==== ISSUE 144 ====    CONSUMABLE     ======== [May 25, 1998]

  Editor:             Bob Gajarsky
		        Internet: gaj@westnet.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker
  Correspondents:     Tracey Bleile, Lee Graham Bridges, Scott  
                      Byron, Jason Cahill, Patrick Carmosino, 
                      Arabella Clauson, Krisjanis Gale, Paul Hanson, 
                      Eric Hsu, Tim Hulsizer, Robin Lapid, Scott 
                      Miller, Linda Scott, Scott Slonaker, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann
  Also Contributing:  Franklin Johnson

 Address all comments, subscriptions, etc. to gaj@westnet.com
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Soundtrack, _Godzilla_ / _Can't Hardly Wait_ - Bob Gajarsky
REVIEW: Sean Lennon, _Into The Sun_ - Al Muzer
REVIEW: Lou Reed, _Perfect Night Live In London_ - Reto Koradi
REVIEW: Harvey Danger, _Where Have All The Merrymakers 
   Gone?_ - Franklin Johnson
REVIEW: Superdrag, _Head Trip In Every Key_ - Bill Holmes
REVIEW: Various Artists, _United Kingdom of Punk II_ - Daniel Aloi
REVIEW: Addict, _Stones_ - Reto Koradi
REVIEW: Paul Carrack, _Beautiful World_ - Joann D. Ball
REVIEW: Kyle Davis, _Raising Heroes_ - Daniel Aloi
REVIEW: Various, _Music From The X-Games Volume 3_ - Linda Scott
REVIEW: Soundtrack, _Myst_ / _Riven_ - Joe Silva
REVIEW: Coax, _Fear Of Standing Still_ - Bill Holmes
REVIEW: Various Artists, _Signs of Life_ - Joann D. Ball
REVIEW: This Perfect Day, _C 60_ - Bill Holmes
REVIEW: Shawn Mullins, _Soul's Core_ - Arabella Clauson
REVIEW: Trona, _Red River_ - Sean Eric McGill
NEWS: Chemical Brothers, Korn, Lenny Kravitz, Underworld
TOUR DATES: Burning Airlines, Connells, Dave Davies 
   Kink Kronikles Tour, Flick, John Wesley Harding / Steve Wynn, 
   Irving Plaza, Tommy Keene, Paul Kelly, Megadeth / Monster 
   Magnet, Pitchshifter, The Samples
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Soundtrack, _Godzilla_ (Epic) / 
		_Can't Hardly Wait_ (Elektra)
		- Bob Gajarsky
	If you believe the hype, size really does matter.  
At least that's the marketing scheme behind both the film 
and the soundtrack for the latest big screen incarnation 
of the giant ape, Godzilla.
	The soundtrack for _Godzilla_ couldn't even climb 
above the 2nd floor if all the tracks were like the 
Wallflowers' inspid and utterly useless reading of David Bowie's 
"Heroes".  Why didn't Epic include an already-released, better 
cover from one of their own artists?  Oasis performed the song 
on the B-side for their "D'You Know What I Mean?" CD (import) single.
	Fortunately, the Wallflowers shortcomings aren't repeated by 
the other artists.  Despite my abhorrence of anything Puff Daddy has 
been involved with during the last year, the threatening and 
powerful "Come With Me" - his contribution with Rage Against The 
Machine's Tom Morello and Jimmy Page performing his guitar from Led 
Zeppelin's "Kashmir" - certainly ranks as a more inspired sample 
than anything the Puffster has used before. 
	And, from this point, _Godzilla_ starts to produce in 
synch with the hype behind its film.  Potential future singles are 
almost too numerous to name; Stevie Wonder is almost here, thanks to 
Jay Kay and Jamiroquai, with "Deeper Underground", harkening back 
to his _Innervisions_ days; Ben Folds Five's "Air" will instantly 
ring true to anyone who fell in love with the poignant "Brick"; 
new tracks from Rage Against the Machine and Foo Fighters (the 
latter the first with new guitarist Franz Stahl) show that neither 
band has lost a step since their last studio albums.  The 
remainder of the acts featured here (ranging from Green Day 
to silverchair) barely slow the climb of this monster.
	We're talking big.  Huge.
	_Can't Hardly Wait_ takes a much more minimized approach 
to the soundtrack, hooking up some of today's top hip-hop artists 
along with a few cutting edge modern rock acts, mixed with a few 
veterans (Guns N Roses, Run DMC, Matthew Sweet, Parliament) 
to work alongside a 90s version of John Hughes' teen-angst films.
	Not only does the cast of this film (Jennifer Love Hewitt, 
Melissa Joan Hart, Jerry O'Connell, Jenna Elfman) echo back to the 
Molly Ringwald/Judd Nelson clan of Hughes films, but the soundtrack 
tears a page from _Pretty In Pink_ and _Some Kind Of Wonderful_.
	If "Walking On The Sun" ripped off the Zombies' "She's Not 
There", Smash Mouth's cover of Frankie Valli & The Four Seasons' 
"Can't Get Enough Of You" takes its opening cue from ? And The 
Mysterians' "Can't Get Enough Of You Baby".
