==== ISSUE 81 ====         CONSUMABLE         ======== [July 11, 1996]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim 
                      Kennedy, Reto Koradi, David Landgren,  Sean Eric 
                      McGill, Tim Mohr, Jamie Roberts, Joe Silva, John 
                      Walker
  Correspondents:     Dan Birchall, Lee Graham Bridges, Scott Byron,
                      Joe D'Andrea, Joe D'Angelo, Paul Grzelak, Eric Hsu, 
                      Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario 
                      Lia, Bob Mackin, Al Muzer, P. Nina Ramos, Linda 
                      Scott, Ali Sinclair, Jon Steltenpohl
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
                      Jason Williams
  Also Contributing:  Maisha Marsh

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Da Da - Al Muzer
REVIEW: Metallica, _Load_ - Sean Eric McGill
REVIEW: Finn, _Finn_ - Joe Silva
REVIEW: Prince, _Music from the Motion Picture Girl 6_ - Jon Steltenpohl
REVIEW: Spin Doctors, _You've Got To Believe In Something_ - Dan Birchall
   and Maisha Marsh
REVIEW: Liquid Soul, _Liquid Soul_ - Bob Gajarsky
REVIEW: Definition of Sound, _Experience_ - Reto Koradi
REVIEW: Dirt Merchants, _Scarified_ - Jon Steltenpohl
REVIEW: Trip 66, _Trip 66_ - Dan Enright
REVIEW: Download, _The Eyes of Stanley Pain_ - Al Crawford
REVIEW: Possession + African Dub, _Off World One_ - Stephen Lin
REVIEW: David Gray, _Sell, Sell, Sell_ - Reto Koradi
NEWS: Joe Baiza, Macfest, Primitive Radio Gods, Trainspotting Party,
   Wrens, Swedish Music Festival
TOUR DATES: Art In The Anchorage Series, Baboon, Barkmarket, Black 
   Crowes, Tracy Bonham / Everclear / Spacehog, David Bowie, Capercaillie
   Tracy Chapman, Cordelia's Dad, Elvis Costello, Cravin' Melon, Cure,
   Customers, Disappear Fear, Def Leppard / Tripping Daisy, Experimental
   Audio Research, God Lives Underwater / Far, Finn, Half Hour To Go,
   H.O.R.D.E., Kiss, Letters to Cleo / Gravel Pit, Huey Lewis & The News
   Lollapalooza, Love & Rockets, Luna, Natalie Merchant, Nada Surf,
   Paleface, Pantera, Porno For Pyros, Rembrandts, Steely Dan
   Superdrag, Velour, Warped Tour, Wrens
Back Issues of Consumable
---
	INTERVIEW: Da Da
		- Al Muzer
	Da Da's first record - the "clean," melodic, hook-filled, 
pop-friendly, _Puzzle_ - burst onto the music scene just as Nirvana, 
Pearl Jam, Alice In Chains, STP and "grunge" took over the airwaves 
and the MTV Buzz Bin back in 1992.
	Despite being slightly out of sync with the flannel shirts, 
unchecked anger and heart-on-sleeve angst that was suddenly a hot 
musical commodity, _Puzzle_ yielded three relatively successful hits 
("Dim," "Dizz Knee Land" and "Here Today, Gone Tomorrow") for the young
band.
	"We were in a van outside of Reading, Calif. on our very 
first tour when we heard "Dizz Knee Land" on the radio for the first 
time," recalls drummer/vocalist Phil Leavitt fondly. "The station was
playing a block of songs and we came on after a Led Zeppelin tune. We
had to pull the van over to the side of the road. We just flipped out!"
	The album went on to sell an impressive 300,000 copies and 
Da Da spent most of the year "alternative" began to morph into 
"mainstream" experiencing America from a cramped van.
	The seemingly never-ending _Puzzle_ support tour exposed 
the group's surprisingly intense live show and stunning harmonies 
to the scattered beginnings of what would, over time, grow into a 
cult of devoted Da Da fans packing clubs regardless of the band's 
current chart position.
	The group's second effort, _American Highway Flower,_ was 
released just as Green Day-fueled punk rocketed its way up the 
charts in 1994. The new album found Da Da, once again, concentrating
on creating great pop songs with deep lyrics, moody dynamics, 
endearing vocals, catchy choruses and ear-grabbing hooks.
	Although they enjoyed a bit of minor success with "All I Am,"
Da Da was completely out-of-sync with the three-chord, green-haired, 
make-believe punk being crammed down the throats of consumers - and 
_American Highway Flower_ languished briefly at the lower end of 
the charts before vanishing.
	"We didn't get much press for the second record," laments 
bassist/vocalist Joie Calio. "We're not part of the 'thing'
that's been generating for the last few years, the big Rolling 
Stone/Spin/MTV pyramid. We don't have one identifiable sound and
we're kind of an eclectic band. So, I guess, that's made it hard 
for people to 'set' us anywhere. It makes it hard to pigeonhole 
us as any one thing."
	"We're cult favorites," deadpans Leavitt.
	"Yeah!" laughs lead singer Michael Gurley. "But, at least 
we won't get that 'quick burn' thing that happens with those poor 
guys that get too much press," he says semi-sarcastically.
	In spite of the somewhat disappointing CMJ and Billboard showing 
of _American Highway Flower,_ fans who'd caught the band in concert 
during the first tour turned out in droves to cheer them on during 
their latest unending trek across the country. And, being true Da Da
fans and confirmed converts, they brought some friends along with 'em.
	The tour was eventually deemed a success by label accountants,
which encouraged IRS to give the group a thumbs-up for a third album. 
The three musicians quickly disappeared into the studio with 
producers/pals Adam Weiner and Scott Gordon and mixer-to-the-stars
Tom Lord-Alge (Live, Oasis, Dave Matthews Band) for six months to 
work on what would become _El Subliminoso._
	Taking the time to grow with their new songs, the band 
relaxed, experimented and discovered that, according to Calio, "The 
fact that we took our time making the album gave us a chance to sit 
back and breathe. The melding of the two elements of Da Da - the song
and the sound - finally came together."
	A 12-song treat, _El Subliminoso_ covers a broad range of 
emotions and musical styles while encompassing influences that include 
The Beatles, the Who, Jimi Hendrix, jazz, funk, soul, metal, pop, grunge
and early-Rolling Stones - with just enough hooks, jangle and sweet, 
three-part harmonies thrown in to keep things constantly hummable.
	"We all started listening to music early, when we were around 
four or five," Gurley says by way of explaining the group's eclectic 
sound. "We're all big Beatles fans and we all seemed to start playing 
our instruments when we were, like, six or seven. So, I think we also 
have that strength, as well as a history of influences behind our sound."
	"On _El Sublimonoso_, we were pretty much left alone and worked 
on our own schedule," laughs Calio, "so the studio turned into, like, 
our clubhouse.  The result is that there are a lot of great songs on 
the new album, such as "Time Is Your Friend," "No One," "Rise," "I 
Get High," and "The Spirit Of 2009."
	"That song", interjects Gurley, "I'm definitely afraid of 
the Republican right wing. It seemed like they were picking up a 
lot of steam there for awhile, you know, the religious right - guys 
like Newt, Rush Limbaugh, Dole and Buchanan, and I got to thinking, 
'well, what if the nation really does go way to the right here? How 
would things go? What's a 15-year-old's life gonna be like in the 
year 2009?' "
	"The vision I had really scared me," he shudders, "and I thought 
that alone was reason enough for me to write a song."
---
	REVIEW: Metallica, _Load_ (Elektra Records)
		- Sean Eric McGill
	I'm sure by now you've probably seen dozens of reviews of _Load_,
ranging from "Man, this is great!" to "Man, this bites!". I've even seen
one that contained the quote "Apparently Metallica lost all their talent
