== ISSUE 156 ====  CONSUMABLE ONLINE  ======== [September 28, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker 
  Correspondents:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Robin Lapid, Linda Scott, Scott Slonaker, 
                      Chelsea Spear, Simon Speichert, Jon Steltenpohl, 
                      Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann

 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 
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Sheryl Crow, _The Globe Sessions_ - Tracey Bleile
REVIEW: UNKLE, _Psyence Fiction_ - Tim Hulsizer
REVIEW: Kent, _Isola_ - Tim Mohr
REVIEW: Embrace, Live at Liverpool Royal Court, Sept. 10 - Tim Kennedy
REVIEW: The Notwist, _Shrink_ - Chris Hill
REVIEW: Dance Hall Crashers, _Blue Plate Special_ - Jason Cahill
REVIEW: Pansy Division, _Absurd Pop Song Romance_ - Paul Hanson
REVIEW: Yatsura, _Slain By Urusei Yatsura_ - Tim Mohr
REVIEW: Primus, _Rhinoplasty_ - Paul Hanson
REVIEW: Sister Soleil, _Soularium_ - Sean Eric McGill
REVIEW: Imogen Heap, _I Megaphone_ - Chelsea Spear
REVIEW: 12Rods, _Split Personalities_ - Linda Scott
REVIEW: B.T.K., _B.T.K._ - Franklin Johnson
REVIEW: Money Mark, _Push The Button_ - Tim Mohr
REVIEW: Baby Fox, _Dum Dum Baby_ - David Landgren
REVIEW: Evinrudes, _Evinrudes_ 	- Tracey Bleile
REVIEW: Superkreme, _Superkreme_ - Franklin Johnson
REVIEW: The Great Western Squares, _Almost Sober_ - Jon Steltenpohl
NEWS: Cheap Trick
TOUR DATES: Archers of Loaf, Better Than Ezra / Possum Dixon / Athenaeum, 
   Candlebox, The Church, Cravin' Melon, N'Dea Davenport, Irving Plaza, 
   Jesus & Mary Chain / Mercury Rev, Korn, Lenny Kravitz, Liquid Soul, 
   Reel Big Fish / Spring Heeled Jack, Samples, Sheila Divine, Dee 
   Snider's StrangeLand Tour (Soulfly + more), Spacetime Continuum, Mike 
   Watt
ERRATA
THE READERS WRITE BACK!
---
	REVIEW: Sheryl Crow, _The Globe Sessions_ (A&M)
		- Tracey Bleile
	When you take storytelling and turn the intensity on yourself, 
you get autobiography.  Set it to music and you have a documentary, 
complete with a score that gives you the whole range of emotion.  But 
how to keep an honest effort from slipping too far into one extreme - 
that is the challenge facing Sheryl Crow's newest effort _The Globe 
Sessions_ . Named for the home studio she created for herself, the 
songs and feelings on _Globe_ run the gamut, from pain to longing to 
defiance.  But one seems to be conspicuously absent this time out - and 
it's a biggie - joy.  And it's a narrow path to walk when you are trying 
to communicate your very private feelings to a very public world.  When 
does examining your emotions stop being an important catharsis and turn 
into a good old-fashioned pity party?
	Her big singles of the past have focused on accepting where you are, 
looking ahead and hoping for the best.  _Globe Sessions_  is instead, 
something of a cliché, the rollercoaster of relationships - as they take 
place inside of one head and one heart.   The first single "My Favorite 
Mistake" is a slow blues burn (high degree of irony here; as more than a 
few sources have called this her take on the end of her relationship with 
Eric Clapton) and proceeds to set (or is it slow) the pace.  And while 
here far more attention paid to creating an enveloping mood, as with the 
elegance and poetry of "Riverwide" and the defiance and falsely-bright 
chipperness of the breakup aftermath in "It Don't Hurt", replete with 
B-3 organ, there is definitely an air of sadness throughout.  The inclusion 
of the Dylan song "Mississippi" (which he had written for his last 
Grammy-winning album, but decided to give to Crow to sing for this release 
instead) is a down-home rocker that comes in rather late in the release 
to redeem the overall maudlin feel.
	Her trademark snappy percussive backdrop gives songs like "Maybe 
That's Something" glimmers of her previously more aggressive style, and her 
expressive wide-ranging voice makes her one of the more engaging artists to 
listen to.   But even when she pushes harder in her rock 'n roll mode, it 
is still toned-down and almost queen of country depressing - "Anything But 
Down", moaning lap-steel guitar solo and all.  But for someone who has 
built a songwriting and performing persona based on a "wild women don't 
get the blues" philosophy, it is even more difficult to watch a strong 
person work through their pain, in such a public way.
	The arrangements and array of back up musicians are breathtaking 
(Benmont Tench playing keyboards, Wendy Melvoin on guitar, and Lisa Germano 
on violin and autoharp; each on several tracks, as well as a host of her 
faithful session players and long-time band members) and the production 
value is topknotch, which is her own, and mixed by Tchad Blake.   However, 
if this is progress, I hope this is leading her to a place where she can 
take all this high-powered energy and direct it towards being happy again.  
She's got all the ingredients here, but the levitating agent is missing, 
and the result is somewhat flat.  One step left out, and it doesn't matter 
how beautiful the surface is - it's what's inside that counts.
---
	REVIEW: UNKLE, _Psyence Fiction_ (Mo'Wax/London)
		- Tim Hulsizer
	The album isn't even out yet in the states and already 
some reviewers are calling this a "seminal" release. I'll spare 
you that brand of rhetoric (sorry guys, that's like the way 
Disney calls every new movie a "classic" before it even hits 
theaters) and get right to the meat of it: this is a great 
album.  Producers DJ Shadow and James Lavelle (head of Mo'Wax) 
have put their skills to the ultimate test and the results are 
nothing short of dazzling.
	Rather than work within the confines of the traditional 
"turntablist" genre or even regular pop music, these guys have 
combined breakbeats with lyrics on many tracks to create a whole 
that is more than equal to the sum of its parts.  Each track has 
a unique personality here, rather than most releases I've heard 
lately.  Amazingly enough, that doesn't send the album off into 
a million pointless directions; rather, it is all held together 
by the canny over-seeing of the two gentlemen, who keep a 
thoughtful yet loose feeling going on throughout.  Whether it's 
a rap cut or a verse-chorus-verse song, you can pick up on a 
rather unique atmosphere here.  For reference, check out some 
of the remixes UNKLE has done in the past couple of years for 
other artists (not to mention the entire output of Mo'Wax Records, 
which includes DJ Shadow's stuff and a thousand other 
category-defying musical releases).
	 Vocals and songwriting chores are picked up by a number 
of talented artists.  Kool G Rap, one of New York's finest 
