==== ISSUE 43 ====         CONSUMABLE         ======== [June 16, 1995]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@pilot.njin.net
  Sr. Contributors:   Jeremy Ashcroft, Martin Bate, Al Crawford,
                      Dan Enright, Tim Kennedy, Reto Koradi,
                      David Landgren, Tim Mohr, Joe Silva, John Walker
  Other Contributors: Lee Graham Bridges, Scott Byron, Kelley Crowley, Tim 
                      Hulsizer, Sean Eric McGill, Melissa Pellegrin, 
                      P. Nina Ramos, Jamie Roberts, Linda Scott, Ali Sinclair,
                      Jon Steltenpohl, Jorge Velez, Courtney Muir Wallner, 
                      Scott Williams, Britain Woodman
  Technical Staff:    Chris Candreva, Dave Pirmann, Damir Tiljak,
		      Jason Williams
 
 Address all comments, subscriptions, etc. to gajarsky@pilot.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
                            .------------.
                            |  Contents  |-.
                            `------------' |
                              `------------'
INTERVIEW: Squirrel Nut Zippers' Tom Maxwell - Dan Enright
REVIEW: Chris Isaak, _Forever Blue_ - Reto Koradi
REVIEW: Sleeper, _Smart_ - Tim Mohr
REVIEW: White Zombie ,_Astro-Creep: 2000; Songs of Love, Destruction, and 
        other Synthetic Delusions of the Electric Head_ - Sean Eric McGill
REVIEW: Tripping Daisy, _i am an ELASTIC FIRECRACKER_ -  Jon Steltenpohl
REVIEW: A House, _ Wild Eyed and Ignorant_ - Reto Koradi
REVIEW: Paula Cole, _Harbinger_ - Jamie Roberts
CONCERT REVIEW: King Crimson, Tower Theater/Philadelphia, PA.(June 1, 1995)
        - Dan Enright
REVIEW: Daryll-Ann, _Seaborne West_ - Tim Mohr
CONCERT REVIEW: Lisa Cerbone, CB's Gallery, May 11 - Jamie Roberts
NEWS: Nicole Blackman, David Bowie, Capitol & The Blues, The Cogs, Conan 
        O'Brien's Cool Guests, Nik Kershaw, KMFDM, Omnium Recordings,
        RPM Seattle, Sepultura
TOUR DATES: Dillon Fence, Ace Frehley, General Public, Green Apple Quick Step,
        Juliana Hatfield, Hootie & the Blowfish, Kill Creek, Lords of Acid, 
        Mama Kettle, Nitzer Ebb, Palm, Psychlone Rangers, Rake's Progress,
        Silverchair, Squirrel Nut Zippers
ERRATA from last week's issue
THE READERS WRITE BACK!
Back Issues of Consumable
---
	INTERVIEW: Squirrel Nut Zippers' Tom Maxwell
		- Dan Enright
	For those readers who don't know, the Squirrel Nut Zippers are
a seven piece swing jazz band from North Carolina that recently released
their debut self titled album on Mammoth Records. In case you wondered,
they've borrowed their name from a chewy, peanut-flavored confection 
made in Massachusetts. While they've been influenced by small jazz "Hot Bands"
from the '20s and '30s, don't make the mistake of thinking they're mired
in the past. Nothing could be further from the truth. 
	Unleashed by founders Katherine Whalen (banjo, vocals) and James
Mathus (guitar, vocals), they've recruited Tom Maxwell (guitar, vocals,
percussion), Don Raleigh (string bass), Chris Phillips (drums), Ken Mosher
(alto/baritone sax, guitar, vocals) and Stacy Guess (trumpet) to bring
evening gown and tuxedo clad dance music to the world. 
	I recently spoke with guitarist and resident musical historian, Tom
Maxwell about the bands roots and style. So, without further ado... 

	Consumable: What's the philosophy behind this project?
	Tom: We're trying to capture emotional content and feeling. I was
talking to the bass player before the interview and was reminded of the
parable of the blind men and the elephant. And basically, music can serve
as the elephant. It's a constant and it's universal, just like human
feeling. You can get bound by convention, which will obviously become
obsolete as it always does, but music is a constant. That's what we're
really interested in.
	C: The members of the band come from a "college
radio/contemporary rock background. What inspired you to pursue this type
of music?
	T: I started listening to this music in '88 when I was playing
rock and roll. I picked up Cab Calloway and was blown away! To me, it was
rock as much as anything else I heard, except it was a little bit more
subtle. 
	It's the difference between real and implied threat. I like Sonic
Youth a lot but their threat is real, whereas Cab Calloway singing "You
Rascal You" - I just couldn't get enough and started listening to Fats
Waller and everything else. When I became friends with Jim and Katherine
I found that they liked a lot of that music too. We would get together,
have dinner, and play records for each other.
	C: A music club...
	T: Oh yeah. It was a blast!  So, I don't know. Is that
an accurate answer?
	C: I don't know either..
