==== ISSUE 106 ====    CONSUMABLE     ======== [April 21, 1997]

  Editor:             Bob Gajarsky
		        Internet: gajarsky@email.njin.net
  Sr. Correspondents: Jeremy Ashcroft, Dan Enright, Reto Koradi, 
                      David Landgren, Sean Eric McGill, Tim Mohr,
                      Al Muzer, Jamie Roberts, Joe Silva, John Walker
  Correspondents:     Daniel Aloi, Lee Graham Bridges, Scott Byron,
                      Janet Herman, Bill Holmes, Eric 
                      Hsu, Tim Hulsizer, Stephen Lin, Scott Miller, 
                      P. Nina Ramos, Linda Scott, Scott Slonaker,
                      Simon Speichert, Jon Steltenpohl, Courtney 
                      Muir Wallner, Simon West, Lang Whitaker
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Derek Langsford

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: The Gladhands - Bob Gajarsky
REVIEW: The Chemical Brothers, _Dig Your Own Hole_ - Simon West
REVIEW: Ben Folds Five, _Whatever and Ever Amen_ - Joe Silva
REVIEW: L7, _The Beauty Process: Triple Platinum_ - Tim Mohr
REVIEW: Polara, _C'est La Vie_ - Lang Whitaker
REVIEW: Jill Sobule, _Happy Town_  - Reto Koradi
REVIEW: Built To Spill, _Perfect From Now On_ - Bill Holmes
REVIEW: Gary Numan/Tubeway Army, _Premier Hits_ - Derek Langsford
REVIEW: Space Needle, _The Moray Eels Eat The Space Needle_ - Scott Miller
REVIEW: Wammo, _Fat Headed Stranger_ - Bill Holmes
REVIEW: Cibo Matto, _Super Relax_ ep - Tim Mohr
REVIEW: Skeptical Cats, _Record Record_ - Scott Slonaker
REVIEW: ALX, _I Just Want To Be A Dinosaur_ - Bill Holmes
NEWS:	New York Downtown Pop Sound '97, Ozzfest/Marilyn Manson 
TOUR DATES: Aztek Trip, Backsliders, Bloodhound Gang, Bobgoblin, 
   Brilliantine, Cellophane, Chainsuck / Lycia, Chemical Brothers, 
   Crown Heights, Dada, Dots Will Echo, Drain S.T.H., Firewater, 
   Five-Eight, Fluffy, Humble Gods, Jayhawks, Marilyn Manson / 
   Helmet / Rasputina, John Mayall, John Mellencamp / The Why 
   Store, Metallica / Corrosion of Conformity, New Bomb Turks, 
   Professor & Maryann, Samples, Seven Mary Three, Shonen Knife, 
   Silverchair / Automatic, Sister Hazel, Sneaker Pimps / Chimera, 
   Stillsuit / Downset / Earth Crisis, They Might Be Giants, U2, Verve Pipe
Back Issues of Consumable
---
	INTERVIEW: The Gladhands
		- Bob Gajarsky
	If a group makes back-to-back standout albums, is there any
reason why radio hasn't jumped on their bandwagon?
	That question could be asked of Chapel Hill, North Carolina's
Gladhands.  Sounding nothing like the typical "Chapel Hill" sound but
closer to Cheap Trick or Matthew Sweet's form of perfect pop, the
radio gods that be have doomed us to endless spins of the Spice Girls
or Celine Dion.
	The band's 1995 debut, the unfortunately aptly-named _From Here 
To Obscurity_, generated an immediate buzz with those who heard it 
(including this writer, who placed it in his "Top 5" of 1995) - but 
there were far too people who *did* hear that stunning debut.
	Drummer and co-lead vocalist Doug Edmunds feels much more 
confident about the new record on Big Deal, _La Di Da_.  "It's always
hard to break a new band at radio, but as long as people listen to the 
songs they're going to recognize that this is good stuff. Flavors of the 
month will always get airplay...that's why they're flavors of the month, 
right?!"
	Guitarist and the other lead vocalist, Jeff Carlson, expresses 
some frustration about the past.  But, "we feel a lot stronger about _La
Di Da_.  We have a much better (label) team involved with this record."
	On _La Di Da_, Carlson and Edmunds split the vocal duties 
equally, with each taking the lead on 6 of the album's 12 tracks.
That's Jeff's vocals taking over on the rocking pop throwback leadoff
ode to being nice, "Kill 'Em With Kindness", with Doug's vocals (Peter 
Cetera meshed with Cheap Trick's Robin Zander) rising to the occasion on 
"Smallsville".  "Gore Girls (Gimme More)" alternately splits its musical 
time between the Beatles' "Penny Lane", Tommy Roe's "Dizzy" and R.E.M.'s 
"Pop Song 89", while the lyrics ("They're not so untouchable / An average 
Joe could take one home") take a playful poke at the Vice-President's 
daughters.  R.E.M./Byrds-like guitars also rule on "Kat".  And if there 
was any justice, the Raspberries meets Cheap Trick, harmony-filled 
"House of Mirrors" would be blaring out of radios around the country.
	The inclusion of Ben Folds Five bassist Robert Sledge (appearing
on 6 tracks, including backing vocals on the title track) is just an
added bonus.  Carlson and Sledge have known each other for a while,
and the appearance on the album wasn't a result of pulling any strings.
	"Robert was a roommate of mine during a time when Ben Folds
Five were just starting to create a buzz," Carlson recalls.  "I'd 
done some demos for the new album (_La Di Da_) and Robert had played 
on a few of them. He had a 4-track and drums and we laid down an early 
version of "Kat". When it came time for us to record the album, I asked 
him if he had a few days available to record and he said 'Yeah, I'd 
love to.' Ben Folds Five were pretty busy at the time, but he
fit it into his schedule. He recorded all six of his bass tracks in one
day with us."
	Edmunds remembers the initial time he checked out the "other"
North Carolina piano alterna-pop trio.  "I walked in on their sound
check at their very first show here in Chapel Hill. I was there to hang 
a flyer for a Gladhands gig, and when I heard them I flipped. That was 
in spring of '94. Ever since then I've remained friendly with those 
guys."
	And, has the critical praise generated towards BFF and success
of Matthew Sweet offer hope for the future?  Carlson responds: "It 
certainly helps.  Anytime a band with songs as their main focus - rather 
than attitude or image - succeeds, it's going to point things in a good 
direction."
	Both members play coy when asked about their influences, 
preferring to leave it up to critics and fans to determine those.
Edmunds specifically states that "It's impossible to deny the 
influence of my favorite pop rock artists.  I think we do a good job 
of mixing our influences and creating something fresh and original.  
I don't think anybody sounds quite like us."
	The new saviors of pop music might be right about that.  