rappers is present here.  He kicks off the whole affair with a 
track called "Guns Blazing (Drums of Death Pt.1)", and it hits 
like a bomb.  Mike D of the Beastie Boys delivers in Pt.2, and 
we also have songs from Thom Yorke of Radiohead and Richard 
Ashcroft of The Verve (both of whom recorded their vocals before 
their bands' latest hit releases).  Metallica's Jason Newstead 
helps out, as does Wil Malone, Massive Attack's string arranger.  
There are more, but I'll let you have fun finding them all for 
yourself.
	I'm not quite sure how to describe the aforementioned 
"feeling" of the album correctly.  Does it have the proverbial 
"phat beats"? In spades.  Does it "swirl"?  Well, yes it does, 
but that's only half the story.  It also whispers, shouts, and 
winks at you while it hits you in the face.  Above all, this is 
a great album because it so aptly reflects the unique creative 
visions of Shadow and Lavelle, who borrowed money to start 
Mo'Wax in 1992 and has never looked back. Their music is 
indicative of forward-thinking individuals, but with their ability 
to play well with others they have perhaps created this year's 
finest album.
---
	REVIEW: Kent, _Isola_ (BMG)
		- Tim Mohr
	Swedish bands have animated the European music scene for several 
years now, with groups like the Cardigans, the Wannadies, and Whale making 
particularly big splashes and representing the apexes of three distinct 
styles. Kent represent yet another strain of Swedish rock, having 
established themselves at the pinnacle of the domestic indie scene with a 
musical sensibility closer to Radiohead, the Smashing Pumpkins, or the 
Manic Street Preachers and anguished lyrics to match.
	Kent have produced three albums in Sweden that make them as 
important to Swedish indie kids as the Smiths were to down-trodden popheads 
of the British isles in the 80s. But unlike most Swedish bands, Kent 
decided to sing in their native Swedish for those three records, leaving 
them all but unknown in other countries even as the Scandinavian Invasion 
sent other Swedish indie outfits around the world.
	With an English version of _Isola_ (Kent's third album) now 
available world-wide on BMG, Kent have finally drawn their linguistic 
curtain to reveal their dark, poetic words to listeners south of Malmo. 
While the intimacy that singing in Swedish allowed them to gain with their 
core audience at home may suffer, listeners elsewhere will be able to 
comfort Swedish fans by joining them in adoration of Kent.
	Anchored by a churning bass not dissimilar to that on Cure tracks 
such as "Fascination Street" or latter-day Smashing Pumpkins' records, 
Kent add a wash of fuzzed guitars to mid-tempo songs about longing. The 
atmosphere of _Isola_ is rather like Radiohead without the prog-rock 
trappings of _OK Computer_.
	The lyrics, obviously taken as seriously by the band in English as 
in Swedish, demonstrate an incredible grasp of the dynamics of sharing and 
loss involved in human ties. "Speak/I don't need to speak/You're satisfied 
with silence/Scream/I won't speak I'll scream/Sleep/And all my energy/I 
waste on dreams of silence," sings Joakim Berg in "If You Were Here."
	In "Elvis" his voice soars with the same sense of imminent crash 
that is so important to the catharctic energy of Radiohead, Geneva, the 
Manic Street Preachers: "So now you're stealing my time/All the hours that 
I once/stole from you/I never thought you would mind/But I can see you 
do." 
	_Isola_ never explodes with the amplified cacauphony of louder 
portions of the Radiohead canon--Kent never indulge themselves with the 
white-noise-drenched release of a "My Iron Lung," for instance--but the 
evocation of wrenching emotional tension on _Isola_ is every bit as 
eloquent and powerful as that on display in _The Bends_. The emotional 
origins of Kent songs sound as immediate and tangible as those of the 
Manic Street Preachers or Stereophonics, though, again, Kent eschew the 
musical bombast and frenetic energy of the Welsh bands.
	Kent show a side of Swedish youth culture that the post-Cardigans 
groups and Beatlesque pop bands avoid: the depression that, among other 
things, mandates high alcohol taxes to keep the kids from drinking 
themselves to death. Most of their compatriots fend of the (literal) 
darkness with a light approach to music; in embracing the (metaphoric) 
darkness around them, Kent produce a sound that soothes the listener with 
implied empathy.
---
	REVIEW: Embrace, Live at Liverpool Royal Court, Sept. 10
		- Tim Kennedy
	After an interval of relentless techno and the opening 
band (Delakota),  Embrace took the stage and immediately found a 
highly receptive crowd.  In fact, it soon turned into an evening 
of almost revivalist proportions. The band's well-known mix of 
anthemic emotive ballads mixed in with punk rock appeals strongly 
to an audience who sprang up overnight after the cataclysmic 
explosion of Oasis onto the music scene,  and who clearly have an 
unsated appetite for the same now that their idols have departed 
the stage.  The crowd were 100% teenagers,  of equal parts both 
sexes and danced ecstatically or waved their arms frantically,  
with screaming erupting periodically.  They bellowed along to the 
words as well.
	It detracts from the show when singer Danny Macnamara apes 
Verve's Richard Ashcroft with repeating "come on" arm-waving and 
shouting.  The Verve were a singularly overrated band who frankly 
can't hold a candle to Embrace in terms of songwriting; Macnamara 
should try to work on a more original stage persona.  The crowd 
hardly needed any such encouragement - they were already ga ga.  
Tracks such as "Now You're Nobody" are other indications that Danny 
is a fan of the now-departed whingers from Wigan, as does "Fireworks" 
which is like "The Drugs Don't Work" - but much better.
	However, the band put everything into their performance and 
actually add a little to the songs from the album,  emphasising the 
fact that their debut album is probably the best this year.  Danny 
overdoes it a bit with the Yorkshire bonhomie - they're definitely 
from the posher side of Huddersfield.
	His voice is in good form,  though it has sometimes been 
pointed out as a weakness of the band.  Brother Richard Macnamara's 
guitar work is also quite skillful,  adding a distinctly more 
metallic dimension to their garage punk numbers.
	It has to be said that their many UK critics are right about 
the Oasis similarities.  At times the faster tempo material is 
scarily Gallagher-esque.  This is not to criticise it because it is 
streets ahead of Oasis' recent stuff.