	T: Jim was, "I'm forming a jazz band." I was like, "Terrific,
that's great." But we never sit around and discuss authenticity, or what's
appropriate and what's not appropriate. We just get together and play. I
have a working knowledge of the history of a lot of the small band swing,
but most of the people in the band don't. They listen to all kinds of
music. We just intuitively know how to make the same sound.
	C: You're contemporary musicians with a love for this
style of music so you're updating it...
	T: Precisely. Jazz abandoned a lot of the tenets of this kind
of music in the '40s and went on and played Bop, that kind of music. This
kind of swing was enormously popular for a generation, so I can see that
people were ready to try something else. But rock and jazz never went
back and picked up on what I think is tremendously fertile ground. 
	This swing we're playing is so natural, such an easy thing to do
and in many ways lends itself to whatever you want to do with it. I feel
we are picking up a strain someone put down a few years ago. Which is
antithetical to the idea of recreating something, or trying to pander to
nostalgia. So, yes. That's what we're doing. We're updating it. I think
it's as viable right now as it was then.
	C: And your lyrics are definitely contemporary...
	T: Yeah. "Danny Diamond" is about a high school transvestite
Ken knew. That song is an example of bizarre subject matter and "Plenty
More" is... I still don't know how to take that song. I wrote the thing
and my friend John wrote the lyrics... I think it can be taken any number
of ways. I think most great music has a sense of irony to it. Hopefully we
do too and can get that across.
	C: This album is twelve songs out of how many total in
your catalogue?
	T: Oh gosh, upwards of 40. Since the time we've done this
record, we've written enough material for the second. And by the time we
get around to recording the second record, we'll probably have written
half the material for the next one. We work at a frenetic pace. There are
four songwriters in the band so there is never a dearth of material.
	C: How does the songwriting work? Do you each write
complete songs, or do you collaborate...?
	T: We each bring in a full song. I, or Jimbo, will write a song
and lyrics and bring it in... but then the song becomes "zipperized!" So
it doesn't do any good to have the thing down in your head. You can have a
chord progression worked out and a melody line, sometimes we'll have horn
ideas, most of the time we just go, "Play what you want." That's so
exciting because you end up with a song you never would have been able to
do on your own.
	C: Everyone owns the song, in a sense...
	T: And the song will never sound like it does unless the band
is playing it. Which is why we decided to split up royalties. The person
who wrote the chord progression will get the bulk of it. But the way we're
going about it, whoever played on the recording is entitled to a cut,
because in many ways they helped bring the song together. I think it's a
southern way of doing things. Each individual player is... we leave it up
to them as to what they want to play or how they want to interpret the
thing. What they want to add to it. And everyone does it well. It's one
of the true pleasures of playing in this band.
	C: I wanted to ask you about your "image"...
	T: A lot of people assume we have a marketing savvy which we
simply do not posses. They're like, "The clothes are important! What about
the clothes?" And that's something I wanted to talk about. When I first
got into the band, I fucking got a tuxedo, toot-sweet! For a number of
reasons. One, I saw pictures of Cab Calloway looking like a million bucks,
so why not? Wearin' that white tuxedo with all those paper mache lightning
bolts? Who wouldn't want to look like that? I certainly do! 
	The other thing is, I always get nervous and there is a certain
ritual to putting on a tuxedo. Mine has become quite elaborate. There's
all these studs and buttons and shit you put on. It's a ritual to help
assuage my bad nerves. I have found wearing these clothes, most of us
dress like this anyway. Jimbo and Stacy, if they didn't have day jobs,
would be wearin' a suit all day long. 
	There's a certain respect that is implied when you go on stage
wearing, say, tails. Not only are you showing respect for the music, you
are showing respect for the people for whom you're playing the music. If
you come on starin' at your shoes, ripped hole in your jeans, that's
fine. There's a lot of good stuff that has come out of the do-it-yourself
attitude in music. But that should not preclude a certain ritualism, or
properness, or just wanting to look good. People respond positively to
that.
	C: That's how the original performers of this music
dressed.
	T: And let's face it. When you are a performer, you are just
that. You're doing stuff that most people don't want to, or don't feel
they can do. You are, by definition, separating yourself from the
audience. So any attitude you take is going to be contrived. It's going
to be artifice. 
	You can study being nonchalant, wearing torn tennis shoes. I
mean a lot of young rock bands have paid the same kind of attention to
their clothes and attitude as we do. They simply are trying to look sort
of everyday. But they're still doing the exact same thing we are, dressing
up in monkey suits. So, to me it's all the same.
	C: Do you think your costume colors the perception of
your performance?
	T: Sure. And it also enhances the way we play. You just play
differently when you're wearing a tuxedo. When you're looking really good,
you change somehow. You play a little better, or more respect, or be more
attentive to what you're trying to do.
---
	REVIEW: Chris Isaak, _Forever Blue_ (Sire)
		- Reto Koradi
	Nobody would probably expect a big surprise from a new Chris Isaak
album. It's not even easy to admit that you like him if you claim to have
good taste. His look on the album cover doesn't suggest a change either,
he sort of looks like James Dean, before the car crash.