Let's see when radio programmers wake up to that fact and start adding 
some Gladhands songs to their playlists.
	For those wishing to check out the Gladhands online, their web
site is located at http://www.gladhands.com
---
	REVIEW: The Chemical Brothers, _Dig Your Own Hole_ (Astralwerks)
		- Simon West
	Hyped for months now in the States as the official "next big 
thing," The Chemical Brothers follow-up to their 1995 debut, _Exit 
Planet Dust_, is worthy of the tag.
	Kicking off with a Schooly D sample on the current single 
"Block Rockin' Beats" and ending with an astonishing 9 minute 
psychedelic trip called "The Private Psychedelic Reel", _Dig Your 
Own Hole_ is stronger and more varied the debut release.
	The afore-mentioned "Block Rockin' Beats" gives way to the title 
track, a funky five minute synthesis of Chemical style - the tempo changes,
shouted samples, funky guitar samples and even the odd whistle.
"Electrobank" is a chaotic, driving seven minutes that supposedly
samples from over 200 different sources, mixing them with trademark
Chemical beats. "Piku" slows things down, scratchy loops and ominous
sounding samples, while "Setting Sun" speeds things right up again. Heavily
played last year, Oasis' Noel Gallagher provides a distorted vocal from
Planet Rock as the apocalypse rages and swarms around him.
	The rest is similarly excellent. "Get Up On It Like This", lifted 
from an earlier cd single, is like a 70s television theme brutalized into
dance. "It Doesn't Matter" begins with a high-hat cymbal and drum beat
that sounds like it was sampled from one of those Casio keyboards with
the pre-programmed rhythms. "Where Do I Begin?" features vocals by Beth
Orton, who sang "Alive Alone" on _Exit Planet Dust_. A slow, dreamy
affair, it's not quite as successful as more conventionally structured
previous collaboration, but slows the tempo nicely before the stunning
finale.
	"The Private Psychedelic Reel" is a masterpiece. Featuring the
assistance of Mercury Rev, the Brothers swirl buzzing keyboards, Indian
sitars, harmonica, drum loops, and damn near anything else they could
get their hands on, apparently.  The tempo shifts all over the place as
recurring melody lines wander around an infectious beat. The obvious
reference point is The Beatles' "Tomorrow Never Knows," and the trippy
feel is similar. Freak-out music for the next millenium - this one needs
to be played very loud, preferably in a large place with thousands of
other people.
	It's worth noting that the two 'breakthrough' electronic singles 
in the States, "Setting Sun" and The Prodigy's "Firestarter" both feature
vocals and a fairly structured verse/chorus type arrangement. It remains
to be seen whether aggressive instrumental dance music is going to be as
successful as these one-off hits. If anything has a chance, it's this
album.
	Dark and brutal, the Chemical Brothers aren't messing around on 
_Dig Your Own Hole_. Funky, menacing, hardcore and accessible, this is
serious music for dancing. Go and dance to it. You'll get the chance
soon - the co-headlining tour with The Orb starts April 24th.
---
	REVIEW: Ben Folds Five, _Whatever and Ever Amen_ (Sony/550 Music)
		- Joe Silva
	If you peer just past the scary absence of guitars (the six 
stringed kind anyway), you'll eventually see what's truly risque about 
the Ben Folds Five.  What's troublesome is not so much that they eschew 
high-end production environments, or that they are highly revered by 
the Japanese, or even that they continue to brazenly perform, record, 
and do photo shoots minus two members. Rather, there are elements to 
this band that are far more distinct and perilous as we anxiously 
careen towards Tricky's millennium.
	What the BF5 continue to dangerously wield in front of their 
admiring public is a rugged, better-than-unplugged musical vibe that 
purposely fails to conceal the exposed parts of Ben's particularly 
human spirit.
	Having laid all of this down with their  living room 
aesthetics, the listener is drawn far closer to the blue flame. In 
the midst of what sound like impassioned rehearsals, Ben has taken 
some frighteningly acute glimpses into the nature of mortal men. 
There's the gloating "told-you-so" of "One Angry Dwarf and 200 Solemn 
Faces," the thoroughly pissed dumpee in "Song for the Dumped," and 
despondent lovers of "Brick."
	With useless posturing still rampant in dance music and 
in-house abstract lyricism cluttering the rest of the rock spectrum, 
the mention of cold morning car seats, prized black t-shirts has loads 
more relevance to those rooted (for better or worse) in real life. It 
stands as an amazingly crisp observation and also as something of a 
humanist's gamble that Folds would possibly try to connect with what 
is mundane and unadorned in life.
	But despite any high-wire aspects to the libretto, Folds, 
Darren Jesse (drums), and Robert Sledge (bass) still come off as the 
same somewhat musically unhinged trio that can rock alongside any of 
your most celebrated indie Gods. The pop sensibilities of the BF5 
still contain emblematic melodies, cool style shifts, and sterling 
harmonies. Strings have been tossed in here and there and Folds' 
piano still sounds as if it's being treated more like his 
significant other (occasionally abused, occasionally stroked) than 
a means for his virtuosity.
	Moving to a major may not immediately draw radio's attention 
away from any of the pseudo-punks in electronica garb out there (yes 
Firestarter, I'm talking to you), but the smart money will probably 
ride on true melody hawkers like Ben Folds every time.
---
	REVIEW: L7, _The Beauty Process: Triple Platinum_ (Slash/Reprise)
		- Tim Mohr
	Produced by Rob Cavallo, who garnered recognition through 
work with Green Day and Bad Religion, the new L7 album captures the 
band better than their previous two major label records.
	The muddy, metallic feel of _Hungry For Stink_ has been 
stripped for a direct, reckless sound that at times comes close to 
their masterpiece, _Smell the Magic_. Also welcome are the few 
moments of slightly lighter touches, such as "Moonshine," "Bitter 
Wine," or "Non-Existent Patricia," where L7 turn down the distortion 
and slow the tempo a bit.
	Despite the departure of bassist and occasional song-writer 
Jennifer Finch, the songs on _The Beauty Process_ are consistent 