when they lost their hair" (author's name and publication withheld to 
save them embarrassment). And while some hardcore fans of the band have
taken particular offense to the fact that "their band" has made a fairly
radical change in their sound and appearance, the album itself is some 
of the strongest material Metallica has put out since their _And Justice
For All_ album back in 1988.
	What makes _Load_ a strong album is that, more than any other 
Metallica release, it showcases all facets of the band's sound. For the
past two albums, Metallica has seemed stuck in one of two different 
extremes - they've either played constant "chukka-chukka" grinding 
metal, or found a niche playing really well-crafted and dark songs 
that people mistake as "power ballads", such as "Nothing Else Matters"
and "Unforgiven". 
	And while the first single from _Load_, the melodic and 
powerful "Until It Sleeps", once again bringing to mind previous 
Metallica hits such as "Nothing Else Matters", the remainder of _Load_ 
seems to be a trip through the band members album collections. Songs 
such as "2X4" and "Poor Twisted Me" bring to mind the swagger of ZZ 
Top among other artists.
	But these songs aren't just "Tush" with a crunchier guitar sound 
and James Hetfield's unmistakable vocals. All the songs on the album, 
regardless of their sound, still sound like Metallica. The essence of 
the sound that Metallica has created over the past decade remains 
intact, from Kirk Hammett's thick guitar (made even better by Hammett's 
inclusion as a rhythm guitarist, another first for the band) and Lars 
Ulrich's deep drum sound to Jason Newsted's dead-on bass playing. The 
Metallica sound itself is still there, the band is just doing a little
something different with it on _Load_ then they have on past albums.
	And why shouldn't they? Metallica has been around for over a 
decade now, consistently playing some the best harder rock available. 
The missteps in their musical career have been few, and their songwriting
and musicianship has improved with each album, instead of seemingly 
wasting away as fame comes around like so many other acts in the genre. 
But after a decade of having essentially the same sound, the band 
changed to reflect the changes in their life. 
	Let me say that again: the band changed to reflect the changes 
in their life. This isn't an album where a band changed to stay current
and hip with everything out there. Metallica isn't trying to cash in 
on that big "alternative" musical scene, they're just playing what 
they want - and playing it well.
---
	REVIEW: Finn, _Finn_ (Discovery)
		- Joe Silva
	For the record, Crowded House's high water mark would appear 
to have occurred with the New Zealand trio's 1986 debut LP that 
bore them a #2 hit single, "Don't Dream It's Over". But to the truly 
indoctrinated, who've come to view frontman Neil Finn as a minor 
pop messiah in the tradition of songsmiths such as Squeeze's Difford
and Tillbrook, and the Beatles' Lennon and McCartney, the cream was 
probably sweetest with the arrival of  1991's _Woodface_. That 
release saw the band becoming a four legged creature of sorts with 
the addition of elder Finn brother Tim, who had basically roped his 
younger brother into the musical arena to begin with back in the 
early days of  Split Enz. Being spun from the same genetic code, 
Tim and Neil's harmonies have a sort of naturally impregnable 
coalescence to them. That and the fact that they seem to reflexively 
write from similar strokes was enough to keep the muse aloft 
long enough to re-cement their artistic faith in another. All this 
makes the advent of _Finn_, etched out between the brothers Finn 
during early 1995 to nearby Polynesia, to have been a somewhat 
expected and welcome appearance.
	Far from the painted new wave of Split Enz and even somewhat 
distanced from the lush pop of _Woodface_, this third collaboration 
of Finns has overtones that match closer to the more playful 
moments of Crowded House's _Together Alone_. Where 
_Together Alone_ comes to halt amidst the rumble of aboriginal 
drums, _Finn_'s lead off track ("Only Talking Sense") starts up 
with a bit of  spare, organic percussion. It's as if someone had 
suddenly realized that they had accidentally taken the needle off the 
gramophone before the record was actually over. What follows that 
initial moment is a very footloose collection of skewed lyrical 
passages meshed with their typically resiliant melodies and the odd 
atonal sonic twist.  The association to their combined and separate 
paths exist, but it's as if a good number of their musical roots have 
newly blossomed but with more lush, exotic, and strange fruit.
	Without having to be encumbered by any particular band format, 
or having to be mired in the concern for chart success, _Finn_ has 
the massively liberated aura about it. Both brothers can dip freely 
substitute new colour charts for old, without the worries of  having 
anyone stare particularly hard at what they produce. With having 
weaved a pastoral, South Pacific vibes like "Mood Swinging Man" 
and "Paradise (Wherever You Are)" as well as bashing out the 
raucous "Kiss the Road of Rarotonga" all in the same space, it 
shows the not quite so subtle freedom embossed all over the record. 
	And it's these blissful detours that make the lapses to their 
traditional palettes not seem so obvious or expected. With being 
put on something of an odd footing now and again, it actually 
makes standard Neil Finn ballads like "Last Days of June" shine all 
the more. The initial single, "Suffer Never," is probably the least 
likely choice to highlight, but as one Finn or another has said, it 
wound up being more of an attempt to sever any expectations. 
Quite coincidentally, _Finn_'s US release also marks the last curtain 
for Crowded House. Offering up explanations of being somewhat 
creatively stifled after a decade in that lineup, Neil Finn seems to be 
making all the appropriate noises of the artist bristling anew or 
preparing for mid-life tumult. With or without Tim's solid 
accompaniment as seen here, it should be good in either instance. 
Highly recommended.
---
	REVIEW: Prince, _Music from the Motion Picture Girl 6_ (Warner)
		- Jon Steltenpohl
	So let's get this straight...  Now he's the artist formerly
known as the artist formerly known as Prince?  Hmm.  Who cares?
The album says it's Prince, and the music inside proves it is.
Chances are that you didn't see Girl 6 the movie, so I'll have to
provide a complete rundown of what's on the soundtrack.
	Of first note is a trio of classics from Prince's _Sign o' the
Times_ album.  "Hot Thing", "Adore", and "The Cross" come in on
tracks 8, 9, and 10 while "Girls and Boys" represents the _Parade_
album.  There's the non-album tracks of "How Come U Don't
Call Me Anymore", the short version of "Erotic City", and the new
song "Pink Cashmere" which were all featured on _The Hits_
collection.  All of these are Prince classics, and given the huge
catalog of material to choose from, it's nice that the obvious
sexy songs like "Little Red Corvette" weren't included.
	Sprinkled throughout the album are tracks from some of
Prince's "protege" bands.  With these bands, the credits rarely
include Prince's name, but you can tell the group learned the
songs by singing along to versions Prince himself recorded.  The
Family (who did the first version of "Nothing Compares 2 U")
contribute the average song "Screams of Passion".  It's possible
that Prince didn't actually write this one, but die-hard fans