	The music comes as a pleasant surprise, though. The album starts
out with "Baby Did A Bad Bad Thing", which sounds like a very old blues
tune by John Lee Hooker, the bass line reminding one a lot of "On The Road 
Again" by Canned Heat. This is followed by the first single, "Sombebody's 
Crying", which is indicative of the general sound of the album. While the 
verses follow his characteristic melodic style, the chorus is faster and more
powerful than usual, driven by the drums. This is even more pronounced on
"Go Walking Down There", the highlight track of the album, where his voice
gets much harder than usual, he cries out like a real rocker, and he's damn
good at it.
	There are still plenty of slow, romantic ballads in good old Isaak
tradition. Hardly a potential smash hit like "Blue Hotel" or "Wicked Game",
but "There She Goes" might well be the next single. Some of the songs
are recorded in low-fi sound quality, probably intentionally.
	Isaak started work on the album after breaking up with his
girlfriend, and all the lyrics revolve around this topic. The fact that he
writes about his own life might partly explain why his music works. Even
though it's certainly far from being new and also addresses listeners
without exclusive taste, it never gives the impression like it would
originate in the marketing department of a record company. It's simple, but
true and honest. And his great voice is perfectly suited for his musical
style.
	While Isaak never failed to write good tunes in the past, his last
album "San Francisco Days" often made you think that your CD player got
stuck in endless repeat mode. _Forever Blue_ is a clear step forward, it's
much more variable, and might well be his best album so far.
---
	REVIEW: Sleeper, _Smart_ (Arista)
		- Tim Mohr
	To begin lazily, an unimaginative use of the album title (no less 
excusable due to the preceding admission and this disclaimer): smart, 
indeed, are Sleeper. Smart-assed lyrically, smartly decked out 
in requisite indie gear, and intelligently avoiding the attention and 
subsequent wrath of lawyers - hot on Elastica's trail - by writing an album 
full of *original* pop melodies.
	A guitar outfit fronted by a female singer, Sleeper occupy a narrow 
strip of ground separating the punchy pop of Echobelly and the more flammable 
punky-pop of elastica. Some of the tunes, especially the pre-album singles 
"Delicious" and "Inbetweener" (which, along with "Alice", are all included on 
_Smart_), buzz along on fast, buoyant guitar lines while others lilt past 
fastened to happy-go-lucky backdrops with little in the way of high-octane 
ambition.
	Laying waste to typical pop romanticism, Sleeper sing about cynicism 
in a very honest, non-cynical way: "Inbetweener", for instance, is about a 
passionless relationship that is taken up between what was, and what will 
hopefully be, a more meaningful connection. "You're such an inbetweener." 
Notions of a sexual mercenary also inform "Delicious".
	Showing both a well-informed pop consciousness and a sense of humor, 
Sleeper pun on a similarly titled S*M*A*S*H song with "Lady Love Your 
Countryside," which proves, rather than a novelty, a durable song in itself.
	To be sure, Sleeper are not breaking new ground. A host of bands, 
from Belly and the Throwing Muses to the aforementioned British newcomers, 
make versions of the same basic racket. The field of female-voice-and-guitar-
pop has quickly become crowded, plowed continuously since its post-Blondie 
rebirth with bands like the Darling Buds and the Primitives. And while 
certain harvests have been widely fete'd, there is no reason to 
disregard the contributions of quieter arrivals such as Sleeper. By virtue of 
their songs alone, Sleeper constitute a welcome addition.
	Like the deluge of bands who closely resembled one another during the 
British Invasion (mid-60s version), jostling for position in the press, 
charts, and record shelves won't necessarily assure lasting power and 
restrospective musical respect for today's hopefuls. Closing with an equally 
inexcusable display (two, in fact) of rhetorical slothfulness: dismiss 
Sleeper as riding Elastica's coattails at your own risk. 
---
	REVIEW: White Zombie ,_Astro-Creep: 2000; Songs of Love, Destruction, 
		and other Synthetic Delusions of the Electric Head_ (Geffen)
		- Sean Eric McGill
	Legend has it that back in the fall of 1992, this, White Zombie's 
third album, was scheduled for release by Geffen in the spring of '93. 
For the goof of it, they released "Thunder Kiss '65" off the band's _La 
Sexorcisto: Devil Music, Vol. 1_ album, and the rest is history.
	The song went to number one on AOR charts, and the album vaulted 
into the Billboard Top 100. To top it off, MTV began airing the video 
for "Welcome to Planet Motherfucker/Psychoholic Slag" on "Beavis & 
Butthead" on the strength of the amount of humor that could be derived 
from the name alone, not to mention they had a "babe" in the band. 
Needless to say, Geffen sent the band back out on the road and gave them 
more time to finish the album, and _Astro-Creep: 2000_'s 
current residency in the Billboard Top 10 proves once again that it is 
one of the few companies willing to take a risk on bands that nobody else 
wanted, and have them pay off.  Anyone remember Guns 'N Roses?.