	Current faves Third Eye Blind produce another winner with 
a remix of "The Graduate"; Britain's Feeder takes a break from 
their metal background to slow the pace on the McCartney-meets-Oasis 
track "High", which could become one of the summer's instant 
classics, and Black Lab are clearly influenced by XTC on "Tell Me 
What To Say".
	Two hip hop smashes - Busta Rhymes'-sampled Knight Rider theme, 
"Turn It Up / Fire It Up", and Missy Elliott's "Hit 'Em Wit Da Hee", 
also offer a fine introduction for the uninformed fan.
	While not likely to be a smash of gargantuan proportions, 
_Can't Hardly Wait_ is likely to become the surprise soundtrack of 
the summer.  
---
	REVIEW: Sean Lennon, _Into The Sun_ (Grand Royal/Capitol)
		- Al Muzer
	Not exactly the question-answering, walrus-naming, Lennon-esque 
revelation and musical second coming that Beatle-freaks, the vaguely 
curious and conspiracy-theory buffs were longing for;Sean Lennon's 
first release has more in common with Paul McCartney's one-man (plus 
Linda) 1970 solo debut than it does anything his father, John; 
mother, Yoko; half-brother, Julian; or producer/girlfriend/creative 
catalyst Yuka (Ciba Matto) Honda have committed to tape in their 
collective careers.
	Despite looking at life through the rose-lensed spectacles 
of an innocent, semi-idle, mildly privileged, fairly carefree 
22-year-old who seems to be wrestling with love, hope, fear, boredom, 
commitment, sex, karmic unity, future plans and tomorrow for the very 
first time; the lite-as-a-feather melodies and pleasant, dentist's 
office-friendly grooves of _Into The Sun_ do connect with their 
creator's famous father on one level; Sean not only marches to the 
sound of his own drummer, he approaches his muse with the same 
wide-open simplicity, candid truth and uncomplicated lyrical honesty 
of his sardonic, 'smart' Beatle forbear.
	Whether he's drifting his way through _Red Rose Speedway_ 
-caliber, lighter-than-air pop cuts such as 'Mystery Juice,' 'Home,' 
'Queue' or 'Bathtub'; gentle, summer-breeze influenced ballads like 
'One Night,' 'Wasted' and 'Spaceship'; loose-limbed jazz excursions 
such as 'Photosynthesis' and 'Sean's Theme'; or bossa nova-informed 
samba lilts like the title track and 'Breeze', the youngest Lennon's 
thin, reedy, unassuming vocals, relaxed personality and charming, 
low-key instrumental approach turn what would've been an 
inconsequential blip on the radar as done by someone else into a 
pleasant, although certainly not essential, 50-minute musical 
diversion that leaves you anticipating his next effort even as you 
find yourself hoping he'll shake things up and take a few more 
chances the next time out.
---
	REVIEW: Lou Reed, _Perfect Night Live In London_ (Reprise)
		- Reto Koradi
	One stunning thing about the temporary Velvet Underground 
reunion a few years back was that all other band members either looked 
twice as old as Lou Reed, or were already dead. Reed is arguably one 
of the most reliable figures in the past decades of rock history, and 
the latest proof of his freshness comes as a live album titled _Perfect 
Night Live In London_.
	Upon listening to the album, the first feature that catches 
immediate attention is an incredibly clean and crisp sound that leaves 
many studio albums standing in the dust. Reed attributes this to new 
technology for recording acoustic guitars. Matching the acoustic 
setting of the concert is the relaxed, yet intense, playing and singing, 
showing an artist who is obviously full of confidence and energy.
	The selection of the material is far from a "greatest hits 
live" performance; "Walk On The Wild Side" and most other big hits are 
not present.  The few classics, like "I'll Be Your Mirror", "Vicious", 
and an outstanding version of "Dirty Blvd." are mixed with lesser 
known and rarer tracks.
	While _Perfect Night Live In London_ will hardly open a new 
audience for Lou Reed, it will certainly make his fans very happy, 
and is also recommended to all lovers of first class live albums.
---
 	REVIEW: Harvey Danger, _Where Have All The Merrymakers 
		Gone?_ (London)
		- Franklin Johnson
	Where has the indie rock gone?  Where have the souls of Michael 
Stipe and Robert Pollard really gone?  And, most importantly, where have 
all the merrymakers gone?
	Harvey Danger asks the last question, and answers the first two, 
on the national re-release of their smash indie album, _Where Have All 
The Merrymakers Gone?_  If you weren't around when R.E.M. created a 
major buzz in the early 80s, don't worry; "Carlotta Valdez" is vintage 
R.E.M., circa "Gardening At Night", meeting Pavement.
	Of course, your introduction to the Seattle-based foursome 
probably came on the modern rock smash, "Flagpole Sitta".  You're 
excused if you didn't quite pick up on the title; how about the 
refrain, which rings out 'I'm not sick but I'm not well / And I'm 
so hot / Cause I'm in hell.'  I'm sure that rings a bell, and with 
the smarter-than-thou lyrics of 'only stupid people are breeding; 
the stupid cretins are cloning and feeding', it's likely many of the 
words are already stuck in your head.
	Buck and Berry's guitar-influences show up throughout the 
remainder of _Where Have All The Merrymakers Gone?_ (especially on 
"Private Helicopter") as do those of other indie-rock idols such as 
Guided By Voices and Sebadoh, without Harvey Danger ever forgetting 
to sing clearly and make pop records.  It's a lesson that other 
Seattle bands such as Pearl Jam too often forget.