and interesting. Lyrics range from the nearly-trademark sardonic 
humor ("I Need"), to the wild abandon that also characterizes the 
band ("Off The Wagon"), and through to the rage that animated much 
of _Smell the Magic_ ("The Masses Are Asses").
	Songs like "Bad Things" show that the gutteral punk approach 
that the band started with ten years ago remains with them, and 
continues to provide a workable system even as their career 
progresses. And the murky, vicious riff of "Must Have More" 
demonstrates their continuing ability to find solid foundations for 
their most brutal moments.
	In many ways, _The Beauty Process_ is their best album to 
date. By mixing the best elements of their sound - slow burners, 
punk anthems, and thick, metallic pounders - they manage to put 
together an album that is able to maintain interest in a way that 
_Bricks Are Heavy_ failed to do.
	With this mixture of ideas, lyrical and musical, L7 show 
that they are one of the few bands to emerge from the grunge 
period who remain worth following. While most of the post-grunge 
bands descended into boring self-pity and mock-angst, L7 not only 
participated in the original creative boom but also, ten years 
after their beginnings, manage to show how alternative rock should 
be done.
	The blueprint for L7 has, of course, never changed. But 
while accepting the basically static nature of garage rock, _The 
Beauty Process_ is a highlight by virtue of quality songs and 
effective production.
---
	REVIEW: Polara, _C'est La Vie_ (Interscope)
		- Lang Whitaker
	After Polara's 1995 self-titled indie debut album, the 
industry buzz on Polara was almost deafening. Everyone from 
Rolling Stone ("these tracks coexist beautifully") to USA Today 
("a cut above the current Nirvana-bes") has been falling all over 
themselves praising Polara. After starting out as a solo project 
for Minneapolis producer/artist Ed Ackerson, Polara eventually 
developed into a four person group made up of accomplished 
musicians. Ackerson recruited Peter Anderson to fill the drum 
chair, Jennifer Jurgens to play keyboards and guitar, and Jason 
Orris to man the bass. After 180 dates together, the band felt 
tight and ready to go home to Minneapolis to cut their sophomore 
release, _C'est La Vie_, which, as far as sophomore releases go, 
isn't bad.
	The music sounds remarkably similar to Garbage, but with a 
male as the lead vocalist. It's hard to pigeonhole Polara because 
their music brings to mind a wildly disparate group of artists 
(Smashing Pumpkins, Poison, Matthew Sweet).  By utilizing a 
combination of chopping and wailing guitars with a vast array of 
keyboard buzzes and whistles, Ackerson has created a soul-filled 
album while retaining the detached techno/pop feel of the early 
80's. Unfortunately, Polara never really stakes out the music as 
their own. Even after listening to the album twice, I still had 
trouble discerning what makes it seem so darn familiar.
	It's hard to tell who is responsible for what instrumentally, 
since so many of the members of Polara pull double and triple duty. 
Each song is generally chock full of noise, though none of it seems 
like overkill. The drumming is rather rudimentary, but it fits well 
with the music, providing a strong backbone for Ackerson's musical 
soundscapes. As a vocalist, Ackerson's limited range is hidden by his
ability to shift styles with ease.
	_C'est La Vie_, which incidentally has no connection to the 
earlier song of the same name by Robbie Nevil, starts off with 
"Transformation", in which Ackerson's gravelly vocals sound like a 
techno George Thorogood.  "Light The Fuse And Run" and "Quebecois" 
are also highlights.
	Polara's strengths and weaknessess are exposed in their 
songwriting. While almost every song has a chorus that lodges itself 
in your subconscious, the lyrics are often kind of silly ("don't get 
me wrong, don't get me wrong, change came along, change came along").
	Inexplicibly, Polara hasn't been much of a commercial success. 
I think it may be because they have all the ingredients of a hit on 
their hands, but I kind of got a "been there, done that" feeling 
after listening to the album. It's almost like Polara borrowed a 
shirt from U2, a pair of pants from Billy Corgin, a sock from 
Collective Soul, and a pair of boxers from Trent Reznor, which 
sounds like a pretty interesting outfit. The only problem is that 
no one showed Polara how to sew their own names onto the tags.
        If you're into the Brit-pop scene or early 80's US pop, I 
say give Polara a chance. They might just surprise you.
---
	REVIEW: Jill Sobule, _Happy Town_ (Atlantic)
		 - Reto Koradi
	Once this decade approaches its end, people will start 
arguing about the dominating trends. Grunge and techno may be the
buzzwords in the media, but in the opinion of many music fans, this 
could well be considered the decade of women, and Jill Sobule 
should be viewed as one of their leading figures.
	While her first two albums did not score very high 
commercially, she still created a minor stir with the song "I 
Kissed A Girl" off her last album (some people seem to think 
that a girl kissing another girl is worse than shooting a dozen 
people - food for thought). _Happy Town_ looks like a natural 
progression from her previous work, widening the musical scope 
without giving up any of her very own qualities. The harder sounds 
on songs like the title track do not distract from her sometimes 
fragile, yet clear voice at all; they only seem to underline it 
even more. The spectrum goes all the way from intimately slow 
songs like "Little Guy" to the upbeat "Bitter". Also featured is 
a surprising collaboration with Steve Earle (!) on "Love Is Never 
Equal".
	Despite the convincing musical qualities, at the center of 
the songs are still the lyrics. They are rarely about spectacular 
events, but mostly about emotions. Sobule has a unique talent to 
capture feelings in words, she often makes you think like "I 
recognize this feeling exactly, I could just never express it that 
well." A remarkable step outside the personal scope is the song 
"Soldiers Of Christ", which deals with the growing number of people 
who seem to have completely misunderstood the true meaning of 