	But enough pondering on the state of the music 
business.  _Astro-Creep: 2000_ is different from any other metal album 
you've heard, unless you've heard any of White Zombie's previous 
releases, and even then, it's very different. This album has more of an 
industrial feel to it in many ways, and the change in producer from Andy 
Wallace to Terry Date (Pantera, Soundgarden) is obvious.
	Whereas _La Sexorcisto_ was polished mayhem, _Astro-Creep: 2000_ 
differs from the previous album by making the band seem more hard-core 
and less cartoonish. Sure, you still get songs like "El Phantasmo and The 
Chicken-Run Blast-O-Rama", but what made "La Sexorcisto" seem more like a 
joke than anything was the band's use of samples, most of which came from 
George Romero's "Night Of the Living Dead". While the samples are still 
there on _Astro-Creep: 2000_, they aren't as easily recognizable, thus 
adding more to the music.
	The music itself is some sort of wierd mix of Nine Inch Nails, 
Ministry and Pantera. Rob Zombie's vocals are less in the forefront this 
time around, leaving more room for the rest of the band (J., Guitar; Sean 
Yseult, Bass; and John Tempesta, Drums) to perform. Songs like "Real 
Solution #4" and "More Human Than Human" are some of the best metal songs 
you'll hear all year musically, and the rest of the album is full of good 
lines and riffs.
	Lyrically, though, Rob Zombie tends to dwell too much on his own 
oddities and less on coherency. In the wake of grunge and the constant 
rantings of angst and "I hate myself because I'm rich" songwriting, this 
is refreshing to a certain extent.  However, this writer is reminded of the 
mid-eighties, when record companies were signing any band with a stack of 
Marshall's and it seemed most of their songwriting came from Dungeons & 
Dragons sourcebooks (and, next time you're in Taco Bell, tell Ronnie Dio 
I said "Hi").
	The bottom line is that _Astro-Creep: 2000_ is definitely 
different, but if you're not a fan of that type of hard rock already, 
this album probably won't convert you...but then again, odder things have 
happened.
---
	REVIEW: Tripping Daisy, _i am an ELASTIC FIRECRACKER_ (Island)
		- Jon Steltenpohl
	Tripping Daisy weaves their own alterna-rock path like a weary prisoner
of war from the battle for college radio and MTV dominance.  The band sounds a 
bit like Public Image Limited morphed into Jane's Addiction.  There is a 
tension between the wacky, high-pitched vocals of Lydon and the bombastic 
dreamland of Farrell.  As the tape rolls from side A to B, the songs veer 
from a guitar drenched haze to a hyper pop bomb with distorted vocals.
	On first listen, _i am an ELASTIC FIRECRACKER_ is a bit of a let-down.
When Island snatched 1993's _Bill_ and released it to a nationwide 
audience, there was a bit of excitement about the album.  Self-released 
albums don't get much better than _Bill_, and many people were on the edge 
of their seat waiting for the next Tripping Daisy album.  Were they going 
to be the next Jane's Addiction or Alice in Chains?
	Well, that hope wears off after a few listens and the true nature of 
Tripping Daisy comes through.  Instead of an intense mind-blowing 
experience, _i am an ELASTIC FIRECRACKER_ is a collection of semi-serious 
songs that are a good listen.  Unlike certain bands where popping neck 
veins are displayed like a badge of honor, Tripping Daisy takes themselves 
with a grain of salt.  The album is the perfect alternative for when your 
tape deck begs for something lighter.
	_i am an ELASTIC FIRECRACKER_ has some good and bad moments.  On the 
bad side, "Same Dress New Day" starts off like a Bauhaus song with a spidery 
guitar, but it fizzles into an outtake from a session with the ghost of 
Hank Williams, Sr. jamming with The Cure.  "Trip Along" would be an 
excellent song, but the title and the melody conjure images of "Trip Away" 
by Jane's Addiction.  It's not a rip-off, but the likeness nags too much to 
fully enjoy the song.
	On the good end, "I Got A Girl" is Tripping Daisy's answer to Weezer 
and Pavement.  It's a bubble-gum alterna-pop song for the nineties about the 
girl "who's always bitchin' at me".  Expect "I Got A Girl" to be the summer 
make-out song for co-dependent alterna-couples across the country.  
	The nine minute opus, "Prick", really shows a band in full form.  It's
the one song where Tripping Daisy straightens up their jackets, takes the gum 
out of their mouths, and hits you square between the ears.  "Prick" stands 
alone as an example that Tripping Daisy has the ability to get dark and 
serious if necessary.  But, just to make sure you leave on a good note, 
they close the album with the appropriately titled "High".
	_i am an ELASTIC FIRECRACKER_ is about as good as _Bill_.  Tripping 
Daisy is still a young band, and they are still finding their sound.  One 
minute the songs are serious and the next joking.  This gives the album a 
rough finish that really doesn't allow you to fall into a groove.  But, 
despite the bumpy ride, fans of _Bill_ will find that the new Tripping Daisy
is worth, um, the trip.
---
	REVIEW: A House, _Wild Eyed and Ignorant_ (Radioactive)
		- Reto Koradi
	It's been suggested that this disc from A House is ideal for chasing 
a cat around the house and jumping up and down on the bed. While this 
reviewer doesn't have a cat to fully test this out, there's a lot of truth in
this statement. This album doesn't let you sit still.
