From gajarsky@pilot.njin.netSun Mar 26 22:37:24 1995
Date: Sun, 26 Mar 95 21:35:45 EST
From: Bob Gajarsky <gajarsky@pilot.njin.net>
To: cc:  ;
Subject: Consumable, 3/27

==================         CONSUMABLE         ======== [March 27, 1995]
                                                                   
  Editor:             Bob Gajarsky
		        Internet: gajarsky@pilot.njin.net
  Sr. Contributors:   Jeremy Ashcroft, Martin Bate, Al Crawford,
                      Dan Enright, Tim Kennedy, Reto Koradi,
                      David Landgren, Tim Mohr, Joe Silva, John Walker
  Other Contributors: Kelley Crowley, Tim Hulsizer, Melissa Pellegrin,
                      P. Nina Ramos, Michelle Richmond, Jamie Roberts,
                      Linda Scott, Ali Sinclair, Jon Steltenpohl, 
                      Jorge Velez, Scott Williams
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
		      Jason Williams
 
 Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
                            .------------.
                            |  Contents  |-.
                            `------------' |
                              `------------'
REVIEW: Faith No More, _King for a Day, Fool for a Lifetime_ - Martin Bate
REVIEW: Elastica, _Elastica_ - Bob Gajarsky
INTERVIEW: Manic Street Preachers - Bob Gajarsky
REVIEW: Manic Street Preachers, _The Holy Bible_ - Tim Kennedy
CONCERT REVIEW: Oasis Live in Toronto, CA March 14, 1995 - John Walker
REVIEW:  Fossil, _Fossil_ - John Walker
REVIEW : Slick Rick, _Behind Bars_ - Martin Bate
REVIEW: Future Sound of London, _ISDN_ 	- David Landgren
REVIEW: Barkmarket, _Lardroom_ 	- Nina Ramos
NEWS: Sony's Legacy Reissues, Rake's Progress
TOUR DATES: Difference Engine, Echolyn, Elastica, From Good Homes,
    God Lives Underwater, Kirsty Maccoll/Fossil, Opium Den, Rake's Progress
Info on K.I.T. Zine
THE READERS WRITE BACK
Back Issues of Consumable
---
	REVIEW : Faith No More, _King for a Day, Fool for a Lifetime_ (Warner)
		- Martin Bate
	Faith No More are back in business. After a sticky period where
they fired long-time guitarist Jim Martin, then waved goodbye to his
replacement, singer Mike Patton's Mr. Bungle playmate Trey Spruance (who
plays here on the album), they've welcomed good friend Dean Menta into
the fold and are back firing on all cylinders.
	Every time you think you've got FNM pinned down they surprise
you. Following on the heels of the slick modern metal of _The Real Thing_
and the twisted, difficult and quite superb ball of conflicting sounds
that was _Angel Dust_ comes possibly their best album yet. _King for a
Day, Fool for a Lifetime_ is nothing less than 14 addictive, wildly
varying songs juxtaposed together to create one of the most complete
albums you'll hear this year.
	Starting with the skewed pop-metal riffs of "Get Out" with Patton's
lyrics hinting at where they've been since we last saw them ("What if
there's no more fun to have ?...Cut my losses and get out now!"), you
immediately notice the change in producer. Out goes producer (since the
start) Matt Wallace and in comes Andy Wallace who's worked with Rage
Against the Machine, Slayer and Nirvana. The sound is drier and more live.
On the down side, Roddy Bottum's keyboards seem to be pushed back in the
mix on much of the guitar-oriented tracks, where FNM were often
characterized by the keyboards being offset against the guitars. But on
the positive side, Bill Gould's bass is thick and high in the mix, in some
places sounding like another lead instrument.
	And then there's Patton, possibly the most versatile singer
around; he's let loose to scream, roar, soar and soothe all the way
through.
	From "Get Out" out, the ride is a rollercoaster : the soaring pop 
chorus of "Ricochet" which could have half the western world singing "It's 
always funny until someone gets hurt and then its just hilarious!"; the smooth
laid-back funk of "Evidence" where Patton croons "You didn't mean a thing
a thing/I didn't feel a thing" like some bastard-smooth heartbreaker; the
barely restrained venom of "Gentle Art of Making Enemies"; the Tom Jones
style James Bond theme of the horn-led "Star A.D." - it's about now when
you realize how dizzying this album can me, making you smile and sing along.
	Then comes the fucking *brutal* "Cuckoo for Caca". Vicious
tribal drumming and Slayer-heavy guitars and Patton screaming like a
maniac about the relationship between man and shit (!). When they open
with this, stand back and watch security drag the bodies out. The final
confirmation of genius comes when this is immediately followed by the
bossanova rythyms of "Caralho Voador" with Patton cruising behind the
wheel of a sleek car whispering in Portuguese and warning with a sexy
croon that "My lips are moving but there's no sound/Someday somebody's
gonna get run down..."
