]" gives the illusion of travelling down an esophagus. The four songs whilst you are inside the stomach of this great beast, "Cor Ten", "Convulse [sic]", "Ekko", and "Converge", are the most disturbing, with sparse melody and kickdrums like heartbeats. "Locomotion" starts and you begin travelling down the intestines, being digested. Then, you are "In Side", and you are totally "Consumed" by the beast and its music. The title track is the most astounding, as Hawtin layers the components of his musical madness to envelope the listener. Then, finally, "Passage [out]" sends you back out into the world. You may think I'm crazy, but this is truly what this album sounds like. It is a work of genius. Pick it up, and you'll hear what I'm talking about. Listen late at night with headphones. --- REVIEW: Backsliders, _Throwing Rocks At The Moon_ (Mammoth/Atlantic) - Tracey Bleile The latest contender to come out swingin' from the the alt-country corner is a quintet from Raleigh, N.C. called the Backsliders. This crowd takes their fun pretty seriously, and the resulting zingers barrelling out of the speakers is called _Throwing Rocks at The Moon_. The grow-on-you like a friendly fungus appeal of this music causes the usual despair about what constitutes so-called 'radio-friendliness', and formats that have no home for bands like this outside of the regions where they spring from. And if it's not the rigidity of playlists that will get this band as it has so many others, it's that genre gap that widens ever further between country and rock - and this is where the polished roughness of _Throwing_ falls right into a tender trap. What could be the saving grace is the Backsliders' willingness to play it each way; straight-edge country, vintage rock n' roll, and the kissin' cousin blend of the two that *is* Americana. If you play it, they will listen... The band's got the blend that is equal parts classic Nashville lilty cowboy crooning, modern Chapel Hill punchiness, and 50s guitar-hero influence, all cleanly executed, and shows off the real talent that can't be hidden in deceptively simple arrangements. The one-two snap you one way and yank you back the other of the lead off track and then the title track does the job of getting you to pay attention, and once you're in, you're in for the duration. The tunes ring out with the requisite nasal but melodic voices of Steve Howell and Chip Robinson, having done their homework in the John Hiatt/Steve Earle school of beltin' 'em out. No new truths unearthed here; humans are lonely creatures, small-town life is hard, whiskey is the consciousness-altering substance of choice, and so on. While these guys make music that ain't gonna save the world, and really, as I bemoaned earlier, it is music that bears a distinct stamp of a certain region and within that region, a select group of people. The ironic flipside is that the music the Backsliders make really is ultra-American, and celebrates the joy of songs well-perfomed and many different influences blended and executed with great aplomb. --- INDEPENDENT REVIEWS: Pete Forbes / Tabitha's Secret / Genghis Angus - Bob Gajarsky The former lead singer and writer of the Phoenix-area based group And I Am, Pete Forbes, has ventured out on his own with the release of _The Gulf Between_ (Stemming Music). The leadoff track, "Clock Tower Face", smoothly fits into the pop realm forged by Matthew Sweet and the Rembrandts. Not far removed from fellow southwest brethren Gin Blossoms in geographical distance or musical background, Forbes' slightly-breathy vocals (think of a more refined Jakob Dylan) work best on cuts such as the Donald Fagan-like "A Lot Like Me", "She Will", and the reflective, somber view through another's eyes on "Dysfunctional". Backed by an able assortment of musicians including David Revelli (who has worked with Jewel) on drums, _The Gulf Between_ proves to be a welcome addition to the AAA arena. To contact Pete, check out his web site at http://www.peteforbes.com Tabitha's Secret