	A House is a six piece band from Dublin, and with their fourth
album they're trying to gain popularity outside Ireland and Great Britain.
While the music is far from being traditionally Celtic, the origin is
always obvious. On top of guitar, bass and drums they're also using
harmonica, strings and brass. But more than that, it's just great pop
music. There's nothing that's striking or new musically, but it's been a
while since I had so much fun listening to a new album. And it doesn't take
long until you start to sing along and jump up and down. The whole album is
full of hooks and catchy melodies.
	The UK top 40 single "Here Comes the Good Times", sort of a R'n'R
anthem, might have the most chart potential, but it's not the best song on
the album. There are at least half a dozen excellent tracks, slow ones like
"Make Me Proud", more up-beat ones like "The Strong and the Silent", and
most of them are nearly as catchy as "Everything I Am", with the partly
acappella chorus.
	There's more hidden under the surface of the cheerful pop tunes.
The lyrics are witty and often ironic. They talk about the state of our
world ("where bigger dogs eat smaller dogs over lunch, where there's always
someone younger, cheaper and better than you"), and they're asking the big
questions of mankind ("and when we die, can we got to the great big party in
the sky?"). Even if they repeat old cliches ("dance with me, hold me...
you're beautiful"), it's always with a twist that makes you feel that it's
more a parody than serious.
	If you have a weakness for music with Celtic influence and like
bands like Dexys Midnight Runners, the Levellers or Black 47, this is a must
get. And if you're just after a dose of fun pop a la Blur, you can't go
wrong with _ Wild Eyed and Ignorant_ by A House.
	The record label has a WWW site under http://radioactive.net.
---
	REVIEW: Paula Cole, _Harbinger_ (Imago)
		- Jamie Roberts
	Paula Cole has such incredible talent!  She has a voice like an angel,
a biting wit, and world-weary 'knowing'  in her songwriting.  She takes you
into her world, on _Harbinger_ and makes you feel how she felt about home,
family, love, and the world as a whole.
	Two outstanding tracks on this gently flowing work are "Chiaroscuro"
and "Ordinary".  The former tackles the difficulty of an interracial
relationship (both with outsiders, and between the lovers), and the latter is 
a tale of pitiable self-loathing, playing second fiddle in a relationship and
undervaluing herself.  
	The music is a meld of folk and rock, taking the best parts of each.  
The only trace of folk in it is its softness and comfortable atmospheric.  The
CD is a bit somber, with her deeply resonant voice and serious tone, but it
picks up intermittently.  Every song is a hummable gem of strumming guitar
and varies with interesting percussion, a la "beat box" on a few tunes.
	This one has become a part of my CD player.  Let Paula Cole into your
heart. If you give her the chance, that's just where _Harbinger_ will go.
---
	CONCERT REVIEW: King Crimson, Tower Theater/Philadelphia, PA.
		(June 1, 1995)
		- Dan Enright
	It's difficult to believe a ten year gap exists between the last 
incarnation of King Crimson and this one. Ten years and several 
successful projects for all the current members. But, like today and a 
memory, the connection is seamless. Following on the heels of last year's 
independently released _Vrooom_, this album and tour marks the beginning 
of what I (and I suspect most fans) hope is the latest chapter in the 
Crimson saga.
	About 30 minutes into this sold-out performance, I'd formed three
opinions. First: When I see/hear a group as advanced and talented as this,
it makes it difficult to be a critic, because they've demonstrated what's
possible - and most musicians don't attain this level of proficiency. 
	Second: This group is representive of electronic String
Ensemble/Classical Music of the late 20th Century. Robert Fripp belongs to
that elite group of composers that includes Frank Zappa, Brian Eno, Peter
Gabriel, Joe Jackson, and John Zorn (among others). 
	And third: When it comes to rock, especially the
metal/progressive/hard genres, most bands offer watered down pap. I guess
because the majority of consumers don't want to be challenged.  Almost as
if they want their music served-up predigested.
	Now about the performance - if you don't have tickets forget it. 
I'm sure the tour is sold out, and rightly so. The '95 Crimson line-up
features alumni Adrian Belew - vocalist and guitarist extraordinare, Tony
Levin/Trey Gunn - stick masters (Tony also used a stand-up electric bass),
Pat Mastelotto/Bill Bruford - phenomenal drummers, and of course soul and
center Robert Fripp. Like several of Virgin's other top shelf acts, (Joe
Jackson and Bryan Ferry for example) the tour's been booked into the
handful of concert halls that dot North America, meaning the tour will be
seen by about 125,000 hard-core fans. This guarantees they'll get the
best possible view and sound. I know I did - and I sat at the very back 
of the theater.
	If you have seats, don't expect to hear a set of greatest hits. 
While the band did perform some of their older material, the focus of the
performance was their latest release, _Thrack_ (for our discordian
readers, the cover features the five fingered hand of ERIS and the band is
composed of a double trio). From quiet ballads to intense aural landscapes
the band gave a stellar performance, one that (at this time at least) I'm
prepared to rank as the best of '95. All the Crimson trademarks are there.