will love it anyway.  Vanity 6 adds the synthesizer heavy "Nasty
Girls" that really only has the nasty innuendos going for it.
	The New Power Generation tracks are hit and miss.
"Count the Days" is a big miss.  The setting of this kiss-off
song is something like a gospel ballad, but something about a
chorus in full soul harmony singing about a "motherfucker" just
breaks the whole mood.  On the other hand, "Girl 6" is a bullseye
hit.  It's a rolling, jazzy track that recalls US3.  Tommy
Barbarella ably helps on this one, and Nona Gaye contributes the
vocals.  Like "Batdance" almost 10 years ago, "Girl 6" is
peppered with quotes from the movie as well as samples from some
of Prince's biggest hits.  The only bad thing about "Girl 6" is
that one of the samples is a ringing phone, and every time it
rings I jump to go answer it.
	The highlight of the album is that there are two new Prince
songs.  "Don't Talk 2 Strangers" is a decent goodbye ballad that
is fairly straightforward.  "She Spoke 2 Me" goes beyond decent
to incredible.  The song shares a lot with "Pink Cashmere" and
might have even been written around the same time.  "She Spoke 2
Me" is a mellow, falsetto voiced masterpiece that embodies cool.
Little horn bursts punctuate the bubbling bass line, and Prince
layers his breathy vocals over each other in a two part harmony
that proves not only his musical ability but his studio mastery.
	The big question is, "Do I really need this album?".
Definitely.  Even the Prince fan who "has everything" will find
that this CD is mastered impeccably.  The levels are lively and
the clarity is a step better than _The Hits_.  The new songs are
certainly worth having even for the casual Prince fan and the
whole album flows very well for songs that span over 10 years.
When set next to _The Gold Experience_, one can only conclude
that Prince is on the official come back trail.  Heck, the
soundtrack for Girl 6 is good enough that you might even want to
rent the movie!
---
	REVIEW: Spin Doctors, _You've Got To Believe In Something_ (Epic)
		- Dan Birchall and Maisha Marsh
	On the Spin Doctors third album, _You've Got To Believe In 
Something_, the Spin Doctors extend their reach beyond the funky 
upbeat pop which made them famous, yet never quite lose their 
trademark feel.  Taking a cue from the most famous doctor of all 
time - Frankenstein - the four musical mad scientists mate the body
of their core sound with bits and pieces of diverse genres.
	The title track, first on the album, is no exception.  A 
light, upbeat tune, it has a strong charismatic gospel-music feel.  
The sound normalizes somewhat with "House," an alternative pop tune 
in the classic Spin Doctors vein, then mellows in "Dogs on a Doe," a 
slow song with a classical-guitar sound.  The first side concludes 
with three songs of dysfunctional relationships and lost love, "I 
Can't Believe You're Still With Her," "She Used To Be Mine," and 
"She's Not You."  Throughout the trio, the tone progresses from one 
of upbeat disbelief to mellow sadness.
	"To Make Me Blue," an edgy number with a strong traditional 
Spin Doctors sound continues _Something_, which then drops into a 
bluesy groove with "'Bout a Train."  Softening slightly for "Where 
Angels Fear To Tread," the band slides dangerously close to mainstream
alternative blandness, but recovery comes quickly with "If Wishes 
Were Horses," a solid rock-n-roll song.  The band returns to form on 
"Sister Sisyphus," which should please fans hoping for another "Little
Miss Can't Be Wrong."
	The album ends up with a song that comes as both a surprise 
and a real treat.  The Doctors provide the instrumental backup for 
rapper Biz Markee's seemingly tone-deaf lyrics on a rollicking 
rendition of the disco hit "That's The Way I Like It."  Those who 
remember the seventies will find it danceable, and those who don't 
should at least be amused - particularly by Markee's pleading with 
the Spin Doctors to cease their kazoo-playing after the track ends.
	The Spin Doctors walk a fine line on this album, and deliver 
enough continuity to not alienate their core fanbase, along with the 
experimentation needed to attract new listeners. Steering a steady 
course that reduces the potential for either tremendous success or 
crushing failure, they deliver a solid recording ideal for play at 
parties and during recreation, with some nice twists and turns.
---
	REVIEW: Liquid Soul, _Liquid Soul_(So What)
		- Bob Gajarsky
	The band that Dennis Rodman wanted at his birthday party
during the basketball playoffs - yes, *that* party that made 
national news - was Liquid Soul.  Whether or not you agree with
his on-court (or off-court) persona and image, Rodman sure hit the 
bulls-eye with this hot Chicago group.  
	Their self-titled debut breaks down barriers between old and
young, between jazz, rap, hip-hop and pop in a way few acts can.
"Worlds' (sic) On A Leash" sounds like it was taken from a 
fictitious 70's blaxpoitation soundtrack - but what's with all 
that scratching from D.J. Jesse De La Pen~a, just barely 
discernable in the background, but clearly an influence?
	It's the new style.  Brilliantly taking the lead from 
veteran saxophonist Mars Williams (who has worked with rock
artists such as Billy Idol, Psychedelic Furs and Power Station),
this sextet combines guitars, drums and horns to produce
beautiful music.
	But these cats know their roots.  If you played their 
cover of John Coltrane's "Equinox" to an older generation, 
they'd nod their heads in approval at what today's class can 
do.  At the same time, turn on "Afro Loop" at the playground 
(with rap by The Dirty M.F.) and watch the cries for "Is 
Brooklyn in da house?" stop immediately.
	If Liquid Soul were a recipe, the chef would take 
a sprinkle of US3 or Guru - but less concentrated on the *rap* - 
and tack that on top of a healthy helping of the horns from 
Chicago or Tower of Power.  Throw in a dash of Pen~a's mixing and
scratching, and it's a culinary delight.  And, their recent
performance at New York City's S.O.B.'s inspired many in the crowd 
to spontaneously start dancing, whether in place, or down on the
floor, drawing their energy from the band - and returning it in kind.
	_Liquid Soul_...not just an album, but an experience.
---
	REVIEW: Definition of Sound, _Experience_ (Fontana/Mercury)
		- Reto Koradi
	Lots of associations pop up while listening to _Experience_, 
the third album from Definition of Sound. Not only do the lyrics in 
the chorus of the first track ("boom boom, that's my definition of sound")
have some resemblance to the Dream Warrior hit, "My Definition Of A Boombastic
Jazz Style", but some tracks have grooves that are reminiscent of Stereo MC's
hits, and there are also certain similarities with Renegade Soundwave's 
recent output. Yet this London based duo creates a quite unique blend of 
hip hop, soul, pop, and almost any other music genre you could think of.
	Mind you, this is lightweight music. But unlike others who try to
create something very important (and fail), Definition of Sound don't 
leave a shadow of doubt that this is fully intentional. No wonder that 
radio stations play songs like "Boom Boom" and "Pass The Vibes" on 
endless repeat; they are immediately catchy, quirky and stick in your 
brain. Even if you have an ambivalent relation to such music, and 
sometimes use the term "commercial" as negative qualification, these 
tracks make you wish that all easily accessible music would be as good
as this.
	If you're looking for an album that is not much of a challenge,