	The mellowest of their ballads are almost in the manner 
adopted by ex-Take That members or even Elton John.  They seem 
unconcerned at being the prospective acceptable face of UK alternative 
rock.  Surely even the Salvation Army would laud their positive themes 
("Say Yes") and their anti drink/drugs stances.  However, the youthful 
Liverpool crowd had no qualms about the band at all.  Embrace's 
weakness is none of their concern.
	Usually the support band are fairly average and deliberately 
chosen to be so - no-one likes to be blown offstage. So, it was a 
surprise that Delakota were quite such a blast of fresh air in the 
frankly dingy and motheaten Royal Court.  The singer with his shaggy 
blond locks is relaxed, ambles around smiling,  his voice is clear 
and in tune, a mix of Tim Charlatan and Liam Oasis. The band play a 
NICE mix of garage punk, hiphop rythms and all sorts of other little 
hints of styles,  plus the occasional sample. Competent yet sparky,  
they got an appreciative ear from the assembling crowd.  By the end, 
having played their current single "Hey Cincinnati"  - a more 
rock'n'roll version than the Beck-esque studio version - they left to 
deserved acclaim.
---
	REVIEW: The Notwist, _Shrink_ (Zero Hour)
		- Chris Hill
	Close-ups of circuit boards in blue Joan Miro hues, 
resembling ancient Mayan temples, garnish The Notwist's newest 
release.  The strange yet recognizable photos set the stage for 
an album of disparate sounds (electronica, sax, and jangly 
guitar) assembled into a harmonious package, new yet familiar.
	The Notwist members pull from a grab bag of experience, 
instruments, and influences, flowing like a lava lamp between 
this band and myriad side projects (Village of Savoonga, Console, 
Toxic, & Tied and Tickled Trio, to name a few).  The versatility 
shows in the music: reed and brass instruments snuggle up 
comfortably next to pop guitar and drums.  
	The songs possess an airy, gentle quality, due in large 
part to Markus Acher's vocals, sung endearingly with his wistful, 
elongated German accent.  For fans of New Order, Pet Shop Boys, 
and Electronic, this album will connect in an immediate, visceral 
way.
	"Day 7" kicks off _Shrink_.  Rhythmic scratches, clanks, 
and percussion segue into clean electric guitar, fuzzed bass, 
and pounding drums.  It's a tune of bittersweet longing - "the 
shore/I see the shore from here/I see your town/I see your house/ 
and you/...I count the letters of your name/I count the days/'til 
you are here again/Day 7..." - sincere & appealing, establishing 
the mood of the album.
	Sampler Martin ("Sound-o-naut") Gretschmann has a deft 
touch with the decks, placing ursine notes and growls in 
"Electric Bear", handclaps in "No Encores", and bubbling lava 
sounds in "Another Planet".  Remember Bobby Brady's volcano 
experiment?  I swear it's in there. 
	Best of all, it took a stroke of genius to mix the sound 
of a connecting modem into the winsome single, "Chemicals".  
An impersonal electronic device plays against the emotional 
disconnection between the singer and the subject - "You are no 
good/And I know that you can't sleep/Until you know your 
overbearance makes me creep."  It's startling upon recognition, 
then stunning in appropriateness.
	If you liked Electronic's instrumental "Free Will" 
off the "Get the Message" single, the sax-soaked "N.L." will be 
manna from heaven.  "Moron", another instrumental, is equally 
angelical, with its beat cafe bass clarinet/lounge drum opening, 
breaking to a sax caterwaul, beach-movie drums, and vibraphone. 
"Your Signs" relies on a strong bass clarinet again, with Marcus' 
vocals bringing welcome associations of Bernard Sumner.
	Fans of The Notwist (pronounced "no twist") will notice 
that _Shrink_ combines four new songs ("Moron", "N.L", "Shrink", 
and "0-4") with six others found on 12" singles released in 
Germany, the U.S., and elsewhere in the same (or alternate) 
mixes.  Regardless of origin, the songs blend well together, 
which isn't surprising considering Markus Acher and Micha Acher 
wrote 9/10 of the songs.  The Sound-o-naut takes credit for 
the tenth tune ("No Encores"), with all lyrics written by 
Markus.
	I was never satisfied with the transition between New 
Order's _Brotherhood_ and _Technique_ albums.  "Bizarre Love 
Triangle" to "Mr. Disco" - much too jarring for a delicate 
constitution.  Nature abhors a vacuum, and now, a decade later, 
a transitional album appears, released by another band.  If only 
Mr. Peabody and Sherman could take it back to me.
---
	REVIEW: Dance Hall Crashers, _Blue Plate Special_ (MCA)
		- Jason Cahill
	When it comes to EP's, bands like Luscious Jackson and Alice 
In Chains set the standard with "In Search of Manny" and "Jar of Flies" 
respectively.  These albums, albeit abbreviated, contained enough new 
and challenging material to equal, in content if not size, most full 
length major label releases.  At some point, however, the EP changed 
from a format where new ideas were explored and risks were taken to 
one which became synonymous with terms like "throwaways" and "b-sides".  
Now when a band releases an EP it's usually to support one new single, 
with little concern for content.  What was once an outlet for musical 
experimentation, the EP has fallen far down the music ladder, securing 
itself just one rung beneath the remix album.  Sure, bands will tell 
you that it's a format which gives their audience an opportunity to 
hear previously unreleased songs (i.e. songs that weren't good enough 
to make the albums in the first place) and one or two new singles, 
but discerning fans should spot the obvious lack of effort a mile 
away.  The latest band to opt for the EP format, while at the same 
time preparing their next full length release, is the San Francisco 
ska band Dance Hall Crashers.
	The album, _Blue Plate Special_, is the band's third for major 
label MCA and contains six songs, only one of which was never before 
available.  In addition to the songs, the CD also acts as a CD-Rom, 
complete with four of the band's music videos, band photos and links to 
DHC related internet sites.  Not bad considering a list price of just 
below six dollars, but the question which remained was whether such a 
DHC fan oriented release would appeal to the average listener simply 
looking for some adrenalized ska sounds.  The answer, of course, lies 
in the music. 
	The album opens with "She's Trying", a track originally released 
as a part of Taylor Steele's film soundtrack to "The Show".  In typical 
DHC fashion, the song combines fast paced ska beats with the dueling voices 
of lead vocalists Elyse Rogers and Karina Denike.  Another track, "Lady 
