==== ISSUE 74 ====         CONSUMABLE         ======== [April 17, 1996]

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

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form other than within this
document must be obtained from the editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Goldfinger - Al Muzer
REVIEW: The Verve Pipe, _Villains_  - Bob Gajarsky
REVIEW: The Wedding Present - _Mini_ - Joe Silva
CONCERT REVIEW:  Marion/Tiny Monroe/Syndicate - Tim Kennedy
REVIEW: Supple, _Puppet's Night Out_ / Loomis, _You're No Tiger 
   Meow Meow Meow_ - Bob Gajarsky
REVIEW: Rollover, _Rollover_ - Linda Scott
REVIEW: Warren Cuccurullo, _th@n.ks 2:/Fr@n.k_ / In Concert - Dan Enright
INTERVIEW: The Goops - Joe D'Angelo
REVIEW: Salt, _Auscultate_  - By Mario J. Lia
REVIEW: Loveinreverse, _I Was Dog_  - Linda Scott
REVIEW: X Marks The Pedwalk, _Meshwork_ - Jamie Roberts
REVIEW: Muler, Live @ Under Acme/ "On The Rug" single - Bob Gajarsky
REVIEW: Arcwelder, _Pull_  - Ron Stone
NEWS: Jimmy Ashhurst, Jeff Buckley, Giant Step, Sarah McLachlan
TOUR DATES: Ammonia / Skunk Anansie, Bad Religion/Unwritten Law, Black Grape,
   Jackson Browne, Cordelia's Dad (UK Tour Dates), Deftones, Everclear, 
   Freewheelers, Howard Jones, Nature/Thought Industry, Nields, Anders 
   Osborne, Ruby, Joe Satriani/Rollover, Semisonic / Verve Pipe, Stanford 
   Prison Experiment, Tears For Fears, Track 1AB, Trip 66, V3, Velocity 
   Girl, Velour, Verge, Vinyl Devotion
Back Issues of Consumable
---
	INTERVIEW: Goldfinger
		- Al Muzer
	As their wacky, almost cartoon-like video gradually takes over the 
MTV airwaves and sales of the infectious, ska-based first single, "Here 
In Your Bedroom," points them toward stardom; the four friends in 
Goldfinger are too busy enjoying the ride to pay much attention to any 
changes success may have inflicted on their lifestyle.
	"Well, actually," said drummer "Dangerous" Darrin Pfeiffer recently,
"we have noticed a few more people showing up and making a bit more noise 
at our shows lately... and Charlie (guitarist Charlie Paulson) blew, 
like, $300 gambling in Reno last night, which would've really hurt us a 
few months back."
	"We're still not playing huge venues, yet. And we're really 
comfortable with that." he adds, "I'd like to stay at this level for as 
long as possible. It's more personal and much more intimate. I want people 
who come and see us to say, 'Yeah, man, I could smell the drummer's breath,'"
Pfeiffer laughs, "'and the singer dripped sweat all over me!' "
	"I imagine that if the record really takes off," he says hopefully, 
"ya' know, if it goes completely crazy and starts selling millions and 
millions of copies, we won't have much choice but to play large shows. 
But, I really enjoy interacting with our fans. I'm hoping that we can stay 
at this level for just a little while longer."
	Named after the James Bond movie (all four members are Bond 
fanatics) and formed nearly two years ago by fellow shoe salesmen John 
Feldmann (vocals/guitar) and Simon Williams (bass) after they stole 
Pfeiffer away from his job at a local Starbucks and added Paulson (an 
old friend of Feldmann's) on guitar; the group's rise from basement, to 
label deal (with Santa Monica-based indie, Mojo Records), to EP (the 
six-song Richter), to MTV Buzz Bin has been a textbook example of the 
classic "rock 'n' roll dream" in action.
	"I can still remember the rush I got the first time I heard the 
single on the radio," recalls Pfeiffer of the song taken from the group's
self-titled, full-length CD on Mojo. "I was laying in bed at, like, 10 
a.m. one day when John called me on the phone, completely freaked, 
yelling, 'Turn on K-ROQ! Turn on K-ROQ!' Man!" reflects the drummer in 
wonder, "what a total buzz it is to hear yourself on the radio."
	"It's now kind of reached the point, however, where I'm glued to 
the radio after our song ends," Pfeiffer laughs, "I really look forward 
to hearing what they (radio DJ's) say about us after they play the record,
as opposed to hearing them play the song itself."
	"Generally," he says with pride, "what's been said about us has 
been real positive. Although we do, occasionally, get ... uhm, accused 
of sounding like Green Day, which is fine with me. I really love Green 
Day. I think they're a great band."
	"When we write a Goldfinger song," continues Pfeiffer, "we don't 
sit down and try to sound like anybody. John comes up with most of the 
lyrics, the band tweaks the tune a little bit, and, well, there it is."
	"It's really hard to pin a particular label on the music we do," he
chuckles. "You could say we're punk, rock, pop or even ska. It's real hard
to... you can't really ... it's just one big ... FUN. We're a fun band."
	"It's much more than just a job for us," Pfeiffer laughs. "We 
love doing what we do ... and why not? We get to go completely fuckin' 
crazy every night. We just wanna play," he adds emphatically. "That's 
pretty much all we've ever really wanted to do ... play shows in front of 
kids and go completely crazy."
---
	REVIEW: The Verve Pipe, _Villains_ (RCA)
		- Bob Gajarsky
	Some albums gently shake the listener, trying to distinguish
themselves from the mass of alternative "product" available in the
local record store.  The Verve Pipe have no such problem - with
their major label debut, _Villains_, The Verve Pipe are destined