but a pure pleasure to listen to, _Experience_ by Definition of Sound 
is one of the best things that has crossed your way recently.
---
	REVIEW: Dirt Merchants, _Scarified_  (Epic/Zero Hour)
		- Jon Steltenpohl
	 It seems as if there are 3 billion "girl" bands out there
gunning for your attention.  You've got a huge list of names like
Hole, Vercua Salt, Juliana Hatfield, The Breeders, and on and on.
Well, go ahead and add number 3 billion and one to the list.  The
Dirt Merchants have just rammed their way onto the national scene
with an impressive debut called _Scarified._
	The album is a collection of songs recorded over the course
of a year at some of Boston's most prodigious studios (including
the sacred Fort Apache studios.)  _Scarified_ charges out of its
starting gate with "Bullfight".  Like the title suggests, the
song thrashes and thrusts with rage until its quick end.  After a
short minute and 50 second sonic assault, this song really does
the trick.  PJ Harvey fans will instantly recognize a common
thread in style and emotion.  Comparisons come easy in the "girl"
band genre.  Blondie, Blake Babies, and That Dog are echoed at
times, but for the most part, Dirt Merchants sound as if the
Cowboy Junkies decided to try the punk sound.
	After the energy of the first few tracks wears down, Maria
Christopher's vocals finally settle out to an airy and seductive
cool.  At times she sounds a little childlike and on the song
"Scarified," she even sounds downright precious.  "Trip Trip"
even has pretty "la, la, la"'s in it to trick you into thinking
the rest of the album is quite.  But, by the time they roll
around to a live track of "Mindfuck", the emotion has swung back
to violent and abrasive.
	Musically, Alex Kisch and brothers John and Mike Malone try
hard to fit the music to the song.  That means there is an
emphasis on simple melody tags which get torn up with distortion
and cacophony.  There's chiming guitars, hazy guitar solos from a
blues/alternative hell, shimmering and spooky chimes, and even a
banjo thrown in for good measure.  Christopher's vocals are
swirled into this mix at about the same level as the instruments
and it makes for a very distorted but engaging sound.
	It's nice to see bands like Dirt Merchants getting signed.
PJ Harvey has opened the doors for this mix of aggression and
fragility, and the music world is a better place for it.  Dirt
Merchants are fresh sounding and they seem to do what comes
naturally.  That makes for the perfect balance between pop
perfection and gritty distortion.
---
	REVIEW: Trip 66, _Trip 66_ (Columbia/Ruffhouse)
		- Dan Enright
	This debut album, from Pennsylvania's latest addition to 
contemporary rock, features brother/sister team Maria (vocals) and 
Paul Nicgorski (guitars), along with childhood friends Martin 
Hoeger (bass), Greg Lyons (drums), and Ryan Bernstein (guitars).
Hailing from Bucks County, PA (north of Philadelphia), they 
first first perked-up national audiences as part of 
Lollapalooza95's "Lab,"  but only after honing their songs for
enthusiastic crowds at Philly and New York City clubs (even 
though they're all underage). Last year, they released a 7" 
single, "Help Me" on Sympathy For The Record Industry. 
	"Givin' Way," the album's first song, kicks off with a 
drumbeat intro, then suddenly explodes into the wa-wa driven 
wall of distorted guitars and heavy bass that recall an earlier
approach to rock-and-roll.  What helps set this team apart is 
the ability to balance their chaotic, fuzztone frenzy, with 
strong melodies and riffs. And Maria's unique vocal style cuts 
through the wall of beats like a redhot knife. 
	"One Desire" is the perfect single, with its strong, 
minor tinged, melodic hook and snarled, angry lyrics: "Baby, 
baby your one desire/ you leave me, leave me out to dry/ you're
touchin' and touchin' this hallowed place/you leave me hangin', 
out again/Oh baby, baby, I think it's time/to save my money and 
leave you behind/a body abnormal, my friends would say/you think 
I'm stayin', well its too late..."
	This is immediately (and effectively) followed by the 
ballad-esque, "Believe," about Maria's longing to find others like 
herself (and when you're in twilight of your teenage years, who 
isn't searching for their tribe?), with its gentle refrain "If 
you need a friend, you'll find one/It's not hard to find one here."
Add a frustrated hard edged bridge, to shatter that gentle, 
forlorn longing and you have an effective double punch.
	Sony claims the band has a musical pedigree derived 
from Monster Magnet and Flaming Lips. While this may be true, 
it also subtly weakens the album's overall effect. I really 
liked the recording overall and the lyrical content displays a 
surprising maturity (which is a major strength), but it is nearly
impossible to overlook (er...overhear?) the cliched arranging 
techniques;  slow, quiet sections broken by loud fast bridges, 
sudden breaks, droning chords, minor keys for that extra added 
angst effect.
	At first I thought this might be due to a specified 
producer making sure the group had a "successful sound," but 
the album was recorded and produced in Maria and Paul's basement
by their brother/manager Billy; so, it appears the band had 
complete control over the project from writing to recording. 
	In all fairness, I understand this is the first effort 
by a young band and the album is very professionally performed 
and recorded - better than might be expected from musicians not 
yet out of their teens (and independent of the "protective ear" 
of their label). If they focus on creating their own style, 
instead of borrowing from others, this group could very well 
become a major musical influence in the latter half of this
decade. They certainly have a strong foundation to build on. 
---
	REVIEW: Download, _The Eyes of Stanley Pain_ (Nettwerk)
		- Al Crawford
	Download seem to be remarkably productive these days, and _The
Eyes Of Stanley Pain_ is the fourth release and the second full length 
album from the group in less than a year.  However, it's most certainly 
not a case of "that difficult second album" for Download, as _TESP_ is, 
if anything, even more impressive than their debut _Furnace_. It 
retains the chaos, density and energy of that album but moderates it 
slightly, adding a stronger rhythmic element that holds everything 
together much more cohesively than before.
	The album as a whole is technically outstanding, with layers 
upon layers of rich, dark noise twisting and mingling.  It doesn't 
take a huge leap of the imagination to see this album as being the 
sort of thing Skinny Puppy might have come up with around now had they 
been left to their own devices, albeit with more of a contemporary 
dance vibe.  While Mark Spybey (also of Dead Voices On Air) provides 
the majority of the vocals, Psychic TV's Genesis P. Orridge once again
guests, both musically and instrumentally.  This time around his 
presence is far less of an annoyance than it was on _Furnace_, but 
he still doesn't add a great deal to the album.
	Much as I like the album, I've got one or two misgivings.  
It's certainly an excellent disc, but at times one gets the impression
that the high production values, and the intricate, dense and 
fascinating layers of noise form a beautiful sonic edifice 
surrounding...well, not very much, really.  It's an ornate, but 
empty shell, a triumph of form over substance.  Still, when you've 
got a form like this, who really cares about the lack of substance?  
The album also has a much wider appeal than _Furnace_ did, courtesy 