	And so it goes on : the frenzied and frightening "Ugly in the
Morning" with Patton sounding completely unhinged come the end; the
pop-punk-metal of first single "Digging the Grave"; the country tinged
balladeering of "Take This Bottle" which is only a few short steps away
from being "Every Rose Has its Thorn"; the epic pull and release of
"King for a Day" which loops out on an accoustic groove with Patton
whispering "Don't let me die with that silly look on my eyes" like a
mantra; the concrete heavy slab of "What a Day"; the quite quite
beautiful "The Last To Know" where the guitar crucnches and shimmers
while the vocals and keyboards just soar; and the big finish of "Just a
Man" which grooves in one door on a Boney M bass-line and sails out the
window with a big camp cabaret gospel ending to end all endings.
     	Each song is self-contained and to the point. There's little of
the obtuseness and difficulty of _Angel Dust_ and there's huge hooks at
every second turn. This should see them both climbing the charts again
*and* consolidating their fans confidence that Faith No More are always
shifting and rarely disappointing.
	Am I allowed to nominate my album of the year yet ?
---
	REVIEW: Elastica, _Elastica_ (DGC)
		- Bob Gajarsky
	Britain's class of 1994 has almost completely made the import to 
American shores, each with a heavy influence from a band of days gone by.  If
Echobelly is today's Smiths and Oasis is the modern incarnation of the 
Beatles, Elastica is the 1990's vertsion of punk rock pioneers like Wire and 
the Stranglers.
	The throwback to those punk days is evident upon seeing the cover of 
Elastica's self-titled debut.  The four members of the group, lead vocalist/
guitarist Justine Frischmann, guitarist Donna Matthews, bassist Annie 
Holland and drummer Justin Welch, are decked out in all black outfits against
a brick wall which could have been taken from CBGB's or any of the late 70's 
punk hangouts in either New York or London.   
	But, a la Vanilla Ice's denial of "borrowing" a riff from Queen, the 
band denies any stealing of riffs from any groups, including on the first U.S.
single, "Connection".  "Musically, it is quite odd", the band explains.  "This
song doesn't sound like anyone else ever."  Whether accidental or deliberate,
Elastica was recently found guilty in Europe of using the same notes
on "Connection" as had been used on a Wire track.
	The rest of the 16 song debut follows the same pattern.  Most songs 
are less than 2:30 long, taking the listener on a fast-paced, guitar-heavy 
jaunt through life, getting laid, the media, groupies without even stopping
for breath.  Suede's Brett Anderson helps with the lyrics on "See That 
Animal", and the three previous U.K. singles are also included here.
	In conclusion?  Those who weren't around during the late 1970's for 
the first punk revolution might just find Elastica completely new.  But, for
those who lived through it, Elastica will sound like a different twist on 
an old theme.  And when finished listening to Elastica, pick up those old 
Wire and Stranglers albums.  You'll be amazed at how "current" they sound.
---
	INTERVIEW: Manic Street Preachers
		- Bob Gajarsky
	Britain's Manic Street Preachers have been one of the U.K.'s most 
successful bands over the past few years, from their stunning debut album 
_Generation Terrorists_, which yielded a half-dozen U.K. Top 40 hits to their
second and third albums, _Gold Against The Soul_ and _The Holy Bible_.  
Despite this, the Manics have never been one to follow the conventional 
thinking of a pop OR rock band.   
	Consumable was able to talk to the Manics' lead singer, James Dean
Bradfield, to discuss a little of the band's past, present and future.  At 
the time of this interview, the mysterious disappearance of guitarist Richey
James Edwards was not common knowledge - which, after the fact, makes some of
Bradfield's comments more interesting.
	The new album, _The Holy Bible_ (see review elsewhere in this issue),
is a harder rocking album than the first two Manic efforts.  Through the 
lyrical content of works ranging from the political "If White America Told 
The Truth For One Day Its World Would Fall Apart" to the pro-death penalty 
"Archives of Pain" to the emotional hurting of  "She Is Suffering" and 
"4st 7 lb.", it becomes apparent that this is no ordinary band.  
	Four well-versed men, the Manic Street Preachers treat each album 
in an academic manner like an essay.   The album title is the first thing 
to be decided, before any songs are written.  Following this, the lyrics 
for each song are written, primarily by guitarist Richey James Edwards (and
also by bassist Nicky Wire).  After that, lead singer James Dean Bradfield 
interprets the lyrics and is the primary writer music (along with drummer 
Sean Moore)which will best suit the words.  Although Bradfield has never 
disagreed with the lyrics he sings, he explains that "Everything I do is 
interpretative, which means  I don't necessarily have to agree with 
everything in the lyrics."