Luck", first appeared on the soundtrack to "Meet The Deedles" (try finding 
that in a record store).  There isn't much to distinguish this song from 
anything DHC has recorded in the past, but it still serves as a perfect 
example of how DHC are able to perfectly mesh traditional ska sounds with 
their melodic pop sensibilities.  The album's finest track, and perhaps 
reason enough for purchasing _Blue Plate Special_, is "All Mine", a song 
from DHC's 1997 release "Honey I'm Homely".  The song, a remix by Sam 
Sever, who has worked with everyone from the Beastie Boys to 3rd Bass to 
Big Audio Dynamite, is given a completely new dimension as Sever 
skillfully adds textured piano loops and understated beats to an otherwise 
generic song, giving it much needed life.
	The remainder of _Blue Plate Special_, however, fails to distinguish 
itself from anything else in DHC's modest catalog, breaking no new ground, 
taking no new risks.  An acoustic version of "Shelley", a song featured on 
1995's "Lockjaw", is little more than filler and "I Did It For The Toys", 
DHC's contribution to the Christmas season, seems slightly out of place, 
an afterthought.  As for the videos and Internet links, they are 
interesting to look at once, but any repeated viewing seems unlikely even 
for the band's biggest fans.  In fact, with the exception of one or two 
standout tracks, _Blue Plate Special_ is an EP which, like so many others, 
represents a missed opportunity to bring creativity and distinctive flavor 
to an otherwise lifeless and hackneyed format.  Recommended only for core 
fans.
---
	REVIEW: Pansy Division, _Absurd Pop Song Romance_ (Lookout)
		- Paul Hanson
	Forget the hype. Just put it in a chest and deep-six it in the 
local ocean. Pansy Division are playing a pop/rock blend that is both 
interesting and playful, yet not musically deficient. Yes, the melodies 
are easy to hum and, for a band surrounded by hype regarding their 
sexual orientation, that is good: let the music stand on its own and 
let the chips fall wherever they may.
	All that said, the latest PD release _Absurd Pop Song Romance_ 
does a good job of twisting its way through just under an hour of 
material, kicking off with "February 17," which seems to be about a 
birthday. Thankfully, there's no corny "I forgot my girlfriend's 
birthday/She's going to kill me" style lyrics ala Paul Gilbert. With 
pounding drums and an upbeat tempo, "February 17" grabs the attention 
you didn't think you had. The following song, "Sweet Insecurity," might 
leave you confused. "Sweet" is an airy pop song, complete with two and 
three part backing vocals and handclaps. "I'll never Be the Same" 
follows and is closer to the style of "February 17."
	So, is this an upbeat punk-pop band or sellout fodder for the 
local station that plays Backstreet Boys and awful Monica/Brandy songs? 
PD does not seem to know which way they should go, clearly alternating 
between pop and less-commercialized fluff.
	And, if you can't dismiss the hype, you can blame a track like 
"Better off Just Friends" where the vocalist sings, "It was in the 
spring/ When we first met/ The time of year when young men's thoughts/ 
turn to other men." Yet, there is a subtle generalness to other songs.  
My favorite track is "Luv Luv Luv" with its lyrics "We're animals at the 
core/Instincts we can't ignore."
	Overall, and finally, this is an enjoyable disc. I think they'd 
do themselves better to either be a pop band or the punk for which 
they're best known. This walking the tightrope sucks.
---
	REVIEW: Yatsura, _Slain By Urusei Yatsura_ (Warner)
		- Tim Mohr
	Doing for Scotland what Ash do for Northern Ireland, (Urusei) 
Yatsura play fast, fun, and loud, with attention to enjoyable hooks 
and melodies.  Like Ash, the style and song titles seem to borrow from 
good-natured punkers such as the Undertones and Ramones.
	The riffs that anchor Yatsura songs are quite angular, 
as on the album opener, "Glo Starz," that skips along like an old 
Fugazi song--"Repeater" perhaps--while they shout nearly-phonetically 
identical phrases: "Atari! I'm Sorry!"
	The big single, "Hello Tiger," is more straight-forward. 
Chugging along atop a steady three-chord progression, the lyrics hit 
a series of images from contemporary club life. Sprinkled here and 
elsewhere are "La-la-la"s, "Na-na-na"s, and other vocal indications 
of a quality garage band.
	"No. 1 Cheesecake" brings a touch of romance to the party, 
albeit with odd lines about missing out on the century because of 
memories filled with images of your eyes like jellybeans. Or something 
like that. None of the syrupy stuff that Ash let (d)rip in "Goldfinger" 
or "Oh Yeah."
	Basically, if the members of Fugazi had never been "straight-edge" 
(and middle-class residents of Northwest DC), and instead had grown up 
in council flats in Glasgow, drinking, dreaming of making music for a 
laugh instead of scoring political victories, they would have formed 
Yatsura.
---
	REVIEW: Primus, _Rhinoplasty_ (Interscope)
		- Paul Hanson
	Primus is Primus. Either you are aurally aroused by Les 
Claypool's snap, crackle, pop bass technique, unique vocal style and
storyteller-styled lyrics, exemplified on this E.P. by a live version 
of "Tommy the Cat," or you find him annoying. Following the _Sailing 
the Seas of Cheese_ disc, I was a devotee. After _Pork Soda_ , I 
lost interest in the direction of the band as they became too 
introverted for my casual listenings. Not that they suddenly were 
awful - - I was just moving on.
	This time around, on a nine song E.P., two-thirds of which 
are cover songs, I remember why I liked the band when I first heard 
them. The playfulness of these tracks is evident, even during the 
first listen. Kicking off with XTC's "Scissorman," continuing through 
Peter Gabriel's "The Family and the Fishing Net" and Stanley Clarke's 
instrumental, "Silly Putty," Primus epitomizes mastery of their guitar, 
bass and, begrudgingly, drums. Brain, Tim "Herb" Alexander's recent 
replacement improves his case during the first three tracks.
	Moving on, Jerry Reed's "Amos Moses" and Primus' own "Too Many 
Puppies" are two more standout tracks. Perhaps the most recognizable 
tracks, The Police's "Behind my Camel" and Metallica's "The Thing That 
Should Not Be" stick a bit too close to their original.
	The disc closes with the epics "Tommy the Cat," which clocks 
in at 8:57 and "Bob's Party Time Lounge" at 7:32. Both feature Claypool's 
bass magic and solid drums from Brain, who stretches out for a Neil Peart 
ripoff solo in "Tommy."
	However, by the time this disc ends, you are likely to remember 
why you liked Primus in the first place and, if you have yet to dive 