The shifting rhythms, odd time signitures, tight breaks, twisted bridges,
and chaotic movements - evolving from and resolving into some of the
hardest, most intense rock and roll I've ever seen performed. The show is
evenly split into instumentals and vocal sections, with Fripp subtly
directing and controling a flow of music that seemed filmscore-ish at it's
most extreme. And, of course, jaw dropping technique. 
	The stage had three risers in the back which held the drum kits -
one on each side of Fripp, who lurked in in the center. In front of the
drummers stood Levin and Gun, with Belew at center stage.  Everyone was
spotlit except Fripp, who sat quietly in the heart of the vortex, shrouded
by shadows. A presence whose influence was felt - and heard - but not
seen. The lighting was simple, powerful, and effective, with reds,
greens, and yellows used to add emotion and impact to the different
passages. 
	The music was focused and intense one moment, quiet and gentle the
next. but always balanced and vividly emotional. This tour is a textbook
example of music's true magical power. If you aren't fortunate enough to
have tickets, I'd suggest getting the new album (or any of the bands 16
albums for that matter) to get an idea of the power these guys wield. 
---
	REVIEW: Daryll-Ann, _Seaborne West_ (Hut/Virgin) (Europe)
		- Tim Mohr
	Virgin's designer indie label, Hut, sets sail in hopes of partaking 
in the bounty and potential treaure of rock's New World, continental Europe. 
A Dutch quartet, Daryll-Ann will certainly spur further forays into the 
region with their Byrds-ish guitar figures, Neil Young-inflected vocals, and 
combination of tunefulness and tasteful, unaccented English Lyrics.
	Unlike a crop of excellent Swedish guitar bands, Daryll-Ann eschews 
references to British Invasion pop, appealing primarily to late 60s American 
icons in their attempt to resuscitate melodic, country rock. Occasional pedal 
steel, basically never heard in the British isles, effectively makes this 
point.
	Also ignoring de rigeur punk influences, songs generally stick to a 
loping mid-tempo, among the most rollicking of songs a fairly faithful cover 
of Carly Simon's "You're So Vain". Songs such as the opener, "Stay", steer 
directly into Neil Young/Buffalo Springfield territory, though they can't 
resist a Dinosaur Jr. guitar solo, punning on the oft-stated similarity 
between J Mascis' wah-wah pedalled excursions and Young. 
	_Seaborne West_ is very coherent, sticking closely to this laid-back, 
slightly countrified sound while creating distinct melodies in each song. 
Distant cousins may include the Connells, latter-day Velvet Crush, and R.E.M. 
circa _Out of Time_, the slight twang exposing possible filial relations. 
Counting Crows might also enter a conversation about Daryll-Ann. The two 
bands certainly share the intention of revitalizing non-alternative rock, 
updating the folky late-60s and early-70s sounds of the American west coast 
as well as more recent heartland rock of Tom Petty and John Cougar Mellencamp.
	Unlike the majority of low-key British bands (or British-fixated 
European bands), who usually come from a much more pop-oriented standpoint 
and therefore often fail to get the attention of the American public, Daryll-
Ann generates tunefulness while solidly remaining in a rock format. In this 
way, originating in Holland has allowed them to follow their interests more 
freely than they would have been able to in either the self-infatuated and 
anti-American British music world, or the staunchly testosterone-dominated 
American alternative scene.
---
	CONCERT REVIEW: Lisa Cerbone, CB's Gallery, May 11
		- Jamie Roberts
	With all the sweetness in voice of Harriet Wheeler (The Sundays),
and the style of Juliana Hatfield, flavored with her own clarity
and unique spirit, Ichiban Records' Lisa Cerbone envelops an
audience in a mesh of melodic comfort.  
	The crowd was sparse on this gloomy Thursday night.  All that
meant was that there were fewer people to bask in Cerbone's
music.  All I can say is that if you weren't there (and could've
been), you messed up!
	Small as the audience was, they were all rapt, staring at the
stage.  As Cerbone strummed her guitar and sang tracks from her
album, _Close Your Eyes_, the melodic hooks and pop energy flowed
freely.  Her music is reminescent, in spirit, of 10,000 Maniacs,
particularly in their track "These Are The Days".  That fresh,
optimistic, acoustic rhythm varies slightly from track to track
but the overall feeling comes across in each song she plays. 
Tracks like "Manic Depressive Jubilation" and "My Sister and Me"
were highlights of the all-too-short set.  
	Whether you term it grunge-pop or folky-rock, it is certainly
entertaining. It projects an honest, optimistic, "niceness" that
leaves you with a smile on your face.  With all the people in
this business making noise a commodity, Cerbone is a refreshing
trip back to music for music lovers' sake.  Correct me if I am
wrong, but wasn't that the purpose of this whole business anyway? 
---
NEWS
	Nicole Blackman's 7" single of "Indictment/I Believe" has been
released on the Cleveland singles label Carcrashh.  She also appears
on the spoken word _Relationships from Hell_ compilation.