to become this summer's hottest new alternative act.
	Before reading too much into the name, be forewarned that, 
according to lead singer Brian Vander Ark, it means absolutely nothing.
But what's in a name?  The Verve Pipe weave a sound that is reminiscent 
of two of today's hottest bands, Live and Pearl Jam, with a touch of 
Peter Gabriel tossed in for good measure.  However, whereas Eddie Vedder's 
nasal whining can become passe' within seconds, Vander Ark vocalizes with 
a bit more ability.  His voice reminds this critic of Matthew Sweet or 
Michael Penn, and the band combines multiple levels of harmonies to cook 
up a sweet irresistible to any alternative fan.
	Radio has slowly started to pick up on the first single,
"Photograph".  Although delicately crafted, the tracks which could
break The Verve Pipe include the title track and "Barely (If At All)".
Former Talking Head Jerry Harrison produces this one - and just
like his work with Live and Crash Test Dummies, this one seems certain
to be huge.  
	The band can be contacted on the World Wide Web (but only
using Netscape 2.0) at http://www.iuma/com/The_Verve_Pipe/ or
via e-mail at info@thevervepipe.com
---
	REVIEW: The Wedding Present - _Mini_ (Cooking Vinyl)
		- Joe Silva
	After a decade or so of sharing the mantle of obscure British 
pop with countless other bands who were heretofore thought of as 
"unexportable," Pulp have landed on Letterman. But as encouraging as 
that may seem, I'm not sure we're to expect other trans-Atlantic miracles
to happen (The Fall on Leno!?!) any time soon. But should wonders occur, 
an equally resilient and probably more deserving candidate could be The 
Wedding Present.
	Headed up by one David Gedge since sometime 1985, the long-standing
Leeds troupe can deliver wound up, heartfelt guitar musings along with 
the best of them.  For proof positive, interested parties should definitely
explore _Mini_. Fleshed out for its American release with three extra 
tracks (there's a switch), this is the Weddoes with their up tempo, 
noisy face on mostly. From "Drive," the disc's opener, with its caution 
to the wind lyric and blissfully semi-frenetic guitar break, much of the 
ensuing pace is set - hopped up tempos that Gedge can croon over all 
ultra-passionate like. Which is a good sign. When last surveyed (sometime
around "SeaMonsters," 1991) , the band had adopted some weighty modes at 
the angry young hands of one Steve Albini. But for the moment the attitude
swerves between carefree and wrenched with anxiety or lust. And while 
decidedly not low-fi, the honest, unpolished production adds much to the
air of sincerity.
	The vocal stance that Gedge maintains almost demands recollections
of Joy Division vox Ian Curtis, but longtime supporter John Peel differs 
with me on this point. You decide. When you wind your way towards track 7
("Sucker"), he reminds one of a slightly more tuneful Mark E. Smith, and 
the band joins in the sentiment with a fairly minimalist bop and the edgy
guitars of said Manchester legends.  But there's some sweet add on vocals 
from bassist Jayne Lockey here and there and some well placed organ on 
"Convertible" that round out the sound palette.
	But if you'd rather poke and prod at what Gedge is getting at 
though, you'll see him in a continual tussle with personal connection 
past and present and the auto as a means of dealing with either. Is it 
a thin concept? Perhaps, but there's a verite to the Weddoes overall 
presentation that puts off any unnecessary carping.  The coming year, 
with another album due by autumn, should be promising. And as a brief 
installment to highlight where Gedge has taken this vehicle since its 
inception, _Mini_ stands as a worthwhile venture.  Not bad at all for 
common people.
---
	CONCERT REVIEW:  Marion/Tiny Monroe/Syndicate
		March 22, Manchester University, England
		- Tim Kennedy
	Hailing from Burnley in Lancashire, Syndicate open with 
familiar guitar patterns recalling mid-period Beatles.  However ,
it soon becomes apparent that they are punk in a seventies as
much as a sixties sense; the Milltown Brothers these boys
are certainly not.  The singer Damian snarls and simmers,
reminiscent of the youthful punked-up Paul Weller.  The guitar
playing ranges across several genres, even heavy riffing a 
la Zep at one point.  If they can be compared to anyone in the 
UK scene it is Cast, with whom in fact they recently toured.  
Syndicate's grasp of melody is pretty good and shows promise and 
their songwriting is ambitious at times.  It's no bad thing 
to try varying styles within a song and Syndicate aren't afraid 
to try.  Of all the bands tonight Syndicate are the closest to
the current wave of sixties-influenced UK melodic garage bands.
	Tiny Monroe are an unusual group in 1996; immediate impressions
are made by their callow guitarist in suit and shock of spiky 
hair, giving him the look of recent John Rotten; and blonde-
bleached slim oriental female singer clad in glittery teeshirt 
and tight sequinned pants.  The rest of the band leap around 
furiously as Ms Monroe (surely not her real name!) high kicks and
slinks around the stage and moves with an unsettlingly alluring 
manner.  Their set varies enormously from rock to semi-reggae and 
at times is almost cabaret.  In fact they are musically light years 
away from any of the current trends in UK indie music in just about 