	The major labels have shot themselves in the foot by frequently 
signing independent acts before their maturation, and in effect, 
killed the careers of many bands prior to getting started.  Here's one 
that is likely to flourish.  Consider this the band's _Murmur_, and 
think of Harvey Danger as this year's R.E.M.  Complete with drummer.
---
	REVIEW: Superdrag, _Head Trip In Every Key_ (Elektra)
		- Bill Holmes
	With song titles like "Amphetamine", "Do The Vampire", 
"Antechrist", "Hellbent" and "The Art Of Dying", those unfamiliar 
with this Knoxville pop band might get the wrong idea. But as 
fans of _Regretfully Yours_ (their previous release) know, 
Superdrag is about as far away from death metal as one can get.  
Thank god.
	John Davis' earnest voice finds a potpourri of musical 
beds to lie in this time around, from the sweet country strains 
of "I'm Expanding My Mind" and "Amphetamine" (well, they _are_ 
from Tennessee!) to the lush Big Star meets Badfinger phrasings 
of "Hellbent" and "Antechrist". "Mr. Underground" steals a couple 
of words and the horn riff from "Baby You're A Rich Man" and 
frames them with a killer hook; if Fastball hit with "The Way" 
this should stand alongside it toe to toe. Likewise, "Hellbent" 
checks in with a pure pop drumbeat and that fat guitar sound that 
every Sloan, Big Star and Badfinger fan will lap up. The uptempo 
"Sold You An Alibi" and guitar anthem "Pine Away" could be The 
Posies. Only the plodding "Bankrupt Vibration" (which uses a 
plodding alterna-beat to satirize the genre) is hard to take, 
but even that one redeems itself by revving up for the final 1:15. 
The album closes with the six minute opus "The Art Of Dying", all 
strings and sitar and Matthew Sweet atmosphere.
	Producer Jerry Finn's harder edge puts a hard shell on the 
ear candy, but the band's pop homage is the better for it (a prime 
example is the drop-dead Beach Boys moment in the otherwise punky 
"Shuck And Jive"). Where their hit "Sucked Out" featured Davis' 
tonsil-throb vocal screams, this time the music does the talking. 
Unfortunately, the label chose to focus on "Do The Vampire" as the 
lead off single. Now "Vampire" is not a bad song, but "Mr. 
Underground" and "Hellbent" are hit singles just waiting to get 
the air time. Hopefully radio will go three cuts deep with this 
one, but if you pick it up yourself you can dive in for all 
thirteen. It's one that grows on you with each listen, and among 
1998's best.
---
	REVIEW: Various Artists, _United Kingdom of Punk II_ (Music Club)
		- Daniel Aloi
	A raw, damaged voice, a couple of chords, bad hair and skin, 
and an attitude was all you seemed to need to be a punk rocker back 
in the days of safety pins and ripped leather. That's the popular 
perception, anyway.
	Giving the lie to that were the social concerns the bands 
had, telling angry truths about the grim reality of the young kids 
who flocked to shows, whether or not the "artists" had a connection 
with or contempt for their audiences.  You can get a taste of what 
it was really like on this new compilation from Music Club, a 
budget-line ($9.99) import label that's readily available in
Stateside stores.
	Like 1997's first volume, _U.K. Punk II_ (not to be confused 
with albums in Rhino's D.I.Y. series) smartly raids most of its 
content from obscure 45s, rare B-sides, demos and historic sessions, 
and live tapes -- making these U.K. Punk discs several knife-cuts 
above most anthologies of previously released material. Ultimately, 
it is the only way to capture a scene that burgeoned in live clubs 
and escaped England's shores via furtively exported slabs of 
no-nonsense vinyl.
	Also like Vol. I, the 16 choices on the new disc will excite 
the knowledgable punk fan, and show the uninitiated just how 
diverse, influential and full of talent (sometimes) and energy 
(usually) the various bands were.
	And the underrated are given their due alongside the more 
infamous acts. Nosebleeds, The Lurkers and 999 (named for the 
British equivalent of 911) are all fine bands who advanced the 
form but never had the notoriety they deserved.
	The Sex Pistols are here, of course, represented by an 
early 1977 Dave Goodman demo of their galvanizing "Anarchy in the 
U.K." So, too, are The Damned, The Fall, and the Buzzcocks.
	The Adverts in particular shine live, more than their 
records ever indicated.  While most of the songs - especially the 
live ones - are longer than the regulation 2 minutes, U.K. Subs' 
"I Live in a Car" neatly encapsulates the whole socioeconomic 
thrust of the punk movement in a mere 1:14. But you sometimes want 
more. When X Ray Spex' teenaged Poly Styrene wails in her full 
from-the-gut fury on "The Day the World Turned Day-Glo," you wonder 
why there weren't more garage bands with empowered female singers 
like her.
	One of the legendary singles of its time closes the disc: 
Bow Wow Wow's then-controversial incitement of home taping, "C30 
C60 C90 Go!"  The liner notes, by Tucson Weekly writer Ron Bally, 
mention influences that stretch from the '60s to the '90s (the 
Stooges on Sham 69, and U.K. Subs on later American hardcore bands - 
I'd even add that Sham 69's live "If the Kids Are United" sounds 
like a proto-Chumbawamba anthem), but the music itself is focused 
on the scene that flourished from 1977 to 1980 and then was no 
more.  Of course, the Pistols reunited, if only for filthy lucre, 
and The Fall are still going, 21 years later.