	David Bowie has been working with Nine Inch Nails' Trent
Reznor recently, in preparation for Bowie's September release, _Outside_.
The two will headline a Lollapalooza style tour; potential other acts
to be included on this tour are Bjork, Bush and Porno For Pyros.
	Capitol Records has the blues, but in a good way - complete
recordings on CD of some of the masters of the American Blues.  Legends such
as T-Bone Walker, Lil' Son Jackson, Sonny Terry, Son House and Roy Brown
have their own individual CD's, while _Rediscovered Blues_ includes 
legendary performers such as Lighnin' Hopkins and Big Joe Williams and
_Chicago Blues Masters Vol. 1_ features Muddy Waters and Memphis Slim.
Each of these CD's will be released on June 20.
	New York City based The Cogs, who first cracked into
the musical spotlight with an E.P. of Ween covers, have expanded to
a five piece unit and are ready to record a full LP.  The as-yet-untitled
release is expected to be released in the fall of 1995, with another single
to precede it.  Their current 7", "(I'm Moving To) Seattle", will be
reviewed in an upcoming issue of Consumable. 
	With the cancellation of Jon Stewart's late night show, Conan
O'Brien is beginning to pick up some cool musical guests.  Included in
live show performances on O'Brien's show are: June 16, Low Pop 
Suicide: June 20, Rake's Progress; July 18, Squirrel Nut Zippers.
	Nik Kershaw, whose "Wouldn't It Be Good" was one of those
1980's classic songs, now has a Internet mailing list.	Wounded Knee, the 
title of a song off his _The Works_ album, is also the name of this 
mailing list.  To subscribe to the list, send a message (with the word 
subscribe as the message) to nik-request@fox-in.socs.uts.edu.au ; to 
send a message to the mailing list, send to nik@fox-in.socs.uts.edu.au
	KMFDM and Giorgio Moroder have just released a wild CD single of
remixes from KMFDM's dance hit, "Juke Joint Jezebel".  KMFDM is also on
the World Wide Web at two sites, http://www.webb.com/concrete.html and
http://www.kmfdm.com 
	Omnium Recordings (featured in the June 8 issue of Consumable)
has recently put up a complete World Wide Web site.  Net surfers can
find the label at http://www.omnium.com/pub/omnium/
	RPM Seattle, a music organization which recently
completed work for composer Michael Kamen and the Seattle 
Symphony _Die Hard: With A Vengeance_, has recently
come online.  Their email address is rpmseattle@aol.com and
world wide web site is http://www.RPMSeattle.com/rpm/
	Sepultura has just released a collector's edition home video,
shot largely by the band, family and crew members during their 1993-94
world tour.  _Third World Chaos_ includes scenes from the band's opening
summer of '94 slot with Pantera, as well as footage of Jello Biafra (Dead
Kennedys) performing "Holiday in Cambodia" with Sepultura's Andreas
Kisser on guitar and Igor Cavalera on drums.
---
TOUR DATES
	Dillon Fence (also see under Hootie & the Blowfish)
June 22 Washington, DC The Bayou
June 29 State College, PA Crowbar
	Ace Frehley
June 22 Cincinnati, OH Annie's
June 23 Chicago, IL The Dome Room
June 24 Milwaukee, WI T.A. Vern's
June 25 Clinton, IA Pig Pen
June 27 Indianapolis, IN Vogue
June 28 Dayton, OH Breakers
	General Public
June 30 Minneapolis, MN First Avenue
July 1 Sioux City, IA Grandview Park Bandshell
July 2 Milwaukee, WI Leinie Stage
July 4 Chicago, IL Grant Park
July 5 Cleveland, OH Shooters
July 6 Royal Oak, MI Royal Oak Theatre
July 7 Toronto, ON The Warehouse
July 9 Providence, RI The Strand
July 10 Washington, DC W.U.S.T.