every sense.  There is an air of careless menace about Tiny Monroe 
which is unusual in a band these days.  The guitarist coaxes strange
effects from the guitar rather hitting power chords or guitar
harmonies which are the vogue.  Consequently, they were a bit
over the heads of much of the audience.  They didn't seem bothered
by this however and performed with a committed but insouciant
attitude.  If you were looking for a comparison I'd mention early
Siouxsie & The Banshees for stage persona, early Roxy Music for
style and musical references. They've been around for a couple of 
years on the fringes of things but Tiny they will surely not remain
for long. 
	Marion took the stage after the PA had regaled us with old BB King
and Elmore James numbers (!)  They are very much in the heroic
early U2/Echo & The Bunnymen/Joy Division vein, particularly
on U2.  The guitarist leans forward with dark fringe/quiff over
his face whilst hammering out chiming powerchords that the Edge
might have been proud of in his youth.  The songs are far more 
angst-ridden however, and this is compounded by singer Jaime
who has the look of a Manic Street Preacher about him, his face
whitened and with centre parting in the manner of tortured 19th
century French poets.  Jaime has charisma and sings powerfully,
really convincing the listener of the sombre themes of the 
lyrics.  The deadly urgency of the songs gets the audience 
pogoing wildly.  Marion have built up a committed following
who are now utterly devoted to their brand of driving, doomy 
and extremely catching rock music.  In fact what stands out
about their audience is the preponderance of young females who
stand, clearly gripped, mouthing the words.  The songs seem 
generally to be about tortured relationships and self-doubt.
Jaime is evidently won over by the crowd response and gives a
terrifically positive performance.
	What is great about Marion is the strength of the songs.  The 
album _This World And Body_ (from which the set is mostly taken
with the exception of a few old favourites from their first 
singles) is one of the best of 1996 and live the songs really
come over impressively.  The band are tight and professional
and make no mistakes.
	They return for two lots of encores, roared on by a fanatical
crowd.  The future holds nothing but promise for Marion, as long
as Jaime can stay on the tightrope that he evidently walks between
depression and his art.
---
	REVIEW: Supple, _Puppet's Night Out_ (Futurist) /
		Loomis, _You're No Tiger Meow Meow Meow_ (Grass)
		- Bob Gajarsky
	If an observer were to look at the college music scene of 
the mid 1980's and only write down American bands, the one on the top 
of everyone's list would be R.E.M.  The four men from Athens are still 
together - but the group which would appear #2 on many lists has
long since broken up - the Replacements.
	But, while Paul Westerberg is writing softer songs today,
the void to many 'Mats fans is left unfilled.  It was inevitable
that bands other than the Goo Goo Dolls would try and fill that - but
two lesser-known bands who bear watching for their similarities to 
the Replacements are Supple and Loomis.
	Driving guitars battle with the voice of Supple's lead singer, 
Rob McCulloch's, for attention, but McCulloch wins out with a 
near-ringer for Westerberg's vocals.  Whether crying out that "Cindy 
Crawford Can't Cook" (as if that's her strong point) or talking 
about getting drunk and being a bum (on "Guilty"), the theme around 
_Puppet's Night Out_ is angst, more angst, and the indirect but biting
hate.  "Special Friend" brings in Amy Romesburg (of Thumper) on 
background vocals, lending a twist to this boy-hates-ex girlfriend song.
	Loomis has a more authentic 'Mats feel, with a louder feedback 
on their guitars, while less of the Westerberg vocal qualities.
The opening to "Kung Fu Girl" strikes back to the Stone Roses "I Wanna
Be Adored", but contrasted sharply with a pound of feedback.  That's the
key to Loomis' sound on _You're No Tiger, Meow Meow Meow_ - feedback with 
a wall of rock and roll.  The tradeoff between the guitarists allows the 
listener to actually take in a sound which oscillates between the
Replacements in three environments - on radio, on sound check, and three
hours into one of their concerts.
	Mind you, neither band has made a conscious effort to *be*
the Replacements - it's just that the vocals, and the music,
sound enough like the Minneapolis band to make a listener take notice.
And there are plenty of worse groups that two new bands could be
compared to.
---
	REVIEW: Rollover, _Rollover_ (Wolfgang Records)
		- Linda Scott
	Rollover is a 70's style, blues based, classic rock band.  Rocking
guitars, solid rhythms with an overall blues feeling make Rollover one
of the more interesting rock bands to come along in some time.  Their
bluesy rock sound is credited to their Hendrix/Clapton/Vaughn influences.
This Chicago-based band is: lead  vocalist Louie Zagoras on guitar, Jason
Batchko on drums, Bill Lawlor on keyboards, and Eddie Carlsson on bass.
Together since 1992 the band covered career ground rapidly in the Chicago
area.  Bill Graham Management (Santana, Blues Traveler, Joe Satriani)
picked them up and restarted Wolfgang Records to put out the band's cd,
_Rollover_.  With this push, Rollover was able to get some broader touring
experience with the 1994 H.O.R.D.E. festival and opening for Joe Satriani.
