== ISSUE 192 ==== CONSUMABLE ONLINE ======== [November 15, 1999] Editor: Bob Gajarsky E-mail: editor@consumableonline.com Managing Editor: Lang Whitaker Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim Kennedy, Al Muzer, Joe Silva Correspondents: Michelle Aguilar, Christina Apeles, Niles J. Baranowski, Mike Bederka, Jason Cahill, Matthew Carlin, Patrick Carmosino, John Davidson, Andrew Duncan, Krisjanis Gale, Paul Hanson, Chris Hill, Eric Hsu, Scott Hudson, Steve Kandell, Reto Koradi, Robin Lapid, Wes Long, I.K. MacLeod, Linda Scott, Don Share, Scott Slonaker, Kerwin So, Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, Simon West Technical Staff: Chris Candreva, David Landgren, Dave Pirmann Also Contributing: Jeanne Schantz 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: Queensryche, _Q2K_ - Chris Hill REVIEW: The Divine Comedy, _A Secret History_ - Don Share REVIEW: Eurythmics, _Peace_ - Jon Steltenpohl REVIEW: Muse, _Showbiz_ - Scott Slonaker REVIEW: Primus, _Antipop_ - Matthew Carlin REVIEW: Charlatans UK, _Us and Us Only_ - Chris Hill REVIEW: Gay Dad, _Leisure Noise_ - Don Share REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray Style_ - Tim Kennedy REVIEW: The Wedding Present, _Singles 1995-1997_ - Christina Apeles REVIEW: Les Rythmes Digitales, _Darkdancer_ - I.K. MacLeod REVIEW: The Misfits, _Famous Monsters_ - Andrew Duncan REVIEW: Victor Calderone, _e=vc2_ - Chris Hill REVIEW: Andrea Parker, _Kiss My Arp_ - I.K. MacLeod REVIEW: Arto Lindsay, _Prize_ - Jon Steltenpohl REVIEW: Zucchero, _Overdose D'Amore_ - Reto Koradi REVIEW: Warrant, _Greatest and Latest_ - Jeanne Schantz REVIEW: Brand New Heavies, _In Tha Beginning..._ - Joann D. Ball REVIEW: Kahimi Karie, _K.K.K.K.K._ - Niles Baranowski NEWS: Korn, Bob Marley, Smashing Pumpkins TOUR DATES: Alaline Trio, Blinker The Star, Death In Vegas, Bryan Ferry, Ben Harper, Innocence Mission, Live, Mike Ness, Silverchair / Blink 182, Sonia Dada, Joe Strummer & The Mescaleros, Superchunk, Richard Thompson, Westbam, Josh Wink Back Issues of Consumable --- REVIEW: Queensryche, _Q2K_ (Atlantic) - Chris Hill Queensryche made their masterpiece with the 1988 concept album _Operation: Mindcrime_. Their next, _Empire_, outsold the triple platinum Mindcrime by a million. So what? "Silent Lucidity" and "Empire" are lunar reflections of the sun that is _Operation: Mindcrime_. Queensryche will carry the pride and the burden _Operation: Mindcrime_ throughout their career. "I remember now. I remember how it started. I can't remember yesterday. I just remember doing what they told me." It's sheer glory from the intro, including the hospital page taken from stock sound. Hearing "Dr.David...Dr. Blair, Dr. J. Hamilton," sparks a smile, an in-joke for fans of the 'ryche, when it appears, seemingly ubiquitous in every tv show or movie hospital scene. Michael Kamen orchestration, an intelligent story (Imagine! Rock fans who think!), cinematic flourishes of dialogue and sound effects -- so many things to praise on that album, with the musicianship at the top of the list. How you view _Q2K_ depends on how you view your art. Are you looking for a Da Vinci to paint a Mona Lisa, then move on to other challenges? Or do you want Monet, with multiple, equally stunning portraits of the Rouen Cathedral? Will a disc different from the Mindcrime watermark disappoint or please? Up to you. Enough digression. Queensryche has a new album out, and to their credit, they continue to avoid a creative regression to past glories, despite the departure of founding ace guitarist and songwriter Chris DeGarmo and the reflex to recoil from a wound. Band friend, guitarist, and producer Kelly Gray fills this void ably. Forced change *can* be good -- see R.E.M. sans Bill Berry. Some bands are identified by their guitarists. With this one, it's the vocalist. Geoff Tate proves again why he stands at the forefront of rock singers. Voicing the tired lyrics of "Sacred Ground," ("You're the one I want/you know it's true./Let go of everything/open up to me. You bring me to sacred ground/ when I'm inside you"), Tate impossibly makes the song fresh. His phrasing is perfection -- no surprise to those aware of Tate's talent. The Queensryche guitar magic is also unchanged: eleven songs containing solid riffs and breakout leads, just what you'd expect from old pros like Michael Wilton and Gray. Rounding out the band mentions, drummer Scott Rockenfield and bassist Eddie Jackson remain, underpinning, and, when given free rein, taking charge of the songs, giving _Q2K_ a strong, filler-free presence. "Beside You," opening with Tate softly crooning a hymnal, segues to thick-sliced chopping rhythms. The lyrical intimacy of a father's connection with his child works beautifully, backed by a slide guitar that morphs to an electric crescendo. The edgily menacing "Liquid Sky," my favorite on _Q2K_, harkens back to the glory days of "I Don't Believe in Love" and "Empire" without prostituting itself. The guitars slither around Tate's operatic range, appearing out of the shadows, then subtly disappearing again. There's a segment atmosphere, as if a line stretches to a suite of other, unheard songs. "When the Rain Comes," a plea for connection ("I feel the rain coming/I feel it in my heart, take away my pain/...Hold me now, just for awhile"),flies on Tate's vocals, beginning in his lower range then soaring and swooping like a bird. Remember the first time you heard "Queen of the Reich" in stunned amazement? Older, matured, Tate's voice retains that ability to astonish. "One life is like one prayer/One love to share/One thought is like one dream/One world, one meaning." Interestingly, a comparison to U2, evoked by "One Life"'s infinite guitar intro and this "world as one" theme, was reinforced by Queensryche covering "Bullet the Blue Sky" at their recent Seattle show. While other '80s rock bands appear on K-tel compilations and "Where Are They Now?" shows, Queensryche forges on, making their own way, uncompromised. So it's not Mindcrime. So what? If you've haven't strayed from the fold, _Q2K_ won't disappoint. If you have, step inside their site at http://www.queensryche.com, and see what you've missed. --- REVIEW: The Divine Comedy, _A Secret History_ (Setanta) - Don Share A secret history no more, one hopes, after this album. The Divine Comedy, really Neil Hannon, has been around for almost a decade now, and have a half-dozen or so CDs behind out, which are all but unknown in the US. It's true that this