July 11 Virginia Beach, VA Abyss
July 13 Atlanta, GA Masquerade
July 14 Memphis, TN Six One Six
July 15 St. Louis, MO Mississippi Nights
July 17 New Orleans, LA House of Blues
Sept. 2 Morrison, CO Red Rocks Amphitheatre
Sept. 8 San Diego, CA Q106 Main Stage
	Green Apple Quick Step
June 19 Tulsa, OK Ikon
June 21 St. Louis, MO Side Door
June 22 Chicago, IL Double Door
June 23 Detroit, MI Shelter
June 24 Cleveland, OH Odeon
June 27 Boston, MA Local 186
June 29 New York, NY CBGB's
June 30 Philadelphia, PA JC Dobbs
July 22 Washington, DC 930 Club
	Juliana Hatfield
June 16 Austin, TX Libery Lunch
June 17 Dallas, TX Trees
June 19 Tempe, AZ Electric Ballroom
June 21 San Diego, CA Back Door
June 22 Los Angeles, CA Roxy
June 23 San Francisco, CA Fillmore
June 24 Sacramento, CA Crest Theatre
June 26 Seattle, WA King Performance Center
June 27 Vancouver, ON Starfish Room
June 28 Portland, OR La Luna
July 1 Denver, CO Ogden Theatre
July 3 Indianapolis, IN Tyndall Armory
July 5-6 Minneapolis, MN First Avenue
July 7 Chicago, IL Vic Theatre
July 8 St. Louis, MO Mississippi Nights
July 9 Kansas City, MO Worlds of Fun (with Kill Creek)
	Hootie & the Blowfish / Dillion Fence
June 16 Philadelphia, PA Mann Music Center
June 17 Wantagh, NY Jones Beach Amphitheater
June 18 Holmdel, NJ Garden State Arts Center
June 20 New York City, NY Roseland
June 21 Mansfield, MA Great Woods 
June 23 Columbia, MD Merriweather Post Pavillion
June 24 Hampton, VA Strawberry Banks
June 25 Richmond, VA Classic Amphitheater	
June 27-28 W.Homestead, PA Riverplex Con. at Sandcastle
	Kill Creek
June 17 Des Moines, IA The Safari
June 18 Lincoln, NE Duffy's
June 19 Iowa City, IA McKeo's
June 21 St. Louis, MO Cicero's
June 24 Kansas City, MO Hurricane
	Lords of Acid "Sextasy Ball"
June 16 Norfolk, VA Boathouse
June 17 Raleigh, NC Marrz
June 19 Myrtle Beach, SC Headroom
June 20 Orlando, FL The Edge
June 22 Miami Beach, FL Glam Slam
June 23 Tampa, FL Ritz Theatre
June 24 Atlanta, GA Masquerade
June 26 Panama City, FL Club La Vela
June 28 Memphis, TN Six One Six
June 29 Vinton, LA Club F/X
June 30 Houston, TX Numbers
July 1 Dallas, TX Bomb Factory
July 2 San Antonio, TX Headliners
July 4 El Paso, TX Metropolis
July 5 Phoenix, AZ Party Gardens
July 6 San Diego, CA Soma
	Mama Kettle
June 16 Madison, WI Paramount Music Hall (with Tesla)
June 25 New Jersey, Birch Hill Club 1995 Music Expo 
June 28 New York, NY Cafe A Go Go (sponsored by Spin Magazine)
	Nitzer Ebb
June 20 Buffalo, NY The Show Place
June 21 Toronto, ONT Opera House
June 22 Cleveland, OH The Odeon
June 23 Detroit, MI St Andrews Hall
June 24 Chicago, IL The Metro
June 27 Seattle, WA RKCNDY
June 28 Vancouver, ONT The Rage
June 29 Portland, OR La Luna
June 30 Palo Alto, CA The Edge Nightclub
	Palm
June 19 New York, NY New Music Cafe
June 24 New York, NY Downtime
	Psychlone Rangers 
June 16 Detroit, MI The Shelter
June 17 Cleveland Hts, OH The Grog Shop
June 21 Boston, MA Mama Kin
June 22 Albany, NY QE2
June 23 Philadelphia, PA Khyber Pass
June 24 Washington, D.C. 9:30 Club
June 28 Baltimore, MD 8x10
June 29 Richmond, VA Twisters
June 30 Athens, GA 40 Watt
July 3 Orlando, FL Sapphire Supper Club
July 4 Pensacola, FL Sluggo's
July 5 New Orleans, LA Howlin' Wolf
July 6 Houston, TX Emo's
July 7 Austin, TX Emo's
July 8 Dallas, TX Orbit Room
July 10 Albuquerque, NM Golden West
July 11 Mesa, AZ The Nile
July 12 San Diego, CA The Casbah
July 14 Los Angeles, CA Dragonfly
July 16 Eugene, OR John Henry's
July 17 Portland, OR Satyricon
July 18 Seattle, WA Off Ramp
July 19 Missoula, MT Pine Street Tavern
	Rake's Progress
June 16 Detroit, MI Shelter
June 17 Chicago, IL Double Door
	Silverchair
June 21 Atlanta, GA Roxy Theatre
June 23 Chicago, IL The Metro
June 24 Detroit, MI Phoenix Plaza
	Squirrel Nut Zippers
June 16 Greensboro, NC The Turtle
June 23 Atlanta, GA Smith's Old Bar
June 24 Atlanta, GA The Point
July 2 Durham, NC Festival for the Eno
July 4 Chapel Hill, NC Kenan Stadium
---
ERRATA: Last week's issue had several mistakes.  Thanks
to those who were kind enough to write in.
	First, in the Cordelia's Dad review, the word "fuck" accidentally
appeared where it should have been folk.  And, in the Police review
there were several inaccuracies about the band's previous history (Sting
was not in Curved Air), as well as which Copeland (Miles, Jr.) was in the 
CIA.  Apologies for any problems this may have caused.
---
THE READERS WRITE BACK!
	I'm planning on travelling to England this summer
and would love to find out the festival dates and bands scheduled
at Reading, but can't get that information here in Israel.  Can
anyone help?  Thanks - Barak Hayun (bhayun@ort.org.il)
---
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