==== ISSUE 155 ====    CONSUMABLE     ======== [September 21, 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:     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, Kerwin So, Chelsea Spear, Simon Speichert, 
                      Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Jason A. Dour, Jennifer Wallenfels

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: PJ Harvey, _Is This Desire?_ - Jennifer Wallenfels and Jason A. Dour
REVIEW: Belle and Sebastian, _The Boy With the Arab Strap_ - Niles J. 
   Baranowski
REVIEW: Manic Street Preachers, _This Is My Truth Tell Me Yours_ - Tim 
   Kennedy
REVIEW: Archers of Loaf, _White Trash Heroes_ - Chris Hill
REVIEW: Bob Mould, _The Last Dog and Pony Show_ - Jon Steltenpohl
REVIEW: Various Artists, _I Wanna Be Kate_ - Chelsea Spear
REVIEW: Mudhoney, _Tomorrow Hit Today_ - Kerwin So
CONCERT REVIEW: Soul Coughing, Boston, September 12 - Chelsea Spear
REVIEW: Morrissey, _My Early Burglary Years_ - Bob Gajarsky
REVIEW: Rasputina, _How We Quit the Forest_ - Chelsea Spear
REVIEW: The Church, _Hologram of Baal_ - Joe Silva
REVIEW: Graham Coxon, _The Sky is Too High_ - Robin Lapid
REVIEW: Far Too Jones, _Picture Postcard Walls_ - Scott Slonaker
REVIEW: Sonichrome, _Breathe The Daylight_ - Tracey Bleile
REVIEW: The Flys, _Holiday Man_ - Joann D. Ball
NEWS: 1000 Clowns
TOUR DATES: Tori Amos / Devlins, Better Than Ezra / Possum 
   Dixon / Athenaeum, Broadside Electric, Candlebox, The Church, 
   Cravin' Melon, Irving Plaza, Jesus & Mary Chain / Mercury Rev, 
   Freedy Johnston, Korn, Lenny Kravitz, Ziggy Marley & Melody
   Makers, Massive Attack / Lewis Parker, Bob Mould / Varnaline, 
   Reel Big Fish / Spring Heeled Jack, Samples, Sheila Divine, 
   Superdrag, Tripping Daisy / Flick, Mike Watt
Back Issues of Consumable
---
	REVIEW: PJ Harvey, _Is This Desire?_ (Island)
		- Jennifer Wallenfels and Jason A. Dour
	Few artists succeed themselves like Polly Jean Harvey.  
Between 1992 and 1995, Harvey released four albums, each one possessing 
a unique energy and vibrancy imbued by its enigmatic creator.  Harvey's 
ever-evolving canon has spanned many genres, and the entire range of 
human emotion; it expresses an earnest frankness that is both exciting 
and disturbing. Her work spins evocative tales of passion and pain, 
excess and deprivation.  Drawing on archetypes and literature, her 
lyrics have a timeless, classic quality;  they sometimes touch deep 
and ancient, almost genetic, memories.
	After a three-and-a-half year hiatus from her solo work 
(during which she recorded numerous side projects), Polly has returned 
with a glorious new album.  _Is This Desire?_ captures the essence of 
longing, yearning, and heated passion - for both love and possession. 
Stylistically, it is Harvey's most diverse effort yet, and at the same 
time, her most accessible.
	The lineup is mostly carried over from the 1995 tour, with 
one important change:  Rob Ellis, Polly's original drummer, makes a 
welcome return. Because of Ellis, and the fact that Harvey is again 
playing guitar during live dates, fans are beside themselves with 
glee.  Filling out the band are:  close associate John Parish (with 
whom she recorded "Dance Hall At Louse Point"), Eric Drew Feldman 
(who worked with Captain Beefheart, The Pixies, Pere Ubu), Joe Gore 
(Tom Waits), and Mick Harvey (Nick Cave and The Bad Seeds).
	While the previous albums have seemed more like song cycles 
than concept albums, _Is This Desire?_ treads on the edges of telling 
a story.  But it's a story like a dream, where threads are interwoven 
and have an internal logic that makes sense at the time, but don't 
once you wake up. Images are still archetypal, but less universal - 
more personalized. "The Garden" describes a fall from grace, but this 
isn't the biblical Adam and Eve as in the earlier song "Snake."  With 
each song describing the story of a different character, and the 
stories overlapping, the "Desire" ends up being a kind of personal 
mythology.
	The influence of electronica and Harvey's collaboration with 
Tricky is heard in several songs, giving this album a distinctly 
different flavor than previous works. Synthetic drums are used in 
some songs, but never without combining them with Ellis' crisp but 
distinctly human beats.  On "The Wind," Polly's vocal is a variation 
of Tricky's signature style, but PJ's doing both the whisper and the 
airy singing. In danger of being labeled "trip-hop," it starts with a 
vibraphone roll, then guitar; a two-note bass riff joins in, then it 
breaks into a cool beat.  She even samples herself, using the string 
tremolo from "Down By the Water."
	Musically, _Desire_ is a study in contrasts. The mood goes 
from quiet to raucous, then calm again, several times throughout the 
album.  Overall, the songs are less confrontational and more lyrical 
than the early albums.  Exquisitely understated songs like "Catherine" 
can be at least as powerful - if not more so - than satisfying, dirty 
rockers like "No Girl So Sweet."
	The minimalistic "Electric Light" is about as low-key as one 
can get, musically as well as vocally.  Two songs later we are 
assaulted by the breakbeat, clamorous and overwhelming "Joy."  Polly 
dresses the whole gorgeous mess with a classic "screaming" vocal.  
Even more powerful live, it shows the outright fierceness that Polly 
is famous for.  You can't help but notice that her voice has more 
range than ever.
	Piano and other keyboard parts are featured more prominently 
than ever before. "The River" has just soft clouds of guitar drifting 
by, a rolling and turning piano melody, a slow buildup that never 
gets to its destination.  It also features a beautiful arrangement 
for horns:  a slowly building and shifting chord that echoes the 
structure of the song.  Even better is the sumptuous, soaring 
"Angeline," which starts off the album.  Sung from the perspective 
of a prostitute whose true love is thousands of miles away, it sets 
the tone of longing - and often loss - for the album.
	But Polly hasn't lost her ability to do lurching, staggering, 
swaggering licks either.  Nor has she lost her love of distorting 
preamps.  The rollicking "My Beautiful Leah" proves both of these 
facts.  Still, despite the light heartedness, the theme is the same: 
looking for a lost love whose heart could not ever really be touched.
	Then there's the little matter of the first single. "A Perfect 
Day Elise" is the perfect radio gem, telling the chilling story of a 
scorned lover's murder.  Rocking beat, driving bass, dissonant 
guitar... and those strings.  The mix on the album is very different 
than the single mix, which is slickly produced, heavy on the vocals 
and strings.  The album mix is dirty and creepy in comparison, with 
long echoes on Polly's voice.
	Sometimes a work needs to incubate a while before it's ready 
to be completed.  Sometimes a classic is a long time in coming.  
Harvey says she needed a break from the industry to rediscover her 
love of music.  It was well worth the wait... _Is This Desire?_ is a 
masterfully crafted album from start to finish; quite possibly an 
enduring masterpiece.