is the kind of music that could only come from the British, along with the likes of Baby Bird, Scott Walker and Noel Coward, all of whom I can hear in these lush, witty, wistful productions. I say productions, because Hannon plays the orchestra like an instrument -- but don't run away scared! As in some of the over-the-top pop creations of the '60s, orchestrated pathos is all part of the charm of this stuff -- musically, most of these songs could have been hits in that eclectic era -- yet anything pretentious in it is compensated for by Hannon's frequently hilarious, always poignant lyrics. In fact, this is devilishly clever stuff, as when in "The Frog Princess," which is about an affair with a French girl with a case of ennui, bits of the "Marseillaise" are played on a French horn in a multiple musical pun. Or take my own favorite here, a transformation of the Noel Coward tune, "I've Been to a Marvellous Party," (originally from a tribute album) which starts off as a traditional piano croon, then veers into hefty electronica, and ends up as disco. _A Secret History_ isn't, be advised, a greatest hits collection, though there are some UK chart toppers present ("Something For the Weekend," a hit song about someone lurking in the woodshed, amazingly enough, and "National Express," for example), or even a thorough sampler (it omits, for instance, "The Booklovers," an amusing early novelty in which the names of about 60 writers are recited, along with some comedic interruptions), but it's a fine introduction to music that will come as a superb astonishment to most American listeners. And even if you're already a fan, there are two tasty new tracks here, including the must-hear "Gin Soaked Boy," that make the disc a handy assortment. Like an Austin Powers experiment in which Jarvis Cocker gets mixed up in the laboratory blender with Burt Bacharach, _A Secret Affair_ is an entertaining cocktail that mixes a past that never was with a garish, celebratory, and deeply observed present. Definitely shagadelic! --- REVIEW: Eurythmics, _Peace_ (Arista) - Jon Steltenpohl It's been a long time since we've seen anything from the Eurythmics as a complete band. Fans have had to do with Annie Lennox's lovely solo albums, Dave Stewart's Spiritual Cowboys, and a few rare glimpses of the two here and there for 10 years. This past year, Dave and Annie hooked back up, one thing led to another, and a tour, a social consciousness, and a new album were born. _Peace_ is the tour name, the philosophy, and the album title, and Annie and David have put a big push behind Greenpeace and Amnesty International. (See http://www.peacetour.net for more info.) Regardless of your views on those two activist groups, the album doesn't drip with activist views. Instead, there's more of a "perfect harmony" kind of feel to it which doesn't get involved in specifics. "I Saved the World Today" might seem pretentious or preachy from the title, but instead, it simply says "Hey, Hey \ I saved the world today \ Everybody's happy now \ the bad thing's gone away \ and everybody's happy now \ the good thing's come to stay \ please let it stay." The other tracks that take a similar attitude are equally as vague. Not that the album is all feel good and mellow. Tracks like "Power To the Meek" and "I Want It All" are driving and driven by Dave's guitar. Between the mellow, the melodic, and the harder edged tracks, _Peace_ sounds like the album true Eurythmics fans might expect. The lead single, "17," is unmistakably a Eurythmics song. Like most of their later work, the use of synthesizers is fairly sparse. The soul sound is also missing, but there are ballads like "My True Love" which fans of Annie Lennox's solo albums will enjoy. And, the upbeat tracks are guitar heavy and reminiscent of songs like "Would I Lie to You" and "I Need a Man." Unfortunately, there isn't anything quite as powerful or as poignant as in the past. _Peace_ has that slight hint of "reunion" lurking behind the scenes. The lyrics are good, but not as good as you remember. The music sounds pretty good, but doesn't quite have that atmosphere that you remember. And, unfortunately, Annie's voice seems to be losing a bit of its incredible charm and power. Even on the lead single in the US, "17," you can hear her straining a bit. Quite frankly, it's a shame. Even on their live performance on "Late Show with David Letterman," they looked a little tired and Annie was getting a lot of help from the backup singers. Despite these failings, _Peace_ still is a very enjoyable album. If you've liked a single from it, then you probably won't be disappointed. Fans of the band who have followed them from their early days in the Tourists through the various solo projects will find _Peace_ is an indispensable part of their collection. It certainly isn't their worst album, and once you get used to the state of Annie's voice, it's actually quite enjoyable. After such a long wait, you always hope for perfection, and _Peace_ is a slight letdown for fans with lofty expectations. However, it's a decent album and, for those who thought they'd never hear another Eurythmics album again, _Peace_ is something to be thankful for. --- REVIEW: Muse, _Showbiz_ (Maverick) - Scott Slonaker Listen precisely twenty-one seconds into Muse's debut full-length to figure out where the British trio's, er, muse comes from; singer Matthew Bellamy opens his mouth, and bang. He channels Radiohead's Thom Yorke so completely it's scary. That first track, "Sunburn" sounds like an outtake from _The Bends_, to the point where anyone who isn't a Radiohead fanatic would be quite easily fooled. And only part of this is the presence of _Bends_ producer John Leckie. Normally I hate judging an act based on those who came before it; however, in this case, the similarity is so complete it is unavoidable. This young trio writes the same sort of jagged, seether-then-ether rock songs as everyone's favorite (to steal a Spin term) COR ("critic-oriented rock") band. The bio acknowledges this, too. That aside, _Showbiz_ is remarkably advanced for a debut album; no patchwork _Pablo Honey_ happenings here. Even with the ominous shadow of Thom & Co. hanging overhead, high points are scattered throughout _Showbiz_. The striking first single, "Muscle Museum", slithers along on swaying bass and careening organ. "Falling Down" is a gorgeous Jeff Buckley-esque torcher. The driving "Fillip" is surely a highlight of the band's live act. Given free reign with such a