	The self-titled album may be the band's first, but it's not an 
obvious first time effort.  The polish and professionalism are a credit 
to producer Zagoras and recorder/mixer Brad Wood (Liz Phair).  The 
thirteen tracks include the first one to receive airplay, "Shipwreck".  
This first track is followed by another good one, "Burning Time".  
Further in, "Give It Up" has a strong blues streak, and this one, like 
almost all the rest, have good lyrics that are clearly audible.  A 
personal favorite is "Wrecking Ball" which has yet to be singled out 
for publicity but is one of the strongest rockers on the album.  Izzy 
Stradlin fans will hear phrasing, vocals and melodies that are warmly 
familiar.
	Rollover will be opening for Joe Satriani on another leg of his 
tour - even if you haven't picked up the album, this opening act is well
worth hearing.
--- 
	REVIEW: Warren Cuccurullo, _th@n.ks 2:/Fr@n.k_ (imago)/
		Live @ Under Acme (NYC), March 26, 1996
		- Dan Enright
	Warren, has just released a tribute to Frank Zappa, entitled
(appropriately enough) _thanks 2 frank_, although the album was recorded
almost two years ago. The reason I've combined the show with the recording
is because both were live projects. 
	Warren is probably best known to the world as a current member of
Duran Duran (since 1986's _Strange Behaviour_ album), but his very
impressive resume includes membership in Frank Zappa's late 70's line-up
(he joined in '78) where he was involved in the Joe's Garage project and
the Human Juke Box tour - which is immortalized on "Tinseltown Rebellion,"
"Shut Up and Play Yer Guitar,""Any Way the Wind Blows," and "You Can't Do
That On Stage Anymore." 
	He followed that by forming Missing Persons with Dale and Terry
Bozzio - and former Zappa sidemen - which involved writing credits on four
albums and three North American tours, between 1980 and '86. 
	This solo album and the accompaning promotional performance at the 
Under Acme, clearly demonstrate "pop music" is not Warren's first 
passion. They also showcase Warren's incredible technical prowess. 
Frank's influence is subtly present, although I would catagorize Warren's 
style as upper echelon "speed metal" - ala Joe Satriani, David Chastain, 
Michael Harris, or (Zappa veteran) Steve Vai. 
	Warren, however, does not sound - or play - like these
contemporaries. There are seeming "cliches"  - the squealing/processed
wail, the lightning arpeggios, the frequent and intense key/rhythm changes
- yet there's something different... something more powerfull and
developed about his writing, arranging, and performing. It's as though 
his "pop writing/arranging" has nurtured a melodic sensibility lacking in 
these other "gunslingers." Okay, except Joe Satriani.
	The album was recorded live, primarily in the studio, but there is
one track - the title cut - which was recorded at the Stone Pony (NJ) in
July of '94. The promotional performance March 26th, was all that...  and
more. Over two and a half hours, encompassing just about everything
Warren's ever done AND bonus material by Frank Zappa (which was
conspicuously absent from the recording) - "Transylvania Boogie,"
"Chunga's Revenge,"  and a third, unknown-by-me , The Doors - "Crystal
Ship" (the only song with vocals, I might add, most of them by the
audience, and (the obligatory) Duran Duran - a gentle and hauntingly
beautiful rendition of "Ordinary World." I think it's safe to claim,
Warren's one of a handful of guitarists today, that can - and more
importantly should - perform Zappa's catalogue. His versions of
"Transylvania Boogie" and "Chunga's Revenge" were worthy
tributes/interpretations, not note-for-note attempts at reproduction. 
	While the album is flawless - the songs were recorded live in the
studio (with Zappa alummni and current Sting sideman, drummer Vinnie
Colaiuta and session bassist, Pino Palladino in the studio - Warren's
brother, Jerry, played drums and Nick Beggs joined him on guitar for the
Stone Poney performance of _Thanks 2 Frank_) with the best performances
choosen for the album - the performance at Under Acme, was slighly flawed.
This is due, not to poor playing or a lack of skill by the sidemen -
Dweezil drummer, Joe Travers and bassist, Wes Weymiller (both of which
were phenomenal, too) - but to a sophisticated catalogue performed after
"homework" (listening to the music and learning the parts) and a single
rehearsal. As a result, some of the more difficult passages seemed to be
performed by three musicians instead of a band. Everyone was playing
correctly, but they didn't quite gel into a unit. Another obvious
shortcoming was evident when Warren started to perform one of the songs in
a different key than Wes had learned it, requiring a brief conference. If
this band were to tour extensively, I'm certain each performance would be
a musical tour de-force. 
	There was one unforgivable aspect - IT WAS TOO FREAKIN' LOUD!!! I
mean, way-too-freakin' loud. Beyond-the-threshhold-of-human-endurance
loud. And it was in a basement, instead of an arena, which compunded the
problem. Fortunately I had earplugs (I've learned the hard way), but my
companions were completely fatigued after only 30 minutes. 
	I'm not certain this material is going to be widely performed;
it's two years old and Duran Duran have a tour scheduled around the