	Some lyrics which Bradfield does explain are those to the pro-death
penalty song, "Archives of Pain".  Brutal individuals and killers such as 
Jeffrey Dahmer are name dropped throughout the track.  Bradfield details 
the meaning behind this song: 
	"There's a line, 'Give him the respect they deserve' - it's obvious
the only thing these people (named in the song) respect is death - so give 
them respect too.  Yes, it's pro-capital punishment.  It's quite shocking 
for us, since we come from a very traditional background, even from our 
country.  We wrote that song and it was obvious that it had a right wing 
slant on it.  Other groups might have censored themselves and said "Fuck, 
we can't write that" but we figured since we wrote it, we had to be honest
and not change it.  We are quite disillusioned with our view of politics."
	What makes the Manic Street Preachers different than other bands 
is the lack of egos within the group. "We were four best friends forever" 
states Bradfield. "Immediately, as we formed the group, found out what we 
could do better than other people.  As four composite characters, we knew 
that we lacked certain characteristics.  We always knew we were quite 
inadequate as four individuals, but as a group, we did for each other what 
we couldn't do for ourselves."
	The politicized environment that the four lads grew up in the 
United Kingdom in helped to shape their jaded view of the world.  The 
punk world of the late 1970's was beginning to take shape and thumb 
their nose properly at the establishment.  Songs were written about 
atrocities perpetrated against individuals - and people were singing and
*listening*, to these songs.    James Dean Bradfield was also listening.
	"Before writing the music for this album, I listened to all the 
music that I liked as a kid, such as Gang of Four, the Clash, Sex Pistols
and Propaganda", Bradfield says.  "These were the best lyrics Richey had 
ever given me.  They were more final and complete and focused in terms of 
a general mood - and I had to get myself more focused to write the best 
music for them.  I was dissatisfied with the music I wrote for the second
album and didn't do the lyrics much justice."
	That second album led to an unusual pairing - the Manics opened up
for Bon Jovi at England's Milton Keynes Bowl.  Bradfield remembers that 
show: "There were a lot of things that went wrong in the small-to-medium 
picture.  We always had this perverse attitude that the best situations are
the most bizarre ones.  We enjoy putting ourselves in situations where we 
couldn't win, so therefore we thought we could win.  It was obvious as 
soon as I walked on stage that I shouldn't be doing it. 
	We could have made it much more than we did (if we wanted to) - just
say 'Put your hands in the air' and break it down into drums and vocals, 
and immediately you can win 1/8 of the audience.  We just can't physically
lift our hands to do that - I feel awkward. I didn't have a chip on my 
shoulder that day because we put ourselves in that situation and we were 
the people to blame."
	Although "Little Baby Nothing" (a track off their first album, 
_Generation Terrorists_) was finally sung by a pre-music career, 
pre-Melrose Place Traci Lords, the band originally asked for the vocals 
of Kylie Minogue.  Wait - *the* Kylie Minogue, Australian soap opera star 
who had a slew of top 10 UK hits written by the kings of bubblegum love 
songs, Stock/Aitken/Waterman?
	"It was written with a symbol in mind and Kylie's sort of the 
image of it as well", Bradfield explains.  "We saw Kylie as a manipulative
kind of person without people really knowing it, but she had a very subtle 
way of infusing power into her songs - she had people in the palm of her 
hands.  We see a parallel with Traci Lords as well.  Judging who's in 
control by what appears on the surface is such a silly idea.  People make
assumptions without ever asking the person if they feel in control."
	Then there's Shampoo, the European duet formed by two teenage 
girls who had founded a Manic Street Preachers fanclub, and are now 
writing songs a la Transvision Vamp, Cyndi Lauper or Toni Basil.
There's no threat to the band, or even a contempt of the pop band: "I 
have no problems when Shampoo.  They've got great balls!  It would be a 
pretty fucking boring world if everyone did the same kind of music.  
They just piss men off because they completely intimidate men.  I think 
it's fantastic."
	There are only two moments when Bradfield expresses any kind of 
contempt or anger - both when this reporter gets a little too close to 
the heart of the Manics.  
	As we now know, Richey James Edwards, guitarist and co-lyricist 
for the band, has mysteriously disappeared for the last month in England.
Given his past medical history, his state of living comes into question.  
Therefore, it is understandable that Bradfield (who was supposed to have 
been accompanied by Edwards for the interview) becomes a bit testy when 
asked about the circumstances regarding Edwards' summer visit to a United
Kingdom mental institution.
	"It's too personal", explains Bradfield.  "On a surface level, 
he's always had too many vices to cope with - too much drugs, too much 
alcohol, the self mutilation thing - which he uses as a release.  He 
always believes in a strong mind, strong body - and his mind overestimated
the reaction to his body."
	"The self-mutilation thing" which is referred to was most 
dramatically covered when a British reporter was questioning the 
authenticity of Edwards works, and wondering if the band was just a 
carbon copy of the Clash.  Edwards took out a knife, cut the words "4 REAL"
into his arm, and asked if that answered the question.