young band, Leckie really gets a chance to shine. Tracks like the piano-and-guitar effect-drenched "Cave" makes Muse sound like they've been making records for a decade. Unfortunately, they haven't been writing lyrics as long, and Bellamy's inconsolable shrieking can wear thin without the deft imagery that Radiohead is known for. Still, the energy level is quite impressive, and can only bode well for a group whose members average 20 years of age. Keep an eye on Muse. --- REVIEW: Primus, _Antipop_ (Interscope) - Matthew Carlin Back when "Jerry Was a Racecar Driver" hit the MTV airwaves, Primus truly was the oddest rock group on the tube. A pubescent music nerd's wet dream, all three members had the chops of their heroes in Rush, the quirkiest cartoon-voiced lead singer and songs that were just plain weird. They had already won legions of fans in the Bay Area with legendary live shows and two albums on Caroline Records that came before their big label debut, _Sailing the Seas of Cheese_, but the idea of Les Claypool stomping around stage singing about "John the Fisherman" and a horny cat named Tommy while on tour opening for U2 was about as 'alternative' as music could get in the early-90s. Alas, the salad days when Primus headlined Lollapalooza are long gone with the festival itself. And Primus-influenced groups like Limp Bizkit and Korn rule the airwaves and incite riots at Woodstock. It is a sad, sad time in music. I digress. What's truly depressing is that Primus is still up to the same exact tricks. In fact the production on _Antipop_ sounds exactly like their first studio album, _Frizzle Fry_, right down to the thin, snappy snare drum, the Stewart Copeland-style sibilant high hats and Larry Lalonde's psychedelic waves of guitar. Only the tunes aren't as inventive (since Claypool has been writing the same four songs since 1990) and the lyrics are getting stupider. 'I am _Antipop_/I'll run against the grain till the day I drop/I am the _Antipop_/the man you cannot stop,' Claypool belts on the title track. I won't even bother pointing out the irony of such a statement given the aforementioned prevalence of Primus-y bands littering MTV now. Other lyrical gems on _Antipop_ include: 'The best of times the worst of times/the times you can't ignore./Sometimes you bite the bullet/and flip flop on the floor.' (from "Mama Didn't Raise No Fool"); 'Lacquer Head knows but one desire/Lacquer Head sets his skull on fire/Lacquer Head knows no in betweens/huffin' on bags of gasoline' (from the appropriately-titled "Lacquer Head" which was actually produced by Limp Bizkit jerk-in-chief Fred Durst). Discounting Claypool's awful lyrics, the first few tunes on _Antipop_ do rock like old Primus. Although not as well, since Claypool's basslines used to be much more interesting. And drummer Brain, who played some truly incredible, inventive stuff with Bill Laswell and guitar maniac Buckethead in Praxis, sounds uncomfortably similar to former Primus trapsman Tim 'Herb' Alexander. They even cover "The Heckler" from their debut live album from 1989, just in case you forgot they've been working the same shtick for ten years. By track seven _Antipop_ just becomes tedious. The songs start to blend into a haze of Pink Floyd pomp, cheesy Stanley Clarke bass antics and weak metal stomps. Despite guest producers like Rage Against the Machine's Tom Morello (who also lends his buzz saw guitar stylings) and drumming legend Stewart Copeland (!!!), Primus just ain't what it used to be. The one exception being the truly fantastic "Coattails of a Dead Man" which boasts an appearance by Tom Waits on mellotron and vocals, who also gets credit as producer for the track. A dirgy, nightmarish waltz with trippy vocals by Tricky-collaborator Martina Topley-Bird, the only lousy part of this one is Claypool's vocals. --- REVIEW: Charlatans UK, _Us and Us Only_ (MCA) - Chris Hill Now on their sixth studio album, the Charlatans UK again deliver with the talent and creativity that has carried the band through the lean years in their ten year career. While other Manchester bands like the Happy Mondays and the Stone Roses have faltered, the Charlatans UK (the UK added to appease a namesake '60s band) have weathered shifting public attention and an internal tragedy in the death of founding member and keyboardist Rob Collins, the man responsible for their signature organ sound. Sobered, refocused, the band is now touring behind an album touted as their best yet. Tony Rogers, Collins' permanent replacement, took some big shoes and filled them well. The soul of _Us and Us Only_ is found in the keyboards, whether romp-stomping honky-tonk on "The Blonde Waltz," '60s psychedelic atmosphere on "Forever Full," or the bluesy, Southern "Senses." The guitar and bass are essential limbs in the band's sound, but its body is found in the organ. If the organ's the body, singer Tim Burgess is its soul. On the Stones-y "Impossible," Burgess grounds his distinctive tones against a swirling organ, bouncing keyboards, and an impish harmonica. On "The Blonde Waltz," which wouldn't be out of place on an Elliott Smith or Harry Nilsson album, he phrases the lyrics to roll over themselves, establishing a rhythm that breaks like a wave at the chorus. "Wouldn't it be nice to get away/Shout "Morning! How are you today?"/My hands are blazing/My arms are broken/...I guess I didn't take a look/I guess I'm your man." Burgess's vocals are more audible here than on previous releases, and the disc benefits greatly for it. The ten-song album flows from strong track to strong track. On "A House is Not a Home," the fifth song, the guitar takes center stage with a repeating loopy riff that backs the sneering vox. "This is a house/This is not a home/...I can't do this anymore/I have sworn this/I will never be yours." "I Don't Care Where You Live" , a short number with a tinkling piano backbone, uses harmony choruses that swell from the quiet verses, cresting in the sweet final lines "I don't care where you live/ for today I started loving you again." Track nine, "The Blind Stagger" contains some odd lyrics: "You've been bitten/by eleven hungry kittens/who will go the whole distance/while the blind stagger." Adding to the fun, an acoustic guitar that gives way halfway through to a muscled electric, and thundering keyboards. The album closes with "Watching You," all epic bravado that springs up from a repeating keyboard riff and runs headlong into the distance. "It took a long time/and I'm missing