of its varied and exciting rhythms, and I imagine many Skinny Puppy 
fans who disliked the first album will find this one far more 
accessible.  One to check out for Download fans, Puppy-philes, and 
anyone who wants to hear what state-of-the-art dance/industrial 
crossover sounds like.
---
	REVIEW: Possession + African Dub, _Off World One_ (Submeta)
		- Stephen Lin
	This album is a textural masterpiece.  Possession constructs 
an unusual collage of sounds over the course of four tracks which 
last an amazing 45 minutes.  Each instrumental slowly builds and 
develops into a solid musical mass; however, the themes from each 
track never fully congeal. To some degree while listening to this 
album, the listener must remove him/herself from western ideals of 
music theory.
	The musical themes do not seem to move toward any particular 
goal.  You'll find no Bach-like usage of four-part harmony with 
contrary motion and perfect voice leading.  Quite the contrary; the 
unfamiliarity of the structure is surprisingly refreshing.  You never
really know what to expect as nothing truly resolves itself.  Each 
track, particularly "Rainfall," seems oddly organic.  The music rises
and falls as if it were breathing.  The African sounding percussion 
fades in and out of the music as do the more familiar electronically 
programmed drums.  During the more minimalistic segments of the music,
ambient noises and samples of who-knows-what run rampant through 
heavy reverb.
	Similar to the percussion's behavior, the bass also enters 
and exits at various points in each composition.  The bass lines are 
fairly catchy and tend to drone on in their patterns for extended 
periods of time.
	Possession is essentially a four man operation.  It is 
produced and arranged by Bill Laswell.  The performers are Fousseny 
Kouyate of Mali, Foday Musa Suso of Gambia, and Aiyb Dieng of 
Senegal.  This is African Dub off one world, no doubt about it.
	The thick layering of numerous sounds is reminiscent of 
Deep Forest and instrumental-soundtrack Peter Gabriel.  Fans of these 
artists as well as New Age would probably find this recording very 
enjoyable.  Stranger still, I believe consumers who crave bass for 
their enormous stereos would also enjoy this album.  While the music
isn't particularly dancable, ambient Techno and Dub fans would probably
find something  endearing within the music.  
	I wouldn't be surprised to hear some of this material being 
played in the background of an episode of the X-Files.  _Off World One_
exudes an enigmatic and eerie mood which has the ability to attract a 
diverse audience.  
---
	REVIEW: David Gray, _Sell, Sell, Sell_ (EMI)
		- Reto Koradi
	"Don't call David Gray a singer/songwriter", says the press
materials for _Sell, Sell, Sell_.  But why not? Sure, if you 
associate this label with long haired guys singing stereotypical 
folk songs, this Welsh-bred performer is not one of them. He partly 
uses a full band, and puts anger and passion into his songs. Still 
the main focus is always on his voice. And what a voice he has! It 
can sound soft and warm, yet it has this slight touch of roughness 
that makes it really touch you deep inside.
	And then there are these wonderful songs. Many of them 
sound so simple and natural that it makes you wonder why nobody 
has written them before. The title track comes along as one of the 
highlights, with slow verses where Gray's voice is only underlaid 
by church bell-like keyboard sounds, leading into a powerful chorus
with full instrumentation. If there's anything negative to be said
about _Sell, Sell, Sell_, it's that Gray doesn't quite hold the 
pace of the outstanding first few tracks throughout the album. 
While still being top class, some of the later songs are somewhat
more bland and traditional, only featuring vocals and acoustic 
guitar. The lyrics don't carry a big message, but they're poetic 
and full of sensitivity. Bob Dylan would probably give an arm and 
a leg for still being able to write songs of this class.
	David Gray will hardly take the charts in storm, for that 
he would need a different name, a more interesting look, and some 
cheap effects.  He's more likely to join the league of artists 
like Paul Brady, who mostly come from Ireland, Scotland or Wales, 
make some of the finest music, but still remain well kept secrets. 
But you can't claim that nobody told you this time: his name may be
(David) Gray, but his music sparkles in all colors.
---
NEWS:	> Joe Baiza, guitarist for The Mecolodiacs, Universal Congress 
Of & the seminal SST Records band Saccharine Trust, was recently attacked
in Berline while on tour in early June by several individuals who broke
his right hand with a baseball bat.  A benefit has been organized on 
his behalf in Silverlake, Calif. on Saturday, July 20 at Spaceland.  
The lineup of performers includes nearly 15 acts, including Mike Watt,
Vida, Bazooka and others.  The show begins at 2pm, and admission is 
$10 at the door.  Further information on this benefit is available at
http://www.endless.com/winrecords/calendar.html
	> The Macfest is just around the corner.  The New York City
wide concert series, which is linked up across the net to broadcast
live shows of many of today's up and coming bands, will be taking
place in New York City from Sunday, July 14 to Saturday, July 20.
Interested concert-goers (or web surfers who can't make it to New
York to witness the several hundred bands descending on the city)
can find out more information on this summer spectacular by checking
out their site at http://www.thegig.com
	> The Primitive Radio Gods have an unofficial Web page,
created at http://www.theaegis.org/prg/
	> LIFEbeat, the music industry fights AIDS organization, will 
host the premiere screening and party for the film Trainspotting on 
July 15th.  The screening will be held at the Sony 34th St. Theaters
at 7pm, followed by the party at Bowery Bar (358 Bowery & E. 4th St.)
at 9pm. The premiere will be hosted by producers Harvey and Bob 
Weinstein and supermodel/LIFEbeat boardmember Veronica Webb. Confirmed
guests include members of The Who, David Byrne, members of Metallica 
and other celebrities.  $150 tickets include admission to the premiere
and party, while $50 tickets for the party only are also available. 
With a portion of the proceeds from this event, LIFEbeat will provide
grants to organizations that support the provision of financial, 
technical and other practical assistance and support to needle 
exchange programs nationwide. Tickets can be purchased by calling 
LIFEbeat at (212) 245-3240. 
	> The Wrens will be appearing on a Sonicnet chat on Monday,
July 15.  Check http://www.sonicnet.com for more information.
	> On July 26 and 27, the Lida recreation center in Sweden is 
the place to be as many top rock and dance artists from the U.K. and U.S., 
including Manic Street Preachers, Black Grape, High Llamas, Fluffy, Beck,
Wu-Tang Clan perform along with top Swedish artists during this two day
concert.  The cost is about 600 Skr. For further information on the 
festival, contact claes@funbase.se
---
TOUR DATES
	Art In The Anchorage Series (base of Brooklyn Bridge; 
	more information at http://www.sonicnet.com/ctime)
Jul. 12 Cultural Alchemy's Soundlab featuring DJs: Spooky, Olive, 
   Soulslinger, The Bedouin, Singe. Live Techno Organix: We, Byzar,
   MC Verb and guests.
Jul. 13 Drunken Boat /Pee Shy /Home
Jul. 17 Trans Am / Ui / Rome
Jul. 18 The Foetus Symphony Orchestra with Lydia Lunch/Spanish Fly 
Jul. 19 Emergency Broadcast Network (EBN)/Doctor Nerve
Jul. 20 Emergency Broadcast Network (EBN)/WordSound I-POWA