	Punk always refused to fit the confines of a stereotype 
or a singular style.  The songs ranged from angry two-chord 
diatribes to sublime moments of near power-pop, prefiguring the 
sunnier days of new wave and decidedly un-punk bottle-blonde MTV 
boys like The Police.
	Hopefully this well-done series will keep digging up punk's 
great moments, and even progress to include The Jam, the one 
member of the class of '77 furthest from punk's low-fi aesthetic 
at the start, and in the end the truest to its spirit.

	Artists on _United Kingdom of Punk II_: Sex Pistols, 
Buzzcocks, Slaughter & the Dogs, Nosebleeds, The Adverts, The Fall, 
X-Ray Spex, U.K. Subs, 999, Sham 69, The Lurkers, The Damned, The 
Ruts, Chelsea, Viciious White Kids, Bow Wow Wow
---
	REVIEW: Addict, _Stones_ (V2)
		- Reto Koradi
	The opening lines of this album unavoidably bring up one 
association: Radiohead! Addict's lead singer Mark Aston - 
especially at high pitch - reminds one remarkably of Thom E. Yorke. 
And while musicians normally do not like to be compared to others, 
sounding similar to one of the key voices of the decade is probably 
not such a horrible thing.
	After listening to _Stones_ for a while, though, you would 
hardly guess that they are based in London, and have a Danish 
guitarist. The sound has the keyword "Seattle" written on it, being 
comparable to some of the poppier grunge bands like Soundgarden.
	So what do you get if you move Radiohead to Seattle? Simply 
put: great rock music. Songs like "Dust" and "Monsterside" have the 
combination of catchiness and energy that makes a rock song a 
potential hit. These muscular tracks are nicely mixed with a few 
slower songs, like "Red Bird".
	If you were looking for negative points, you could say that 
this album does not offer anything new. But who cares, as long as it 
is filled with 12 well written and played songs? If the record 
label manages to create the necessary promotional momentum, _Stones_ 
could become a winner, and Addict a new favorite of many rock fans.
---
	REVIEW: Paul Carrack, _Beautiful World_ (Ark 21)
		- Joann D. Ball
	Paul Carrack has been around for a long time.  Even if 
you don't quite know the name, Carrack's voice is undoubtedly 
familiar since it is the guiding force on such memorable songs 
as "How Long" by Ace and "Living Years" by Mike and the Mechanics.  
On his latest solo release _Beautiful World_, Paul Carrack delivers 
a positive, emotion-filled sound that should finally enable him to 
claim the spotlight .
	The follow-up to the internationally successful and 
critically acclaimed _Blue Views_, _Beautiful World_ was recorded 
in Fall 1997 at Carrack's home studio in England.   Skillfully 
handling lead vocals, keyboards and Hammond organ himself, 
Carrack enlisted session help from guitarist Tim Renwick, bassist 
Dave Bronze, keyboardist Toby Chapman and Mike and the Mechanics' 
drummer Gary Wallis.  And to add a feminine soulful touch to nine 
of the record's 10 tracks, he recruited backup singer 
extraordinaire Tessa Niles, who's worked with Clapton, Bowie, 
McCartney, Tina Turner and the Rolling Stones.  This solid line-up 
delivers a stellar CD that has multi-format potential at radio - 
there's something here for Top 40, triple-A, adult contemporary, 
soft/smooth jazz, and even a possible crossover to urban 
contemporary.
	Released earlier this year in Europe where it has done 
extremely well, _Beautiful World_ features passionate songs about 
love, success and personal fulfillment.  The lead-off track, "The 
Way I'm Feeling Tonight," was written by Carrack and 10cc's Graham 
Goldman.  This tale of admitting flaws and moving on with it has 
an irresistible positive vibe because of its upbeat tempo.  It's 
brimming with the same feel good spirit that made "You Gotta Be" 
by Des'ree and Alana Davis' cover of Ani DiFranco's "32 Flavors" 
such wonderful songs.  Carrack makes it clear on this first track 
and on "Time to Let Go" which follows it that in order to make 
the most of today, you have to let go of yesterday.
	Carrack's distinctive blue-eyed soul vocals are the perfect 
match for the gospel-stylings of the title track, on which 
additional backing vocalists provide a church choir feel and big 
gospel finish.  In contrast, the ballad "Perfect Love" is 
breathtakingly beautiful. testimony to the fact that loving is 
believing.  On the other hand, "You Give Me Something" and 
"Satisfied" are filled with a hip, urban contemporary flavor and 
the former places Carrack in Al Green's  territory.  Carrack slows 
it down again on "Close to Me," "It Goes Without Saying" and "If 
You'd Ever Needed Someone" but pulls out all the stops on the 
rousing closer "Some Kinda Love" on which he gives a performance 
that would make Steve Winwood take some notes.
	Carrack is right on track with the visionary _Beautiful 
World_.  This record is the one he's been wanting to make for a 
long time, and it is clear that Paul Carrack is an amazing talent 
and positive force in contemporary popular music.  With _Beautiful 
World_, Paul Carrack should finally succeed in making his name as 
recognizable as his distinctive voice, and listeners of all types 
will reap the rewards.