you/ It took a long time/but I found you" - the sentiment makes for a great, well-chosen finale. --- REVIEW: Gay Dad, _Leisure Noise_ (London) - Don Share Cliff Jones was such a fan of Pink Floyd that he assembled and published a book called "Another Brick in the Wall" which explained every song the band was known to have come up with; the work of a true rock obsessive. When he assembled a band called Gay Dad, there was reason to believe that someone so fixated on musical details could make one hell of a record. The name raised eyebrows, and so did the logo for the band, a kind of walking restroom-sign silhouette that looked amazingly like...a gay dad. A few pre-album singles made an impression in Jones's native England, but by the time the long-awaited album arrived, the British music press, far more influential than that in the US, turned on him, the kiss of commercial death: Gay Dad became the object of ridicule. All this before anyone on our shores had a chance to check out their music, which has gotten zero attention, good or bad, here. So, you maybe ask, how is it? Well, Cliff and company were smart enough to tone down the Floyd references (except for a few sly seagulls), and they have a sound of their own: chunky guitars, sweet wistful vocals and swirling synth touches, all very British-sounding. Touched by an appealing but low-key "Life In a Northern Town"-kind of nostalgia, it adds up to very little, unfortunately. _Leisure Noise_ is earnest, pleasant, sometimes catchy, but also turgid and sometimes unsalvageably lame, a kind of whimper at the end of the millennium. "Dimstar," which kicks things off, is acceptably soaring and reflective, while "Joy" burbles and pounds and clangs infectiously. But "Oh Jim," despite late-70's Stones guitar, is burdened with some Badfinger-lite lyrics: "Oh, Jim / Can't you feel the pain I'm in?" "My Son Mystic" sounds like Indigo Girls would if they had a guy in there someplace and is a tell-me-about-your-life-and-I'll-do-likewise kinda tune. The self-explanatory "Black Ghost" is gentle and swooshing, like a less long-winded Porcupine Tree, if you've heard them. Alas, even legendary early-Bowie producer Tony Visconti can't save the fey "To Earth With Love," which contains -- beware -- strung-together lyrical allusions to '70s bands. "Dateline" amusingly hammers nails into this musical coffin with rhymes like "started feeling blue" in "1972," "started feeling fine" in "1989," and, get this, "1999," the "end of modern time!" "Pathfinder" goes so far (or short) as to beg someone to "kiss me like you still remember me" -- huh? "Different Kind of Blue" ain't Miles Davis, and the closer, "Jesus Christ," ain't Alex Chilton. "Jesus Christ made a good man outta me," sing Gay Dad. You want to warm to this, not least because it isn't cynical at all, and that is sincerely refreshing. Yet the '70s nostalgia here is so pallid that I wish this music had been more marked by what it alludes to -- say a good dose of Slade or Sweet; instead, it's mostly a missed opportunity, except to prove that Britpop is finally, irrevecably over. --- REVIEW: Joe Strummer and The Mescaleros, _Rock Art and The X-Ray Style_ (Hellcat) - Tim Kennedy Joe's last recorded work was in 1985, a brief flurry of activity which was the sum total of his output since the ill-fated final Clash lineup of bassist Paul Simenon, Joe and three clones - a sad coda to the noble story of Punk's other great band. Whilst his old sparring partner and guitarist Mick Jones went on to be a major success with Big Audio Dynamite during the 80s, Joe was content to remain out of the limelight. By his own admission during this time Joe has been sitting out his contract with CBS. His quarrel with the record company mirrored that of George Michael but Joe lacked the means to buy himself out of the contract. Now that he has emerged to record again, naturally expectation is high of the most charismatic rock singer of his era. This album is best compared to the more experimental work that the Clash released - for example on the second and third discs of the triple album set _Sandinista_ (1980), and the second side of _Combat Rock_ (1981) Joe returns to his Clash era reggae influences for the opener - "Tony Adams" which doesn't refer lyrically to the soccer defender of Arsenal and England fame. It is a strong opener, with Joe's voice still evidently in good shape. His vocal style on this CD ranges between the raw anger of tracks like "Tommy Gun" and "London Calling" and the more introspective 'old man' style of works like "Garageland", "Call Up" and "On Broadway". "Sandpaper Blues" is a fast-paced mix of African chants and synth - but really a rock song with techno tendencies. Elements of hiphop are also here, but as with later Clash works, different styles are merged into each other so that no single influence can be recognised as dominant. "X Ray Style" mixes some social comment with scattered references to other familiar Clash themes such as guns and rockabilly. Joe is accompanied by acoustic guitars and backed by furious bongos. "Techno D Day" is a humourous take on big dance events, with the appearance of our hero as a reserve D J at a techno version of Omaha Beach. Of course military imagery is another theme the Clash frequently returned to. This is rock music albeit with techno elements. The vocal again is very strong, with Joe very much on form. "Road To Rock n Roll" is a descendant of "Four Horsemen" from 1979's seminal _London Calling_, a little more relaxed than its predecessor, ambling along as Joe tells of rock's pitfalls. The words of the title appear rather too much - it's repetitive and a little too long. "Nitcomb" must be the first rock song to mention the perennial curse of 90s parents - headlice. Joe would be aware of this unavoidable affliction, having as he does a young daughter. This lovely, mostly acoustic track surveys futility, litter and decay both at home and in the streets. The nitcomb in question seems to be intended for removing human 'lice' e.g. himself. "Diggin The New" starts with rock riffing that recall the glory years of Joe's career, and has a fine Clash chorus which affirms a place in the present "You gotta live in this world". This song is closest to what most buyers of this album would probably most like to hear from Joe, but to his credit he is determined to challenge musical boundaries with this music, just as the Clash did with _London Calling_, _Sandinista_ and _Combat Rock_. therefore there