	Baboon
Jul. 11 Dallas, TX Orbit Room
Jul. 12 Denton, TX Argo
Jul. 13 Fort Worth, TX Impala
Jul. 17 College Station, TX Vertigo
Jul. 20 Dallas, TX Deep Ellum Live

	Barkmarket
Jul. 11 Little Rock, AR Vino's
Jul. 12 Dallas, TX Orbit Room
Jul. 13 Austin, TX Emo's
Jul. 16 Albuquerque, NM Club U.N.
Jul. 18 San Diego, CA Casbah
Jul. 19 Los Angeles, CA Whiskey

	Black Crowes (tickets available through http://www.tallest.com)
Jul. 11 Detroit, MI Meadowbrook Amp.
Jul. 12 Minneapolis, MN Downtown Mpls. Block Party
Jul. 15 Chicago, IL Navy Pier
Jul. 18 Gardner, MA Polish Amer. Beach Club
Jul. 20 Asbury Park, NJ The Landings

	Tracy Bonham / Everclear / Spacehog
Jul. 12 Cleveland, OH Nautica
Jul. 13 Bowmanville, ON Mosport Park
Jul. 15 Pittsburgh, PA I.C. Light Amphitheatre
Jul. 17 Washington, DC Capitol Ballroom
Jul. 18 Upper Darby, PA Tower Theatre
Jul. 19 Providence, RI Strand
Jul. 20 Holmdel, NJ Garden State Arts Center