into the world of frizzle frys, seas of cheese or pork soda, _Rhinoplasty_ 
is your best place to start.
---
	REVIEW: Sister Soleil, _Soularium_ (Universal)
		- Sean Eric McGill
	For years, I have heard bands in local clubs that have made 
me think 'Damn, if nothing good happens to these guys, that would be 
a shame'. Now I can add Sister Soleil to that same list after hearing 
their new album _Soularium_ .
	Lead by vocalist Stella Katsoudas, the music itself is an 
odd mixture of Sugarcubes-era Bjork, Kate Bush, Tori Amos, and about 
any other female artist of the past twenty years. The songs 
themselves are the usual mixed-bag fare of tracks about a love long 
lost, youth, etc. - but each has its own twist. Tracks like "Torch", 
"AOL" (yes, *that* AOL) and "Liar" are among the best on the album, 
and each has its own style and flavor, due in large part to her 
four-piece backing band, who seem to compliment her every vocal 
move with their music.
	But what sets Sister Soleil and _Soularium_ apart is 
Katsoudas. She wrote the songs, she produced the album, she sings 
with such raw emotion that her talent is impossible to ignore. And 
part of the appeal of her talent is that you can feel the urgency 
behind the music. This is what she was meant to do on this planet - 
anything else just wouldnt seem right.
	My first paying job as a writer was as a sportswriter in 
the town I grew up in, a job I took after my own playing days had 
ended due to injury. For a mid-sized town, we had many players 
from different sports who you could describe using one word -  
phenom. That word kept occuring to me while listening to 
_Soularium_ - phenom. It is used to describe someone who plays with 
pure natural talent, doing their job with what seems like the same 
effort the rest of us use for tasks like breathing. Stella Katsoudas 
has that type of talent, but instead of being able to take a round 
bat and connect with a round ball, sending it five hundred feet, 
she is able to write and perform music as though its what she was 
born to do.
	Perhaps it is only appropriate that as I sit to write this 
review, I have just watched for what seems to be the one hundredth 
time the replay of Mark McGwire's sixty-second home run of the 
baseball season, making him the all-time single season home run 
champion. It's something I doubt that I will never tire of seeing, 
and I shall remember where I was when it happened until my final 
breath. And while _Soularium_ may not have the same kind of 
long-lasting impact on me as McGwire's accomplishment, I have 
heard it dozens of times and haven't become even remotely tired 
of hearing it. People who have no interest in baseball have become 
enraptured by McGwire's chase and conquest of what many thought to 
be an impossible feat to accompish, and people who have merely a 
passing fancy in music should pick up _Soularium_. True talent is 
true talent, regardless of the way it is used.
---
	REVIEW: Imogen Heap, _I Megaphone_ (Almo Sounds)
		- Chelsea Spear
	Almo Sounds' entrant into the Lilith-ready race for the 
most melodic, Tori Amos-influenced female vocalist race is a 
striking nineteen-year-old named Imogen Heap, already a star in 
her native Australia.  Heap's debut platter, _I Megaphone_, 
suggests why she's held in such high regard Down Under.  The album 
reveals a drive and intensity appealing in such a vocalist, 
combined with a booming vocal primed to give listeners the 
willies.  Her music has a catchingly addictive, kalidescopic aspect 
to it, and her lyrics reveal a startling insight and wonderful 
sense of humor.
	Sure, all of this sounds good now.  However, nothing can 
be this amazing all at once.  As with many debut albums, _I 
Megaphone_ can be used as much for gaming purposes as for 
discovering new talent, since the music she listened to during 
the creation of the album is as abundantly clear as Heap's own 
talent.  And, sometimes, the musical styles she takes on can 
overwhelm her world view as it can help add focus.
	Moments like the first few seconds of album opener "Getting 
Scared" put everything appealing about Heap into focus -- the 
melding of her piano style and breathy, supple voice with the 
honeyed techno beats that suggest the influence of techno/folk 
goddess Beth Orton.  Unfortunately, if the song reveals the 
zenith of Heap's considerable talent, it also reveals the nadir 
of the production -- a few seconds later, a more canned and 
synthetic sounding beat comes bouding out of the stereo, 
accompanied by a louder, processed vocal.
	The other end of that spectrum is the unadorned piano ballads 
that dot the second half of the album.  These come much closer to 
Heap's true style and what her real voice must sound like, even if 
they end up sounding like various rough drafts of Tori Amos' 
"Leather".  I'm much more drawn to the fusing of these two styles, 
as with the ballad "Come Here Boy".  Set to the booming beat of a 
canned drum that brings to mind one of Brandy or Monica's girly 
slow jams, the emotive tinkling of Heap's piano and the vulnerable 
cough of her voice blend something synthetic with something real.
	All in all, _I Megaphone_ introduces Imogen Heap as a major 
talent in the making.  However, one wishes that her talent was pushed 
and developed into more challenging, satisfying, and individualistic 
ways before it was committed to tape like this.  Oh well - perhaps 
that's the next album's job.
---
	REVIEW: 12Rods, _Split Personalities_ (V2)
		- Linda Scott
	12Rods is a popular trio in Minneapolis where they were named
Best New Band of 1996.  Their self-produced EP, _gay?_, and their
live shows led to their V2 Records contract. and their full-length 
album, _Split Personalities_.  12Rods is a tight trio with two 
brothers, Ryan (vocals, guitars, bass, synths) and Ev (synths, 
guitars, vocals) Olcott along with childhood friend Christopher 
McGuire on drums.
	The tracks in _Split Personalities_ are rich and full, and the
12Rods trio pulls this off with the aid of synthesizers.  The band
marries guitar rock with musical electronics and does it so
skillfully that listeners in either camp can enjoy the mix.  Full bore
drum/guitar attacks are joined by augmentary, not competing synths.
	If _Split Personalities_ reminds the listener of Radiohead,
note that the majority of the album tracks were mixed by Paul
Kolderie and Sean Slade who did the honors for Radiohead, The
Mighty Mighty Bosstones, The Cure and others.  Also worthy of
mention are the lyrics which touch on issues of emotional conflict
in the post-adolescent life.  "I Wish You Were A Girl" is about the
barrier between gays and straights while "Make Out Music" is for