---
	REVIEW: Kyle Davis, _Raising Heroes_ (N2K)
		- Daniel Aloi
	Singer-songwriter Kyle Davis shows excellent taste and 
confidence on his debut album, _Raising Heroes_. He sings 
straightforward, well-crafted songs about familiar human 
struggles, and his work is given dynamic arrangements, powered 
by drummers Jim Brock and Rob Ladd, and bass playing to fit the 
mood, from star producer and No. 1 supporter Don Dixon (who 
also adds guitars, timpani and background vocals).
	Dixon has made some great -- and great-sounding - 
records, his own and for others; and this one does sound terrific.
	Young and earnest in the Edwin McCain mold, Davis 
delivers his and Lance Hancock's lyrics in an unforced, 
from-the-heart style, with a soulfully plaintive voice.  The 
backing musicians are highlighted by multi-instrumentalist Peter 
Holsapple.
	Overall, this is pleasant, top-down, sunny-day driving 
music, nothing requiring intense listening. Even with that said, 
Davis could be a surprise dynamo at Triple-A this summer.
	Potential pop success awaits in "Five Minutes" and "That's 
What Love Is," songs good enough for Dixon to have done himself. 
(P.S. on packaging: Nice ViewMaster reel design on the disc 
itself, and the various credits are laid out like a general store 
catalog inventory. Now that's pop culture for you.) 
	For more information, go to http://www.kyledavis.com
---
	REVIEW: Various, _Music From The X-Games Volume 3_ (Mammoth)
		- Linda Scott
	The soundtrack to ESPN's X-Games, _Music From The X-Games 
Volume 3_, features 12 tracks from well known and lesser known 
bands.  Overall, the pace is fast, set by driving beats that 
underscore the pace of the Games. Balladeers need not apply.
	Leading off are the popular Mighty Mighty Bosstones with 
their breakthrough ska hit "The Impression That I Get" from their 
1997 album, _Let's Face It_. Its good, clean beat, with a little 
island twist, is a good choice for the album opener.
	Next up are the Descendents with "I'm The One".  This 
punk band is from the South Bay area in California and were broken 
up about 10 years.  Considered a seminal punk bank in 1978, most 
of us will be hearing them for the first time.  This song gets in 
your head and stays there.   Additional material from The 
Descendents is on their 1996 album, _Everything Sucks_.
	Ska and punk are represented, and Fatboy Slim covers Big 
Beat.  "Going Out of My Head" is a catchy dance song that was 
also picked up by Coke for its Surge promo CD and by two movies.  
Give this one some close attention.
	Take a sharp turn from dance to metal.  Three heavy 
metal/hard rock tracks here with Fu Manchu's " Jailbreak", 
Pantera's "I'm Broken", and Chamber's "Loco".  Of these three, 
Pantera's is the most polished and listenable - of course they 
have been in the business a long time. They are also blessed 
with singer Philip Anselmo and guitarist Dimebag Darrell.  No 
way will the other two come up to that level of metal talent.
	A couple other big names on the soundtrack are 311 and 
Days of the New. 311 does a killer job on "All Mixed Up", a 1996 
promo release from the Los Angeles band.  Days of the New performs 
"Touch, Peel and Stand", a characteristic song for them.  Raw 
tracks with lyrics that make you wonder what vocalist Travis 
Meeks has been up to all his life.  
	Electronica dance music, a la Prodigy, is what Crystal Method 
are all about.  "Busy Child" is their contribution, which may 
irritate non dance fans from the repetition and overuse of samples - 
the words "busy child" are repeated about 50 times too often. 
	All in all, this is a good, fast-paced album.  There's 
something for everyone - there's ska, dance, electronica, Big 
Beat, rock, punk rock, heavy metal.  A good selection of artists, 
from well known to obscure, from established to still morphing 
into their final makeup.  A little slice of current music and 
current bands makes this a nice addition to any collection.
---
	REVIEW: Soundtrack, _Myst_ / _Riven_ (Virgin)
		- Joe Silva
	I've spent too many late nights flicking small bugs away 
from my monitor while I click obtusely through the spectacular 
panoramas of either the Myst or Riven games. The sounds are 
welded to the experience and there's almost no room for skirting 
that certainty. For those of you who don't know what Myst and its 
sequel Riven are (and I guess that's vaguely possible), just go 
ahead and skip what follows. I can assume no further guilt for 
exposing reasonably intelligent people to the most severe of 
digital fixations.
	As for the rest, I'll make my case. Truthfully, I'm pretty 
certain that I would have a cocked a healthy sneer and fired 
repeatedly at Robyn Miller's music had it simply been handed to me 
as just another CD. At best I might have even looked through the 
pretty booklet for the thirty seconds it would have sat in my 
player. New Age ramblings? Pah! Into the pile for the second hand 
shop! But since I've already gone ahead and confessed to trading 
potential quality with some big name author for hours of 
head-scratching moments at the Myst altar, I'll go further to say 
that I practically begged the people involved for my copy of this 
music.  New Age ramblings? Yeah, I'll take ten.