religion, and brings their dangerous attitude precisely on the 
point ("our Lord hates the liberals, the faggots and their friends").
        _Happy Town_ maintains the high level of Jill Sobule's 
previous two albums, and may even be her best so far. It is a must 
for all fans of female singer/songwriters, and heartily recommended 
to all lovers of fine music with some deepness.
---
	REVIEW: Built To Spill, _Perfect From Now On_ (Warner)
		- Bill Holmes
	Amazingly, in this "Spice Girls", what-have-you-done-for-me-
lately world of A&R roulette, sometimes an inventive quality band 
without a prayer of having a hit single actually gets to release a 
record on a major label. Welcome, with open arms, Built To Spill.
	Guitarist/songwriter/vocalist Doug Martsch is the force 
behind this band who have been issuing indie albums at an annual clip 
since 1993. After years of revolving band members (you've got to like 
a band with two members named Brett Nelson and Brett Netson) and 
Martsch at the core, the current lineup includes ex-Spinanes 
drummer Scott Plouf and bassist Brett Nelson, with whom Martsch has 
recorded on and off since 1981 when they were classmates. Lord knows 
you may never hear any of this on your radio, but that's not because 
it doesn't belong there.
	With tracks clocking in at a six minute plus average, maybe 
the closest comparison I can make for BTS's hypnotic guitar driven 
songs would be Neil Young, although the backing band would more 
closely resemble Thin White Rope or The Loud Family than Crazy Horse. 
Martsch floats tempo changes in and out of songs, and the melodies 
shift often enough that one might assume there are actually fifteen 
or twenty songs on the disc. With a reedy vocal style that at times
resembles Plant, Young or even Perry Farrell (and I mean that in a 
good way!), Doug's words are counterbalanced by the underscore of 
moody instruments like mellotron and cello. And then there's that 
guitar work.
	Most 90's guitar players should have their wah-wah pedal 
license revoked for PWI (playing without inspiration), but not 
Martsch. His haunting guitar work is pure texture, not in-your-face 
technique. Credibly, the rhythm section doesn't overplay, but feeds 
the song, as each journeys off to another corner of your mind. 
Whether melancholy and spare (as on "I Would Hurt A Fly") or jacking 
up faster (the stunning closing piece "Untrustable Part 2"), each 
mini-song cycle is a real mood piece that worms its way into your 
ear and grows stronger with repeated listens.
	More comparisons? How about a more rhythmic, less punky 
Television? Great musical chops not tied into a three minute package. 
Highly recommended for those who enjoy the rewards of musical moods.
---
	REVIEW: Gary Numan/Tubeway Army, _Premier Hits_ (Beggars Banquet)
		- Derek Langsford
	While Gary Numan is an artist that all but his rabidly loyal 
fans in his British homeland ridicule and pretend to hate, in the USA 
he has remained an obscure one hit wonder ("Cars" reached the top 10 
in 1980).  Most US DJs think Numan flew off into the sunset to follow 
his passion for airplanes, never to be heard from again, musically.  
But he achieved a string of UK top 20 hits from 79 through 82 and 
less successful singles almost every year since then.  This CD is 
the worldwide release of his 78-83 UK singles output, the first of 
his early material in many markets.
	_Premier Hits_ hit UK stores a year ago after a 1987 remix 
of "Cars" was used and renamed to promote a British lager.  The US 
edition sports a different cover and back but contains the same 
tracks.  The well illustrated booklet includes an intelligent 
commentary piece by Steve Malins that reflects more accurately the 
career of Numan up to the present day than you'll find in any fanzine 
or the often self-absorbed UK music press.
	These singles include Numan's contrived but successful sound 
that landed a recording deal in the final throws of punk ("That's 
Too Bad", "Bombers"), the stunningly successful electronic UK 
chartbusters ("Are Friends' Electric?", "Cars" - both were UK 
No. 1s) and the Jazz and funk influenced singles that were released 
as Numan's career started to wind down ("She's Got Claws", "Music 
for Chameleons", "Warriors").  Also included are such electronic 
classics as  "I Die: You Die", "We Are Glass" and "Down in the 
Park".   Two of Numan's earlier and more musically successful 
collaborative singles, with his backing band "Dramatis" and his 
Tubeway Army bass player, Paul Gardiner, are also featured.
	While some of this material is showing it's age, it cannot 
be denied that Numan was the first synthesizer based artist to 
appeal to the UK masses for more than one release.  Bands such as 
Depeche Mode, Yaz(oo), Ultravox and more recently Pet Shop Boys 
and Erasure might not have succeeded were it not for Numan's ear 
for a catchy hook presented without the use of guitars.  Numan 
pioneered the European electropop field with the first number one 
of its kind (AFE), the first commercial music video release ("The 
Touring Principle"), and the first successful electronic ballad 
("Complex").
	Indeed many of today's top bands are acknowledging Numan 
by providing covers that will be released later this year on a 
2CD tribute titled _Random_.  But Numan's huge success was 
relatively short-lived as sales dropped, and Numan's relationship 
with the media deteriorated.  That antagonism even extended to 
BBC Radio 1 which has unoffically and unfairly boycotted all of 
Numan's work since 1986.  While Numan has continued to make music 
since then, with some very idiosyncratic and inconstant albums, he 
has won over new fans with his most recent UK album (_Sacrifice_, 
1994), and is actively looking for a record deal for his new one, 
_Exile_.
	_Premier Hits_ is a splendid retrospective that allows the 
listener to relive some of the best electronically based music from 
the early 80s.  The songs, newly remastered for this collection, 
are an essential addition for anyone who wants to include a broad 
sample of one of the founding members of the synth revolution in 
popular music in their collection.  This CD will provide an 
excellent sample of what Numan was all about for people who liked 
"Cars" but didn't really follow the rest of his early career.