	(Ed. note: The author is in charge of http://pjh.org , the largest 
and oldest PJ Harvey website on the net.  Recently having changed 
webmasters, as well as having entered into a closer working relationship 
with Polly's management, PJH.ORG is set to be one of the most exciting 
places to go for all things Polly.  
---
	REVIEW: Belle and Sebastian, _The Boy With the Arab Strap_ (Matador)
		- Niles J. Baranowski
	It's a little-known fact, but over 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.  What makes this so interesting 
and unlikely is not that Belle and Sebastian have an inaccessible 
sound, but the fact that they put so much effort into acting like 
an obscure cult group.  Not only do they refuse to be photographed 
but their interviews are terse and tight-lipped and they have either 
an intense fear or distaste towards live performance (their upcoming 
American tour is four times as large as their first with a whopping 
eight dates).
	Fortunately, though, while Belle and Sebastian themselves 
hide under their rocks, their music continues to grow and reach out 
to the world.  _The Boy with The Arab Strap_ is their fourth album 
worth of material in three years (if you lump together the four EPs 
that they released over the course of the summer of '96) and 
continues their trend away from cutesiness towards the sort of 
gorgeously written misery poems that Love and Nick Drake pioneered.  
In an age of so much retro, however, Belle and Sebastian aren't 
content merely to rehash the late 60s and early 70s.  Rather, they 
build upon it as a respectable musical tradition as the Smiths did 
in the 80s.
	While none of the band's members are as talented as the 
Smiths' Johnny Marr, the orchestration that seems to be developing 
in _Strap_'s 12 tracks is a direction that the band should continue 
to pursue, if even at the cost of a few hooks (as it is here) 
because it fits their largest musical strength, collectivism.  
There's even a few new ideas in the arrangements; "Sleep the Clock 
Around" may be the first folk-pop song to use buzzing theremin-esque 
noises as a backdrop and it complements the frantic and worried pace 
of the song so well that I hope the band continues to use it.  On 
the delicate, sky-blue "Is it Wicked Not to Care?" they feature 
female lead vocals for the first time, to excellent effect as well.  
Oddly enough, the best pop song here is "Dirty Dream Number Two," 
which contains a pretentious, wall-of-sound string section.  Though 
it comes off sounding a little bit like My Life Story, it's a huge 
step above them in all respects and feels like a hit single.
	Even the band's most ambitious experiment, a spoken-word 
space odyssey called "A Space Boy Dream" isn't a total failure.  
While it owes a huge debt to the Velvet Underground's "The Gift," 
it's much more musically varied.  Though the poem is garbled by 
both a thick Scottish accent and constant mumbling, it could have 
been a brilliant instrumental.
	On most of the other tracks, however, the lyrics are nearly 
poetic.  While they share the Smiths' predilection towards the nasty 
side of youthful life, there's a specificity here that most of 
Morrissey's songs lacked.  Lead vocalist Stuart Murdoch can 
alternate between shocking ("it takes more than milk to get rid 
of the taste") to accusatory ("you were laid on your back with the 
boy with the arab strap") or even a partially imagined incident 
where Sire Records CEO Seymour Stein tries to take the band to 
dinner and takes Murdoch's girlfriend home with him instead.  All 
of this could come off scatalogical or petty in lesser hands (this 
means you, Beautiful South!) but Murdoch's smooth doe-eyed voice 
makes the whole lot of it seem perfectly natural.
	Though there's a twee streak that still bares itself at 
times and you'll probably find yourself wanting to throttle 
Murdoch during "A Summer Wasting" and "The Rollercoaster Ride," 
somehow it's unimportant because half of these dozen tracks show 
the band reaching for a maturity, either in lyrics or music, that 
they previously hid from.  And at least half of the others (like 
the tear-jerkingly gorgeous "Chickfactor") are so hummable and 
pretty that it feels churlish to find fault with them.
	So, Belle and Sebastian may not have made the album that 
would save Britpop as some in the press have predicted.  Instead, 
they've proven themselves the torchbearer for the sensitive and 
shy of the late 90s and at a time when youth increasingly gravitate 
towards the thuggishness of new metal and hip-hop, I don't think 
that's a virtue that can be dismissed so easily, especially when 
_Strap_ is such a well-made album, appreciable even without its 
noble sentiments.
---
	REVIEW: Manic Street Preachers, _This Is My Truth Tell Me 
		Yours_ (Sony UK)
		- Tim Kennedy
	There are some albums that are hard to review because the 
motivation is not there - but this is not one of them.  This is 
possibly the album of the year,  and definitely the single most 
important rock band of the 90s.  Important not for record sales 
though they are selling respectably these days in the UK (although 
they were dropped by the U.S. affiliate Epic, and passed over by at 
least two other major labels),  but important because they are the 
most intelligent, vital and interesting group for many years.
	There has always been a contradiction in the Manics: on the 
one hand music which blatantly borrows from the past and on the 
other, lyrics which are quite unlike any in rock history. They 
aren't the only band to borrow from their mentors but they must be 
the only band to declare "originality is not important".  WHAT 
they borrow is of great importance however and always reflects 
what they are trying to say with their invariably sad yet astounding 
lyrics.  James was widely laughed at for calling Nicky a poet the 
other week in a UK music paper but you know what he is getting at 
when you read the lyric sheets of TIMTTMY.
	The themes are all Nicky's now - none of Richey's (the 
guitarist and fellow lyric writer who disappeared mysteriously in 
1995) words adorn this CD.  That means that instead of the searing 
verbal assault and deadly withering hail of self-hate,  the words 
are more reflective,  still cynical/naive but more reserved.  James 
doesn't have to garble them to get them to fit on a line.  Nicky 
describes his insular domestic existence in the Welsh village 
household he shares with his much-loved wife ("You Stole The Sun 
From My Heart",  "My Little Empire", "I'm Not Working",  "You're 
Tender And You're Tired", and more.)  He also rails at the ageing 
process and the toll that the band's youthful verve is taking - 
fans or more likely he himself resents the fact that the band 
didn't simply explode in 1992,  and that they are still her slogging 
away at being rock stars. "The gap that grows between our lives/The 
gap our parents never had to stop/Those thoughts control your mind/
Replace the things that you despise//Oh you're old I hear you say/
It doesn't mean that I don't care/I don't believe in it anymore/
Pathetic acts for a worthless cause"
	"Born A Girl" however reflects an old transgendered theme 