has one of the stories that unfortunately happens in the music industry. Their key song, "3 a.m.", is what might result if Counting Crows' vocalist Adam Duritz fronted Hootie - or if it was Matchbox 20's Rob Thomas. As fate might have it, that's *exactly* who is on (uncredited) vocals. Three years ago, the Orlando, Florida based-band appeared to have a bright future, with the usual courting from major labels. During this period, (depending on the source) either the band excluded two members from forming Matchbox 20, or Atlantic Records demanded that two members be excluded from the new group. Both stories have a varying amount of plausibility, based on the amount of criminal behaviour in the industry. In any event, a lawsuit filed by members John Goff and producer/songwriter Jay Stanley charged Matchbox 20 with fraud, breach of contract, and non-payment of royalties (on songs which appeared on MB20's national debut album). Now, in 1998, _Don't Play With Matches_ (a play-on-words against their former bandmates?) finally sees the light of day. The highlights are clearly two versions of "3 a.m." and "Forever December", but other cuts including "High" and the piano-backed "Jesus Was An Alien" would easily fit into the playlists of stations looking for the 1990s version of southern rock. There's a sense of irony that _Don't Play With Matches_ (Forbidden Records) can stand on an equal footing with the (then-future) multi-million selling _Yourself or Someone Like You_. For further information on Tabitha's Secret, point your browsers to http://www.magicnet.net/rz/audio/tsecret A rougher rootsy-rock sound can be heard on Genghis Angus' latest album _12 Days_ (Adrenachrome). Laid back without a sense of urgency - that's a good thing, really! - Genghis produce a collection of twelve tracks which steal equal pages from Hootie, Wilco, and Gram Parsons. In particular, "Rusting Bridges" sneaks up on you and takes hold, daring you *not* to press the repeat button while tapping your foot to the rhythm. Heartfelt lyrics and picture-perfect chord switches ensure further listens without fear of getting boring. The band's song selection implies that they'd make perfect appearances at Border's bookstores - and then follow it up by playing a 3 hour set at the local club. Genghis Angus has their own website, located at http://www.genghisangus.com --- REVIEW: The Kelly Affair, _Welcome To The Kelly Affair_ (Not Lame) - Bill Holmes The Kelly Affair have actually been welcome before, but under a different name - Cinnamon (the good Canadian band, not the crappy European one). But since they have forsaken straight-ahead guitar heavy power pop for more of a loose lo-fi feel, it's no wonder that they not only changed their name but don't mention their lineage in the liner notes. As Cinnamon, it was but two short years ago that the incredible _Cream Soda_ tossed power chords, hooks and snare-happy drumming into the blender and came away with a twelve-track killer (which, of course, fell on deaf ears south of the Mountie line). Now the wah-wah guitars give way to pumping piano, side-door melodies and arrangements that occasionally approach disorder. But much like Cotton Mather's luxurious _Kon Tiki_, there's a subliminal magic that weaves its wonder after the first couple of listens. Listen to the kickoff track "Photographs Of Four", where the vocals are...well, flat! But as you get past that, there's a groove thick as gravy that starts to pick you up and take you along. Lead singer and songwriter Terry Miles has a voice that can be borderline twee, reminiscent of bands like the Three O'Clock. But in these new surroundings, the comparison falls solidly on Mitch Easter. Let's Active fans loved the thin bouncing pop sound out of North Carolina, and The Kelly Affair have taken that motif and run with it. The Beatle-ish guitar and keyboards of "That School" are infectious, as is the off-beat piano and horn treatment that frames "Another Edit". Michael Shelley fans will swear he is guesting on "Suburban Salute", and on possibly the strangest song, "It Falls Away" uses the chord changes from (gulp!) "Free Bird" and somehow comes up with a pop song (I am not making this up). There are still hooks galore here - "Last Summer" and "Supersweet" are probably the closest thing to a Cinnamon throwback on the record. But if you like your pop straight no chaser, this might not be what you want. However, those who can appreciate the more adventurous pop groove would be wise to check this one out. --- NEWS: > The B-52's / Pretenders / Royal Crown Revue concert continues to make its way westward across the country. The tour has just added an August stop in Reno, Nevada and the multiple Los Angeles area dates are close to selling out. The B-52's are rumoured to release another track from their new greatest hits collection in the next few weeks. And, Pretender Chrissie Hynde is telling audiences that the band's long-awaited studio album is scheduled for an October release, with several of the new songs included in the band's set. For more information on the tour, photos, information on live cybercasts on the tour and links to the B-52's website, visit the Pretenders' official website at http://members.tripod.com/~PretendersArchives/ > God Lives Underwater have just released the single "Rearrange" containing two remixes of that cut, two new remixes of "From Your Mouth" and a B-side "Hush That Noise". > Several of the Kinks' concept albums from the Seventies will be released on Velvel Records on Aug. 14. _Everybody's in Showbiz_, _Muswell Hillbillies_, _Preservation Act 1_, and _Preservation Act 2_ have been remastered for release on compact disc. While there are no immediate plans for a Kinks' reunion, Ray Davies continues to promote his Storytellers project in its various media formats, and Dave Davies is tentatively scheduled to begin the west coast leg of his Kinks Kronikles tour later this summer. Also, a compilation of Dave Davies' solo material, including tracks from his first three records and some new songs, should be released commercially on Velvel Records later this year. For updates on Dave's doings, visit his website at http://www.davedavies.com > The second Simpsons release, _Go Simpsonic With The Simpsons_, has been put on indefinite hold by Rhino Records. --- TOUR DATES: Tori Amos Jul. 23 Auburn Hills, MI Palace Of Auburn Hills Jul. 25 Toronto, ON Molson Amphitheatre B 52's / Pretenders / Royal Crown Revue Jul. 16 Clarkston, MI Pine Knob Music Theatre Jul. 17 Cuyahoga Falls, OH Blossom Music Center Jul. 18 Tinley Park, IL New World Music Theatre Jul. 19 Cadott, WI Chippewa Valley Festival Jul. 21 St. Paul, MN Midway Stadium Jul. 23 Little Rock, AR Riverfest Amphitheatre Jul. 24 Austin, TX South Park Meadows Jul. 25 Dallas, TX Starplex Amphitheatre Black Crowes Jul. 15 Jacksonville, FL Club 5 Jul. 17 Fort Myers, FL The Orbit Jul. 20 Cleveland, OH The Odeon Jul. 21 Columbus, OH Mekka Jul. 23 Detroit, MI St. Andrews Hall Jul. 24 Cincinnati, OH Bogarts Blue Oyster Cult Jul. 17 Kenora, ON End of the World Festival Jul. 24 Raleigh, NC Lake Boone Club Deni Bonet Jul. 17 New York, NY Arlene's Grocery Jul. 23 Salem, VA Belly of the Beast Jul. 24 Chattanooga, TN Miller Plaza Jul. 25 Greensboro, NC Somewhere Else Connells Jul. 14 Louisville, KY Phoenix Hill Tavern Jul. 15 Columbus, OH Newport Music Hall Jul. 16 Milwaukee, WI Shank Hall Jul. 17 Minneapolis, MN Downtown Block Party Jul. 18 Chicago, IL Block Party Jul. 21 Kansas City, MO Hurricane Jul. 22 St. Louis, MO Galaxy Jul. 23 Cincinnati, OH Bogart's Jul. 24 Nashville, TN 328 Performance Hall Jul. 25 Chattanooga, TN Chattanooga Choo Choo Cravin' Melon Jul. 15 Asheville, NC Be Here Now Jul. 16 Columbia, SC Elbow Room Jul. 17 Raleigh, NC Lake Boone Jul. 18 Isle O' Palms, SC Windjammer Jul. 19 Savannah, GA The TYBEE Island Pavillion Jul. 22 Wilmington, NC Metropolitan Jul. 23 Fayetteville, NC Broad St Cafe' Jul. 24 Florence, SC Shooters Culture Club / Human League / Howard Jones Jul. 23 Atlanta, GA Chastain Park