	TRACK LISTING: Cars (Premier Mix), I Die: You Die, Are 
'Friends' Electric?, Down In The Park, We Are Glass, Bombers, We 
Take Mystery (To Bed), She's Got Claws, Complex, Music For 
Chameleons, That's Too Bad, This Wreckage, Warriors, Love Needs 
No Disguise (Dramatis featuring Gary Numan), White Boys And Heroes, 
Sister Surprise, Stormtrooper In Drag (Paul Gardiner and Gary 
Numan), Cars (Original version)
---
	REVIEW: Space Needle, _The Moray Eels Eat The Space Needle_ 
		(Zero Hour)
		- Scott A. Miller
	Roger Dean: who can forget his classic album covers for the 
Yes albums _Fragile_, _Close to the Edge_, _Tales from Topographic 
Oceans_ and _Relayer_? Apparently the guys in Space Needle can't. 
They've not only unearthed Dean to produce the some nifty cover art 
for their sophomore Zero Hour release _The Moray Eels Eat The Space 
Needle_, they've actually added relevance to the prog-rock genre 
with 10 songs that make sense. Even the instrumentals.
	Take the 13-minute opener "Where the Fucks My Wallet." It 
begins calmly, like your typical day might. But somewhere along the 
way you realize something has gone horribly wrong. You've lost your 
most prized possession, the thing that holds your ID, you credit 
cards, your CASH! Just about then you explode in fit of rage, panic 
and disbelief. The song does, too. Taking just the slightest hint 
from the opening guitar line, Jeff Gatland's axe erupts so violently, 
you'll think someone's twisted your volume all the way right. The 
song slips jaggedly from progressive to avant garde, and at the 
13-minute mark it still hasn't made its way back to that serene 
beginning. It never does.
	If you've lost your wallet, listen to this song before you 
start looking for it. It might be the most cautionary rock 
instrumental of the '90s. At the very least, you'll be ready when 
all those emotions boil over. If you've never lost your wallet (trust 
me, you don't want to), listen to this song so you'll know what your 
friends are going through.
	Of course, _The Moray Eels Eat The Space Needle_ is more 
than one song about lost possessions. For all the opening track's 
complexities, there's the simple beauty of "Never Lonely Alone," 
penned by drummer/keyboardist Jud Ehrbar, the King Crimson chops 
of  "Hot For Krishna" and the Led Zeppelin noodling of "Hyapatia 
Lee." "Krishna" features guest violinist Max Buckholtz sounding a 
little like late, late night at a spaced out Kansas tribute (the 
band, not the state). And "Hyapatia Lee" opens with Buckholtz 
displaying what the opening bars of Zeppelin's "In The Evening" 
should have sounded like. The song eventually gives a nod to Pink 
Floyd circa _Umma Gumma_, but David Gilmore never sounded like 
that on guitar.
	The true gems on the album are written by Ehrbar, the 
soundscape designer behind another Zero Hour act known only as 
_Reservoir_. They have a slightly damaged basement feel, which 
will keep the fans of Space Needle's low-fi debut happy. But 
they also take full advantage of newly added guitarist Anders 
Parker and the sonic possibilities of a real studio.
	Parker, by the way, contributes another of the album's 
fine moments (or six moments and 11 seconds, as it were) with the 
closing track "One Kind of Lullaby."
	There are plenty of 1970s progressive influences here, so 
naming Dean captain of the design team is a smart move. But what 
really sets Space Needle apart is its way of making progressive 
music that people who have been through the punk revolution and 
everything that came its wake, including low-fi, can understand.
	I never understood a single Yes song completely and after 
hearing _The Moray Eels Eat The Space Needle_ I'm a little upset I 
tried for so long.
---
	REVIEW: Wammo, _Fat Headed Stranger_ (Mouth Almighty/Mercury)
		- Bill Holmes
	Onomatopoeia at it's finest - Wammo is nothing if not a big 
slap upside your head. An ex- radio jock (ironically fired from a 
radio station for playing Ice T's "Freedom Of Speech"), a chunky guy 
in a bad Batman costume, a "real gone guy with a six pack and a 
frozen pizza just lookin' for love", Austin, Texas' Wammo wants 
your attention. I don't think that will be a problem.
	Produced and recorded by Barbara K (Timbuk3), Wammo is all 
over the spoken word map. Stream-of-consciousness rants like "Do I 
Look Fat In This" bunk with eavesdropped conversations like "Open 
Letter '92". "Too Much Light In This Bar", complete with lurid Billy 
Idol impressions and poseur slams, is possibly the most intense four 
and a half minutes you're likely to spend all year. God knows what 
kind of Waring blender is in Wammo's head - most good poets are 
tuned to a different frequency than the rest of us - but the results 
aren't likely to be heard on any radio station you know. But you 
knew that when you grabbed a record with song titles like "Cat Head 
Biscuits" and "Unprotected Menage A Trois".
	"Homage To The Ramones" aptly uses just three chords, stops 
on a dime for a rant, and continues on only after bassist Katie 
Morrison's Dee Dee like "2! 3! 4!!". Along with "Batman" and "There 
Is Too Much Light In This Bar", "Ramones was co-written by labelmate 
and ex-Austinite Ed Hamell, whose jackhammer guitar riffs propel all 
three at about 150MPH. (If Hamell got paid by the strum he could buy 
and sell Bill Gates with a day's pay). Instrumentation on this record 
is unbelievable - everything from trash can drums to gospel scat to 
bar fights.
	Not that he isn't funny. Throughout the record Wammo slams 
"hip alternative" music, even taking a nice swipe at an alternative 
goddess ("So Kim/What's the Deal....we don't have to Breed"). Ditto 
the nine second long closing piece, whose entire lyric is "Charles 
Bukowski's Dead...finally, there's enough beer...for the rest of us!".
	"I was flannel/when flannel wasn't cool", says Wammo in 
"Children Of The Corn Nuts", which despite its "Take This Job And 
Shove It" melody is undoubtedly a live standard of his. I've seen 
Hamell On Trial live, the true medium for artists like these whose 
humor and riveting presence can't be fully realized on a recording. 
I can only imagine that Wammo must have a similar electric connection 
to his audience.
	You want truly "alternative" music? _Fat Headed Stranger_ is 
forty-five minutes of poetry, self-analysis, rants, primal screams, 
confessions and songs that will command your attention. Hell, if 
Wammo ever writes a screenplay I'll bet it's amazing, but for now an 
uninterrupted hour in a dark room will have to do. Art-house movie 
fans, poets and open minds will devour this oral soundtrack - Hootie 
fans need not apply.
---
	REVIEW: Cibo Matto, _Super Relax_ ep (Warner Brothers)
		- Tim Mohr
	Cibo Matto's _Super Relax_ ep is built around four 
versions of the single, "Sugar Water," which is a good example 
of the Cibo Matto style: slow, hypnotic Mo' Wax-style hip-hop 
beats and dreamy half-sung, half-rapped female vocals (with fairly 
obvious Japanese accents). But Cibo Matto are much more eccentric 
than that simple description indicates: the fact that they work 
with members of the Jon Spencer Blues Explosion and the Beastie 