 	Miller did more than contribute a bit of utilitarian synth 
noodling to the already elaborate project he and his brother 
concocted - he upped the resident anxiety to levee breaking 
proportions. Nothing jumps out and shouts "BOO!" at you in the 
Myst realm, but until you find this out on your own, the music 
constructs that expectation as you press ahead. With 20+ minor 
chord vignettes in the original soundtrack (that generally don't 
seem to last for more than two and a half minutes a piece), 
Miller effectively established a running despondency that kept 
the participant fully aware that no matter how handsome and 
exquisite were the surroundings, he was tramping through a place 
of true dread and melancholy. But more importantly, he was 
providing your whereabouts with a kind of requisite articulation, 
which is the primary motive for sketching out a soundtrack. The 
Stoneship Age had the continual rattle of far-off echoing claves 
that sounded like the clanking innards of an old sub. The 
timpanis of the Fortress were true jungle fare (Goldie take note). 
And the spare, cosmic synth-oboe that carries the Planetarium theme 
is hauntingly and filled with a cheerless wonder.
	Having not spent as much time wandering Riven, the sounds 
aren't yet quite as ingrained in the psyche, but they share the 
same underpinnings - moody, foreboding, and bathed in a general 
uneasiness. The tracks are longer, and as a result don't seem to 
go for looking for too many particular hooks for the ear to latch 
on to since they are probably looped less during actual playing 
time. And while Miller may never carry on to Vangelis-like 
notoriety, he's on to something. Maybe. If nothing else, should he 
ever choose to combine forces with any of the known quantities in 
the ambient dance arena, his music would certainly have the 
potential to be just as viable. After all, a trance is as good as 
a dub to an all-night raver.
---
	REVIEW: Coax, _Fear Of Standing Still_ (Paradigm)
		- Bill Holmes
	I always thought the phrase was "four out of five dentists". 
Nevertheless, three out of four Dentists, the Brit pop band, are 
re-teamed in Coax to surf the third or fourth wave across the Big 
Pond and conquer America. While I admit that any of these songs 
would be reason enough to stop the "seek" button on my car radio, 
there's nothing here that I couldn't  do without if I had to. The 
playing is good, the vocals decent, the songs okay - but the sum 
isn't greater than its parts, and it has to be to rise to the top 
of the ever crowded pile of pop bands.
	Those who fondly remember The Dentists will be happy to 
know that the jangly pop sound is still there, as are the tongue 
in cheek moments (song titles like "Harrison Fjord" and "Meatball 
Heroes" should give you a clue). There's nice guitar interplay 
throughout, especially on "Plates". Matter of fact, the guitar is 
mixed waaaay out front most of the time, especially on "Colours 
From The Sideshow" and "Orchestra". There's also some Bowie cops, 
a little Icicle Works (the opening of "Meatball" recalls 
"Understanding Jane") and the "Something In The Air" references 
in "Fjord" to hang your hat on.
	Dentist fans will be pleased, and I'm sure most pop fans 
will find something they like here. But there are too many other 
bands mining the same vein in a more exciting and/or consistent 
manner to see Coax as anything special.
---
	REVIEW: Various Artists, _Signs of Life_ (Blueroom Released)
		- Joann D. Ball
	Psychedelic techno is alive and well and can be experienced 
on the incredible compact disc, _Signs of Life_.  Although it was 
unleashed by the Blueroom Released label in late 1997, there is a 
good chance that  the more casual music buyer may have missed _Signs 
of Life_.  But with latenight summertime gatherings just around the 
corner, now is the perfect time to pick up this message from the 
global underground.  If the disc's cover photo of a giant crop 
circle in the middle of a field in Great Britain doesn't make you a 
believer, the electromagnetic music on the 68-minute release will 
make you join the chosen.
	Further exploring the outer reaches of the trance landscape, 
the ten-track _Signs of Life_ compilation is the logical successor to 
Blueroom Released offerings such as _Trip Through Sound_ and _Made on 
Earth_.  An instrumental-only collection, _Signs of Life_ sends out 
dance music and soundscapes for just kicking back and enjoying an 
electronic musical journey.  Among the most spectacular tracks here 
are the speed synth propelled "Man's Tale" by Sunkings, the ethereal 
"Avalon" by Spectral which clocks in at almost 11 minutes, and the 
deep techno-grooved "Open Your Heart" by Galaxy.  The music of India 
is the basis for both "Frozen Sand" by Liquid 7  and "As Above So 
Below" by Turban Bloc.  On the former, Indian musical stylings are 
mixed with a galaxy of otherworldly sounds which soar over a thick 
beat, while on the latter Indian sounds and vocals are infused with 
classic Chicago house music percussion.
	This summer, follow the _Signs of Life_ and indulge in some of 
Blueroom Released's trademark hi-fidelity science fiction.  Blueroom 
Released is distributed by Moonshine and should be available at the 
hippest local record stores.  If not, contact Blueroom Released at 
P.O. Box 5780.40, Chicago, Illinois 60657-8040.

TRACK LISTING  [artist in brackets]:  Five Million Years, They Knew... 
[Turban Bloc], Magnetic (Robert Leiner Dub Remix) [Juno Reactor], Man's 
Tale [Sunkings], Chupacabras [Alien], Avalon [Spectral], Frozen Sand 
[Liquid Z], Open Your Heart [Galaxy], As Above So Below [Turban Bloc], 
The Witness [Saafi Brothers], As A Child I Could Walk on the Ceiling 
(Dub Mix) [The Delta].