that the Manics have always worried and chewed at. Nicky of course 
wears a dress and eyeliner on stage to this day.  "There's no room 
in this world for a girl like me".
	This album is more than just a turning from old lyrical 
concerns - it also features music with a very 1970s prog rock 
influence.  Deep Purple-like riffs may pop up here and there,  and 
the feel of much of the CD is Pink Floyd,  circa _Dark Side Of The 
Moon_.  It has those languid Rick Wright keyboards,  lots of space 
and echo,  with quiet,  reflective moments counterpoised by bombast 
of almost inconceivable proportions by this band's original 
standards.  This was a band that wore ripped clothes,  posed like 
the Clash,  idolised trash rockers like Dogs D'Amour and called 
Axl Rose "the most underrated lyricist of his time".
	But the truth is this band have always pillaged rock history 
with no regard for current trends.  At the time when Richey was 
talking about Razzle,  the doomed drummer of Dogs D'Amour, that 
was as 'outre' as can be imagined.  Everyone was into Happy Mondays 
and Stone Roses and acid house.  They were reviled at the time.
	There is some wonderful,  inspired music on this album.  
Where for example Radiohead are virtuosos,  who throw shadows of 
moody despair,  the Manics embody the pain of love and loss - and 
know too well how to convey this with their music.
	The opener "The Everlasting" is a soft rock epic on the 
surface,  but one with a depth that belies that description,  and a 
lovely wall of sound production in the manner of Phil Spector.
	"Born A Girl" betrays a wayward guitar backing which is 
completely bewitching.  "SYMM" uses some back masked guitar and has 
a killer solo that Dave Gilmour himself would be proud of.  "You 
Stole The Sun From My Heart" has a great hook in it which would 
have Peter Hook standing legs akimbo and doing air bass.  "My 
Little Empire" begins with a lovely understated guitar figure 
which Jimi might have used.  "You're Tender And You're Tired" 
features some great whistling (!) and a totally mad piano passage.  
This track is probably the most inventive of the album - a slightly 
60s psychedelic outing.
	"Black Dog" sounds like Glen Campbell doing Jimmy Webb, 
and has Nicky visualising himself as the hound in question,  
faithfully running for his lover.  And it actually works, believe me.
	"Tsunami" is possibly the strongest song on the CD. It 
combines a sitar-drenched musical backing and a rip-roaring 
riff-laden chorus to match their best.
	The UK single "If You Tolerate This Your Children Will Be 
Next" is about the Spanish Civil War of the late 1930s.  The 
dialectic here is between Nicky's pacifism and his admiration of 
Welsh farmers who took up the gun to help fight Spain's Nazi-backed 
fascist coup of the time.  Musically it seems to be weak upon 
initial exposure,  with a break beat and strings.  It has a catchy 
chorus though,  and its Spectoresque production rescues it in the 
end.
	"Nobody Loved You" is about their lost comrade Richey "Never 
had the chance to take you home/Now there's no reason/Just another 
tomorrow/You keep giving me your free air miles/What would I give 
for just one of your smiles/Just one of your smiles."
	The finale - "SYMM" actually stands for South Yorkshire Mass 
Murder.  This song is a highly controversial attack aimed at the 
Sheffield police,  who by their omissions allowed nearly one hundred 
Liverpool fans to die crushed in a terrace at Hillsborough Football 
Stadium in 1989,  and to this day have not been indicted for their 
lack of action.  "The ending for this song/Well I haven't really 
thought of one/There's nothing I could ever say/That could ever take 
the pain away."
	This album has all the reasons why this group are mad,  bad 
and dangerous to know.  They try too many styles,  they dare to be 
poetic,  to be sensitive, and they open their wounds in public.  No 
album has (in 1997) or come close (in 1998) to the beauty of _This 
Is My Truth Tell Me Yours_.
---
	REVIEW: Archers of Loaf, _White Trash Heroes_ (Alias)
		- Chris Hill
	In my college radio days, whenever I grabbed an I.R.S. 
album (Hunters and Collectors, R.E.M., Stan Ridgway, Let's 
Active, the Alarm, etc.), I was invariably challenged and 
delighted, regardless of the artist.  Even the _Bachelor Party_ 
soundtrack had its share of innovative tunes.
	I say this because, like a perfume bringing back memories 
of an ex-girlfriend, as soon as "Fashion Bleeds" blew through the 
speakers with its drum/guitar bomb blast, that delighted feeling 
rushed over me.  Grabbing the promo, Mitch Easter's name leapt 
from the mixing credits. Besides a long list of producer credits 
(R.E.M., Moose, Game Theory, to name a few), Mitch was Let's 
Active's guiding force.  Their _Big Plans for Everybody_ was a 
staunch companion of mine for months.
	But how much influence can a mixer have?  Compared to the 
feel of the Loaf's last, apparently a lot.  Like '96's _All the 
Nations Airports_, the new disc's produced by Brian Paulson and 
the Loaf, and engineered by Paulson.  But the ten songs on _White 
Trash Heroes_ are individual sonic gems, and a step forward from 
_...Airports_, whose songs had more of a grouped structure, less 
independent strength.  I think Easter is the reason for the 
change.
	The title cut (with its moody Vangelis beginning), the 
palpitating "One Slight Wrong Move", "Fashion Bleeds" - all would 
be welcome additions to everyone's local alterna-station.  Eric 
Bachmann's chest has grown hair - the deeper growl of the above 
songs lacks the quavering voice of previous efforts (though "Dead 
Red Eyes" reaffirms that yes, it's still him singing).
	Also, the voice is further forward in the mix, and the disc 
shines for it.  His guttertrash lyrics (Bachmann writes the 
words, the band - the music) are pulled from the seedier side of 
town - whores, philanderers, sots, hypocrites, losers - splendid, 
alliterative descriptions of people & places you visit at your 
own risk.  Sometimes painfully clear ("White Trash Heroes", "Dead 
Red Eyes"), sometimes indecipherable ("Banging on a Dead Drum"),
these are lyrics that inspire transcription for contemplative 
reading.
	"Blow by blow/Chipped off shell and bone/Tripped and 
talked around it/Could not walk through the crowd of careful 
lies/Busted open wide" - the mournful regret in "Dead Red Eyes" 
is followed by the muddied grind of "I.N.S."  A good sequencing 
choice, as are most of the transitions on this record.  Songs 
flow because of differences, not similarities.  "Banging on a 
Dead Drum", a middle-finger salute to jangle pop, all electronic 
banshee vocals and guitar squall, trails "One Slight Wrong Move", 
a radio-friendly puppy dog, with its "a hundred million people 
could be wrong" vocoder-affected chorus.  It keeps the pace 
lively.
	Like the bygone I.R.S. catalog, it's clear the Loaf are 
artists having fun with what they're doing, yet committed to 
their own advancement.  This could (should) be the album to get 
them mainstream awareness - if that's what they're after.  This 
is their last for longtime home Alias Records, and according to 
a note at Go Loaf! ( http://www.wku.edu/~bob/archers/ ), the 