Boys, and have toured with Beck, may hint at their unigue brand 
of mellow mayhem.
	Among the five other tracks, highlights include their 
largely acoustic cover of the Rolling Stones' psychedelic oddity, 
"Sing This All Together," and the new track, "Spoon." Their diverse 
influences are evident through their cover of easy-latin-jazz legend 
Antonio Carloos Jobim's "Aguas de Marco."
	Also of particular interest is the acoustic version of 
"Sugar Water" where the lilting melody of the song comes across 
with piano, guitar, bass, and live drums instead of samplers. 
Through this experiment, the inherent quality of the band is 
recognizable. Of the "Sugar Water" remixes, the one worked up by 
Mike D. (Beastie Boys), Russel Simins (Jon Spencer Blues Explosion), 
and Mario Caldato Jr (Beasties producer) is probably the best, 
though it is also quite faithful to the original single mix with 
an altered percussion line.
	If the self-titled debut ep and _Viva La Woman_ albums 
are unfamiliar, this ep makes a good (and inexpensive) introduction 
to the band.  The material will be of most interest to people with 
a taste for eccentricity in the field of dance music; that is, 
people who prefer Bjork, Pizzicato Five, or Beck to the stuff 
clogging up the R&B charts. Their laid-back vocal style keeps 
some distance from the likes of the Beasties, though occasionally 
ranted choruses move in that direction. The beats are more 
electronic than Luscious Jackson, though on this ep they do pick 
up guitars for several tracks, as detailed above. The overall 
package is an enjoyable mix between trip-hop-ish and indie styles, 
comparable to the Jon Spencer Blues Explosion's experimental remix 
ep that featured beats from Mo' Wax's U.N.K.L.E., the Beasties, and 
others.
        For the converted, a worthwhile addition to the collection, 
with some extra appeal because of the acoustic numbers.
---
	REVIEW: Skeptical Cats, _Record Record_ (Skeptical Cat)
		- Scott Slonaker
	Hailing from the mythological town of Dayton, Ohio, the Skeptical
Cats purvey a patchwork quilt of influences ranging from the Beatles
to the blues into interesting and off-kilter pop songs.
	_Record Record_ is the quintet's second album, released on the band's
own record label.  Different members sing at different times, and
a variety of instruments (saxophone, sampled orchestra, dobro, etc.)
creep into the arrangements.  This eclecticism does keep the pot
simmering, albeit at the expense of a consistent vibe.
	The two opening tracks, "Upside Down" and "Slight of Hands", both
blend Doors-y keyboards and jumpy rhythm sections into lilting,
They Might Be Giants-ish cabaret-pop.  Guitars make their presence
felt in track three, "Whiskey Breakfast", a tale of "two years in
college of not to gain a damn thing/But 10k tossed in the wind."
"Do Well" is a blissful piano-guitar singalong, and sure to be a
high point of the band's live act.  Conversely, "Sour Grapes" is
a vitriolic indictment of the music industry that wouldn't have
sounded out of place on the current Ben Folds Five album.  The
Fab Four are all over "Opaque", a gentle slice of melancholia with
an unexpectedly Van Morrison-jazzy clarinet/sax break.  "Soup for
One" too scarily recalls the Carpenters.  "Starting Over" features
some very cool dobro and funky bass, and "Moon Rise on Bombay" could
be an early-'70s hippy-dippy Crosby, Stills, and Nash track (minus
some of the omnipresent vocal harmony).
	Perhaps a tad too progressively patchwork musically to completely
cohere, _Record Record_ is nevertheless a very interesting and
likable pop album, managing to be pop without making the
Cats come off as if they're just after a potentially big single.
Should you like your plucky-pop with an instruction manual, by
all means check out _Record Record_.  And to think that the only
reason I originally listened to the disc is because I had been
giggle-snorting about the thought of the Stray Cats going Sebadoh.
---
	REVIEW: ALX, _I Just Want To Be A Dinosaur_ (ALX, self-released)
		- Bill Holmes
	Judging by the sound of this disk, it was a pretty dangerous 
choice for a title. In other words, ALX, be careful what you wish for, 
you just might get it.
	The bombastic opener, "Mister Relations Man", shows promise 
despite sounding like Tears For Fears with Trent Reznor on vocals. With 
a repetitive chorus (the first of many on this CD) chanting that "love 
is like a rainbow/all elusive, multicolored, changing all the time", I 
hoped I was headed more towards the Jellyfish or Queen side of seventies 
pomp. No such luck.
	Buried beneath this wall of synthesized music there probably lies
the beating of a pop heart. "I Won't Tell A Soul" sounds like an INXS 
knockoff, has some nice vocals and could probably rip with a real band 
sound. Here it's buried by the wall of synth noodling. "The Meaning Of 
Life", despite the title, is another pop melody rotting on the vine. A 
third attempt, "That Is Immortal", is a by-product of listening to 
Harrison's "The Inner Light" once too often -a misdirected homage.
	Mid-record we are graced with the title track followed by 
"Cybergenic Silo", a one-two punch even Spinal Tap would run from. Sample 
lyrics: "Yet one more century passes by/bye-bye/Let me out of the box/Let 
me out of the box...". No, let me out of the box! I understand that the 
lyrics in music like this are secondary (cue Jon Anderson and Yes) but the 
lyrics throughout this CD are sophomoric at best.
	ALX, whomever he is (the cover drawing looks like Ron Perlman in 
"Beauty And The Beast"), certainly has musical talent, a decent voice and 
an ability to arrange vocal harmonies. That's not enough, though. There's 
thirty minutes of sound here but no cohesive musical statement, no lasting 
melodies, no message to remember. ALX sings in the closing track "I'd like 
to tell you all about the things in my head, but they're so far away". For 
me, even after thirty minutes, they still are.
---
NEWS:	> The New York Downtown Pop Sound '97, a three day festival of
New York City pop bands, will be held at the Luna Lounge from April 24 
through April 26.
	Organizers Joe McGinty and Ed Rogers have adopted a "no seminars, 
no panels, no badges" approach to these shows, which are free on a first 
come, first served basis.  Eleven bands will be performing, including
Cardinal Woolsey, Debby Schwartz, Jenifer Jackson, Red Betty, Primrose 
Hill, Travis Pickle, Lotion, Individual Fruit Pie and Baby Steps.
For additional information, contact the Luna Lounge at 212-260-2323.
	> The state of New Jersey has demanded the withdrawal of Marilyn
Manson from the "Ozzfest" show, scheduled on June 15, or have the show
banned.  Osbourne is now suing the state for the right to perform,
and issued a prepared statement in which he said, "I will not be putting 
any limits on any of the Ozzfests. These shows are all about having a 
good time, I don't believe that anyone, regardless of age, should be 
prohibited by law from enjoying themselves at a rock show.  This is 
not an issue of taste. It is an issue of civil liberty and freedom."
---
TOUR DATES:
	Aztek Trip
Apr. 21 New York, NY Brownies

