Get the 411
by Thomas Schulte
**************************************************************
Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.
Published, somewhere, monthly since July 1991. Feel free to re-print this article.
Please, keep Outsight informed:
Email Outsight at outsight@usa.net
Ratings are (1) = :(, (5) = đ
Outsight Radio Hours Internet radio Webcasts with live interviews:
Sundays 6pm-8pm EST http://www.new-sounds.net
</p>
GET THE 411 ON NEW JAZZ IMPRINTS
New jazz label 441 launched out of New York Cityâs Avatar Studios. The initial
release is strong, with seven titles out on the streets. Two of the CDs reached
my desk and they show a focus on classical, instrumental jazz. (I think Wynton
Marsalis would very much approve.) There is a new Joe Chambers album on 441
called Urban Grooves. The name may call to mind some of the new hip-hop
influenced jazz fusions that found a home at San Franciscoâs Up/Down Club, but
this great percussionist from the 1960s post-bop period artfully leads
his sax ensemble (Gary Bartz on reeds) with a light but deft hand through tastefully
rendered standards such as âIn a Sentimental Moodâ and âSurrey with the Fringe
on Topâ. On piano and some synthesizer, Eric Reed adds a lot of the 1960s-era
Bill Evans-like classicism to Urban Grooves, a feeling also evoked by
the Don Friedman Trio on his 441 album Waltz for Debby, an album about grace
and style in the classic piano jazz idiom⊠Hyena is keeping it real in the jazz
world by distributing releases from artist labels. T.S. Monkâs Higher Ground
heralded an exclusive U.S. distribution deal with Hyena Records for Thelonious
Records releases. Hyena now opens the Thelonious Monk Archive series with Monk
in Paris: Live at the Olympia</i> with bonus DVD. This takes us back to March
7, 1965, and a Monk ensemble including Charles Rouse (tenor sax), Larry Gales
(bass) and Ben Riley (drums). The DVD is from one year later in Oslo with the
same group⊠The same format of archive audio and a live DVD in a 2-disc set
marks the inaugural release of a similar relationship with Dr. John. All
By Hisself: Live at the Lonestar</i> is the first release in a live concert
recordings series on Dr. Johnâs Skinji Brim records to be distributed through
Hyena. The audio disc is from a two-day solo concert with the DVD offering a
thirty-minute interview with the good doctor on the history of New Orleans music.
Skinji Brim also plans new artist signingsâŠ
</p>
<
p align=”center”>Listen
to or </a>Urban
Grooves </i>Buy at Amazon.com</a>
to or </a>Waltz
for Debby </i>Buy at Amazon.com</a>
to or </a>Higher
Ground </i>Buy at Amazon.com</a>
to or </a>Monk
in Paris </i>Buy at Amazon.com</a>
to or </a>All
by Hisself </i>Buy at Amazon.com</a>
</p>
JANIS IAN: MARRIED AND RELEASED
Singer-songwriter Janis Ian married her partner of fourteen years, Patricia
Snyder, in a civil ceremony at Torontoâs city hall August 27, 2003. Snyder is
a criminal defense attorney practicing in Nashville, TN. Two-time Grammy winner
Ian wrote and recorded her first hit, âSocietyâs Childâ at the age of 14 and
is best known for her 1975 hit, âAt 17.â Ianâs been nominated for nine Grammy
awards over the years and she deserves another one for the live 2-CD album Working
Without a Net</i>. This is a collection of performances from 1990 and on. Ian
culled material from over 300 shows on tape to provide a live album for her fans, especially
those in parts of the world she has not been able to tour. Janis Ian has a long
history of activism and sheâs been honored with awards from the Human Rights
Campaign for her fight against AIDS. This live album continues her activist
tradition with an accompanying eBay auction for a stage guitar, clothes she
is wearing on the CD and more items related to the album. Proceeds go to Ianâs
non-profit organization, The Pearl Foundation. Look for, in early 2004, Ianâs
first studio album in four years, Billieâs Bones. This album will include
duets with Dolly Parton. For more info on all things Ian go to http://janisian.com.
</p>
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DEMOCRACY IN ACTION
In reaction to a strong financial privacy law adopted earlier this year in California,
big banks, insurance companies and other financial firms are pressuring Congress
to pass legislation that would set a lower national standard for our financial
privacy. Current federal law already allows widespread distribution of private
information among financial institutions. Under legislation being considered
by the Senate, financial institutions would be able to continue selling and
sharing details of financial life without approval. This includes all of the
financial and personal information that banks, mortgage companies and other
financial institutions possess. Some Senators are fighting back. A proposed
amendment to the bill would restrict the amount of information available for
sharing and would allow people to indicate that they do not want their information
to be released. The ACLU has a Web
page with more info and a way to contact your Senator</a>. This all sounds like
the Do Not Call list, but for financial information. Will the amendment get
passed and then a court decide it is not enforceable? Think of these things:
the last presidential election, the California recall, the interruption of the
Do Not Call list subscribed to by over 50 millions and even the judicial decision
to limit the Clean Water Act to ânavigable waterwaysâ. Is it just me, or do
our appointed judiciaries have a penchant for meddling with the democratic process
in ways that reek of political motivation in retrospect? I say the Senators also
ought to consider an amendment to whatever has to be amended so that judiciaries
at all level have term limits and require election from the electorate, not
appointment. Then, at least, the citizenry would have recourse to elect out
of office unruly judges.