excellent official webpage, "Each member of the band has 
different projects that they are working on which will all but 
guarantee a split in the lineup following their current tour."
	That'd be a shame - the next Loaf album could only stun 
and amaze.  My fingers are crossed.
---
	REVIEW: Bob Mould, _The Last Dog and Pony Show_ (Rykodisc)
		- Jon Steltenpohl
	If we are to believe Mr. Mould, the title of his latest 
album is a little warning that things won't be the same musically 
after this album and supporting tour.  Gone will be the loud, 
"electric" sound that's characterized most of his career, and in 
will be the softer, gentler Mould of his "acoustic" tours.  Yes, 
_The Last Dog and Pony Show_ will be the sign off to Mould's 
signature sound.  Unfortunately, the album doesn't do Mould's back 
catalog justice.  The muddled vocals are buried deep behind the 
raging siren guitars, and his venomous lyrics are diluted to 
vinegar. Indeed, Mould seems to have lost all desire for these 
songs, and the album, while certainly a decent effort, simply 
pales in comparison to most of his work.
	A recent interview with Mould reveals that this analysis 
is spot on.  Mould bemoans his trademark crunching sound and 
expresses a yearning for his acoustic mode where, ironically, most 
of these songs existed before the album.  His current tour is his 
last band tour ever, he warns.  As if he were merely reading the 
writing on his own wall, _The Last Dog and Pony Show_ leaves you 
wishing for the acoustic versions of these songs.
	On "First Drag of the Day", he goes overboard with trying 
to spice up the music. There's "mix master" distortions added 
without rhyme or reason, organ tossed underneath the mix, and a 
single guitar phrase mixed louder than anything else which is 
played over and over throughout the entire song.  "Reflecting 
Pool" has the same set of problems.  It's hard to believe these 
songs were included on the album.  Similarly, the throwaway 
"Megamaniac" was a simple studio indulgence on the part of Mould 
that sounds like a low-rent Beck playing around.  It's interesting, 
fun fluff, but it seems like one of those songs that shouldn't 
have made it out of the studio.
	Still, a half hearted Bob Mould is still better than 
average.  "Vaporub" gives us the Bob Mould I think he wants to 
be. Acoustic guitar on top of the band and lyrics which almost 
show hope in the middle of despair are pretty much Mould's 
hallmark, and "Vaporub" delivers.  "Who Was Around?" uses a similar 
style and succeeds with lyrics like "I was a child, and now it 
seems so long ago / Why'd you abandon me? Maybe it's not for me 
to know / No explanation needed, nothing can change the way things 
went / You just weren't interested, I guess, I guess."  Songs like 
"Classifieds", "New #1", and "Moving Trucks" fill in the gaps with 
catchy but average songs.
	It isn't until the final track when Mould reaches his 
epiphany.  On "Along the Way", Mould recruits Alison Chesley on 
cello and often features just her and his guitar.  Mould really 
sings on this one, and, for a few fleeting moments, he allows the 
listener to hear his vocals.  The song has class and pageantry, 
and, if this is the future of Bob Mould, I'm all for it.  This is 
the mature version of the sound he started with on his first solo 
album after Husker Du's breakup.
	Ultimately, it is Mould's blurry production on the bulk of 
the tracks that brings this album down.  As a performer and a 
songwriter, he's proven himself, and, in previous studio efforts, 
he's produced great albums.  But with _The Last Dog and Pony Show_, 
something's just not right.  It's almost as if Mould has made the 
album out of a feeling of obligation to his fans, and his heart's 
not in it.  The result is a below average album from an above 
average performer.
---
	REVIEW: Various Artists, _I Wanna Be Kate_ (Brown Star)
		- Chelsea Spear
	In the liner notes for the tribute to Kate Bush, _I Wanna 
Be Kate_ , executive producer Thomas Dunning talks of discovering 
the adventurous, innovative singer/songwriter through Pat 
Benatar's cover of "Wuthering Heights".  Somehow I find this 
heartening.  While I have a great deal of respect for Bush's 
considerable craft, and love the musicians to whom she's served as 
muse, I can't call myself a huge fan of her work.  Sacrilege, I 
know, but if this die-hard can discover Kate through the 
leotard-clad forebear to Alanis Morrisette, there's hope for 
us all.
	My main reason for wanting to hear this record was to 
experience Syd Straw's rendition of "The Man With The Child In His 
Eyes".  Her spare, emotionally evoctive and utterly beautiful 
rendition of the classic tune does not disappoint, though Straw's 
considerable voice sounds thin and strange from using her upper 
register so extensively.  Nevertheless, her voice retains in 
emotional content what it loses in technical prowess - it still 
sounds like a nerve ending, crackling with life and imbued with 
deep sonic hues.
	The other artists on the album succeed through different 
avenues.  Susan Voelz' erotic reading of "The Sensual World" and 
the Celtic-flavoured "Jig of Life" as performed by Catherine 
Smitko remain faithful to the original recordings, while putting 
their own personality behind them to great affect.  Justin 
Roberts' rendition of "You're The One" is better than it has any 
right to be, given the Casio instrumentation and Roberts' 
unfortunate vocal resemblance to Jim Creggan of the Barenaked 
Ladies, but his belief in and love of the material helps him to 
pull it off.  The Moviegoers ride a bright, euphoric pop 
crescendo to excellent affect on "Hounds of Love", and the Middle 
Eastern tones that the Plunging Necklines and Trinkets of Joy 
respectively bring to "Kashka from Bagdahd/Babooshka" and "Love 
and Anger" complement the source material, with the Necklines' 
haunting vocal harmonies enducing goosebumps in this writer.  
Even The Baltimores' radical retread of "Running Up That Hill", 
which owes a significant debt to Butterscott's cover of "Karma 
Chameleon" and the playful indie-rock of Tully Craft, works.
	So what doesn't work as successfully?  Every compilation 
and artist tribute must have a few clinkers, and _I Wanna Be 
Kate_ is no exception.  The comp hits its nadir with Diamond Jim 
Greene's banjo-happy take on "Home for Christmas", which bears 
an inappropriate resemblance to something from the Lowell George 
songbook.  Mouse put a stunningly awful grunge-metal spin on 
"Coffee Homeground", which left a bitter taste in my mouth, and 
the rap version of "There Goes A Tenner" by The J Davis Trio 
loses something in translation.
	All in all, _I Wanna Be Kate_ is a decent collection of 
covers that inspired me to dust off my old Kate Bush albums and 
throw them on.  While this compilation will hold special appeal 
for die-hard fans, this reviewer recommends it especially to 
people who might have found her work intriguing but didn't know 
where to start.  You can get a copy by writing to Brown Star 
Records at 1060 W. Glenlake Ave., Chicago, Il. 60660-2977 or by 
checking out the website at http://www.tezcat.com/~stunning/kate/index.html
---
	REVIEW: Mudhoney, _Tomorrow Hit Today_ (Reprise)