	Automatic
Apr. 28 New York, NY CBGB's

	Backsliders
Apr. 24 Greenville, NC East Carolina University
Apr. 25 Carrboro, NC Cat's Cradle 
Apr. 26 Atlanta, GA Smith's Olde Bar 

	Bloodhound Gang
Apr. 22 New Orleans, LA House of Blues
Apr. 24 Murfeesboro, TN Main Street
Apr. 25 Columbus, OH Chelsie's
Apr. 26 Baltimore, MD UMBC-Quad (w/ George Clinton, Toasters, Solution AD)
Apr. 27 Farmville, VA Longwood College-Lancer Gym (w/Phunk Junkees)
Apr. 29 State College, PA Crow Bar
Apr. 30 Scranton, PA Tinks

	Bobgoblin
Apr. 22 Wichita, KS Big Fish Club
Apr. 23 Norman, OK Tip's Tavern
Apr. 28 K.C, MO Grand Emporium
Apr. 29 Omaha, NE Ranch Bowl
Apr. 30 Minneapolis, MN The Great Whole

	Brilliantine
Apr. 25 Cambridge, MA Middle East (w/Archers of Loaf)

	Cellophane
Apr. 23 Murfreesboro, TN Mainstreet
Apr. 24 St. Louis, MO Side Door
Apr. 25 Detroit, MI Shelter
Apr. 26 Cleveland, OH Grog / Peabody's (tbc)
Apr. 27 Atlanta, GA ESPN EXTREME GAMES -Georgia Tech
Apr. 30 Milwaukee, WI Rave Bar

	Chainsuck / Lycia
Apr. 22 Boston, MA The Rat
Apr. 25 Philadelphia, PA Jack Rabbit Slims

	Chemical Brothers
Apr. 24 Dallas, TX Bomb Factory (w/Orb)
Apr. 26 Chicago, IL Aragon (w/Orb)
Apr. 27 Minneapolis, MN First Avenue
Apr. 29 Denver, CO Ogden