---
	REVIEW: This Perfect Day, _C 60_ (550/Sony)
		- Bill Holmes
	Swedish pop strikes again! For their US major label debut 
(they've been together since '87), the pop fivesome have punched 
up the ringing guitar factor to more blatantly trumpet their 
musical ancestors from the 1960's. But unlike another current band 
using the same formula (rhymes with "no aces"), TPD don't take 
themselves so seriously in the process. They just...rock.
	"Could Have Been Friends", the opening cut, starts out like 
a bad INXS song, heavy on the techno beat, but then the band blasts 
in to wash that taste out of your ear with a big fat hook. From that 
point on the listener is treated to nothing but melodic songs, great 
harmony vocals and lots of up-front guitar. The production is huge - 
almost pompous in some spots - as if the band wanted to make sure 
you knew you were listening to a rock band playing pop songs. Horns 
accentuate the catchy "Down On My Knees' and "So Naive", and 
although nothing quite nails the "perfect pop song" plateau that 
"Can't You See" (from their self-titles release) does, there are 
many that come damned close, especially "Dreamers In A Dream" with 
its ringing guitars and irresistible chorus. Two songs break the 
pace - the Smiths-like "Hello" and the countrified "Bryant Lake 
Bowler", both mid tempo but still featuring gorgeous vocals.
	Lyrically, TPD ranges from the hilarious to the curious. 
"In Two Weeks You Will Be Forgotten" is an absolute rave-up that 
takes a slam at the flavor of the month industry they are a part 
of, and it's as funny as it is raucous. "Break My Arm" chips in 
with lines like "it's the clothes you wear/and everything about 
you/the sun reflects in your eyes/it wouldn't glow without you...". 
But then there are two songs - back to back, no less - called 
"Dolphin" and "Fishtank". Whatever... 
	The fact that American radio will have a hard time slotting 
excellent pop among Puff Ripoff and the yodeling divas of the 
moment should surprise no one. So it's up to you to make the extra 
effort to seek this one out and be rewarded.
---
	REVIEW: Shawn Mullins, _Soul's Core_ (SMG)
		- Arabella Clauson
	An appropriate title for his eighth independent release 
over the last decade, Atlanta singer/songwriter Shawn Mullins 
plunges deep into the heart of R&B, hip-hop, folk and country to 
expose a fountain of influences on _Soul's Core_. Emerging as a 
sort of prophetic urban poet, his songs are popishly upbeat, 
lyrically rich and surprisingly optimistic for an artist who has 
spent so many years on the darker side of the music industry.
	Like every faithful road-tripping American songwriter, Mullins 
has a train song ("September in Seattle") which he soulfully belts out 
through the rhythmically churning piano chords: "September in Seattle / 
waiting on a train/I smoked my last cigarette/standing out of the rain."
	The radio-friendly "Lullaby" delivers a hook-driven chorus and 
verses bleeding with hip-hop backbeats, layered bursts of piano keys and 
the slightly raspy, warm vocals.
	If nothing else, one should note Mullins' crafty lyricism as he
tackles every style from the miniaturized epic country song ("Tannin 
Bed Song") to the confessional first person on "Twin Rocks Oregon," 
where he admits to a man on the cliffs "I don't reckon' I'll be makin' 
it big/You know it's hard to get rich off a tout of coffee house gigs."
	The lyricist washes his songs with an intensely personal
introspective quality, drawing inspiration from such sources as train 
rides, journal entries and elegies. Mullins even pays tribute to Kris 
Kristofferson with "Sunday Morning Coming Down."
	Spending years building a name for himself on the Atlanta music
scene, Mullins has many credits to his name. The Atlanta Music Award 
named him "Best Acoustic Artist" in 1997. A distinctive voice, 
percussive guitar work reminiscent of Ani DiFranco and Shawn Colvin 
and a unique brand of urban-folk storytelling make him an asset to 
any music collection.
	A truly visionary musician, Shawn Mullins' brand of music 
has limited commercial appeal, existing as a stylistic collage so 
diverse the miracle is his astonishing ability to string it all back 
together with the clarity and coherence he does on _Soul's Core_.
	_Soul's Core_ is available at independent music stores 
nationwide, or through the Shawn Mullins web site at 
http://www.shawnmullins.com
---
	REVIEW: Trona, _Red River_ (Roadrunner/Cherry Disc)
		- Sean Eric McGill
	As a child, I grew up on Hee-Haw. Every Saturday at 6 p.m., 
my father would drag us away from whatever we were doing to watch 
the funny exploits of a bunch of good ole' boys and girls. Maybe 
it was because my dad looked like Roy Clark - I dunno - but 
suffice to say, I watched that show until I was in my mid-teens; 
usually against my will.
	Don't fret - this does have something to do with Trona and 
their album _Red River_. It seems they choice to cover the Buck 
Owens classic "Take Me Back Again" (for those of you scoring at 
home, Buck was the one who "was pickin'"), and while I admit there's 
no soft spot for country music in my heart, I was initially 
concerned. I don't mind a cover of a song, but I'm not fond of 
covering a song and going completely away from the source material 
just for a laugh.