	David Bowie
Jul. 12 Escalarre, Spain "Escalarre Festival"
Jul. 14 St. Polten, Austria "St. Polten Festival"
Jul. 16 Rotterdam, Holland Ahoy-"Rotterdam Festival"
Jul. 18 Stratford Upon Avon, England "Phoenix Festival"
Jul. 20 Balingen, Germany "Balingen Festival"
Jul. 21 Bellinzona, Switzerland Bellinzona Open Air

	Capercaillie
Jul. 11 New York, NY Bottom Line
Jul. 12 Boston, MA Berklee Performance Center
Jul. 13 Washington, DC Mall - One World Festival
Jul. 14 Philadelphia, PA Bluett Theatre

	Tracy Chapman
Jul. 18 San Diego, CA Summer Pops
Jul. 19 Los Angeles, CA Greek Theatre

	Cordelia's Dad
Jul. 11-14 Winnipeg, MB Winnipeg Folk Festival
Jul. 19-21 Vancouver, BC Vancouver Folk Festival

	Elvis Costello
Jul. 12 London, England Shepherd's Bush Empire
Jul. 13 Madrid, Spain Conde Duque
Jul. 14 Murcia, Spain Auditorio San Javier
Jul. 16 Barcelona, Spain Velodrom d'Horta
Jul. 19 London, England Shepherd's Bush Empire
Jul. 20 Liverpool, England Royal Court Theatre

	Cravin' Melon
Jul. 11 Clemson, SC Tiger Town

	Cure
Jul. 12 Clarke, ON Mosport Festival
Jul. 13 Auburn Hills, MI Palace
Jul. 16 Cleveland, OH Gund Arena
Jul. 17 Pittsburgh, PA Civic Center Arena
Jul. 18 Columbus, OH Polaris Amphitheatre
Jul. 20 Chicago, IL Rosemont Horizon

	Customers
Jul. 11 Leeds, England Cockpit
Jul. 12 Newcastle, England Riverside
Jul. 13 Glasgow, Scotland T In The Park (at King Tuts Tent)
Jul. 14 Dublin, Ireland Feile (at the point)
Jul. 17 London, England Splash Club
Jul. 18 Stratford Upon Avon, England "Phoenix Festival"