</p>
LIVE365 AND WINDOWS XP MEDIA CENTER
Live365 (www.live365.com), the leading Internet radio network, announced that
its thousands of Internet radio stations are now available to Windows XP Media
Center Edition 2004 customers. The Live365 site is especially designed to be
viewed in Media Center, which can be enjoyed from the distance of a couch or
comfy Poof Chair. Customers can conveniently
preset their favorite stations and listen to music with the easy-to-use navigation
of Windows XP Media Center. âLive365 offers a wealth of content from Internet
radio stations to Media Center PC customers Windows XP Media Center Edition
2004 provides consumers with a whole new set of digital music options on their
PCs by supporting FM radio and the streaming music offered by Live365,â said
Brad Brooks, Windows eHome division at Microsoft Corp. I really hope Media Center
takes off because Live365 deserves it for the cool, DIY attitude and rugged
surviving of all the Internet radio storms. Besides, this means Media Center
early adopters can preset the Outsight
Radio Hours</a> Internet radio program.
</p>
DEPARTURE’S NEW VENTURE
English mail order company Departure
Records</a> started a vinyl-only series of compilation albums. Each album in
the series is a limited edition of 500 copies. The first, available now, is
Words Will Never Be Actions. The inspiration is what Crass used to do
with the Bullshit Detector albums of the â80s. Each release will be accompanied
by a full-sized foldout poster featuring all the bandsâ own artwork. Departure
asks punk poets, bands and noise merchants to send demos. Any format is fine.
Departure says, âWe particularly want to hear from people who have something
to say about life today and the world we live in and who havenât had official
releases made available yet; Itâs all about attitude, not necessarily ability,
so home recordings are especially welcome. Quality is also therefore irrelevant.â
The address for submissions is: Sid, Departure Records, 24b Alexandra Road,
Farnborough, Hants, GU14 6DA, United Kingdom or e-mail sidstovold@aol.com
for further details.
</p>
DVD Reviews *******************************
Josh Collins, filmmaker
The Perv Parlor & The Frat Shack Shakedown
Costumed actors and toy models filmed in stop-action display depraved and orgiastic
behavior in a surreal post-Victorian setting in this zany, campy flick. Humor
is the main goal, it would seem, but I think there were more fun and laughs
making the film than there will be by most watching it. This is an outrageous
romp with a point of departure that is the intersection of Guy Maddin and the
late-night cable TV Emmanuelle: The Series. If you like the spirited
interpretation of â60s rock that is the soundtrack, that flavor is distilled
into an hour bonus feature The Frat Shack Shakedown featuring (who?) Pooptones,
Pervirella, Spiv & Spam, and more. (3)
</p>
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Kettle Cadaver
A Taste of Blood
Horror Rock Records/MVD
What it lacks in length, this 18-minute DVD makes up for in intensity. The metal
band singer/songwriter Edwin Borsheim lives in a dungeon and carries out such
acts as self-stapling, nailing his extremities to boards and other acts of self-mutilation.
Seeking blood (sometimes by the chalice-full), mutilation and pain, Edwin is
an order of magnitude beyond The Genitorturers and supermasochist Bob Flanagan.
Interestingly, hypermasochist Borsheim could guarantee a cult following by his
painful praxis alone, but on top of that his heavy metal is actually rather
good! (3.5)
</p>
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Jon Lord & Hoochie Coochie Men
Live at the Basement
Thames/Thomson
I will never forget the phenomenal keyboard performance of Jon Lord with Deep
Purple on the House of Blue Light tour when I saw him play at Deep Purpleâs
Detroit stop. Here the master plays organ alongside Australiaâs Hoochie Coochie
Men and introduces one of his stunning, baroque episodes into âGreen Onionsâ
turning the rock ânâ soul chestnut into a barnburner. Lord is very comfortable
in the small club and talks to the audience before nearly every song delivering
many humorous anecdotes from his past with Deep Purple and more. This DVD of
the Sydney concert includes, as a special feature, an Australian TV appearance
by Lord and the group. Jimmy Barnes is on hand for three songs (âThe Hoochie
Coochie Manâ, âWhen a Blindman Criesâ and â12 Bar Blow Jamâ) making those standout
tracks. Other notable segments include the performances of âStrange Brewâ and
âThe Money Doesnât Matterâ. It appears the mastering was not the best, leaving
rather low volume, for instance, but this is overall an excellent concert DVD.
(4)
</p>
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Neil Hamburger
The Show Must go Off!
âAnd now for the comedy stylings of Marty Maltâ was the phrase the presaged
the peculiar non-humor of the stand-up comedian in the film The Dark Backward.