release of their next album, later this year. I didn't really expect to
ever hear Warren perform this music live. It was a rare treat, to be able
to experience his energy and playing under such intimate conditions (less
than 100 people, most of them friends or musicians). If he does do a solo
show in your neighborhood, wear earplugs. Otherwise, you'll have to settle
for this outstanding recording, which offers a glimpse of his ability. 
---
	INTERVIEW: The Goops
		- Joe D'Angelo
	The Goops are the type of band that thrives on conflict. For them, 
harmony is something which haphazardly occurs when they sing in unison. Even
their last show in New York was shrouded in conflict. They played at the 
hippie palace known as the Wetlands and the Goops are much too aggressive
to be playing in front of a rainforest backdrop, let alone next to a 
tie-dyed VW van. Also, the show took place on Valentine's Day, a day of 
love; their music screamed with bitter emotion. Ironically, all this 
conflict works for them and through it emerges a band with 
uncharacteristic togetherness. 
	_Lucky_, their latest release on Kinetic/Reprise, demonstrates 
this element of the Goops more so than their previous ventures; a 
self-titled debut on Blackout! in 1994 and the reworked "Build Me Up 
Buttercup" from the now sickening _Mallrats_ soundtrack. "Our first 
record was a little slicker that what should represent us as a live band,
but I think that was because of inexperience in the studio and not 
knowing how to translate our live sound to tape," singer Eleanor 
Whitledge explains. "(On _Lucky_) Everybody's got the same vision. 
Everybody's looking in the same direction. It's really come together 
and it shows. It's a maturity thing."
	As is making the jump to a major label. Together with guitarist 
Brad Worrel, bassist Steve Mazur, and drummer Jeff Benison, Whitledge 
traverses through the music industry with wise intentions. "Blackout! 
treated us as well as they could, and our situation there was better 
off than most (bands on independent labels), but we were just completely
frustrated with the distribution situation of small labels."
	"It's bad enough to go on tour for months at a time, not really 
make too much money at all. Not even enough to pay your rent," Mazur 
further explains. "And then you get off of that tour and realize, 'hey 
wow, I'm on a great independent label' but you know what?" He's speaking
in a fervor now. "There's not that many records in the stores so you're 
not selling that many records. Then you gotta go back to work and life 
becomes very, very frustrating." 
	The anger in Mazur's voice is justified. Not only was he 
dealing with a seemingly ignorant counterperson over the phone just 
minutes before our meeting, but his lunch was late as well. Anger is a 
vital component to the Goops music, as seems to be the case with many 
bands of this genre. What sets them apart, however, is the way in which 
they handle it. With each member writing their own parts to the songs, 
the Goops orchestrate their emotions and funnel the derived energy 
through their instruments. (And yes, Whitledge's voice is an instrument
as evident by the way she cracks and bends her chords, manipulating 
their vibrations.) 
	"There have been people that have said, 'you remind me of this 
band or that band,'" Whitledge explains. "There's a lot of women in 
bands now, Tanya Donelly and that kind of stuff, but it seems to me that
rarely are they paired with a really aggressive guitar sound and that's 
been our whole thing; make it melodic, but make it as aggressive as you 
can, vocally, guitarwise and otherwise. Maybe there's someone out there 
doing what we're doing. I hope so, because I would buy their record."
	The way in which the Goops handle their anger is vented in their
individual style of playing. Whitledge seems to tolerate it till the 
boiling point, then watch out as she explodes with fury. Mazur plays
his bass in the same manner as he handles his irritantsÑwith playful 
ignorance. He pushes aside all difficulties and rolls over the chords 
with a shrug-off and a smile, his body reeling with every dip in the 
structure. 
	"I'm actually really not angry at all." Whitledge is quick to 
clarify her image. "No, I'm just really a big mouth. Not so much angry
as rowdy. There are some things that irritate me, like stupid people."
	"That's exactly what I'm angry about," Mazur interrupts with 
the same intensity as before. "I'm angry about stupid people. People 
that can't think for themselves, which, it appears, is a sign of the 
times. It's just pathetic. And then if you press them for a reason why 
they can't think for themselves, you're in a fight." He smiles at the 
absurdity of it all.
	Although each member is unique in style, attitude, and appearance,
together they are a collective Goop entity. "This band is like four 
quarters. If we lose one quarter, something's wrong and it doesn't work. 
Everybody's got to have input," Mazur says with pride. "I don't think 
that anything that comes out of this band should be anything but four-sided."
	The Goops are trying to establish themselves as a quality 
headlining band. They've paid their dues touring the country six times 
and opening up for the likes of Rancid, Big Drill Car and Offspring. 
Currently they're on tour with the punk heartbeat of New Brunswick, NJ, 
the Bouncing Souls. Their time has come. "Certain bands get caught up in 