Jul. 24 Raleigh, NC Walnut Creek Amphitheater Firewater Jul. 15 Albuquerque, NM Launch Pad Jul. 16 Denver, CO Bluebird Theater Front 242 Jul. 21 Seattle, WA Fenix Jul. 23 San Francisco, CA Maritime Hall Jul. 25 Los Angeles, CA The Palace God Lives Underwater / Stabbing Westward Jul. 15 Myrtle Beach, SC House of Blues Jul. 18 Poughkeepsei, NY Chance Jul. 19 Washington, DC 930 Club Jul. 21 Boston, MA Avalon Grinspoon Jul. 16 New York, NY CBGB Jul. 17 Worcester, MA Espresso Bar Jul. 19 Washington, DC 930 Club HORDE Tour (Blues Traveler, Barenaked Ladies, Alana Davis, Ben Harper, and many others) Jul. 14 Bonner Springs, KS Sandstone Jul. 15 Oklahoma City, OK The All Sports Stadium Jul. 17 Noblesville, IN Deer Creek Music Theater Jul. 18-19 Clarkston, MI Pine Knob Music Theater Jul. 21 Cuyahoga Falls, OH Blossom Jul. 22 Cincinnati, OH Riverbend Jul. 24 Columbus, OH Polaris Amph. Jul. 25 Burgettestown, PA Star Lake Amph. Iron Maiden Jul. 14 Phoenix, AZ Club Rio Jul. 15 Las Vegas, NV The Joint Jul. 16 Los Angeles, CA Universal Amphitheater Jul. 18 San Diego, CA Open Air Theater/SDSU Jul. 19 San Francisco, CA Maritime Hall Jul. 22 Denver, CO Paramount Theater Jul. 25 Milwaukee, WI Riverside Theater Joan Of Arc Jul. 15 Philadelphia, PA Pontiac Grill Jul. 16 Washington, DC Metro Jul. 17 Baltimore, MD Small Intestine Jul. 18 Chapel Hill, NC Lizard And Snake Jul. 21 Jacksonville, FL Moto Lounge Jul. 22 Orlando, FL Sapphire Supper Club Jul. 23 Gainesville, FL Covered Dish Jul. 24 Atlanta, GA Under The Couch Freedy Johnston Jul. 19 Amagansett, NY Stephen Talkhouse Chantal Kreviazuk Jul. 14 Salt Lake City, UT The E Center Of West Valley Jul. 15 Morrison, CO Red Rocks Amphitheatre Jul. 18 Dallas, TX Bronco Bowl Jul. 20 San Antonio, TX Majestic Theater Jul. 21 Houston, TX Aerial Theatre Jul. 22 Austin, TX Music Hall Lilith Fair Tour Jul. 15-16 New York, NY Jones Beach Amph. Jul. 17 Camden, NJ Blockbuster-Sony Music Ent. Ctr. Jul. 18-19 Columbia, MD Merriweather Post Pav. Jul. 21 Virgina Beach, VA GET Virginia Beach Amph. Jul. 22 Raleigh, NC Hardee's Walnut Creek Amph. Jul. 23 Charlotte, NC Blockbuster Pav. Jul. 24 Atlanta, GA Coca-Cola Lakewood Amph. Ziggy Marley & Melody Makers Jul. 14 Boston, MA Harborlights Jul. 18 Denver, CO LoDo Festival Jul. 19 Salt Lake City, UT SaltAir Pavilion Jul. 20 Boise, ID Union Bank Jul. 21 Seattle, WA Pier 62/63 Jul. 23 San Francisco, CA Warfield Theater Jul. 24 Las Vegas, NV The Joint Jul. 25 San Diego, CA SDSU Open Air Theater Metallica / Jerry Cantrell / Days of the New Jul. 15 Camden, NJ Blockbuster Sony Ent. Ctr. Jul. 17 E. Rutherford, NJ Giant Stadium Jul. 18-19 Mansfield, MA Great Woods Jul. 21 Hartford, CT Meadows Music Theater Jul. 22 Burgettstown, PA Star Lake Amphitheater Jul. 24 Antioch, TN Starwood Amphitheater Phish Jul. 15 Portland, OR Portland Meadows Jul. 16-17 Quincy, WA The Gorge Jul. 19 Mountain View, CA Shoreline Amphitheater Jul. 20 Ventura, CA Ventura Co. Fairgrounds Jul. 21 Phoenix, AZ Desert Sky Pavilion Jul. 24 Austin, TX Woodland's Pav. Jul. 25 Austin, TX Southpark Meadows The Samples Jul. 14 Boston, MA Harbor Lights Jul. 15 Baltimore, MD Bohager's Jul. 16 Dewey Beach, DE Bottle & Cork Jul. 17-18 Nantucket, MA The Muse Jul. 21 Burlington, VT Higher Ground Jul. 22 Providence, RI Lupo's Jul. 23 New York, NY Irving Plaza Jul. 24 Martha's Vinyard, MA Hot Tin Roof Smokin' Groovies Tour (Public Enemy, Cypress Hill, Wyclef Jean, Busta Rhymes, Gangstarr and more). Jul. 22 Darien Lake, NY Darien Lakes Amph. Jul. 23 Montreal, QC Jarry Park Jul. 24 Mansfield, MA Great Woods Jul. 25 Hartford, CT Meadows Third Eye Blind / Our Lady Peace / Eve 6 Jul. 14 New York, NY Hammerstein Ballroom Jul. 17 Boston, MA Harborlights Pav. Jul. 18 Wallingford, CT Oakdale Music Theater Jul. 21 Philadelphia, PA Electric Factory Jul. 24 Columbia, MD Merriweather Post Pav. Jul. 25 Holmdel, NJ Garden State Arts Ctr. --- 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.consumableonline.com (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 ===