	The other area of sensitivity concerns the lyrics to "If White 
America Told The Truth For One Day Its World Would Fall Apart", a track 
from the new _Holy Bible_ release.  Although most of the lyrics for the 
song appear pointed towards criticizing the moral right (and Tipper Gore,
for her lyrical censorship issue), Democrats are brought to task as well 
with the final line imploring, "Fuck the Brady bill", the gun limitations 
act installed after the failed assassination of Ronald Reagan in the early
1980's.  When pressed for an explanation of these seemingly contradictory 
stances, Bradfield defensively replies, "We've never felt the need to 
explain any of our lyrics - that's enough of a political statement.  
You'll never get us to explain any of our lyrics any further.  I'll be 
contentious and let you make up your own mind."
	Despite this defensiveness, Bradfield never passes the blame 
for the Manics not breaking in America.  "We mean jack shit over here, 
and we want to reach a fan base over here.  We always blame ourselves 
before blaming others - and if, to reach that fan base, we have to play 
to 20 people a night, so be it.  I just want that chance - we've only 
played six concerts over here - and, whatever happens, so be it.  It'll be
just like starting over again - not knowing who will show up.   It's 
scary, but we know our position."
	Unfortunately, the Manics are in a precarious position.  Another
record - their third - is being issued in the United States six months 
after its U.K. release.  Richey James Edwards has been missing since 
February 1 and no evidence has been found to determine if he is still 
alive. The tour designed to break the band in the United States has been 
cancelled.  Bradfield has repeatedly stated that the band is a family - 
and the group would cease to exist if any member of the family did not 
want to stay (in the band).  From a music standpoint, another great album
by the Manic Street Preachers may be overlooked on the shelves; from a 
human standpoint, three members of the Manics may see their lives 
permanently scarred by the possible self-induced disappearance of their 
lifelong friend, Richey James Edwards.   
	In conclusion, the band's attitude in life can probably best be 
summed up by Bradfield's feeling when they were performing live: "I always
thought as a group we were best when everything was about ready to fall 
apart on stage.  We always are slightly vain; we like prancing around and
not always sounding like the record.  Sometimes, we like making it all 
fall apart and bringing it back together at the last possible second."  
Let's hope that the Manic Street Preachers, as a foursome, haven't let 
that second slip away.
---	REVIEW: Manic Street Preachers, _The Holy Bible_ (Epic)
		- Tim Kennedy
	The Manic Street Preachers could have become many things.  They could 
have become a comic book punk band.  They could have 'turned Heavy Metal'. 
Instead they have become one of the most important and original bands in
years,  and certainly one of the foremost live rock n roll experiences of 
today.  They do combine elements of metal and punk - the 1977 rather than 
'92 or '65 variety.
	The lyrics to this album almost deserve a separate review.  None of 
the Manics third opus is describable as easy listening by any stretch of the
imagination but this album is the Manics' most important effort yet,  both 
musically and lyrically.  It is at once a personal statement of Richey 
Edwards' just prior to mental breakdown, and (at the risk of sounding 
pretentious,  which the album isn't) a thorough investigation into some 
central malaises of the 20th century.
	"Yes" strongly recalls mid period Jam - "Thick As Thieves" from 
1979's _Setting Sons_ and "The Place I Love" from the seminal 1978 _All 
Mod Cons_ album spring to mind.  Despite the tragic lyrics this a very 
beguiling tune.  The lyric describes the process of becoming a commodity 
in highly disturbing sexual terms.
	"IfWhiteAmericaToldTheTruthForOneDayItsWorldWouldFallApart" follows 
a sample from a radio/tv announcement for a commemorative ceremony for Ronnie
Reagan  - the song is built around a disconcerting riff with a staccato 
drumming to emphasize the overtly anti-militarist lyrics.  They have a dig 
at British as well as US conservatism and institutionalised racism.  
Thinking back to the Clash's "I'm So Bored With The USA", Joe Strummer and 
Co's effort is far more trivialized and throwaway in comparison.  This may 
put some people's backs up, but the Manics are down on everything so they 
oughtn't be regarded as anti-American on the strength of this song.  Their
longstanding heroes Public Enemy may be the primary source of inspiration.
	"Of Walking Abortion" musically treads familiar punk-metal territory
and this is closer to the style of their first album.  There are echoes of 
Killing Joke's early work here in abundance.  The lyric evokes images of 
war criminals deaths and degradation with the refrain "Who's responsible -
you fucking are".
	"She Is Suffering" has a sinister developing guitar figure at its 
heart. The chorus has echoes of "The Drowners" by Suede.  The Manics have 
been close to both Butler and the remaining Suede members and toured with 
Suede.  The words are a harsh attack on the concept of beauty.
	"Archives of Pain" is built around a moody Nicky Wire bassline with
a riffing chorus.  The song condemns humanity as being fatally flawed with 
evil.  The chorus lists French proto nazi Le Pen along with Dahmer, Russian
fascist Zhirinovsky, child murderer Hindley and so on in a continuation of
the theme from "Of Walking Abortion".  The languid coda emphasizes theme of
malignancy.
	"Revol" is my favorite single from last year with its insidious 
post-punk assault emphasizing the corruption of Russian/other revolutionary
history.  The litany of Communist heroes (villains?) is accompanied by a 
fiendishly catchy punk tune. 