This Neil Hamburger stand-up comedy show is like that movie, but with nothing
but the stand-up. Neil Hamburger is Marty Malt with fashion direction from Dan
Martin. Like a damaged alcoholic comic time traveler from the â50s, Hamburger
arrives on the scene looking for humor in a time and place he cannot understand.
It becomes a type of guerilla performance art as most of the attendees of the
dog park where this took place are unprepared for this type of show. These uninitiated,
hapless race fans are mostly confused and offended by Neil Hamburger. We get
a before and after look through roving interviews presented before and after
the show. Neil Hamburger goes through a series of topical jokes on Britney Spears,
Michael Jackson, Iraq and more before engaging the audience in a free for all
to find his scatological reaction to movie titles. (4) </p>
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Vinyl Reviews ***
Rocket Science
âBurn in Hellâ and âCrazyâ b/w âCopycatâ and âSix Foot 4â
Rocket Science so crowds its garage rock revival with rock-action sounds that
the dense atmosphere becomes oppressive. This is a dark, malevolent rock and roll.
Only âCrazyâ on the four-song 7â lets one up long enough to catch oneâs breath.
This is teen rebellion distilled to a high-octane grain alcohol. (4)
âRock N Roll Niggerâ b/w âGet Ur Freak Onâ
This 7â is from a Georgia band that Mission of Burmaâs Roger Miller insisted
open for them at a February 2003 show in Atlanta. I think the bandâs name means
something like âstrict godsâ, but I must be wrong, because the band is too loose
and free to be that. The release is two songs, both excellent choices as covers.
Patti Smithâs âRock N Roll Niggerâ still reverberates as an anthem to the creative
outlaw, even if Jackson Pollock is no longer a topic of discussion with many.
Heros Severumâs driving rhythms and the siren vocals of Mandy Branch really
makes this side. The B-side is the 2001 chart-topper from phenomenally successful
female rap artist Missy Elliot. Heros Severum is basically a progressive indie
rock band and they can only keep the hip-hop feel for so long before they (mercifully)
deconstruct the song into a clamorous ending. (3.5)
</p>
CD Reviews *******************************
BĂ©la Fleck & The Flecktones
Little Worlds (sampler)
Columbia
This is actually a 3-CD concept album from the genius of BĂ©la. What I have here
is a nine-song promotional sampler of the project, merely the shadow of the
monument itself. What I hear is that Fleck stretches out in so many different
directions, that the force is dissipated as sophisticated genre dabbling. Maybe
we should just take this in small bites, such as the side dish serving I have.
Even that is a complex blend of many different seasonings. There is a strong jazz
flavor here like the funky âSnatchinââ with excursions in klezmer soul (âBill
Monâ) and a spirited Gaelic reel (âThe Leaning Towerâ). This is probably best
thought of as a constellation of songs spinning in space, each track is like
visiting a special little planet, its own âlittle worldâ. (4)
</p>
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U.S. Bombs
Put Strength in the Final Blow
This album does not quite follow up the last few albums from the group, lacking
the excellent production and punch street punk attitude. This sounds more like
a low-budget punk band heavily inspired by The Sex Pistols. Well, you have to
put it into perspective, though. These are the recordings made by the group
in 1993. Basically, these are the first songs composed and recorded by the,
then, new band formed by vocalist Duane Peters and guitarist Kerry Martinez.
This includes the tracks off the double-7â release from Vinyl Dog Records and
a 1994 live recording of âRumble Beachâ. Among the standout tracks is the cover
of âDemolition Girlâ and âRocketsâ with anthemic chorus vocals and sound effects.
(3.5)
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Maps of the Saints
This is a remastered reissue of the 1999 album. This is home recording done
by Eric Schlittler in a dorm room with a primitive boom box overdubbing system.
Eric is admittedly inspired by the lo-fi experimentation of Guided by Voices
and Chris Knox projects. This shows in the songs basking in a harsh sun of feedback
and distortion, like âLaughing Skeletonsâ. Other songs shows the sad and somewhat
psychedelic mood garnered from such damaged pop icons as Roky Erickson, Scott
Walker and Syd Barrett (âFirecracker Girlsâ). (3.5) </p>
Little Stabs of Happiness
Drummer James Sclavunos (Nick Cave & The Bad Seeds) leads this project. With
The Vanity Set, the fruit has not fallen very far from the tree. Sclavunos,
here on lead vocals, tympani, and synth, is a Cave soundalike (âThe Big Bangâ).
Guitarist Peter Mavrogeorgis offers a big, creepy sound that recalls Blixa Bargeld.
However, this is not the hollow, gothic sound of the early Bad Seeds. Instead,
the music is brighter and fuller due to keyboards, strings and richer percussion
(âLittle Demonsâ). Veteran player Sclavunos has been also involved in Teenage
Jesus and the Jerks, Sonic Youth, and Cramps. Elements of those groups, noise
with a punk aesthetic and psychobilly, season this release. (4)
</p>
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The Dividing
Shikhee takes her vocals from a hoarse whisper to the allure of sweet melody
on The Dividing. There is an anger and even malevolence to this music
that makes is straddle the cold calm of darkwave and the fiery assault of industrial
music. Fans of Nine Inch Nails and Marilyn Manson can appreciate this music
as well as fans of Arcana and Projekt labelmates Black Tape for a Blue Girl.