		- Kerwin So
	Okay, quick question:  How many of you out there 
first heard of Mudhoney only after Nirvana rocketed the Pac 
Northwest and the "grunge sound" into the international 
spotlight, or even after the cinematic opus _Singles_ came 
out in 1992?   
	Unlike other influential Seattle luminaries from 
back in the day like Nirvana and Soundgarden, Mudhoney 
today continue on with, amazingly, the same lineup-- and 
the same sound-- they unleashed on the world ten long years 
ago.  As vocalist/guitarist Mark Arm reveals, the title of 
the latest LP, _Tomorrow Hit Today_, flashes back to "When 
Tomorrow Hits" off of Mudhoney's first record:  "So now it's 
ten years later and-- WHAM!-- 'tomorrow hit today.'"
Obviously the passage of time is not lost on these four 
gentlemen; unfortunately, the songs on _Tomorrow Hit Today_ 
seem to indicate otherwise.
	From the predictable opening sludge-rock riff of "A 
Thousand Forms of Mind", to "Oblivion"'s pointless narrative 
of a woman in a wheelchair slaughtering ABBA's "Dancing 
Queen" karaoke-style (Ed. note - also see the Jams, _1987_, 
"The Queen and I" ) , to Arm's greasy snarl on the offensive 
throughout (save a token instrumental number), Mudhoney, while 
noticeably less frenetic, sound pretty much the same as they 
always have.  
	Despite the talents of producer Jim Dickinson this time 
around (who has previously worked with countless rockers from 
Big Star to the Replacements), Mudhoney just can't-- or won't-- 
shake the tried and true formula of distorted aggro-guitar, slow 
yelps and growls, and the bludgeon of a-- dare I say it?-- grungy 
attack.
	While Mudhoney has never cared much about selling 
records, and this latest effort may satisfy long-time fans of 
the band, don't expect _Tomorrow Hit Today_ to win over any new 
fans.  Like 1995's similar _My Brother the Cow_, this new LP 
sounds exactly what you'd expect a Mudhoney record to sound 
like - nothing ground-shakingly innovative, but consistent with 
their tag as grunge's elder statesmen.
	Savvier musicians know the key to remaining artistically 
vital lies in staying open to varied influences and stretching 
the limits of their own creative potential-- R.E.M. being the 
classic example.  With grunge music fading from the scene, 
perhaps it's time for the members of Mudhoney to evaluate 
their remaining potential as the milennium looms ever larger.
---
	CONCERT REVIEW: Soul Coughing, Boston, September 12
		- Chelsea Spear
	Though the calendar had turned and fall had ostensibly commenced 
a week before, Mother Nature smiled upon New England on the second 
weekend of September.  The sun beat down on the banks by the Charles 
River at a degree of about 84 degrees, a breeze wafted off the river, 
and a crowd of several thousand new and returning students and their 
friends and neighbors rode a groove from the funky music filling the 
air.  The soundtrack punctuating this bucolic scene was none other than 
Soul Coughing.  This acerbic, dance-inducing quartet graced the stage of 
the Hatch Shell to celebrate the impending release of their third album, 
_El Oso_ with a set that blended older favourites with new tracks.
	Sadly, the songs from _El Oso_ were the ones that worked the 
least well within these live perameters.   The latest album yokes the 
band's musical aesthetic to a drum-and-bass beat, and tracks propelled 
mostly by the canned-sounding breakbeats fell flat under the 
circumstances; open-air concerts don't provide the best acoustics for 
distinctive, techno-informed music, and the songs hinging on the use of 
a drum machine sounded indistinguishable from one another.  The standout 
track amongst these was "Circles", a delightful nugget of arid, acoustic 
guitar-driven melody and chunky rhythm that has appropriately been chosen 
as the first single.  Another untitled new tune made excellent use of a 
cinematic, ambient-influenced keyboard midsection, which ran on a rhythm 
that invoked the pulse of great cities at night, recalling Yo La Tengo's 
"Moby Octopad".
	The electronica-influenced sound with which the 'Cough are 
presently experimenting worked better within the perameters of their 
previous hits.  Set opener "Screenwriter Blues" made excellent use of 
a theremin-sounding keyboard effect that intensified the creative 
angst that the song illuminated to eerie affect in words and music 
alike, and "Bus to Beezlebub", which featured a new arrangement that 
included a sped-up bridge with one of the drum tracks fron an _El Oso_ 
song; the band sped up and slowed down their delivery of the song, 
until it sounded like a record being changed from 16rpm to 78 with 
some pauses in between.  And though the band's sound may not have 
always come off without a hitch, they were a tight, cohesive live unit 
with the presence of consumate showmen.  Lead singer M. Doughty made 
for a magnetic frontman that blended eggheaded intelligence with suave 
bravado to excellent affect.
	Local heroes the Gigolo Aunts opened the show with a set that 
riffed, buzzsawed, and hummed with energy, but never broke into a 
gallop -- or tried something other than the midtempo in which all their 
songs were played.  Unlike Soul Coughing, the Aunts never made any 
brilliant mistakes by pushing the boundaries of what pop music could 
be, and though they seemed sincere, their  music sounded exactly the 
same as every other band making the scene in town today.  They do get 
points for having an excellent record collection (their cover of the 
Pretenders' song "Kid" closed their set), and a decent sense of humour 
(one song was called "To Whoever Keeps Calling Me And Hanging Up, I 
Hate You").
---
	REVIEW: Morrissey, _My Early Burglary Years_ (Reprise)
		- Bob Gajarsky
	In the same spirit as fellow Britoners including the 
Beatles, Oasis and Mansun, Morrissey has always used the 
flipside of singles - better known as B-sides - to highlight 
some of his best material.  Far surpassing his last B-sides 
collection ( _World of Morrissey_ ) and even his most recent 
full length on Mercury ( _Maladjusted_ ), _My Early Burglary 
Years_ contains sixteen tracks which vary in style, yet 
remain true to the career path which Morrissey has long 
since paved.
	Ranging from the unavailable-in-the-States A-side 
"Sunny" (along with both its B-sides and an accompanying 
video), the T-Rex live cover of "Cosmic Dancing", and 
shoulda-been A-sides such as the acerbic "Girl Least Likely 
To" and a concert favourite, "Sister I'm A Poet".  And, yes, 
lyrics are included here, for those who wonder what stimulates 
the enigmatic Stephen.
	Even with the duplication of some album tracks and omission 
of a handful of B-sides and other tracks (the Morrissey/Siouxie 
collaboration "Interlude" jumps to mind), _Burglary Years_ 
will help fill many of the missing gaps in the collection of 
Mozz-philes who don't wish to resort to buying bootlegs.
---
	REVIEW: Rasputina, _How We Quit the Forest_ (Columbia)
		- Chelsea Spear
	With apologies to a writer for my previous publication (I 
have to apologise, he'd better be reading this), Rasputina is a band 
that would like to defy categorization.  Their debut, _Thanks for the 