	"4st 7lb" concerns the plight of anorexic young women in a 
continuation of the theme in "She Is Suffering".  This song has had a lot 
of critical praise in the UK and a wide impact; a teacher recently wrote in
a letter to the New Musical Express that one of her pupils at an all female
school had read out the lyrics at a poetry reading and brought the school 
to their feet.  The tune follows the amorphous structure of the words,  
with the instruments intoning sympathetically.  The lyrics on _The Holy 
Bible_ are all superb but the ones to "4st 7lb" are particularly so.  The 
opening riff is reminiscent of The Jam's "Eton Rifles", emerging after the
sampled words of an anorexia victim.
	The tune to the verses in "Mausoleum" is latter Joy Division: the 
chorus roars into a kind of Sex Pistols-ian refrain.  The words do not 
mention Auschwitz but deal with the effect of the Holocaust on society 
and the refrain of 'No Birds' is a reference to the notable lack of 
birdsong in preserved grounds of Nazi concentration camps today.
	"Faster" sums up how far the Manics have progressed since the days 
of their first single, "Motown Junk".  The aggression is there with all the
lyrical subversion,  but with much-improved technique.  The technical 
precision doesn't cloud the naked fury and instead sharpens its focus.
	"This Is Yesterday" is a ballad, almost Beatlesy, despite the 
band's vowed dislike of John Lennon.  It has a gorgeous melody.  The 
lyric describes nervous breakdown from the point of view of the sufferer.
	"Die In The Summertime" was not a prophecy as it turned out, as 
Richey Manic is well and back in the band.  The tune is punk-metal and 
the chorus kicks in with a slab of vintage Steve Jones guitar once again.
The words continue with the theme of depression and nervous collapse.
	"The Intense Humming Of Evil" is redolent of the second Joy 
Division album with its unusual drum/rhythm track and the reference to 
20th century atrocities.  The opening sample is a narrative from an old 
film, a fantasy in which victims of war crimes rise up to sit in judgement
on their former tormentors.
	"PCP" is the perfect song to end this set as a fine example of 
speeding clinical punk rock.  The lyrics attack the 'new establishment' 
of political correctness.  You need not agree with the words in order to 
enjoy a fine pogoing tune.
	The album is interspersed with sinister quotes many of which are 
unidentifiable, but all contribute to the general theme of self-destruction
and disgust - both with humanity and with self.  These are not pleasant 
words, but the album is compelling and the music is extremely listenable.
The influences aren't overpowering but are tastefully displayed with great
technical ability.  
	(Editor's Note: This album, which first was released in Europe
in August of 1994, was scheduled to be released in the United States on
March 28, 1995.  Because of Richey Edwards' disappearance, the release
date for _The Holy Bible_ has been tentatively pushed back until July,
1995.)
---
	CONCERT REVIEW: Oasis Live in Toronto, CA March14, 1995
		- John Walker
	One of the saddest aspects of the current North American rock scene
is its absolute disrespect for the current crop of Anglo exports.  Perhaps the
overwhelming hype of undeserved acts in the past by the British rock press
(anybody remember Birdland?) is to blame here, but hey, anybody can make a
mistake.  We cling to the Stones and the Beatles as paragons of a past Brit
rock greatness gone forever, yet right beneath our noses the real (current)
thing goes unnoticed: Suede, (The) Verve, Primal Scream, and of course, Oasis.
	North American rock xenophobia needs to be destroyed, and Oasis, on
this current tour, are doing their best to oblige.  On this unseasonably hot
March night in Toronto, a sweaty band and audience consumed vast
amounts of suds, paid homage to the rock gods of the past (the Beatles, the
Jam), and looked with relish toward the misty horizons of the future.  "You
and I, we're gonna live forever" sang Liam Gallagher with an intensity that
made you almost believe him.
	Oasis in concert live up to the hype, unless you are looking for a
circus on the level of the Red Hot Chili Peppers.  This was straight-ahead,
no-frills, melodic Brit-rock, lacking in the melodrama of Eddie "I can't stand
being a star" Vedder or the "let's pretend we're the Clash" buffoonery of
Green Day.  Oasis doesn't imitate--they _extend_ the tradition of great
British rock, from the Beatles to T. Rex to The Jam, into the context of 1995.
Therein lies the difference.
	If you're familiar with Oasis' classic 1994 album _Definitely Maybe_
you'll know what I mean when I say that all the hits were rendered in a
kick-ass fashion.  "Rock N' Roll Star" led off the show as it does the
album--in fine style--mapping out the band's _carpe diem_ philosophy.  Oasis
want to live fast, but unlike Mr. Cobain, they don't necessarily want to die
young.  The objective, it soon becomes clear, is not to plumb the depths,
but, as Lou Reed once said, to fly into the sun.  Kicks are to be had 
here and now: damn self-conscious rock martyrdom a la Vedder.  Liam and
company "don't care, because [they're] living fast," as proclaimed in another
of the evening's most visceral numbers, "Bring It On Down," which hit with
the fury of the Sex Pistols while remaining stylistically quintessential Oasis.