Android Lust is really The Shikhee Experience, as she also provides programming
and keyboards. Perhaps this is the harbinger of a more sophisticated, arty neo-industrial
trend. (3.5)
</p>
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The Diplomats of Solid Sound
Letâs Cool One
Lead instrument in this Iowa City instrumental combo is the Hammond B3 of Nate
âCountâ Basinger. Taking cues from Booker T. & The MGs and Medeski, Martin &
Wood, this group swings it low and easy. The group calls its instro blend an
âaction soul soundâ and, sped up to 45RPM, it could be the cop funk that is
the soundtrack to your favorite â70s chase scene while it is also a James Brown
barnstormer minus the vocals and horn section. This is the hip kernel of rock
ânâ soul. (4)
</p>
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The Milkwood EP
Sherpa Records
Royal Wood cites Randy Newman as an influence and offers some of that iconâs
same rolling, fun, piano rhythms with clearly enunciated lyrics and catchy hooks.
This five-song EP, the Royal Wood debut, is a promising EP of compelling songs.
Wood, a multi-instrumentalist, performs most of the album with some guests,
including drummer Adam Hay (Sarah Slean, Martina Sorbara) on a few tracks and
horn player Sarah McCelcheran (Sarah Slean, Young Ideas, Hawksley Workman) on
two. There are some similarities here to Ben Folds and Of Montreal. (3.5) </p>
Miki Dallon
Thatâs Alright!
Miki Dallon is known as producer for the Apollo 100 album Joy as well
as albums by Rod Stewart, Don Fardon and more. It is mostly this â70s and â80s
work that won Dallon widespread fame, although he did work just as important
work with the Strike and Youngblood labels for the â60s and â70s. This compilation
focuses on teen beat and R&B tracks from 1964-1966 that are Dallon performances
or recordings of his songs. âLet Me Inâ as recorded by The Sessions features
Ritchie Blackmore on guitar and Jimmy Page plays guitar on Neil Christianâs
recording of âI Like Itâ. These songs and performances have a slinky, fun-spirited
vitality that marks mid-â60s recordings as previously featured on RPMâs collections
of singles from the Strike and Youngblood labels. As is standard with RPM compendiums,
this album features a richly detailed, thick CD booklet with plenty of photos.
(4.5)
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Bunnydrums
PKD/Simulcra
The use of snaky and piercing guitar lines on this early â80 goth rock summons
to mind Bauhaus and Shriekback. Vocalist David Goerk uses his voice in different
styles, sounding sometimes like the cartoon-voiced Jello Biafra (âMagazineâ),
and sometimes like an early Peter Murphy (âSmithsonâ). Fans of Joy Division,
Gang of Four and Killing Joke will also like this gothic time capsule which
is a reissue of the PKD album with additional material from Holy Moly, the EPs
On the Surface, Feathers Web, and the âWinâ/âLittle Roomâ single. A standout
track is âUghâ, the groupâs punk-funk instrumental with freak-sax. (3.5)
</p>
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Brazelton/Naphtali
Tzadik
Track 15 here could be a great follow-up and maybe even answer song for Talking
Headâs âLife During Wartimeâ. The entire album has such imaginative and vivid
lyrics mostly immersed in a noisy art-punk freakout with visitations of clarion,
operatic vocals. Kitty Brazelton and Dafna Naphtali continually careen their
big music machine toward the cliff of cacophony before taking it back into digital
chamber punk or an avant-jazz/hard rock rumble. This is a massively majestic
album, at times scary, with this spirited land featuring by sophisticated oases
of punk attitude and clamorous sounds of arena rock size. (4.5)
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Various Artists
Just Because Iâm a Woman: Songs of Dolly Parton
An all-star cast of female artists gather together to contribute Dolly Parton
cover songs marking the country iconâs RCA solo debut album, also called Just
Because Iâm a Woman. Dolly Parton herself is on hand to perform that title track
in a new recording while Alison Krauss, Norah Jones, Melissa Etheridge, and
more are on hand to cover songs from the breadth of her career. This includes
â9 to 5â, âI Will Always Love Youâ, âLittle Sparrowâ total of all in thirteen
tracks. By and large, the songs are done gently and almost with a reverence,
even Kraussâ â9 to 5â. These artists pay homage to the poignancy and poetry
in this bakerâs dozen taken from the 3,000+ songs written by Parton. (4.5)
</p>
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The Dirt Tier
Winfred E. Eye is the southern gothic alter ego of Tom Waits. There is an eerie,
damaged blues to these rugged and roughly performed tunes. The songs are
delivered in a measured rusty but mechanical industrial-blues that eschews guitar
leads and other ornamentation. The title track is a standout example of this
with a great song in a much milder, melancholy style is the sad harmonica-born
lamentation âGrey Ghostsâ. (3.5)</p>
Stripsearch
Stripsearch
The hard rock/prog orgy of instrumental tunes that is this album comes from
an unexpected trio. The ensemble is drummer Josh Freese (A Perfect Circle, The
Vandals) with Michael Ward (The Wallflowers) on guitar and bass courtesy of
Mike Elizondo (Dr. Dre, Eminem). Featured heavily is guest Jason Freese on saxophone.