all those outcasts who fantasize revenge on bullies.  Not all the
tracks are this heavy; there are songs about love and sexuality
while "Split Personality" leads off the album with a look at the
philosophies of digital and analog recording.
         The music fits the lyrics, the vocals are mixed so that you
can hear them, and the trio knows what it wants to do with its
music.  High marks to McGuire for his drum work.   These guys
are good, so go out and find the art-rock meets guitar-rock world 
of _Split Personalities_.  
---
	REVIEW: B.T.K., _B.T.K._ (Ignition)
		- Franklin Johnson
	Toronto, Canada-based five-piece B.T.K. help create 
a new categorization of music - psychedelic hip hop for the 
90s - on their full-length debut, _B.T.K._.
	Melding rap, hip hop and real guitars, _B.T.K._ 
produces more fun on any album since De La Soul were rising 
three feet high.  The pro-marijuana magazine High Times 
*needs* to make "Corncob Pipe" its anthem.  70s Backing 
music - rock, not disco - can be heard throughout the entire 
album.  So "Things Gotta Change" has a Lynryd Skynyrd meets 
"Sun City" feel, "Peppyrock" takes the ghost of Jerry Garcia 
and mixes it up with hip-hop, and the song which garnered a 
'best indie video' award from Canada's Much Music, "Superchile" 
could be placed on the turntable at any college and inspire 
a stoned nation to dance.
	Fortunately, B.T.K. - an abbreviation for Birth Through 
Knowledge - stick with what they know; no Vanilla Ice tall 
tales here of growing up in the 'hood, or any other nonsense.  
Instead, their raps focus on conspiracy theories, childhood 
dreams, and marijuana.  Let the music speak for itself, as two 
totally distinct brands of music unify themselves into an 
innovative recording for 1998.
---
	REVIEW: Money Mark, _Push The Button_ (Polygram)
		- Tim Mohr
	As keyboardist for the Beastie Boys, Money Mark definitely 
has the proper credentials to create cross-category, eccentric 
music with a mix of live and electronic intruments--but Money Mark 
consistenly transcends his mere name-dropping marketability to put 
together startingly original records.
	Following on the heels of the successful re-release of his 
"Hand in Your Head" single last Spring, Money Mark has made an entire 
album of loose but structured songs with flourishes of garage 
guitars, vintage keyboards, and both live and programmed beats. 
Truly surprising, however, given some of his obtuse early Mo' Wax 
singles, is how much each song is just that: a self-contained, 
finite, song with vocals and a chorus.
	Push The Button_ can be compared to records by Space or the 
Lighting Seeds, bands using computers to make organic pop music. 
Perhaps an even better comparison would be to Beck, though Money 
Mark refrains from harnessing as much hip-hop intensity as Beck 
sometimes does. Take Beck's "Where It's At," add some amateur guitar 
strumming and sunny vocals with lines like "tomorrow will be like 
today," and you have constructed a Money Mark track.
	The music on _Push The Button_ is very inclusive--the songs 
are so good that they immediately incite singing-along, and the 
arrangements take in a wide variety of instrument sounds and 
stylistic genres. Though it would be too exclusionary to label the 
music, it is important to stress that the record is cohesive. The 
genre-spanning style does not subtract from the internal consistency 
of the album or the structural integrity of individual songs. _Push 
The Button_ is exemplary of the post-Britpop, post-alternative, 
post-techno confusion now afoot--Money Mark has used this to his 
advantage and made one of the strongest albums of the year.
---
	REVIEW: Baby Fox, _Dum Dum Baby_ (Roadrunner)
		- David Landgren
	I came across Baby Fox a couple of years ago more or less 
by chance at the release of their debut album, _A Normal Family_. 
That still gets fairly regular plays around here, so I was very 
interested to find out  how they fared the second album syndrome. 
The first time around they had five years of material to use; for 
the second album they had to come up with new -- without messing 
around for another five years. Not all bands succeed.  I'm happy 
to report that they come through with flying colours.
	So what does Baby Fox sound like? Broadly speaking, what 
they do is dub or trip-hop. The vocals of Christine Leach are the 
first thing that catch your attention. Imagine a bluesier Debbie 
Harry, soft and sensuous, with the breathiness of Curve's Toni 
Halliday. Then you start to pay attention to the music of Alex 
Gray and Dwight Clarke: the samples, the loops and the percussion. 
And, it is good.
	The opening title track's sound matches the cover art: 
black, sinister, bees crawling over the face of a china doll, 
bandaged. Other distinctive characteristic: songs fragments, 
samples snatched from the brink, lasting no longer than a few 
bars. Check out "Bluebird" especially.  That's Tennessee Williams 
you hear. Wonderful text.
	Worthy of note is the long, rambling "The Rookery" parts I 
and II, that starts out as a grinding industrial crank rolling over 
deep trip-hop beats. Part II snaps back and forth between ambient 
techno a la Banco de Gaia and funked out electronica. It 
insinuates itself slowly, unfolding its immensities upon repeated 
listenings.
	"Nearly Beautiful" swells up from the depths, built around 
a synth loop of some morbid merry-go-round. Filled with tension 
yet never coming to a crest, it leaves one restless. Peace comes 
in the shape of the following track "Zodiac", a much simpler 
proposition stripped of nearly all samples, leaving only vocals, 
bass line and drum track.
	They then rip it all up with "Bad Girl Love", a track that 
starts out with a glacially cold keyboard loop that then bursts 
into a kaleidescope of ersatz brass. And at around four minutes, 
this is one of the shorter songs - nearly all of the rest of the 
tracks are five minutes or longer.
	The highlight of the album is the track "Hallow'een" that 
spans nearly eight minutes. She: "He hid himself away. He made a 
pact with an evil woman and disappeared last Hallow'een." He: 
"Woman, come pick me up, come take me down". The music peaks and 
troughs between wrenching intensity and soft interlude, finishing 
up with a long intrumental jam. Play loud!
	Finally comes a syrupy sweet number "That's The Way It Is". 
It's corny enough to be used as a theme song for Californian 
teenage TV series, where all the girls have long blonde hair and 
the boys have shiny white teeth. It's a rather masterful achievement 
in that one feels like dissing it, but at the same time you can't 
help but feeling drawn in.