	Disappear Fear
Jul. 11 New York, NY Mercury Lounge
Jul. 12 Philadelphia, PA Barbary
Jul. 13 Long Branch, NJ Metro
Jul. 16 Boston, MA Mama Kin
Jul. 17 Providence, RI Strand

	Def Leppard / Tripping Daisy
Jul. 12 Buffalo, NY Darien Lake
Jul. 13 Hartford, CT Meadows Music
Jul. 14 Camden, NJ Blockbuster Pavillion
Jul. 16 Boston, MA Great Woods
Jul. 17 Wantagh, NY Jones Beach
Jul. 19 Middletown, NY Orange County Fair
Jul. 20 Allentown, PA Allentown Fairgrounds

	Experimental Audio Research
Jul. 14 New York, NY Cooler (with Reservoir, Bardo Pond)
Jul. 16 Cambridge, MA Middle East

	God Lives Underwater / Far
Jul. 11 San Diego, CA Brick By Brick
Jul. 12 Los Angeles, CA Dragonfly
Jul. 13 Santa Barbara, CA Toe's Tavern
Jul. 16 Sacramento, CA El Dorado
Jul. 17 Palo Alto, CA Edge
Jul. 18 Santa Cruz, CA Catalyst

	Finn
Jul. 11 Washington DC 9:30
Jul. 12 Chicago, IL Park West
Jul. 13 Boulder, CO Boulder Theater
Jul. 15 San Francisco, CA Fillmore
Jul. 16 Los Angeles, CA John Anson Ford Amphith.

	Half Hour To Go
Jul. 11 Dallas, TX Orbit Room
Jul. 13 Houston, TX Urban Art Bar
Jul. 15 St. Louis, MO Kennedy's
Jul. 17 Lexington, KY Area 51

	H.O.R.D.E. 
Jul. 12 Indianapolis, IN Deer Creek
Jul. 13 Chicago, IL World Amphitheatre
Jul. 14-15 Detroit, MI Pine Knob

	Kiss
Jul. 12 Moline, IL Mark
Jul. 13 St. Paul, MN Civic Center
Jul. 14,16 Chicago, IL Rosemon
Jul. 17 Dayton, OH Nutter Center
Jul. 19-20 Cleveland, OH Gund Arena

	Letters to Cleo / Gravel Pit
Jul. 17 New York, NY Merciry Lounge

	Huey Lewis & The News
Jul. 11 Westbury, NY Westbury Music Fair
Jul. 12 Vienna, VA Wolf Trap
Jul. 13 Wallingford, CT Oakdale Theatre
Jul. 14 Boston, MA Harbor Lights
Jul. 16 Warwick, RI Warwick Music Theatre
Jul. 17 Devon, PA Valley Forge Music Fair

	Lollapalooza
Jul. 13 Syracuse, NY NY State Fairgrounds
Jul. 16 Charleston, WV Charleston Raceway
Jul. 18 West Palm Beach, FL South Florida Fairgrounds
Jul. 20 Rockingham, NC Rockingham Dragway

	Love & Rockets
Jul. 13 Mosport, ON Eden Music Fest

	Luna
Jul. 20 New York, NY Central Park Summerstage

	Natalie Merchant
Jul. 18 Pittsburgh, PA Coca Cola Starlake
Jul. 19 Scranton, PA Harvey's Lake Amphitheatre

	Nada Surf / Gravel Pit
Jul. 13 Baltimore, MD Fletcher's
Jul. 14 Washington, DC 930 Club

	Paleface
Jul. 13 New York, NY Brownies

	Pantera
Jul. 13 Dallas, TX Starplex Amphitheatre
Jul. 15 San Antonio, TX Freeman Coliseum
Jul. 18 Chandler, AZ Compton Terrace
Jul. 19 Los Angeles, CA Great Western Forum
Jul. 20 San Diego, CA Sports Arena

	Porno For Pyros
Jul. 11 New York, NY Irving Plaza
Jul. 13 Mosport, ON Mosport Musical Festival
Jul. 15 Detroit, MI St. Andrews Hall
Jul. 16 Chicago, IL Riviera

	Rembrandts
Jul. 16 Merced, CA Merced County Fair
Jul. 20 Enumclaw, WA King County Fair

	Steely Dan
Jul. 12 Tampa, FL Tampa Stadium
Jul. 13 West Palm Beach, FL Amphitheatre
Jul. 16 Cincinnati, OH Riverbend
Jul. 17 Pittsburgh, PA StarLake Amphitheatre
Jul. 19 Wantagh, NY Jones Beach
Jul. 20 Camden, NJ Sony Blockbuster Amphitheatre

	Superdrag / Nada Surf / Gravel Pit
Jul. 19 Burlington, VT Club Toast
Jul. 20 Providence, RI Strand

	Velour
Jul. 16 New York, NY Continental

	Warped Tour (including Rocket From The Crypt, Red 5, Dick Dale
	and more.  Confirm dates on this tour.)
Jul. 11 Seattle, WA Skatepark/Tacoma Dome
Jul. 13 Salt Lake City, UT Wolf Mountain
Jul. 14 Denver, CO Red Rocks
Jul. 18 Chicago, IL Rosemont
Jul. 20 St. Louis, MO Riverport Amphitheatre

	Wrens
Jul. 11 Rochester, NY Bug Jar
Jul. 12 Baltimore, MD Memory Lane
Jul. 14 Cambridge, MA Middle East
Jul. 15 New York, NY Brownie's
Jul. 17 Dayton, OH Submarine Gallery
Jul. 18 St. Louis, MO Cicero's
Jul. 19 Cincinnati, OH Sudsy's
Jul. 20 Chicago, IL Empty Bottle
---
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===