The result is like King Crimson crossed with James Chance and The Contortions.
It is unusual and unexpected rock improv that is also heavy, almost foreboding.
The music seems to lack cohesion and a precise enough architecture, but this
is very promising as a debut. (3.5)
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Introducing the Dynamite Sound of The Flash Express
The Countdowns was a band that backed risqué R&B shouter André Williams. Brian
Waters of The Countdowns is here on vocals and lead guitar given us some rock
ânâ soul that would certainly earn Mr. Williamsâ blessing. Waters takes that
R&B energy into a rock direction ending up with an MC5-like finished product
but more rhythmic. This is an exciting and energetic debut. (3.5)
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Various Artists
Rockinâ Memphis 1960âs – 1970âs – Vol. 1
This is a compilation of Memphis rock bands from the 1960s and 1970s. One standout
track is âSpanish Castle Magicâ by a Zappa-influenced Briarpatch. (Just think
if Zappa had done with âSpanish Castle Magicâ what he did with âWhipping Postâ.)
The strange instrumentals from Warp Nine are also good, like its take on âTheme
From Star Trekâ. One track here that happened in Memphis, but not born of Memphis,
is when Martin Mull passed through in the early â70s. Mullâs track here is âDo
the Nothinââ, a comic anti-dance dance song. The entire compendium is entertaining.
This is a fun window into one slice of that periodâs urban rock scene. Focusing
artists who recorded rock music in Memphis at the time, this album such artists
as Big Star, Van Duren, Mud Bluff, and more. Christopher Bellâs first professional
recorded appearance is included here on âThe One After 909.â Many of the selections
are debut releases or the first time on CD. (4)
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Hem
Hemâs songwriter Dan MessĂ© spent himself into poverty making this album, and
sweat equity and commitment shows in this scintillating song-oriented pop, especially
as delivered by vocalist Sally Ellyson. The album was an indie success, reissued
to the world here by Dreamworks. Two guitars and mandolins intertwine elegantly
on these songs with Messé providing melodic support from piano, glockenspiel
and harmonium. All this comes across as deceptively simple in an easy folk-pop
way. As MessĂ© says, âThe sound of Rabbit Songs was of people playing
music together in a room. It was very natural.â So, accept the invitation into
that warm and cozy room by a sophisticated post-folk pop band rooted in Americana
but hip enough for alt-folk. (4.5)
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Satoko Fujii Orchestra – East
Before the Dawn
Satoko Fujii continues to extend her art as she extends control over it. This
is her self-produced CD inaugurating the NatSat label she founded with husband
and trumpeter Natsuki Tamura. Tamura is one of the 15 world-class improvisers
in this large jazz ensemble. As the name suggests, though, this is a subtle
album of promise and soft hues, not a orchestra of cosmic jazz that would bear
comparison to Sun Ra. There are some intense, freakout episodes here of note
cascades, but balance is held with periods of restraint and understated melody.
Fans of William Parkerâs Little Huey Orchestra and the Dutch I.C.P. ensemble
will appreciate this small orchestra creating extemporaneous jazz. (4)
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Glass
Members of this band are also in Destroyer and A Luna Red. It would not be hard
to believe the members were also in The Fall. This is the third album from the
Vancouver band the lead vocalist has a sound very akin to Mark E. Smith of The
Fall. Combine this was a vintage, post-punk art-pop feel and a dark, sparse,
spooky sound that recalls early goth bands and you have a real throwback sound.
As with those bands, the emphasis is on style over speed and drama over hooks.
(3.5)
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James Blood Ulmer
No Escape from the Blues
James Blood Ulmer is a comet guitarist whose elliptical orbit takes him from
blues to jazz. This recording was made at the scared ground of blues-rock, Electric
Ladyland Sessions. However, Ulmer goes back even further that the â60s blues
rock style suggested by this recording venue. The sound here is Delta and early
Chess. Producer and additional guitarist is Vernon Reid, another man of artistic
variety. It is a visitation of the spirit of Muddy Waters and other blues patriarchs
on the sounds incarnated on this album featuring guests Olu Dara and Queen Esther.
Just as Waters and Company recalled their southern roots, so Ulmer continues
to explore the atavistic blues sound. This is a second session communion with
the Delta spirits that was begun with Memphis Blood: The Sun Sessions.
(4.5)
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T.S. Monk
Higher Ground
Thelonious Records/Hyena
The higher ground reached by Monk on this album is also an uneven, rugged ground.