	"Cigarettes and Alcohol," the huge British hit with the mega
T. Rex riff, was also delivered in all its PC-baiting glory: "You can wait for
a lifetime / To spend your days in the sunshine / You might as well do a white
line . . . You've gotta make it happen" sneered Liam as the sweating throng
both lit up and poured back.  During both this song and the majority of the
concert, Liam resisted engaging in the David Lee Roth type "hey hey hey let's
party" moves that might have made such lyrics into a mere joke, retaining the
aloofness suggested by his working-class dandy demeanour (the _immortal_ dandy
suggested by "Live Forever"), thus affirming the song's humourous yet
subversive edge.  Even when Liam slugs beer onstage, he does it with a singular
sense of style. 
	Oasis are the potent anecdote to "victim-rock" of the North American
variety, suggesting that while you're sitting there whining, the smart people
are out living intensely.  For that alone, and for much more, they deserve
praise.
---
	REVIEW:  Fossil, _Fossil_ (Sire)
		- John Walker
	Fossil's eponymous debut album is brought to you by Hilly Kristal,
the man whose New York bar, CBGB's, spawned the punk/new wave movement
almost 20 years ago, allowing bands like the Ramones, the Patti Smith
Group, and Television a live forum for their talents when no one else
would.  For this, we owe him eternal gratitude.  For Fossil, though,
we must try to forgive him.
	Fossil's promo material makes much of the fact that Mr. Kristal
has broken a life-long personal vow never to manage any of the acts that
pass through his bar, all in order to guide their career.  The real irony 
here is the fact that _Fossil_ (implications of the name duly noted)
sounds like much of what the aforementioned Ramones et. al. were trying
to knock off the stages and airwaves of North America back in 1976.
	The album starts off on a sprightly note with "Moon," a power-pop
ditty that brings to mind mid-period Cheap Trick, with a crunchy and
crisp guitar riff and innocuous lyrics.  No problem here--this is the
kind of song that would sound good as a soundtrack to a few beers at your
local pub.  It might not make you rush over to the jukebox to check out its
authors, though.  Still, pleasant enough stuff.
	After "Moon," though, the troubles really begin.  Singer/guitarist's
Bob O'Gureck's vocals have a saccharine quality (the promo makes nervous
references to Robin Zander of Cheap Trick as justification) that really starts
to grate after a couple tunes.  "Tim", the album's second track, features
some OK sounding retro-fretwork, but the whole thing starts to veer a little
too close to _Frampton Comes Alive_ doobie-wah territory for my tastes.
	"Martyr's Wife" has witty enough lyrics ("I'm dating a man named
Jesus / He talks in metaphors / He is a public nuisance . . .  God created
irony to play mind games with you and me") and a passable melody, but
the maudlin necrophilia of "Josephine Baker" is an outright disaster,
with the band failing to define their ironic intent clearly enough, and a
vocal which moos like James Taylor on 10 year old Quaaludes.  Just try
to sit through this one without squirming.
	The remainder of Fossil's debut drowns in a mishmash of murky
intentions, as in the choppy "Bury Me In The Ocean", which takes off
briefly before crash-landing as the band arrests what momentum they've
built.  "Thundershower" starts promisingly, but is quickly revealed to
be half of a song idea, a verse looking for a chorus.  "Molly" is an
obligatory comment on PC ("I won't disrespect you / won't heterosex
you") which comparatively stands tall beside the earnestness of "Fall",
which features lyrical gems like "Fall is here again / stirring up the leaves
/ my heart and pen."  Hey, how about the moon in June, guys?  
	When asked for general words of wisdom for all those who might
hear his band, singer O' Gureck replies, "don't quit your day job."  That
about sums up my feelings on Fossil's debut album.  Shame on you, Hilly.
---
	REVIEW : Slick Rick, _Behind Bars_ (Def Jam/Island)
		- Martin Bate
	Old-school rapper Slick Rick returns with his first album in a while,
recorded as the title suggests, behind bars. Famous during hip-hop's 
formative years of the mid-eighties his humorous story-telling based style 
and sing-song flow are acknowledged as being major influences on many of 
today's rappers, most notably Snoop Doggy Dogg.
	The title track is by far the best thing here - a skillful, mean and 
witty relation of life in prison set to a meaty bass-heavy beat. It later 
closes the album as an incredible Warren G remix, all slick xylophone and 
trademark Warren G chorus. Its almost worth the price of admission alone.
	Elsewhere, nothing quite reaches those heights but there is enough to 
make this a solid enough album. The mellow midnight groove of "All Alone" 
relates a genuinely touching tale of a young single mother; "Sitting In My 
Car" sees Rick rejoined by old-school sparring partner and human beatbox, 
Doug E Fresh, on a piano-led jaunt; and the self-produced "A Love That's 
True" bounces along on an endearingly amateurish dance-hall beat.