are few concessions to punk roots on this album. The Clash were always the most eclectic band of their time and it is this eclecticism which Joe displays here. "Forbidden City" is another fine midpaced rock song concerning injustice in China and the Tiananmen Square massacre - at one point sampled gunfire is heard. "Yalla Yalla" boasts not only a puzzling chorus but a fine slowpaced techno melody which is an excellent accompaniment for Joe's great singing - as Leftfield's "Open Up" was for Johnny Rotten. Its theme is the toughness of an urban life relieved by the freedom given by cars and rap and dance music. The Clash's old stamping ground of Ladbroke Grove even gets a mention. "Willesden to Cricklewood" is set to a gentle breakbeat and is a charming piano and keyboard tune describing the landscape of leafy North London. This is a surprising end to the album, almost pastoral by Strummer's past standards. This album contains the variety as you would expect from a man whose career spanned punk, reggae, hiphop, rockabilly, synthesizer experimentation and even gospel. Joe's voice is as inspiring as ever and conveys both anger and warmth in equal measure. He is not content to retread his old glories, and continues his eclectic musical path to great effect. --- REVIEW: The Wedding Present, _Singles 1995-1997_ (spinART) - Christina Apeles Two singles compilations from Wedding Present in one year -- _Singles 1989-1991_, released on Manifesto earlier this year, and now, _Singles 1995-1997_, on spinART -- show the breadth of music that this indie Brit favorite has produced over a career that has exceeded a decade, with a sound that far from wanes listening to years later. Any band that crosses that ten year mark and still has a strong following is a band worth looking into. Definitely sharing the ranks of indie mainstays like Superchunk, Guided By Voices and The Flaming Lips, Wedding Present's latest singles compilation offers a taste of songs originally released on multiple labels that are no doubt keepers. From their offbeat cover of the theme from Cheers, "Where Everybody Knows Your Name," to the acoustic version of "Jet Girl" and live performance of popular "Brassneck," _Singles 1995-1997_ is a fine collection of songs that rock, thrill and bounce. "Red Shoes by the Drugstore," with its hypnotic bass line aside spoken word, has a poetic movement, twang of rockabilly, and lead singer David Gedge's relentless self-reflection. Meanwhile, you'll muse over the jangle pop of "Drive," a playful song that signals pogo heaven to any concert goer. And there's "Go, Man Go," the classic indie love track about a failed relationship much like songs by Kitchens of Distinction and Sugar, understanding a broken heart through guitar distortion. I am constantly surprised when I come across indie fans that haven't heard of The Wedding Present, not because they have been around for more than a decade, but simply because they are so damn good. Gedge's oh-so-manly voice is unforgettable, in this particular release, softened by Jayne Lockey's sweet vocals on several tracks, and musically every song has momentum, building with heavy drumming, bass and a two-guitar assault. You won't feel cheated by any songs on _Singles 1995-1997_, whether you are a new listener or old fan, their songs still sound exceptional. They have a dynamic sound that is frenetic, drawing you in with every strum and beat. --- REVIEW: Les Rythmes Digitales, _Darkdancer_ (Astralwerks) - I.K. MacLeod The only thing French about electro-disco artist Jacques Lu Cont (aka Brit Stuart Price) is the layer of decade-old fromage that coats this new CD. There is nary a break-beat to be found in this production, just mounds of nostalgic house and refurbished funk grated over a series of repetitive rhythms in a watered-down Kraftwerk aesthetic. In other words, it is designed for people who appreciate music that doesn't take itself too seriously and are looking to maximize their fun. Les Rythmes Digitales isn't afraid to put a big happy face on top of faceless electronica and does it just as effectively as the cartoony Cassius and the masquerading Daft Punk. "(Hey You) What's That Sound?" works well by mixing a little Gary Numan with Bronx braggado while "Hypnotise" will wake you up from your sweet dreams thinking you are witness to a long lost Eurythmics remix. The slithering bass line of "Music Makes You Lose Control" and the stutter of "Jacques Your Body (Make Me Sweat)" will both bring exciting peaks to your party. Most of the tracks feature cut-up vocal snippets or samples, but there are a few full fledged songs spread throughout the program to keep your attention. If you like your soul synthesized and want to see a spark on the dance floor, then _Darkdancer_ is the one for you. --- REVIEW: The Misfits, _Famous Monsters_ (Roadrunner) - Andrew Duncan Here's a quick history lesson: In 1977 a group of hooligans decided to form a punk band and name it after Marilyn Monroe's last film, "The Misfits." Their blend of '50s-style rock with horror movie lyrics won over fans of punk music worldwide. They sang songs like "Horror Business," "Halloween" and "Die, Die My Darling," and released albums with titles like _Earth A.D./Wolfs Blood_ and _Legacy of Brutality_. Lead vocalist Glen Danzig was targeted as frontman with his deranged aura, distinctive "Devilock" hairdo and Elvis-like croon. They played together for many years until Danzig left the band and the band broke up...blah, blah, blah. Now, the year is 1999, and the newly reformed Misfits are on their second release, the appropriately titled _Famous Monsters_. Instead of Mr. Danzig, we have Michale Graves. Dr. Chud is one of many drummers who have joined the band, and Doyle Wolfgang Von Frankenstein and Jerry Only still remain. Not as intelligent as the album title, the Misfits have slumped into a habit of naming their songs after horror and science fiction movies. Sure, The Misfits from days of yore named a song "Return of the Fly," with lyrics so complexingly crafted: "Return of the Fly/Return of the Fly/With Vincent Price/Return of the Fly." Now we have songs titled "Lost in Space" and "Crawling Eye." How about "Die Monster Die" or "Scarecrow Man?" What happened to a sense of imagination? The song structures are standard Misfits compositions -- quick, dirty and to the point -- and Mr. Graves doesn't do a bad job filling in Mr. Danzig's shoes. The only difference is the modern, more full-sounding guitar sound. Blame it