opening up for bands all the time and they become the perpetual opener. 
That's not gonna be the Goops," declares Mazur.
	Their dynamic live show is by far the Goops' greatest asset. "We
try to make our live show as fun for us and the audience as possible," 
Whitledge says. "If we don't feel like playing anything from the record,
we don't. That probably isn't the best thing to do in terms of marketing,
but so what. You'll get burned out by playing every night for six weeks. 
You gotta do something to make it fresh for yourself or else it shows 
that you're just going through the motions." 
	The motions gone through that Valentine's night looked anything 
but prefabricated. Despite playing in front of lonely people without 
dates in a grating environment, the Goops were able to rebound from any 
obstacle obstructing their path, even their drunken friend who was 
falling all over himself on stage. They fed off of the crowd's reactions.
If the audience started to look a bit aloof, the Goops turned it up a 
notch to bring about cohesion among conflict. 
	The Goops are optimistic about their future, and rightly so. 
They have a certain uniqueness about them, spurred on by the clashing 
characteristics of their sound which forces a double take from the 
listener. Originality is what they strive for, not the en-vogue hybrid 
of key elements of established bands. The Goops want to make a band, not 
just a hit single. As Mazur points out, "There's so much crap out there 
right now. I'm not gonna point any fingers, but when you take a Bon Jovi 
bass riff and have Nirvana singing vocals, I can't believe you can be 
successful. It's just beyond me."
---
	REVIEW: Salt, _Auscultate_ (Island)
		- By Mario J. Lia
	Salt doesn't waste time. The band members met while in an art school 
in Stockholm, Sweden. They opened a club on a houseboat and signed a 
deal with MVG Records. Get this: all of this happened within two years! 
And now with their video "Bluster" making it's rounds on MTV, this band 
is well on its way to stardom.
	"Don't try to stereotype us, just open your ears." says Salt's lead 
singer Nina Ramsby. After this eclectic debut on Island, you won't know 
what exactly to call Salt's sound. But you will love it.
	The best way to describe Salt would be fuzz-pop songs of Nirvana with 
Kim Deal singing. Nina's singing is most beautifully showcased on the 
only ballad of the album, "So". This one starts off with a really 
jangly guitar for the verses and then a more distorted chorus.
	The song "Honour Me" starts off with some distorted single notes 
similar to Nirvana's cover of Bowie's "The Man Who Sold The World". After 
the intro, the song kicks in to high gear and you know you are in for a 
treat. The drums and bass provide thick groove for Nina's guitar and 
singing. If the radio stations ever discover this song, Salt would 
really take off.
	The last song on the album is "Undressed". During the verses the 
there's a steady bass/drum foundation with the guitar coming in stronger 
during the noisy choruses. From the beginning to the end Salt is sure to
leave a good taste in your mouth.
---
	REVIEW: Loveinreverse, _I Was Dog_ (Reprise)
		- Linda Scott
	Loveinreverse is a trio from New Jersey who have just released
their first EP, _I Was Dog_.  They have a style ranging from
soft and dreamy to a forceful, from-the-gut approach.  They claim film
influences them as much as music does which is not an everyday citation.
Loveinreverse are billed as a rock band but most of their songs seem
in the alternative column.   Regardless, they have a 300 song backlog, so
they plan to be around awhile.
	Here's who they are: Mike Ferentino (singer, guitarist), Andres Karu
(bassist), and Dave Halpern (drummer).  Ferentino and Karu have known
each other since their first school days, and they have been working 
together eight years with  Halpern joining up last year.  The band's 
first appearances were under the name Dog, thus explaining the EP title.
The name Loveinreverse indicates the band's goal of trying to capture the
idea of opposition and contradiction.  This theme is seen in the tracks 
and across the EP.
	For example, the EP has dreamy, almost psychedelic melodies and 
lyrics ("Romantic Age") as well as aggressive guitars and forceful lyrics
on "I'm A Contradiction".  "I'm A Contradiction" follows "Romantic Age" 
on the EP underscoring the point of opposites.  The floating, dreamy songs
have echoes of Suede while the others can sound like Jane's Addiction
or Smashing Pumpkins on occasion.  Ferentino's vocals get a special
mention with "Solo Flight" showing these to best advantage.
	Loveinreverse has a good chance of breaking through, big.  
Increased emphasis on those slower, dreamy songs and lyrics can only help.
I'm looking forward to their first full length release.
---
	REVIEW: X Marks The Pedwalk, _Meshwork_ (Cleopatra)
		- Jamie Roberts
	A stirring tapestry of sound from this German duo that has been
at the forefront of the Industrial-Techno (they call it Torture-Tech) 
movement, _Meshwork_ lives up to its title's promise. It makes seemingly 
easy work of the mixing of dark overtones, warped drum machinations, and 
complex synthesizer-made atmosphere that one might love the genre for.  
	Many tracks on _Meshwork_ lull you in to a false sense of ambience,
then seize you with driving, danceable beats.  The pacing on "Never Look 