Ether_, was the sleeper hit of 1996, blending pop songcraft, 
impassioned vocals, chamber arrangements, and lyrics that were by 
turn poignant, raging, and bitingly funny, through the musical 
kaleidescope of a band comprised of three cellists.  Unfortunately, 
the media focused more on the band's onstage garb of corsetry and 
occasional songs about vampires, and erroneously pigeonholed the three 
lovelies as "goth".  The band staunchly rejected the label, even as 
they hit the road with the Cranes and allowed their most artistically 
unfortunate patron, Marilyn Manson, to shit on -- I mean, remix -- 
their biggest hit, "Transylvanian Concubine".
	Listening to the first few tracks on Rasputina's latest 
release, _How We Quit the Forest_, may make some fear that the band 
has succumbed to the worst stereotypes of this bat-brained subgenre.  
"Leech Wife", with its distorted vocals, morbid subject matter, and 
slicing arrangement, echoes all the worst tendencies of Manson without 
his ridiculous, pro-Satan rhetoric and pompous importance.  Other 
songs, like "Old Headboard" and "Dwarf Star", at least alleviate these 
tendencies with lyricist Melora Creager's trademark sense of humour, 
and the spoken-word piece "Christian Soldiers" tempers its grotesque 
description of an excorcism with the beautiful instrumental that backs 
it up.
	However, the entire album thankfully does not continue in 
tribute to Manson.  The band is at its best when they blend the organic 
musical mesh of their cellos with gossamer, synthetic techno beats 
straight from Madonna's _Ray of Light_.  By far the most effective 
tracks include "The New Zero", a club-ready track whose lyrical subject 
matter deals with a hotel made entirely of ice in Sweden; "Signs of 
the Zodiac", a morbid little number whose ebbing melody works to spooky 
effect with a restrained vocal and deadly-sounding rhythmic undertow; 
and the fanciful "MayFly", which percolates along to a staticky Casio 
beat and "Greensleeves"-influenced tune.  Even some of the louder, 
crunchier tunes, such as "Things I'm Gonna Do" and the John Lennon-
influenced "Trenchmouth", work well because of the contrast between 
the arena-ready crescendos and goosebump-inducing instrumental interludes.
	In the end, _How We Quit the Forest_ could well be the _Return 
of the Giant Slits_ for this musical underground's epoch.  Like the 
Slits, Rasputina got an unexpected amount of mileage out of an album 
coming from such a tight musical focus, but for all the solid artistic 
limbs they go out on, they also encounter some hollow branches that 
can't support their musical vision.  However, there's some truly 
fascinating musical ideas, and I'm curious to follow the band onto 
their third album to see how they continue their musical journey.
---
	REVIEW: The Church, _Hologram of Baal_ (Thirsty Ear)
		- Joe Silva
	Just as most of the alternative set were grooving along to 
_Starfish_, The Church's 1988 high watermark LP, the band told Rolling 
Stone of all people that there music was better understood by those who 
already been...er...um.."experienced." It essentially was a bang on 
statement that the video to the album's killer track ("Under The 
Milky Way") made indisputably clear. But while the band was busy 
circling the globe a couple of times to capitalize on the LP's 
achievement, they forgot to jot down "write more material while the 
getting is good..." into their tour agendas.  From there on, the 
partnership between core members Peter Koppes, Marty Wilson-Piper, 
and Steve Kilbey failed to come up with an ultra-successful blend of 
pop and this undiluted psychedelia that could continue to make good 
on their brief success.
	While never having been completely inactive, the band return 
again now with a fresh label deal and yet another set of guitar 
dreamscapes to promote. But while the songs are still lush and still 
wonderfully trippy, _Hologram of Baal_ may not quite be the comeback 
record that the band have hoped for. Launched with an intriguing 
assortment of electronic quivers and pulses, "Anaesthesia" begins like 
a transmission from some  otherworldy coop where the band and their 
muse have been set to rust. But almost instantaneously, the song falls 
into a mid-tempo grind that the LP really doesn't escape thereafter. 
The melodies are so often wispy that even when the choruses might have 
some flesh about them, they aren't asserted with a sufficient amount 
of vim to capture your attention for long. Kilbey's singing still has 
that pleasant abstract Dylan-esque quality to it, and Piper is still 
quite handy at generating big atmospheres, but beyond that most of 
these tepid numbers never sufficiently warm the album's jets enough to 
help it sustain flight.
---
	REVIEW: Graham Coxon, _The Sky is Too High_ (Transcopic/Caroline)
		- Robin Lapid
	With his own label, Transcopic, and his first solo album, Blur 
guitarist Graham Coxon flies hyperspeed into the direction he nudged 
Blur toward on their eponymous fifth album.  On _The Sky Is Too High_ , 
he walks a tight-rope between plaintive sad songs a la Nick Drake and 
Sonic Youth-style punk guitars that drift from sparse and moody to 
dissonant and jarring.  He anchors it all with shy, barely post-pubescent 
vocals and a personality that screams and whispers at the same time.
	The first track, "That's All I Wanna Do," starts off with Coxon's 
soft voice cradling a gentle melody.  Even when the acoustic guitar 
erupts into a guttural and melancholy electric wash, the refrain lingers, 
faintly redolent of a Blur pop hook.  But for the most part, Coxon 
abandons himself to the music in his head.  "R U Lonely" is a quiet 
number set adrift in acoustic guitar.  It runs smoothly into "I Wish," 
which begins with acoustic strumming that suddenly fractures into 
distortion-heavy discord.  When Coxon isn't expressing his anger or 
despondency in words, the guitar explodes  and sings for him.
	The album -- which Coxon wrote and performed by himself -- was 
recorded during an alcohol-free period of teetotalism.  The purging mood 
is evident with lyrics such as 'In the daylight hours/ I go out and kill 
the flowers.'  On "Who the Fuck?" (a song reminiscent of Pavement's 
"Conduit For Sale"), furiously reckless punk guitar and the cathartic 
'Who the fuck you looking at?!' refrain break up a barrage of garbled 
spoken-word lyrics.
	Coxon makes subtle hints at the kind of infectious lo-fi melodies 
on _Blur's_ "You're So Great," although his solo album is more bitter-sad 
than bittersweet.  The Blur track, seared with a naked intimacy, comes 
closer to the bare-souled eloquence of his mentors than the new album.  
But with _The Sky Is Too High_ , Coxon proves that, in time, he can 
reach his grasp.
---
	REVIEW: Far Too Jones, _Picture Postcard Walls_ (Mammoth)
		- Scott Slonaker
	Hundreds of bands play good ole-fashioned, sing-along, 
tear-in-yer-beer barroom guitar rock.  Most only make a modest living, 
playing every dive from here to Flagstaff.  Some get signed.  And, 
every now and then, someone rides the style to the top of the charts.
	I guess that I don't want to spend the entirety of this piece 
comparing Raleigh, NC's Far Too Jones to their Southern neighbors 