on better studio recording methods. If "Texas Chainsaw Massacre" were filmed without its graininess, would it still be a cult classic? To put it in layman's terms, the 18 songs are listenable with some better than others. For dedicated fans, there are remnants of the golden years, but don't expect Rome to be built in a day. --- REVIEW: Victor Calderone, _e=vc2_ (Tommy Boy) - Chris Hill Victor Calderone's remix resume contains big industry names: Madonna, Garbage, Gloria Estefan, Bette Midler and Elton John. Some anomalous to the dance floor, others who've made their careers on it. Two (Madonna and Garbage) are included on Victor Calderone's first dance mix CD. They're placed at the end, leaving the first ten tracks for lesser-known floor packers, including a version of Clivilles & Cole's 1987 hit (under the name 2 Puerto Ricans, A Blackman, and A Dominican), "Do It Properly." The track features ex-C&C Music Factory vocalist, Deborah Cooper. For the clubgoing, it's a glimpse into the style and skill of this globe-hopping DJ at work, with an hour's worth of his favorite music pumped into a personally endorsed package. "I wanted it to be a journey that captures the vibe of my peak hour live sets," says Calderone. "Every song was painstakingly selected and programmed. Every track included is one that I'd play in my set -- there's no filler, no compromises." For the non-dance fan, it's fine background music. The energy is infectious, even if you're not a devotee of the genre, guaranteeing sympathetic body movement. The Madonna remix, exclusive to this disc, alone justifies purchase, exemplifying Madonna's skill at choosing her collaborators. 2000 will see Calderone coming out with an a full-length album of his own music. "Although there will be elements of what people have come to recognize as my sound, there will also be live instrumentation, strong vocal tracks and elements of electronic music," he reveals. Tracks: Pete Heller - Big Love (Dronez Dub), Veronica - Someone to Hold (Johnny Vicious Hard Mix), Dan Q - Aura Tribe (Club 69 Tribal Mix)/Basement Jaxx - Fly Life, Deborah Cox - It's Over Now (Hex Hector Dub), Robbie Rivera - Feel This, Kim English - Unspeakable Joy (Razor N Guido Remix), Andrea Martin - Share The Love (Hani Hyperkickass Mix)/ Royal House - Can You Party, Giacomo - Theme From Love (Hex Drum Dub), The Collaboration (Victor Calderone & Peter Rauhofer) - Do It Properly, Hyperdelics - Are U Ready (Tribal Mix), Madonna - Sky Fits Heaven (Calderone Future Mix), Garbage - Push It (Calderone Mix). --- REVIEW: Andrea Parker, _Kiss My Arp_ (Mo Wax) - I.K. MacLeod The title is a reference to a vintage keyboard, but is the sound and feel of this album are what end up aging gracefully. It is an extremely well thought out release, which explains why it took four years of studio tinkering to complete. It has an introspective, as opposed to an indulgent, DJs touch with the added bonus of blending pure emotion seamlessly with underlying sophisticated sonic themes. "The Unknown" sets the mood, with it's deep percussion and gloomy atmosphere that winds around her vocals. "Clutching at Straws" continues along the same path, sounding like the soundtrack to a European thriller. "In Two Minds" has a dense hard-house sound that is not overbearing or angry and "Sneeze" was constructed of the sudden spasmodic reflex of breath caught on DAT. It is all techno enhanced with a classical sensibility, exemplified by the lush orchestral sweeps of Wil Malone on "Return of the Rocking Chair." The songs are strong evidence that Andrea's voice was made for her own eclectic mixes, while the instrumentals (like the epic "Melodious Thunk") can stand firmly on their own deep grooves and reliable rhythms. It all adds up to an adventurous mix of Massive Attack ("Breaking the Code") through the ears of a well behaved Aphex Twin ("Some Other Level"). It's a deep and rich dish of raw isolationism that is best served with your favourite set of headphones. --- REVIEW: Arto Lindsay, _Prize_ (Righteous Babe) - Jon Steltenpohl Their are some artists who are defined by their lack of convention and desire to break boundaries. Arto Lindsay has always been one of those artists. Dive into his biography (at www.artolindsay.com) and you will discover a history of experimental music you've probably never heard about. So strange is Lindsay's catalog that some music sites resort to categorize him simply as "jazz." "Abstract bossa nova-ist" might be a better term. His latest recording, _Prize_ is like a lounge music cocktail with a twist of alternative lime. There has been a trend in the past decade for musicians from the United States to travel overseas and pick up a local foreign flavor and bring it back to the US and "recreate" it for us. Paul Simon and David Byrne tried it with various degrees of success. But Arto Lindsay is the "real thing." (To Byrne's credit, Lindsay has appeared on Byrne's label Luaka Bop.) A dual dweller of Brazil and the United States, Lindsay seems to be freed from cultural conventions and simply draws from the musical landscape around him. Take a song like "Modos (Manners)." It seems to have a mellow, bossa nova groove to it if you casually listen. But listen deeper, and there is a depth below the still calmness. Cymbals are not really cymbals but rather crashing metal sheets and the beat in the background reveals itself to be a strange, looped chiming tone. "Resemblances" is a mellow song with a plucking bass, orchestral touches, and background soundscape work similar to "Modos." It is somewhat like a David Lynch and Angelo Badalamenti sound experiment, only with a much deeper understanding of the musical structure. The warbling strings are reminiscent of some of Camper Van Beethoven's later work during the _Key Lime Pie_ era. David Byrne would be fond of "Interior Life." It is a goofy song that , and seems to share the loose associations of an artist like Beck. "Prefeelings" is the most experimental track on the album. It is louder than the bossa nova tracks, and is purposely deconstructed and reconstructed from jazz, rap, samba, and techno. Amidst the mish mash of sounds comes form. Over the top is Lindsay; calmly trying to sing a bossa nova song with constant interruptions from the music and from free form rap by Beans of the Anti-Pop Consortium. Like any good piece of abstract art, it is completely disjointed up close, but taken from a distance, it somehow works as a singular whole. Lindsay is one of those artists