Back" yanks you back and forth between these states taking a more Industrial
approach, while "N-A-Lyse" goes full-on Techno from start to finish
snowballing the pace.  "Emotion" is interesting, in that it is strikingly
reminescent of 80's Alternative dance (like Front 242's "Headhunter", or
Camouflage's  "The Great Commandment").  All tracks, however,  succeed in
creating the kind of drama that other genres can merely dream of.
	This CD comes to Cleopatra from the Zoth Ommog label - the height of
Industrial credibility in Europe (they also released Laetherstrip, Bigod20,
etc.).  X Marks The Pedwalk have the ultimate range in this 'Torture-Tech'
work, which should keep them out at the afore-mentioned forefront of the
genre.  Something that could appeal to/scare the hell out of everybody is
what makes a great Industrial-Techno CD.  This is it folks!
---
	REVIEW: Muler, Live @ Under Acme/ "On The Rug" single (Deep Elm)
		- Bob Gajarsky
	The four piece power pop band from Rochester, New York 
known as Muler has been playing around Manhattan recently and 
Consumable caught up with them at the Greenwich Village club Under Acme.
Lead singer Dave Baumgartner bounced around like a pogo stick - and
his main schtick is his hand down his...pocket.  No, really, it's not
his pants - although this writer wouldn't swear that there couldn't
have been some pocket pool going on down there...
	Of course, that sort of thing grows old quickly, and it's the
music that matters.  Some of the music hark back to the sounds
of Material Issue or the Rake's Progress, without the immediate radio 
accessibility.  The pair of slower songs which the band played had the 
chords from some of New Order's non-commercial tracks, but played solely
on guitar.  Although "On The Rug" is the current single, it seems likely that
"Sneaker", an infectious pop tune, will be put on vinyl soon.  It
set fans in the tiny former Greenwich Village club dancing as Baumgartner
made everyone feel tired just by watching him bounce all over
the stage.
	We'll see what Muler does when they put out their album.  But,
for now, they're fun live - with or without a pocket.
---
	REVIEW: Arcwelder, _Pull_ (Touch and Go)
		- Ron Stone
	The songs may not be as catchy as those on 1994's _Xerxes_, yet
_Pull_ proves to be a stronger, more intense effort which may keep
the listener coming back for more.  Like another Twin Cities
band, Husker Du, the three-man Arcwelder (Rob Graber on bass
and guitar; Bill Graber on guitar, bass and vocals and Scott 
Macdonald on drums and vocals) create intricately structured 
guitar-laden songs. Although the vocals may seem at times incidental
to the instruments, the songs carry a remarkable energy.  On "What Did
You Call It That For" and "Criminal" the band forges a density
comparable to that of Helmet. "Remember to Forget" rediscovers and
re-explores a sonic terrain reminiscent of their early hit "Favor." 
---
NEWS:	> Izzy Stradlin's "other" band, the Ju Ju Hounds, are no 
longer together, but Jimmy Ashhurst, former member, has recorded
a new album with an all star lineup, "The Magic Christian Music Band".
The band consists of Ashhurst on bass, Rick Richards (also formerly 
with the Ju Ju Hounds on guitars), Paul Rafferty on vocals and Mike 
Stinson on drums.  Some guests who will appear on the release include
Craig Ross (who has worked with Lenny Kravitz), Billy Payne (worked 
with Little Feat) and Marc Ford, another Hounds alum.  The band's name
comes from a Peter Sellers film from the 1970s entitled "The Magic 
Christian" based on a story by Terry Southern.
	> Jeff Buckley has replaced drummer Matt Johnson (who announced his 
leaving from the stage on the last date of Jeff's sold out Australian tour 
in February) with Eric Eidel.  Eric is currently rehearsing with Jeff, 
bassist Mick Grondal and guitarist Michael Tighe in Manhattan, preparing to 
go into the studio to record Jeff's second album, the follow-up to _Grace_.  
	Buckley will also be performing U.S. dates this May - but not as 
"himself".  Jeff will be playing bass as part of Mind Science Of The Mind, a 
project helmed by Nathan Larson, guitarist of Shudder To Think, whose debut 
album comes out later this month.  The rest of the line-up comprises: 
Joan Wasser (Dambuilders) on violins and backing vocals; Mary Timony (Helium) 
on guitar and backing vocals; Kevin March (Dambuilders) on drums.  Mr. Larson 
himself will be singing lead as well as playing guitar.  The unit's repetoire 
will consist of Larson originals.
	> Giant Step has recently gone on the World Wide Web,
at http://www.giantstp.com and the soon to come email list 
at groove@giantstp.com
	> Sarah McLachlan will be releasing a rarities and b-sides 
compilation this summer.  It is as yet untitled, but some of the tracks
it includes are: "Full Of Grace", "Dear God", "I Will Remember 
You", "Song For A Winter's Night", "Blue", "Possession" (The 
Rabbit And The Moon Mix), "Fear" (The Rabbit And The Moon Mix),
"Gloomy Sunday", "Vox (12" mix)","Sad Clown (CBC Session)",
"Black (CBC Session)", plus the song by Manufacture on which 
Sarah appears, "As The End Draws Near".
---
TOUR DATES
	Ammonia / Skunk Anansie
Apr. 21 San Diego, CA Back Door
Apr. 22 Tempe, AZ Gibson's
Apr. 24 Atlanta, GA Cotton Club
Apr. 27 Cleveland, OH Odeon
Apr. 28 Pittsburgh, PA Metropol
Apr. 30 Chicago, IL Metro