Matchbox 20.  The bar-rawk style is so common that no one can be accused 
of ripping off anyone else- none of you thought of it first, okay?  
That's not the issue with this sort of music.
	But, the undeniable fact is that some of the songs on _Picture 
Postcard Walls_ could very easily be mistaken for Matchbox 20 or Emmet 
Swimming.  One listen to the first single, "As Good As You" may not 
reveal much, but, just like with "3 AM" and "One Headlight", future 
spins will hook you.  "As Good As You" is a soaring, melodious treat, 
full of lyrical platitudes ("Everyone will live on time/Through these 
limbs I watched you climb") just ripe for attaching your own deeply 
personal meaning.  And that's the secret of why these songs hook people.
	Singer Christopher Spruill's mid-range, husky wail is familiar 
and comforting territory, with occasional chesty bellows a la Darius 
Rucker and Eddie Vedder.  Producer Gavin MacKillop helps make the 
band's above-average backing vocals sound quite good.  The problem - 
well, we're getting to that.
	An odd thing becomes apparent after a few spins of this record. 
Every track is such a polished, radio-ready shiner that everything, 
even on subsequent listens, runs somewhat together.  Is it possible to 
have too many singles on an album?  Taken individually, tunes like the 
ballad "Stoned and Reeling" and the midtempo "Middle of Me" are 
perfect, but maybe having too much perfection on one album creates some 
sort of musical law of diminishing returns.
	So, then, perhaps Far Too Jones should not try quite as hard 
on their next album.  Tune the instruments less.  The bass player could 
hire his cousin Billy Bob to produce.  Something, anything, to mar the 
shine just enough to give some more character.
	I still recommend _Picture Postcard Walls_ to fans of the style, 
and it's a crime that some of these songs haven't made it to radios 
nationwide, but this record is best served in bite-sized chunks.
---
	REVIEW: Sonichrome, _Breathe The Daylight_ (Capitol)
		- Tracey Bleile
	The name of the band and the title itself are verrry deceiving 
- you half-expect ambient techno to come oozing out at you.  What you 
get from the latest and greatest power trio to surface from SoCal is 
a super-surprising breath of fresh air - only it's a hit of pure 
oxygen instead of mere gentle ocean breezes.  Like their pop 
forerunners; oh, say the Cars, or the Knack, or Squeeze, it's 
deceptively simple - but if you lean in just a little closer, you'll 
be in it up to your ears.
	_Breathe The Daylight_  features some of the smartest and 
sharpest foisting of poppiness upon the world (I haven't felt this 
giddy since Supergrass) yet this year.  They have gathered all the 
right elements of  songcraft --  take some drama ("Step Outside", 
"There Was 2"), a strong steady pace ("Overconfident", "Dirty Water"), 
and gracefully balance the punches with softness ("Coming Home" and 
"Folding" with their John Waite/Babys' era feel points up the 
substance behind the sound).   Then take these key elements, polish 
it to a modern gloss with just enough synth and effects (their nod 
to alien abduction in "Saloman" will have you scanning the skies, 
ready to be taken away) to complement Chris Karn's by turns 
tremulous/soaring tenor, and you've got a sound with all of the 
emotion and very little triteness that does just what intends, hooks 
you and keeps you.
	Sonichrome incorporates a lot of atypical instruments (bring 
on the strings and tympani and a little barrelhouse piano while you're 
up...I swear, on the super-bouncy "Innocent Journey" they've got a 
whole Dixieland band in the studio), and bring a thoroughly fresh 
perspective on "modern music" - transcending boundaries that shouldn't 
exist between musical styles anyway.   This is the kind of smart pop 
that should be right up front and center and all over the airwaves - 
we'll just have to see what the fall brings.  Word on the street is 
their live show leaves out all of the extra orchestra trappings and 
still delivers the goods - in full.
	This strikes me as the kind of band that has been working this 
angle for a long time, and had the sound down and tight - all they 
needed was a really good studio and solid backing to jump everything 
up that extra notch to make them live up to the name - bright shiny 
winks of talent bouncing off a polished song to dazzle, nay, even 
blind you from time to time.  This is a disc that needs to stay near 
at hand when winter comes and you need the warmth of Sonichrome's 
sunny, energized sound to melt away what ever might have you in its 
icy grip.
---
	REVIEW: The Flys, _Holiday Man_ (Trauma)
		- Joann D. Ball
	You may have already heard The Flys but mistakenly credited 
their infectious new song, "Got You (Where I Want You)" to another 
band.  "Got You (Where I Want You)," was one of the standout cuts 
on the soundtrack for the summer teen thriller flick "Disturbing 
Behavior."  And yes, it does kinda sound like a lost Alice in Chains 
song when heard over the modern rock/alternative rock airwaves.  But 
even though the vocal stylings and the slightly dark, moody groove 
sounds familiar, it's actually The Flys sneaking up on you.
	Don't be so quick to brush off this Los Angeles-based quintet 
as a one-hit flavor of the month with a catchy tune.  There's a helluva 
lot more than that happening on The Flys' debut CD _Holiday Man_ .  
Like "Got You (Where I Want You)," "Afraid" is an edgy song which 
quickly gets under your skin and sticks in your head.  But with this 
track, the band reaches deep into its own bag of musical treats and 
makes good on its promise to "make heavy rock music that is fresh, 
fun and danceable."  The rise and fall of this eerie number, from a 
piercing guitar lead over a slow throbbing bass into an emotional 
outburst of vocals and drums, makes it the best tune on the record.
	However, The Flys don't just creep along in the darkness, as 
cuts like the explosive "Give You My Car" and the title track embody 
the spirit of extreme sports by making full use of distortion, guitars, 
and a rock solid rhythm section.  The Flys succeed in taking the best 
of grunge, metal, rock and hardcore rap and even throw in some funk 
for good measure.  And the song "Holiday Man" is proof that it can and 
indeed does work.  In fact, not since the Red Hot Chili Peppers picked 
up a megaphone and got on the rollercoaster of love has there been 
such a catchy booty shakin' number on a rock record.
	A short but entertaining adventure, _Holiday Man_ ends with a 
slick '70s styled, flirty number called "Sexual Sandwich."  Ultimately, 
The Flys are a bunch of fellas who love music, women, surfing and 
extreme sports and wanna let you in on the fun.  The band celebrates 
all of these passions on this active, energetic twelve song audio 
release, which also includes an enhanced CD-Rom portion containing 
interviews and live performances.
---
NEWS:	> 1000 Clowns, whose album was released in the last issue 
of Consumable Online, has been dropped by their label, Capitol.
---
TOUR DATES:
	Tori Amos / Devlins
Sep. 26 San Diego, CA SDSU Open Air Theatre
Sep. 27 Phoenix, AZ America West Arena