Some of the high points that offer beautiful views to more possibility for exploration
is the flute-fueled Latin jazz âCubano Chantâ and the vintage, slinky club jazz
of âCraw-Daddyâ. These songs all feature the talents of the other members of
the veteran drummerâs ensemble. Percussionist Victor See Yuen really shines
on âCubano Chantâ and pianist Ray Gallon showcases on the New Orleans-flavored
âCraw-Daddyâ. This track also has some great blowing from the groupâs reeds
man Willie Williams. (3.5)
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Semiautomatic
Wolfcentric
5 Rue Christine
Wolfcentric is an infectious blend of rugged beats and deconstructed
hard rock. The electro-punk album from the Brooklyn group has a timely social
commentary in the terrorism-affected âThis Place Does not Existâ and the tongue-in-cheek
call for a Marion Barry presidency âMarion Barryâ. Two standout dub tracks feature
Ari Up of The Slits: âStushpussâ and âExecutionâ. (3.5) </p>
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Sinéad O’Connor
She Who DwellsâŠ
Vanguard
This is a 2-CD set that goes over great with the serious OâConnor fan. (I should
now, I sprung it on my wife who listens to both kinds of music: Sinead OâConnor
and Tori Amos.) There are some great covers here. This includes the Dan
Penn-penned Southern soul ballad âDo Right Womanâ made famous by Gram Parsons
and Aretha Franklin. Then there is that get-out-your-lighters anthem for Nazareth,
Boudleaux Bryantâs âLove Hurtsâ. Covers are also found in the previously unreleased
studio tracks, like her take on Abbaâs âChiquitaâ and The B-52sâ âAinât it a
Shameâ. There are collaborations with Massive Attack (âItâs All Goodâ) and Sharon
Shannon (âThe Seven Rejoices of Maryâ) as well as three Brian Eno-produced tracks.
The second disc focuses on songs featured on the popular 2003 DirecTV Freeview
concert. Each song is a showcase for OâConnorâs sophisticated pop vocal delivery
as are the traditionals sung in Gaelic, âRegina Caeliâ and âO Filli et Fillaeâ.
(4)
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Dirt on the Angel
While Danny Barnes may be obscure to you, you know his co-conspirators here.
He has none other than Darol Anger on violins, jazz-folk guitar maestro Bill
Frisell and nonetheless then Check Leavell (Rolling Stones, Allman Brothers)
on piano and organ. The album is a great addition to modern Americana with memorable
songs like the self-deprecating âLife in the Countryâ and the biscuits-and-gravy
bucolic ballad âGet It While You Canâ. The band also has immense fun with covers,
like when this former Bad Livers banjoist leads the group through Beckâs âLoserâ
and âOoh La Laâ from The Faces. Covers aside, this album shows Barnesâ songwriting
has leapt up to a new tier since his previous Terminus release. (4.5)
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Sunnypsyop
Ogre, former Skinny Puppy vocalist has an album in a neat Digipack featuring
a black-and-orange artistic vision that could be storyboards for a Svankmeier
film. Wow, that could be really cool. However, this release does not live up
to its promise. Ohgr seems obsessed with high-frequency, trebly beats that somebody
probably told him âall the kids are listening to.â Combine that with low growl
of vocals that lapses into bright melody – that Marilyn Manson formula – and
you have an audio vision of post-industrial schizophrenia. This album draws
more off the Pigface and KMFDM portion of Ogreâs career than the dark malevolence
of Skinny Puppy. All this is no accident, though. Ogre admits to be seeking
a new direction and the album sounds like someone looking for a direction. (2)
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Countdown To Life
Tragedy Is So Irresistible
Just listening to the screaming vocalist on the debut album from Oregonâs Countdown
To Life leaves me hoarse. The bandâs sore throat-inducing approach to hardcore
also relies on drumming and guitar styles taken from hard rock and heavy metal.
Then, just when you think you have the group in your sights, it suddenly breaks
left with âBetter off Deadâ. This song weaves in an indie rock song like something
off Kung Fu Records, contrasting the clearly enunciated lyrics of that approach
to the audio assault more prevalent on the album. (3)
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Clearing Autumn Skies
Pulses & Matter
This band serves up a brutal blend of Cro-Mags-style hardcore with punishing
metal. Their ostentatious desire to fill each bar of music with the greatest
impact proliferates the number of dramatic pauses to the point where the songs
seems to jerk forward incrementally in a stop-and-start motion. The mix of vocals
leaves the backing vocals too far in the background on âSquaresâ, but this is
not the case on the rest of the four-song EP. This is a Bay Area band that should
be able to make inroads with hardcore and metal audiences. (2.5)
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Great Redneck Hope
âSplosion!