you have to "get." If you "get" it, he's a sonic genius flitting in the zone between mellow jazz, bossa nova, and avant garde. If you don't, he just sounds like bad lounge music. This is certainly music to be pretentious by. It is complex and articulate without sacrificing form and melody. It is also the first third-party release by Ani DiFranco on her Righteous Babe Records. _Prize_ is a good choice for the label because it is intelligent yet truly alternative. Arto Lindsay might not be everyone's cup of tea, but for those who can dive in, _Prize_ is an incredibly deep and intriguing album. --- REVIEW: Zucchero, _Overdose D'Amore_ (Ark21) - Reto Koradi The American music market has always been a hard ground for artists from Continental Europe. Zucchero managed to make a small dent into it in 1991, scoring a top 5 hit with "Sense of a Woman/Senza Una Donna," his duet with Paul Young, but has come nowhere near the superstar status that he enjoys in Italy. His attempt to change this comes in _Overdose D'Amore_, a collection of ballads spanning more than 10 years, spiced up with some new material. Zucchero has never been afraid to transcend borders, both in style and language. On the new songs, he joins forces with Sheryl Crow (who sings lyrics written by U2's Bono) for "Blue," and Sting for an Italian version of "Mad About You." He flirts with classical music in "Va, Pensiero," which originates from an Aria by Verdi, and "Miserere," his duet with Pavarotti from 1992. Even though these big names might add appeal, Zucchero stands strong all by himself. A sub-average Sting song is not good enough to be a highlight on this album, Sheryl Crow certainly doesn't add any significant talent, and at least in the opinion of this reviewer, the big tenors would be just as well off doing what they do best: sing operas. The true pearls on _Overdose D'Amore_ are performed without prominent help. "Diamante," a song that Zucchero dedicates to his grandmother, is as beautiful as a ballad gets. "Senza Una Donna" in its original version is as outstanding as it was 12 years ago. A number of other songs, like "Cosi' Celeste" and "Menta E Rosmarino," show that Zucchero masters the rare art of writing and performing songs of sheer beauty without ever getting sugary. Zucchero may not be the most original and innovative artist you will ever encounter, but his songwriting skills and distinctive voice make his work timeless. If you want to broaden the scope of your record collection with material from one of the culturally richest European countries, _Overdose D'Amore_ is an excellent buy. --- REVIEW: Warrant, _Greatest and Latest_ (Deadline/Cleopatra) - Jeanne Schantz They'll be your 'Cherry Pie'. The energetic, fun, and frivalous bad boys of Warrant are back with a greatest hits / remix album entitled _Greatest & Latest_. Composed of their 'monster ballads' and matured bubblegum rock, the disc boasts nine rerecorded favorites including the tongue-in-cheek "Cherry Pie", MTV Viewers Choice winner "Uncle Tom's Cabin", and a plethora of the characteristic heart-warming ballads that made lead vocalist Jani Lane and co. a hot commodity in the late '80s/early '90s. Three brand new tunes - straightforward pop "The Jones", bayou ballad "Southern Comfort", and bass-driven, hard-rocking "Bad Tattoo" - prove that Lane and the boys are a hot commodity for the new millennium, as well. To fill your palate with even more delictable sounds, four techno-enhanced remixes of some of the band's earlier tunes, including their debut single, "Down Boys", are provided. Giving a collection of greatest hits, a latest twinge. Ready to rock, giving you more than your "32 pennies" worth, it's Warrant. --- REVIEW: Brand New Heavies, _In Tha Beginning..._ (Music Club) - Joann D. Ball _In Tha Beginning..._ by The Brand New Heavies is a testament to the fact that the band was critical to the development of acid jazz as a music genre. Available for the first time in the US, _In Tha Beginning..._ features the original nine studio tracks from the band's UK-only eponymous debut in their original form and order, plus three additional live cuts. Live versions of the instrumental lead track "Bnh" and the hip-hop influenced "Gimme One of Those" from the debut were recorded in Japan along with the song "Mr. Tanaka," which completes the almost hour-long release. Emerging in Britain in the late '80s, The Brand New Heavies played such a fresh and innovative blend of funk, jazz, soul and hip-hop that it quickly became an underground phenomenon in the country. The band was eventually so closely identified with the UK record label Acid Jazz to which it was signed that the entire sound and scene which the band pioneered became known as acid jazz. While The Brand New Heavies' groundbreaking 1989 debut was a huge hit in Britain and ignited an international acid jazz movement, the record in its original form was never released in the United States. And by the time of the band's American debut (also titled _The Brand New Heavies_) on Delicious Vinyl in 1992, The Brand New Heavies had already changed in composition and focus. The American release is particularly significant because it showcased the new song "Never Stop" among the original nine songs. With the track listing radically refigured by the inclusion of the American R&B Top 10 hit, the song's success also spotlighted new lead singer N'Dea Davenport. Subsequently, the band's emphasis shifted from instrumentals to vocals and the band also moved beyond its acid jazz foundations. Both _Heavy Rhyme Experience: Vol. 1_ from 1992, which featured a who's who of critically acclaimed rap performers, and the 1994 follow-up _Brother Sister_ had a profound influence on trends in urban soul and hip-hop that can still be heard today. The eventual development of The Brand New Heavies beyond its incredible roots, however, makes _In Tha Beginning_ an even more essential reissue. --- REVIEW: Kahimi Karie, _K.K.K.K.K._ (Le Grand Magistery) - Niles Baranowski The voice of Tokyo's "Queen of Pop," Kahimi Karie is a slippery, slight soprano. It's the sort of voice that seems better suited for feelings than words; the shape of the consonants is lost in her natural hiss while vowels slide into cutesy coos or clever come-ons, depending on the context. Unlike the rest of the Le Grand Magistery crew, Karie is not a visionary, but an interpreter. That's not a put-down either: her collaborations with Momus are legendary in Japan, many of them hits. But