	Better Than Ezra
Sep. 25 Orlando, FL Walt Disney World

	Better Than Ezra / Possum Dixon / Athenaeum
Sep. 28 Chattanooga, TN The Bay

	Broadside Electric
Sep. 25 Cambridge, MA Club Passim
Sep. 26 Waltham, MA Luthier's

	Candlebox
Sep. 24 New York, NY Irving Plaza
Sep. 25 Washington, DC Bayou
Sep. 26 Huntington, WV Ritter Park
Sep. 27 Toledo, OH Sports Arena

	The Church
Sept. 25 Portland, OR The Roseland Theater 
Sept. 26 Seattle, WA The Fenix 
Sept. 27 Vancouver, BC Richards On Richards 

	Cravin' Melon
Sep. 24 Anderson, SC Anderson County Fa
Sep. 25 Charlotte, NC Carolina Music fest
Sep. 26 Danville, VA Pittsylvania County Fair

	Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Sep. 24 Candlebox
Sep. 25-26 Bob Mould / Varnaline

	Jesus & Mary Chain / Mercury Rev
Sep. 24 Ft. Wayne, IN Piere's Night Club
Sep. 25 Pontiac, MI Clutch Cargo's
Sep. 26 Columbus, OH Newport Music Hall
Sep. 27 Chicago, IL House of Blues
Sep. 28 Minneapolis, MN First Avenue 

	Freedy Johnston
Sep. 26 Philadelphia, PA Tin Angel

	Korn
Sep. 25 E. Rutherford, NJ Continental Airlines Arena
Sep. 26 Philadelphia, PA Core States Spectrum
Sep. 27 Cleveland, OH CSU Pavilion

	Lenny Kravitz
Sep. 25 Austin, TX Music Hall 
Sep. 26 New Orleans, LA Marconi Meadows 
Sep. 27 Houston, TX Theatre at Bayou 

	Ziggy Marley & Melody Makers
Sep. 25 Annapolis, MD United States Naval Academy
Sep. 26 Highland Hghts, KY Regents Hall

	Massive Attack / Lewis Parker
Sep. 24 Seattle, WA Paramount Ballroom
Sep. 26 San Francisco, CA Warfield Theater
Sep. 27 Los Angeles, CA The Palladium

	Mercury Rev
Sep. 22 Atlanta, GA Masquerade
Sep. 24 Fort Wayne, IN Pierre's Night Club
Sep. 25 Pontiac, MI Clutch Cargo's
Sep. 26 Columbus, OH Newport Music Hall
Sep. 27 Chicago, IL House of Blues
Sep. 28 Minneapolis, MN First Avenue

	Bob Mould / Varnaline
Sep. 25-26 New York, NY Irving Plaza 
Sep. 28 Philadelphia, PA Trocadero 

	Reel Big Fish / Spring Heeled Jack
Sep. 24 Richmond, VA Flood Zone
Sep. 25 Washington, DC 930 Club
Sep. 26 Philadelphia, PA TLA
Sep. 27 Baltimore, MD Bohagers
Sep. 28 Newark, DE Stone Balloon

	Samples
Sep. 23 Sea Bright, NJ Tradewinds
Sep. 24 New Haven, CT Toad's Place
Sep. 25 Bridgeport, CT Fairfield University
Sep. 26 Portland, ME Stone Coast Brewery
Sep. 27 Durham, NH University of New Hampshire

	Sheila Divine
Sep. 24 Washington, DC The Metro 
Sep. 27 Philadelphia, PA The Khyber 
Sep. 28 New York, NY Brownie's 

	Superdrag
Sep. 25 Atlanta, GA The Point

	Tripping Daisy / Flick
Sep. 24 Ames, IA Maintenance Shop @ Isu
Sep. 26 Boulder, CO Fox Theater

	Mike Watt
Sep. 25 Austin, TX Stubb's 
Sep. 26 Houston, TX Instant Karma 
Sep. 27 New Orleans, LA Tipitina's 
Sep. 28 Pensacola, FL Sluggo's 
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
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