	The last track "Naked Hour" is sounds a lot like Curve, a 
sharp snapping snare over sliding bassline, heavily-trafficked 
vocals, shimmering electronics and incongruous tinkling bells tbat 
pull the mood from sadness to beauty. "I am sworn to a way of life. 
I will be what I say I am," says a voice of wrenching desolation. 
I don't  know where they dug that up from, but it sends shivers up 
my spine.
	_Dum Dum Baby_ grows on me with each repeated listen. Maybe 
it is the result of writing the entire album over the space of a 
few months; it has a definite cohesiveness not present in their 
first album. It contains, by my reckoning, three drop-dead tracks - 
and the rest of them are no slouches, either. A definite winner.
	The band has their own web site at http://www.babyfox.demon.co.uk 
(notably, containing the lyrics to the album), and their label's site is 
at http://www.roadrun.com .
---
	REVIEW: Evinrudes, _Evinrudes_ (Mercury) 
		- Tracey Bleile
	I didn't realize Sheryl Crow had really been around long 
enough to actually be considered an influence.  She does however, 
possess a style that is strong, accessible, and according to what 
I'm hearing from this band out of the Carolinas, the Evinrudes, 
worth emulating.
	Think spun-sugar sweet vocals over songs alternating between 
folky ballads ("Indians On The Moon", "Little Red Stars") and riffy 
bar blues ("Drive Me Home", "Swagger")  with a lot of the usual 
suspects (violins, world-weary storytelling lyrics) and not so usual 
(trumpets and noisy feedback).  The work ethic of the song structure 
and arrangements are all there - it's the copycat accusation that may 
hold this one back.
---
	REVIEW: Superkreme, _Superkreme_ (Acme Entertainment)
		- Franklin Johnson
	Co-lead vocalists Matt Sobol (formerly from the Waynes) 
and Susan Rasch offer a two-tiered listening treat on the 
Superkreme self-titled debut release.  When Sobol grabs the 
mike, especially on the standout "I'll Be Around", images of 
Matthew Sweet and Michael Penn and incredibly enough, an 
alternative version of James Taylor ("Letter Goes Nowhere") - 
will immediately leap to mind.  But when Rasch steps to the 
forefront, a poppier version of L7 and Chrissie Hynde ("Dream 
Girl") appears in the rear-view mirror. So, purchasers of 
_Superkreme_ get, in effect, two nearly-different standout 
EPs for the cost of one album.
	Produced by Mitch Easter, astute listeners will instantly 
think back to the mid-80s sound of college-rock forefathers such 
as the db's and Let's Active and wonder how much Easter's 
production credits (R.E.M., Pavement, Velvet Crush) had to do 
with the band's infectious hooks.  Others may just think this is 
what Matthew Sweet could have done in between _Girlfriend_ and 
_Altered Beast_ .  However, the most likely outcome after a 
listen to _Superkreme_ ?  Another spin in the turntable, and an 
amazement that the Cleveland-based band wasn't snared up by a 
major label's A&R department.
	For more information on Superkreme, check out the band's 
website at http://www.superkreme.com 
---
	REVIEW: The Great Western Squares, _Almost Sober_ (Blunt/Independent)
		- Jon Steltenpohl
	From the first few chords of _Almost Sober_, you realize that 
something a little odd is going on.  The music is American country and 
western, but the beat is a little more like U. K. pop.  Indeed, a closer 
inspection of The Great Western Squares bio reveals that this group, 
while formed under the auspices of the Johnny Cash Appreciation Society, 
is really an Irish band with roots in punk and other "dodgy" bands.  
The Society began as an ad hoc jam of musicians at a North Dublin pub 
called the Hut.  Sparked by those nights, Gary Fitzpatrick and a few 
friends ended up exploring all sorts of somewhat obscure classic country 
and folk artists such as Jimmy Webb and John Prine as well as George 
Jones and Loretta Lynn.
	Under a bizarre set of circumstances, Fitzpatrick ended up 
recording a few country flavored covers of songs like Motorhead's "Ace of 
Spades" instead of a few of the punk tracks he had planned on recording.  
The result was an album called _Judas Steer_ which was well received in 
the U.K.  Now, their follow-up, _Almost Sober_ finds the band doing 
almost all originals and sounding not quite authentic as country and 
western artists, but wholly familiar anyway.
	Unlike "New Country" in the U.S. which seems content on 
delivering sanitized rock music filled with lame puns and soft core 
innuendo, The Great Western Squares give impassioned renditions outside 
the profit driven world of Nashville.  These feel like real songs sung 
by real people.  They can be sad and melancholy without resorting to 
"cry in your beer" hysterics.
	Lyrically, Fitzpatrick uses plain words to get across strong 
emotions.  In "She's a Dream", lead female singer Oona White reflects, 
"She can take men, like no other / she can break men with her smile / 
she can raise men from their slumber / she can make men live or die."  
Other times though, he gets a little bit too far into the cowboy myth 
with songs like "Legs Diamond".  "The sheriff's got a smile," observes 
Fitzpatrick, "The townsfolk know your time is nigh, In hell you'll 
have your trial."
	Musically, The Squares hit their stride on the quieter pieces.  
"Don't Tear Yourself To Pieces" is particularly good as is the final 
"hidden" track and "She's a Dream".  Another standout, "Anemone", 
isn't particularly country, but it certainly feels classic and rustic 
and has a slight sea chanty feel to it.  For more country and western, 
the next track, "Small Town Reel" is the story of a young runaway 
complete with mandolin and lap dulcimer.  A fast cover of Alan Parsons' 
"Luxury Liner" tries to be a barn burner, but Oona White's vocals prove 
to be more suited to the quieter, pleading songs than this fiddle 
driven, hoe-down number.
	The album closes with a few alcohol related songs which are 
nice, but serve more to fuel the fire of the Irish drinker persona 
than anything. And while the style of the album is neither traditional 
Celtic nor modern U2, there is something definitely Irish about The 
Great Western Squares version of country and western.  Much like The 
Commitments version of soul, _Almost Sober_ is a fun, lyrical take on 
a genre attached to a continent an ocean away.
---
NEWS:	> Cheap Trick (Robin Zander, Rick Nielsen, Tom Petersson, 
and Bun E. Carlos) will be inducted into Hollywood's Rockwalk 
on October 2.  
---
TOUR DATES:
	Archers of Loaf
Sep. 29 Baltimore, MD Bohager's
Sep. 30 Washington, DC 9:30 Club
Oct. 1 Philadelphia, PA Trocadero
Oct. 2 New York, NY Tramps
Oct. 3 Boston, MA Middle East