With The Locust on the high-visibility Anti it would seem progressive noise
rock is gaining widespread appeal. If that is true, the future could be bright
for this groupâs blend of clamorous noise rock, sound bites and unexpected side
trips into brief melodic episodes. The arty approach to apocalyptic rock recalls
legendary â90s Texas project Angkor Wat. (2.5)
</p>
Asterisk*
Dogma
This Swedish band is in the grindcore style. The group has two levels of vocals:
cookie monster and shrill demon shriek. This is a retrospective CD compiling
every Asterisk* track previously released. That is, Dogma is the Dogma
I: Death of a Dromologist</i> LP, material from its split EP with Jenny Piccolo
as well as the split 7â with Nasum and assorted compilation tracks. Dogma
is twenty tracks of the bandâs progressive grindcore. What makes them progressive
is the group makes sudden and agile leaps from the wall of sound grindcore formula
into unexpected instrumental breaks and changes of mood and timbre. âFurnitureâ
is exemplary of this with its interludes of bass licks and angular guitar riffs.
(3)
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Envy
A Dead Sinking Story
Envy segues from brutal hardcore to melodic, emotional rock with ease and aplomb.
The Tokyo band has a cohesive style for what may be as rare as henâs teeth:
hardcore for headphones. This makes parts of a song excellent for nighttime
driving at excessive highway speeds while the same song can easy the painful
breakup of a relationship. So this begs the question, when is the right time
and place to put this disc on? I suspect the genre mosaic that is this album
will prove interesting and attention-grabbing but it will languish in the CD
collections of hardcore and indie rock fans who recall it fondly but never find
it the right time for a repeat listen. A Dead Sinking Story is two good bands
merged into one and put on one CD. (3)
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Blood In/Blood Out
No One Conquers Who Doesnât Fight
While not that developed and eschewing shrill guitar leads, the music of Blood
In/Blood Out recalls late â80s Slayer. The bandâs metal-tinged hardcore should
appeal to the same crowd of hardcore and metal fans that still hum âSouth of
Heavenâ. Still, the production is a little weak and muddy which would make it
no surprise to hear any one of the Laporte County, Indiana bandâs legion of
local fans remark that the CD is good, but âyou gotta hear them live.â (2.5)</p>
The Reptile Palace Orchestra
We Know You Know
This ethno-rock septet continues to show continued inventiveness in its spirited
cornucopia of songs, rock instrumentals and acoustic pieces. On this recording,
the core septet, most members being multi-instrumentalists, is enhanced by an
outnumbering mass of guests. Every track is thus a cornucopia of styles in overwhelming
basket of arrangements and ethnic styles. Motifs from Crete, the Balkans and
more are all delivered with a swinging dance beat. Some salient features of
the band are Anna Purnellâs jazzy vocals and the sweeping tones of Biff Blumfungagngeâs
electric violins. Biff also plays on that fusion of the electric violin and
theremin – the therolin. Among the standout tracks, is the groupâs horn-fueled
take on The Ides of Marchâs 1970 radio hit âVehicleâ. This enhanced CD includes
14 extra MP3 tracks from the groupâs archives. (4)
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Strictly Hardcore
This album starts off with a bang, featuring the Goldblade anthem as the title tracks. More horns for a ska-core feel come in on the end of that song. Take away the horns and you have the sound of an unearthed early â80s single that forewarned of the coming of hardcore. With the horns you get a much wider sound and a brass-toned precision added to the punk energy. This is a retrospective of the British band, the title track being its biggest hit single. That is song is, along with âBlack Elvisâ a sample of the groupâs first album. This is an excellent introduction to the band for the North American neo-punk fan or old school hardcore follower. Along with the ska horns, some tracks have dub influence, like âWho was the Killa?â (3.5)
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Sean Noonan / Aram Bajakian
CHiPs
This duo is Sean Noonan of The Hub (drums) and Aram Bajakian (guitar). This
promises to be only one of a future collaboration between Aram, master of âmysteriousâ
guitar, and Seanâs jazzy, no wave percussion. In this project the group veers
from quiescent, tranquil ruminations on a simple melodic theme to stormy free
jazz excess. This is what I would imagine collaboration between Fred Frith and
Whit Dickey to be like. (4)</p>
Thunder + Lightning
The Modey Lemon dressed up their stripped down, lo-fi hard rock with reverb
and early Black Sabbath production values. The core duo is Paul Quattrone (drums)
and Phil Boyd (bass/vocals/Moog/keyboards) as recorded here. The group currently
has a second player on guitar and Moog, Jason Kirker. The group uses its Moog
strategically in the low end area usually populated buy a rock comboâs bassist.