even though his lewd, self-conscious fingerprints are all over this album, the song that best sums up Karie is his attempt to defer to her point of view. "What Are You Wearing?" sums up the contradictions of being seen as both Japan's pop sex kitten and the seductive side of the Shibuya avant-garde (she dated sample auteur Cornelius for a period). "I used to be a big Suicide fan... and where it's at is where I am," comes as close as anything else to summing up the essential contradiction of being a modern Japanese pop star. Unlike her American debut, an eponymous collection of singles, _K.K.K.K.K._ seems to be edging a little closer to her avant-garde roots, with a less than desired effect. Unlike the effervescent grooves of "Good Morning World," a lot of this utilizes vocoders and limp dance beats. The eponymous tribute to Harmony Korine is spot-on in its withering put-down of his perverse art but the effect is somewhat odd to hear it sung in Karie's childlike tone over a maraca that shakes like a metronome. Her cover of Jimmy Cliff's "The Harder They Come" works a lot better, her voice multi-tracked to accent the chorus with a minimal bossa nova beat drawing attention from the verses. It might be tempting to blame technology for the shortcomings of the record (especially with useless remixes contributed by Add N to X and Buffalo Daughter), except that such innovations have always mixed well in Karie's work. Even "Good Morning World" uses a Soft Machine sample. Even on here, "The Symphonies of Beethoven" tinkers with Moog melodies and ends up better than Momus' original version of the song. No matter what her producers, writers and remixers try to make of her, though, Karie's strength will always be the ye-ye-based Francopop that she cut her teeth covering. Almost half of the songs here are in French and French singer/songwriter Katerine ranks behind only Momus as the album's dominant voice (surprisingly, not a word of Japanese is uttered over the course of the album). Even when she's not en francais, the fragile tones of her voice evoke such figures as Jane Birkin or Brigette Bardot, as does her adorable confusion. On "What is Blue?" (the sole track on here with Karie-penned lyrics) she admires both her kitten and her heart's desire with a sort of cute, spunky ambivalence that would do Patty Duke proud. And the irresistably sweet and sinfully catchy "Clip Clap" takes foot fetishes to a new level. The walk of the hottie in front of her that she's hitting on in her mind ("Hey! Foxy, where are you going?") becomes the rhythm of her heart while all she can think to ask is where he bought the shoes. And even when the song doesn't justify wasting her voice (like the singing cowboyish signature anthem "Kahimi Karie et Moi"), Karie evokes a timeless vision of cool, the effortlessly sexy chanson who couldn't choose a man, country or language to save her life. Perhaps that's why the album doesn't really settle into a consistent groove until the last five songs. No matter; her "meow"'s still sound like sex and even her growls are smooth and moist. She may show all the contradictions of a Japanese ex-photographer singing the words of a noted Scottish pervert, but it's the sunny, deceptively naive voice that makes it all fit snugly together, without giving away too much of the irony. You remember that smile she says she's wearing (in "What Are You Wearing?")? You can hear every inch of it in _K.K.K.K.K._'s best songs. --- NEWS: > Korn will mark the arrival of their new album _Issues_ with a live performance at Harlem's Apollo Theatre on November 15. The event will be broadcast at 10:00 pm EST at http://www.korn.com . > Palm Pictures will be releasing the Marley Family-endorsed version/remix of the hit "Sun Is Shining" in the United States. The remix is by the Ibiza All Stars and Messy Boys. > It has been incorrectly reported in some circles that the Smashing Pumpkins' _Mellon Collie and the Infinite Sadness_ will be reissued with new artwork. Instead, on November 16, Virgin will be re-releasing _Siamese Dream_ with the original 20 page booklet. --- TOUR DATES: Alaline Trio Nov. 16 Los Angeles, CA PCH Nov. 17 San Diego, CA Che Cafe Nov. 18 Tempe, AZ Modified Nov. 22 San Antonio, TX Reverb Lounge Blinker The Star Nov. 16 Salt Lake City, UT Liquid Joes Nov. 18 Vancouver, BC Starfish Nov. 19 Seattle, WA Crocodile Nov. 20 Portland, OR Roseland Nov. 23 Los Angeles, CA Troubadour Nov. 24 San Diego, CA Brick By Brick Death In Vegas Nov. 17 New York, NY Irving Plaza Nov. 18 Boston, MA Paradise Nov. 20 Toronto, ON Lee's Palace Nov. 22 Detroit, MI St. Andrews Nov. 23 Chicago, IL Double Door Bryan Ferry Nov. 17 Orange County, CA Sun Theater Nov. 21 Seattle, WA Paramount Ben Harper Nov. 16 Knoxville, TN Tenn. Theater Nov. 18 New Orleans, LA Orpheum Theater Nov. 19 Houston, TX Aeriel Theater Nov. 20 Austin, TX Music Hall Nov. 21 Dallas, TX Bronco Bowl Innocence Mission Nov. 22 Alexandria, VA Birchmere Nov. 23 Annapolis, MD Ram's Head Live Nov. 16 Orono, ME Alfond Arena Nov. 18 Boston, MA Orpheum Theatre Nov. 19 New York, NY Hammerstein Ballroom Nov. 21 Upper Darby, PA Tower Theater Mike Ness Nov. 16 Boulder, CO Fox Theatre Nov. 18 Lawrence, KS Liberty Hall Nov. 19 Columbia, MO Blue Note Nov. 20 St. Louis, MO Firehouse Nov. 22 Louisville, KY Headliner's Music Hall Nov. 23 Indianapolis, IN Vogue Silverchair / Blink 182 Nov. 16 Philadelphia, PA Electric Factory Nov. 18 Orlando, FL U. of Central Florida Arena Nov. 19 Jacksonville, FL Riverview Music Shed Nov. 20 Atlanta, GA Tabernacle Sonia Dada Nov. 20 Chicago, IL The Vic. Theatre Joe Strummer & The Mescaleros Nov. 16 Cincinnatti, OH Bogarts Nov. 18 Detroit, MI St. Andrews Nov. 19 Cleveland, OH Odeon Concert Club Nov. 20 Toronto, ON The Guverment Nov. 22 Boston, MA The Roxy Nov. 23 New York, NY Roseland Nov. 24 Philadelphia, PA Tla Superchunk Nov. 16 Tallahassee, FL Downunder / FSU Nov. 17 St. Petersburg, FL State Theatre Nov. 18 Orlando, FL Sapphire Supper Club Nov. 19 Gainesville, FL Covered Dish Nov. 20 Atlanta, GA Echo Lounge Richard Thompson Nov. 16 Boston, MA Orpheum Theatre Nov. 18 Northampton, MA Calvin Theatre Westbam Nov. 17 Dallas, TX Red Jacket Nov. 19 Chicago, IL Crobar Josh Wink Nov. 19 San Francisco, CA Nikita's --- 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 To subscribe to Consumable, send an e-mail message to consumable-request@westnet.com with the body of the message stating "subscribe consumable". 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