	Better Than Ezra / Possum Dixon / Athenaeum
Oct. 1 Norfolk, VA The Boathouse
Oct. 2 Washington, DC 9:30 Club
Oct. 4 Pittsburgh, PA Graffiti

	Candlebox
Oct. 1 Memphis, TN Mid-South Fair
Oct. 2 Nashville, TN 328 Hall

	The Church
Sept. 30 Minneapolis, MN First Avenue 
Oct. 1 Chicago, IL House Of Blues 
Oct. 2 Detroit, MI 7th House 
Oct. 3 Cincinnati, OH Bogarts 
Oct. 4 Cleveland, OH Odeon Concert Theatre 
Oct. 5 Toronto, ON The Guverment 

	Cravin' Melon
Oct. 1 Orlando, FL Sapphire Supper Club
Oct. 2 Tampa, FL Frankie's Patio
Oct. 3 Gainsville, FL Alachua County Fair
Oct. 4 Charleston, SC Harbour Hilton Resort

	N'Dea Davenport
Sep. 29 Boston, MA House of Blues
Sep. 30 New York, NY Irving Plaza
Oct. 4 Norfolk, VA Old Dominion University
Oct. 5 Atlanta, GA Cotton Club

	Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Sep. 29 Blink 182
Oct. 2 Morcheeba / Pernice Brothers
Oct. 5 DJ Spooky

	Jesus & Mary Chain / Mercury Rev
Sep. 30 Cleveland, OH Agora Theatre 
Oct. 3 Philadelphia, PA The Trocadero
Oct. 4 Providence, RI Lupo's

	Korn
Sep. 29 Pittsburgh, PA Civic Center
Sep. 30 Detroit, MI The Palace
Oct. 2 Milwaukee, WI Mecca Arena
Oct. 3 Chicago, IL Rosemont
Oct. 4 Minneapolis, MN Target Center

	Lenny Kravitz
Sep. 29 Oxford, MS Tad Smith Coliseum 
Oct. 3 Milwaukee, WI Eagles Ballroom 
Oct. 4 Chicago, IL The Aragon Ballroom 

	Liquid Soul
Oct. 2 Carbondale, IL Copper Dragon
Oct. 3 Chicago, IL Joe's

	Mercury Rev
Sep. 30 Cleveland, OH Agora Theatre
Oct. 3 Philadelphia, PA Troacdero
Oct. 4 Providence, RI Lupo's

	Reel Big Fish / Spring Heeled Jack
Sep. 29 Providence, RI Lupo's 
Oct. 1 Sayreville, NJ Hunka Bunka 

	Samples
Sep. 29 Winooski, VT Higher Ground
Oct. 1 Cincinnati, OH Bogart's
Oct. 2 Columbus, OH Newport Music Hall
Oct. 3 Crawfordsville, IN Wabash College
Oct. 5 Nashville, TN Exit In

	Sheila Divine
Oct. 2 Buffalo, NY Showplace Theater
Oct. 3 Boston, MA Northeastern Univ. 

	Dee Snider's StrangeLand Tour (Soulfly + more)
Sep. 28 Cleveland, OH Odeon
Sep. 29 Scranton, PA Tink's Hall
Sep. 30 Rochester, NY Water Street Music
Oct. 1 Norwalk, CT Globe Theater
Oct. 2 Portland, ME State Theater
Oct. 3 Providence, RI Lupos
Oct. 4 Hartford, CT Webster Theater
Oct. 5 Boston, MA Avalon Ballroom

	Spacetime Continuum
Oct. 1 Boston, MA Landsdowne Playhouse
Oct. 2 Montreal, QC Stereo
Oct. 3 Toronto, ON Sky
Oct. 4 Chicago, IL House of Blues

	Mike Watt
Sep. 29 Tallahassee, FL Club Downunder 
Sep. 30 Gainesville, FL Covered Dish 
Oct. 1 Jacksonville, FL Fat Cat Music Hall
Oct. 2 Orlando, FL Sapphire Club 
Oct. 3 Tampa, FL State Theatre 
Oct. 4 West Palm Beach, FL Ray's 
---
THE READERS WRITE BACK!
	> Scotland is not a part of England, as the 
Belle and Sebastian review implies ("In England, the 
Scottish septet Belle and Sebastian have actually had 
a Top 40 hit and appeared on the British show Top of 
the Pops.")
	England, Scotland, Wales, and Northern Ireland 
together form the political union known as the United 
Kingdom of Great Britain and Northern Ireland.  This 
is often shortened to `the United Kingdom' or 
`Britain', but is not, as so many North Americans 
continue to believe, `England'.  The Scots would no 
doubt be dispirited to find that despite becoming the 
hippest nation of the decade, people still think they 
live in England.
- Andrew S., Cambridge, England
	{Ed. note: I must have missed the vote on hippest 
nation...but apologies for potentially causing some 
confusion on the wording.  Scottish band, British TV show)
---
ERRATA:	> In the September 21 issue of Consumable, 
Razzle was incorrectly identified as a member of 
Dogs D'Amour; he was actually in Hanoi Rocks.
---
Founded in August, 1993, Consumable Online is the oldest 
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