	There's a dip in the middle where the beats become a little 
unimaginative and throughout the album the overlaying of vocals can be 
distracting, making his flow sound false and unnatural. My other gripe 
would be over-use of the word 'bitch' which mars his witty and skillful 
tales of love and relationships by lending them an unnecessary misogynistic 
air.
	But, overall, this is a fine album showing that some of the old 
schoolers still have a lot to offer in a genre with a high turnover of 
artists.
---
	REVIEW: Future Sound of London, _ISDN_  (EBV, Europe)
		- David Landgren
    An interesting release from Future Sound of London, also known for 
their brilliant _Lifeforms_ double CD of last year. _ISDN_ is a compilation 
of direct radio broadcasts (transmitted, of course, via ISDN), throughout 
Europe in 1994. The packaging is reminiscent of Cabaret Voltaire's _2x45_: 
Black cardboard, held closed by tabs of Velcro<tm>.
    As may be expected of material that was commissioned/developed for 
several different occasions, there is not much semblance of continuity. 
Still, the resulting tapestry of music makes for interesting listening.
    Influences from many sources can be found here. The overall feel is 
still in the ambient arena, but a definite industrial/acid tone not present 
on _Lifeforms_ makes its appearance. I am reminded strongly of Not 
Drowning, Waving (circa _Cold and the Crackle_), Art of Noise, Pop Will Eat 
Itself,_u. f. orb_ and _My Life in the Bush of Ghosts_. Indeed, I'd love 
to hear a collaboration between FSOL and Brian Eno.
    There are a few things that don't pan out quite right. The most jarring 
is a vocal track on one of the final pieces that seems to be some kind of 
semi-serious take on Roger Daltrey's "See Me, Feel Me". Quite out of place, 
but at least it doesn't last for long.
    Overall, a worthwhile album. I give it a seven.
---
	REVIEW: Barkmarket, _Lardroom_ (American)
		- Nina Ramos
	Barkmarket, a four piece band, took only two days to record and 
produce _Lardroom_, while simultaneously fixing their van.  Unfortunately, 
they should have paid more attention to the mix and less to their engine.
	My first sitting with _Lardroom_ was a random invasion of noise, like
a bowl of oatmeal where you can taste the strawberries, but you can't see 
them. The second sitting proved equally as fruitless. The riffs were too 
familiar and the lyrics inflated.  But, just as it seemed all hope was lost,
I started rocking in synch to the music.  A great bass line appeared out of 
nowhere, hitting right where it needed to.  Things started to look up.
	The disc player went the full length of _Lardroom_ through while I 
settled with a book. Perhaps it'll catch me again. Another song may pop into
the right groove. But...this was not to be. Despite it all I feel _Lardroom_
is a good effort. It may come off crude in composition, but I bet they're a 
great live show. Maybe...
	In conclusion?  They show potential, but this effort falls short of 
my expectations.
---
	NEWS:
	Sony's LEGACY label, known for the reissue of many albums never before
released on CD, has struck again.  This time, Legacy's Rhythm and Soul
library has expanded, with compilations being issued of Labelle, Major
Lance, the O'Jays, Treniers and Harold Melvin and the Blue Notes as well
as other R&B veterans.

	The RAKE'S PROGRESS' new album _Altitude_, is scheduled to be released
in the U.S. on June 20.  _Cheese Food Prostitute_, their debut E.P., will be 
released on Almo Sounds in the U.K. on April 24.
---
TOUR DATES:
	Difference Engine
March 27 Richmond, VA Hole in the Wall
March 29 Chapel Hill, NC Local 506
March 30 Columbia, SC Annie's
March 31 Athens, GA Frijoleros
April 2 Birmingham, AL The Nick
April 3 New Orleans, LA Mermaid Lounge
April 4 Austin, TX The Electric Lounge
April 5 El Paso, TX The Attic
April 10 San Francisco, CA Bottom of the Hill
April 11 Turlock, CA Live at KCSS
April 13 Missoula, MT Jay's Upstairs
April 20 St. Louis, MO The Gargoyle

	Echolyn 
March 28 Camp Hill, PA Zee's
March 29 Buffalo, NY Showplace Theatre
March 30 Fredonia, NY Old Main Inn
March 31 Erie, PA State Street Tavern

	Elastica
March 28, Nottingham ENG Rock City
March 30, Leeds, ENG Metropolitan University
April 1 Cardiff, ENG Terminal
April 4 Portsmouth, ENG Pyramid Centre
April 5 Ipswich, ENG Corn Exchange
April 6 London, ENG Shepherd's Bush Empire
April 21 Stockholm, SWE Gino
April 23 Copenhagen, DEN Loppen
April 24 Berlin, GER Loft
April 25 Hamburg, GER Loga
April 27 Cologne, GER Kantine
April 28 Brussels, BEL VK Club
April 29 Amsterdam, NET Melkwag
May 1 Rennes, FRA Espace
May 2 Paris, FRA Divin Du Monde
May 3 Lyon, FRA Transbordeur Club
May 5 Barcelona, SPA Zeleste II
May 6 Madris, SPA Revolver
May 7-8 Milan, ITA TBA
June 13 Osaka, JAP Club Quattro
June 14 Nagoya, JAP Club Quattro
June 16-18 Tokyo, JAP Liquid Room

	From Good Homes
March 30 Orono, ME Maine Center
March 31 Burlington, VT Burlington Memorial
April 1 Portland, ME State Theatre
April 3 Rochester, NY Hor. Boogie Bar
April 4 Buffalo, NY Nietzche's
April 5 Ithaca, NY State Theatre
April 6 Amenia, NY Tickets
April 7 New York, NY Bottom Line
April 8 Port Chester, NY 7 Willow St.