	Crown Heights
Apr. 22 Bozeman, MT Filling Station
Apr. 26 San Francisco, CA Bottom of the Hill

	Dada
Apr. 25 Tempe, AZ Electric Ballroom
Apr. 26 Colorado Springs, CO Manhattans
Apr. 29 Milwaukee, WI Rave
Apr. 30 Minneapolis, MN Univ of Minnesota

	Dots Will Echo
Apr. 24 Lancaster, PA Chameleon
Apr. 25 New York, NY Arlene's Grocery
Apr. 26 New York, NY Nightingale's
Apr. 30 Philadelphia, PA Dr. Watson's

	Drain S.T.H.
Apr. 22 Lincoln, NE The Royal Grove 
Apr. 23 Minneapolis, MN 7th Street Entry
Apr. 24 Milwaukee, WI The Rave
Apr. 25 Toledo, OH Carol's
Apr. 26 Detroit, MI I-Rock 
Apr. 27 Clinton, IA Pigpen 

	Firewater
Apr. 24 Cleveland, OH Euclid Tavern
Apr. 25 Chicago, IL Metro
Apr. 26 Detroit, MI Shelter

	Five-Eight
Apr. 23 Tuscaloosa, AL Ivory Tusk
Apr. 24 Nashville, TN Exit Inn
Apr. 25 Athens, GA 40 Watt Club
Apr. 26 August, GA Caffeine

	Fluffy
Apr. 22 Jacksonville, FL Moto Lounge 
Apr. 23 Atlanta, GA The Point 
Apr. 24 Nashville, TN Exit/In 
Apr. 25 Florence, SC The Edge 
Apr. 27 Atlanta, GA X Games 

	Humble Gods
Apr. 22 Denver, CO Aztlan Theatre
Apr. 23 Lawrence, KS Granada
Apr. 26 Toledo, OH Sport's Hall
Apr. 27 Kalamazoo, MI Warehouse
Apr. 29-30 Flint, MI Metropolis

	Jayhawks
Apr. 24-25 Toronto, ON Horseshoe Tavern
Apr. 28 Ann Arbor, MI Blind Pig
Apr. 29 Columbus, OH Ludlow's
Apr. 30 State College, PA Crowbar

	Marilyn Manson / Helmet / Rasputina
Apr. 22 Evansville, IN Roberts Stadium
Apr. 23 Louisville, KY Louisville Gardens
Apr. 25 Saginaw, MI Wendler Arena
Apr. 26 Cleveland, OH CSU Convocation Ctr.
Apr. 29 Ft. Wayne, IN Ft. Wayne Coliseum
Apr. 30 Kalamazoo, MI Wings Stadium

	John Mayall
Apr. 30 Rochester, NY Winter Street

	John Mellencamp / The Why Store
April 22-24 Chicago, IL Rosemont Theater

	Metallica / Corrosion of Conformity
Apr. 22-23 Atlanta, GA The Omni
Apr. 25 Biloxi, MS Mississippi Coast Col.
Apr. 26 Lafayette, LA Cajundome
Apr. 28 Houston, TX The Summit

	New Bomb Turks
Apr. 22 Portsmouth, NH Fabulous Elvis Room
Apr. 23 Boston, MA  Middle East
Apr. 26 Washington, DC Black Cat

	Professor & Maryann
Apr. 28 New York, NY Fez Under Time Cafe

	Samples
Apr. 22 Cleveland, OH Odeon Theater
Apr. 23-24 Chicago, IL The Vic Theatre
Apr. 25 St. Louis, MO Washington Univ.
Apr. 26 Ann Arbor, MI Michigan Theatre
Apr. 29 Indianapolis, IN The Vogue
Apr. 30 Bloomington, IN Mars

	Seven Mary Three
Apr. 24 Thibodaux, LA Civic Center 
Apr. 25 Mississippi State, MS MSU Ampitheater

	Shonen Knife
Apr. 22 Calgary, AB The Republik
Apr. 24 Minneapolis, MN Fine Line Music Cafe
Apr. 25 Chicago,IL House of Blues
Apr. 26 Detroit,MI Majestic Theatre
Apr. 27 Toronto. ONT Opera House
Apr. 29 Ottawa ONT. Barrymore's
Apr. 30 Montreal, PQ Foufounes Electriques

	Silverchair / Automatic
Apr. 30 Asbury Park, NJ Convention Hall

	Sister Hazel
Apr. 22 Nashville, TN 3rd & Lindsley
Apr. 23 Knoxville, TN Mercury Theater
Apr. 24 Chapel Hill, NC Lizard & Snake
Apr. 25 Columbia, SC Rockafellas
Apr. 26 Charlotte, NC Amos

	Sneaker Pimps / Chimera
Apr. 21 Philadelphia, PA Five Spot
Apr. 23 New York, NY Irving Plaza
Apr. 24 Hoboken, NJ Maxwell's
Apr. 26 Boston, MA Axis
Apr. 30 Detroit, MI St. Andrews Hall

	Stillsuit / Downset / Earth Crisis
Apr. 28 New York, NY CBGB's

	They Might Be Giants
Apr. 26 Gambire, OH Kenyon College

	U2
Apr. 25 Las Vegas, NV Sam Boyd Stadium
Apr. 28 San Diego, CA Jack Murphy Stadium

	Verve Pipe
Apr. 22 East Lansing, MI Michigan State University
Apr. 25 North Andover, MA Volpe Gymnasium
Apr. 26 Boston, MA Hatch Shell
Apr. 27 Poughkeepsie, NY Chance
Apr. 29 Manchester, NH Dana Center
Apr. 30 Newark, DE University of Delaware
---
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