	Bad Religion/Unwritten Law
Apr. 21 Boston, MA Avalon
Apr. 22 Montreal, QC Verdum
Apr. 24 Toronto, ON Warehouse
Apr. 25 Detroit, MI State Theatre
Apr. 26 Cleveland, OH Agora Theatre
Apr. 28 Chicago, IL Riviera Theatre
Apr. 30 Minneapolis, MN First Avenue

	Black Grape
Apr. 21 Chicago, IL Metro 
Apr. 22 Detroit, MI St. Andrews Hall
Apr. 24 Providence, RI Lupos (WBRU)
Apr. 25 Washington D.C. 9:30 Club
Apr. 26 New York, NY Irving Plaza (or new venue)
Apr. 27 Boston, MA Paradise (WBCN winners only)
Apr. 29 Toronto, ON Opera House
Apr. 30 Montreal, QC Club Soda

	Jackson Browne
Apr. 23 New York, NY Beacon Theatre

	Cordelia's Dad (UK Tour Dates)
Apr. 21 Dundee, Lucifer's Mill
Apr. 23 Boston, Axe & Cleaver
Apr. 24 Sheffield, The Hadfield
Apr. 25 Penrith, Salutation Hotel
Apr. 27 Newcastle-Upon-Tyne, Black Swan, Arts Center 
Apr. 28 Ashton-Under-Lyne, Witchwood 

	Deftones
Apr. 22 Los Angeles, CA Whiskey
Apr. 23 San Francisco, CA Bottom of the Hill
Apr. 25 Portland, OR La Luna (Balcony)
Apr. 26 Seattle, WA Pioneer Theatre
Apr. 27 Vancouver, BC Starfish Room

	Everclear
Apr. 21 New York, NY Roseland
Apr. 22 Boston, MA Orpheum
Apr. 25 Columbus, OH Newport Music Hall
Apr. 26 Nashville, TN 328 Performance Hall
Apr. 27 Chicago, IL Riviera Theatre
Apr. 28 St. Louis, MO American Theatre

	Freewheelers
Apr. 23 New York, NY Mercury Lounge

	Howard Jones
Apr. 21 Palo Alto, CA The Edge
Apr. 23 San Francisco, CA Slim's
Apr. 24 Solana Beach, CA Belly Up Tavern
Apr. 25 West Hollywood, CA House of Blues
Apr. 26 Santa Ana, CA Galaxy Theatre
Apr. 27 Ventura, CA Ventura Theatre
Apr. 30 Houston, TX Rockefeller's

	Nature/Thought Industry
Apr. 24 New Orleans, LA Monaco Bob's

	Nields
Apr. 17 Ashville, NC Be Here Now
Apr. 19 Winston Salem, NC Fiddle and Bow
Apr. 20 Columbia, SC Uniterian Universalist Coffeehouse

	Anders Osborne
Apr. 24 Auburn, AL Supper Club
Apr. 25 Tuscaloosa, AL Purple Fisch
Apr. 27 Mandeville, LA Ruby's Roadhouse

	Ruby
Apr. 21 Dallas, TX Radio station show
Apr. 23 Boston, MA Paradise
Apr. 24 Providence, RI Lupo's Heartbreak Hotel
Apr. 26 Philadelphia, PA Theatre of Living Arts
Apr. 27 New York, NY Irving Plaza
Apr. 28 Washington, DC 9:30 Club
Apr. 30 Norfolk, VA Bait Shack

	Joe Satriani/Rollover
Apr. 21 Columbus, OH Newport Music Hall
Apr. 22 Cleveland, OH The Odeon
Apr. 23 Detroit, MI Music Hall
Apr. 25 Grand Rapids, MI Orbit Room
Apr. 26 Chicago, IL The Riviera

	Semisonic / Verve Pipe
Apr. 25 Los Angeles, CA Troubadour

	Stanford Prison Experiment
Apr. 21 Albequerque, NM Time Out
Apr. 23 Denver, CO Mercury Cafe
Apr. 24 Boulder, CO Fox Theatre
Apr. 26 Sioux City, IA Union Bar
Apr. 27 Omaha, NE Cog Factory
Apr. 28 Des Moines, IA The Safari
Apr. 29 Madison, WI O'cayz Corral

	Tears For Fears
Apr. 22 Toronto, ONT Music Hall
Apr. 23 Detroit, MI St. Andrews Hall
Apr. 25 Columbus, OH Newport Music Hall
Apr. 26 Cleveland, OH The Odeon
Apr. 27 Chicago, IL Vic Theatre
Apr. 29 Minneapolis, MN First Avenue

	Track 1AB
Apr. 26 Hempstead, NY Hofstra University

	Trip 66
Apr. 23 Albany, NY QE2 
Apr. 25 North Hampton, MA The Grotto 
Apr. 27 Philadelphia, PA Univ/Penn Spring Fling

	V3
Apr. 25 Lexington, KY Phoenix Hill Tavern
Apr. 26 Columbia, MO Blue Note
Apr. 27 Lawrence, KS Bottleneck
Apr. 29 Denver, CO Mercury Cafe

	Velocity Girl
Apr. 21 Boston, MA Mama Kin
Apr. 23 Long Branch, NJ Metro
Apr. 24 Providence, RI Lupo's
Apr. 26 Ann Arbor, MI Blind Pig
Apr. 27 Columbus, OH Kenyon/Wesleyan Colleges
	
	Velour
Apr. 18 New York, NY CBGB

	Verge
Apr. 20 New York, NY Clemente Soto Velez

	Vinyl Devotion
Apr. 25 San Francisco, CA Paradise Lounge
---
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===