April 12 New Haven, CT Toad's Place
April 13 Northampton, MA Pearl Street
April 14 New York, NY Irving Plaza
April 15 Boston, MA Paradise
April 18 Timonium, MD Graffitti's
April 19 Philadelphia, PA Middle East
April 20 Newark, DE Stone Balloon
April 21 Washington, DC Bayou's
April 22 Lexington, VA Zollman's Pavillion
April 23 Nelson City, VA Zollman's Pavillion
April 26 Providence, RI Met Cafe
April 27 Burlington, VT Club Toast
April 28 Albany, NY Bogie's
April 29 Portland, ME Granny Killiam's
April 30 New Market, NH Stone Church
May 5 Memphis, TN Beale St. Music
May 6 New Orleans, LA Tipitina's

	God Lives Underwater 
March 28 San Luis Obispo, CA Slow Brew
March 29 Palo Alto, CA The Edge
March 30 Berkeley, CA Starry Plough
April 4 Phoenix, AZ Gibson's
April 5 Tucson, AZ The Rock
April 6 El Paso, TX Club 101
April 8 Ft. Collins, CO Ramskeller
April 9 Boulder, CO Tulagis
April 10 Vail, CO Garton's Saloon
April 11 Colorado Springs, CO Lon Chaney
April 12 Steamboat, CO Heavenly
April 14-15 Salt Lake City, UT Zephyr Club
April 17 Spokane, WA Out Back Jack's
April 19 Vancouver, CA Starfish Room

	Kirsty Maccoll/Fossil Tour Dates
March 27 Chicago, IL Double Door
March 28 Minneapolis, MN Fine Line Music Cafe
March 30 Boulder, CO Fox Theatre
March 31, Albuquerque, NM El Rey Theatre
April 1 Tempe, AZ Gibson's
April 3 Reno, NV Hacienda Del Sol
April 4 San Francisco, CA Great American Music Hall
April 5 Los Angeles, CA The Troubadour
April 6 San Juan Capistrano, CA The Coach House
April 7 San Diego, CA Belly Up

	Opium Den
March 30 Buffalo, NY Continental Lounge
March 31 Ferndale, MI Magig Bag Theatre

	Rake's Progress
March 30 Northampton, MA Loud Music Festival Center
April 13 Burlington, VT Club Toast
April 14 Boston, MA Mama Kin
April 15 Asbury Park, NJ Metro Lounge
	The April 13-15 shows will be in support of Mojo Nixon.
---
	A random 'zine popped in the mailbox the other day - K.I.T. -
edited by James Harvey.  Your standard 8 page typewritten 'zine, with
one page review of other 'zines, and a heavy focus on brief reviews of
unsigned bands.  K.I.T. is based in the Philadelphia area, so for
bands looking for submissions (or to read - the cost is 50 cents),
contact them at 27 E. Central Ave. R5  Paoli, PA 19301.
---	
THE READERS WRITE BACK
	In response to last week's question of "Whatever happened
to the Sand Rubies", reader Tara R. writes in.  Tara, take it away...
	Shortly after the release of their first major label cd (I can't think
of the title right now, but it includes "Goodbye", "Interstate", "Never", and
"Santa Marie Street") the Sand Rubies, formerly known as the Sidewinders,
broke up (although I'm not entirely sure why).  Dave Slutes, the former lead
singer, is now in another Tucson band called "The Luminarias" (and I've
heard they're not that good).  As for Rich Hopkins, I'm not sure if he's
also in the Luminarias or in another Tucson band.
	If you're interested in their earlier stuff (all of which is
(excellent) it is rather hard to find.  Their very first album which was recently
recently released to cd format is called _Cuacha!_, followed by what I
consider their best, _Witchdoctor_, and their last under the Sidewinders name,
_Auntie Ramos Pool Hall_.
	They were forced to change their name in 1990-91 because some band from
back east had claimed that they were originally the Sidewinders and that
the existence of this fabulous Tucson band inhibited the success of their
ill-talented bunch.  The Sand Rubies album was actually completed around
that time, but because of the insuing legal battle and the search for a
new name it was pushed further and further back for release until Spring
'93.
---
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