While the two-man band approach is often for the direct and basic rock attack,
The Modey Lemon succeeds to pile in the sounds and over-modulated tones for
a dense briar patch of post-garage rock. Standout tracks include âThe Other
Directionâ, âPredatorâ and âAnts in my Handsâ. (4)
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Budapest One
This Town Just Gave you a Dreamer
Fans of Elvis Costello will take to Budapest One right away. There is a highly
sophisticated sensibility to this music that delivers vivid story-songs and
imaginative narratives as easy to enjoy, as they are grist to ruminate on. There
is a post-Americana style to this pop rock that transcends roots rock to offer
a mature and developed song-oriented album nicely dressed up with grand piano,
organ and Farfisa from Chad Stockslager. (4)
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Lyle Lovett
Smile: Songs from the Movies
MCA/Curb
âStraighten Up and Fly Rightâ (Dear God, 1996) is one of the standout
tracks on this album of songs recorded for the movies. Another is the duet with
Randy Newman from Toy Story: âYouâve Got a Friend in Meâ. We get selections
from 1992 to 2002 on this compendium. Rather than sounding like an uneven collection,
all this gels very well as a vocal album in a hip, â60s jazz style. (4)
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Greenleaf
Secret Alphabets
This is a nice take-off of the early Black Sabbath, updated for todayâs audience
of stoner rock and the heavy blues-rock revival. Production is excellent, so
it should be pointed out the album was recorded at Rockhouse Studio in Sweden
and engineered by Bengt BĂ€cke (Demon Cleaner, Dozer, The Sick). Bengt is part
of the story because guitarist Tommi Holappa (Dozer) and drummer Daniel Lidén
(Demon Cleaner) had both worked with Bengt previously with their previous bands.
All this group experience helped to forge this sophomore release from the Nordic
masters of reality in a sweet Greenleaf (cough, cough with reverbâŠ) album for
the retro hard rock scene. (3.5)
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Five Horse Johnson
The Last Men on Earth
There was a revival of Southern-tinged hard rock boogie that crested in the
late â80s. Raging Slab rode that wave to major label success. Now, Raging Slab
is a has-been and the sheen of the new-old angle on this has faded. Five Horse
Johnson arose out of Toledo from the aftershocks of that revival to be premier
members of a third wave of hard rock with a rootsy feel and pronounced bottom.
On The Last Men on Earth Five Horse Johnson fails to add some new twist
to give this tired beast a much-needed shot in the arm. The greater number of
guitar solos signal regression, not progression. However, I am being too hard
on this album because taking it off the timeline, this is an excellent album
of that big-sounding blues-rock that also speaks to us from the early ZZ Top
albums and the early Black Crowes. (3.5)
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Bobby Birdman
Heart Caves 2003
Portland, Oregonâs Rob Kieswetter, a.k.a. Bobby Birdman, here delivers more
of his patented, low profile atmospheric electro-rock. Not as downbeat as the
earlier material that lent comparison to Low, this is still for the soft glow
of a setting, not rising, sun. There are six songs on the CDEP are patiently
delivered in chilly, downbeat grooves culminating in the final, standout track
âUltra Shapeâ. This pieces slowly stutters forward with elongated breakbeats
and treated vocal tracks. (3.5)
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Molded Truths
Novokkane Noise Recordings
The truth is, this band is molded in the shape of Christian Death. But then,
it is OK because vocalist Sevan Kand is the son of Christian Deathâs Gitane
DeMone and Valor Kand. Kand leads the trio down same black-rose path of gloomy
goth. Also in the band and writing the songs is Rahne Pistor. With a name that
unique, this is probably the same Rahne Pistor that is a music journalist and
part of Bobby Steeleâs Undead. However, the cold death rock never real gels
into something compelling here. Sixth Chamberâs theatre of pain is not yet ready
for prime time, but is very promising. The band also features Kjehl Johansen,
guitarist for Urinals, 100 Flowers and Trotsky Icepick. (3)</p>
Mirah Yom Tov Zeitlyn, Ginger Brooks & Friends
Songs from the Black Mountain Music Project
Mirah and Ginger set the scene for the creation of this album by obligating
themselves to be sequestered in a town where neither lived. They did this for
a month and, surrounded by instruments, created this album. Seven friends visited,
become guest musicians on the project captured onto a Tascam 4-track and a mini-disc
recorded in Black Mountain, North Carolina. The largely (if not totally) acoustic
album is a klezmer-folk album that is light and airy. It is a sunny album of
gentle and endearing neo-folk songs with a seasoning of Jewish spice. The album
is a benefit for the Rock ânâ Roll Camp for Girls in Portland, Oregon as well
as the Pentridge Childrenâs Garden (Philadelphia). (4)
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Beat Happening
Music to Climb the Apple Tree By
There is a loose, uneven aspect to this album that varies from lazy, drawled
cow punk ballads (âLook Aroundâ, etc.) to feisty garage rock (âSea Babiesâ,
etc.). It is like Velvet Underground meets Dead Milkmen. However, the songs,
considered one at a time, are generally very good. The compilation brings together
Beat Happening songs recorded between 1984 and 2000. This includes tracks from
out of print singles and compilations, like the original, 45 version of âNancy
Sinâ. In these songs comes through the seminal Olympia, Washington groupâs indie
pop that lead the wave and offered the notion that you did not really need bass
guitar in a rock combo to do fun, infectious music. The rare material on this
collection satisfies collectors (especially those that cannot afford the 7-CD
Crashing Through on K Records) as well as serving as a ready-made Beat
Happening primer on those uninitiated into the bandâs flagship role in American
post-punk DIY pop movement. (4)
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