	So I popped in Red River and started from the beginning. 
Thirty-nine minutes and ten great songs later, we get to "Take Me 
Back Again" - and Trona nails it, right down to the steel guitar. 
I was dumbfounded to say the least. Here's a band that, over the 
course of their album, do occasionally flirt with a country sound 
(most notably on "Red River") - but to hear them flat-out nail a 
country song intrigued me.
	Made of up former members of Orangutang, Barnies and Sunspots, 
Trona's sound isn't one you can pin down. There's "Driving Record", 
which just begs to be played on alternative rock radio, but then you 
find a song like "Red River" and "Take Me Back", which throws you 
back from labeling them a "alternative" group.
	Or maybe it doesn't. Perhaps Trona is what "alternative rock" 
was always meant to be: an alternative to the mainstream. And now that 
the mainstream sounds more like what was once the alternative than ever 
before, Trona is perhaps just what we need - a band who puts 
songwriting ahead of image, and just delivers a good, solid record. 
And while a song like "Sail Into the Storm" didn't really catch my 
own personal fancy, it was still better than most of the work I've 
heard lately.
	_Red River_ is a great album, full of good hooks and strong 
melodies, and deserves a listen if you're even remotely interested 
in what happens when a band does what they want on an album instead 
of what some record company thinks they should do. But that's one of 
the strongest things about the Roadrunner catalog - from the metal of 
Soulfly to the quasi-bluegrass of Blue Mountain, they're a record 
company who honestly seems more concerned with an artist than with 
a trend.
	Oh yeah - the stuff with "Hee Haw" - sorry, I just can't afford 
a therapist right now.
---
NEWS: 	> The Chemical Brothers new album, _Brothers Gonna 
Work It Out_, will be released in August on the band's 
Freestyle Dust label.  It will be a new DJ mix album 
including material from the band, as well as tracks by other 
artists, all mixed together by Tom and Ed.
	> Contrary to recent rumours, Korn are not working with 
Vanilla Ice.  However, their next album (_Follow The Leader_, due out 
on August 18) will feature a collaboration with Ice Cube on the 
track "Children of the Korn".
	> Lenny Kravitz fans can download a CD quality version of 
the track "Without You" from the artist's website, located at 
http://www.lennykravitz.com - and with the download, will receive 
a $1 discount towards the purchase of his latest album, _5_.
	> Underworld will be releasing a video compilation of 
their singles, including the international smash "Born Slippy", 
and many rare videos, on _Videos 1993-1997_.
---
TOUR DATES:
	Burning Airlines
May 29 Baltimore, MD Small Intestine w/ Better Automatic, Franklin
May 30 Newark, DE VFW Hall with Jets to Brazil
May 31 Washington, DC Black Cat w/ Jets to Brazil

	Connells
Jun. 3 Richmond, VA Innsbrook Pavillion
Jun. 4 Greenville, SC Characters
Jun. 5 Athens, GA 40 Watt Club

	Dave Davies Kink Kronikles Tour
May 26 Virginia Beach, VA Rogues 
May 27 Annapolis, MD The Ram's Head 
May 28 Piermont, NY The Turning Point 
May 30 Wilmington, DE The Big Kahuna 
May 31 Northampton, MA Iron Horse Music Hall 
Jun. 2 Piermont, NY The Turning Point 
Jun. 3 South Amboy, NJ Club Bene 
Jun. 4 Maynard, MA Sit n Bull Pub 
Jun. 5 New York, NY The Bottom Line 
Jun. 6 Chester, NY Bodle's Opera House 
 
	Flick
Jun. 4 Albany, NY Bogies
Jun. 5 Boston, MA Mama Kin

	John Wesley Harding / Steve Wynn
May 28 New York, NY Knitting Factory

	Irving Plaza (NYC concert hall - www.irvingplaza.com)
Jun. 1 Scott Weiland / Daniel Lanois
Jun. 3 Tower Of Power / Sonia Dada
Jun. 5 Poi Dog Pondering

	Tommy Keene
May 28 Los Angeles, CA Troubador
May 29 San Diego, CA Brick by brick

	Paul Kelly
Jun. 2 Los Angeles, CA Troubadour 
Jun. 3 San Francisco, CA Slim's 
Jun. 4 Seattle, WA Crocodile Cafe 
Jun. 5 Portland, OR Artichoke Music 

	Megadeth / Monster Magnet
May 30 Dallas, TX Starplex Amp
May 31 San Antonio, TX Sunken Gardens
Jun. 1 Corpus Christi, TX Texas Sky Fest
Jun. 2 McAllen, TX Villa Real
Jun. 4 Odessa, TX Ector County Col
Jun. 5 Santa Fe, NM Paolo Soleri

	Pitchshifter
Jun. 3 Cambridge, MA Middle East Club
Jun. 4 Pittsburgh, PA Club Laga
Jun. 5 Cleveland, OH Peabody's Down Under

	The Samples
May 26 Boise, ID Bogie's
May 27 Salt Lake City, UT Club DV8
May 29 Las Vegas, NV The Drink
May 30 Scottsdale, AZ Cajun House
---
THE READERS WRITE BACK!
	> If any of your readers are interested in more info 
on Jason & The Scorchers, they can join my email list by sending 
a message to dderrick@hiwaay.net with the words "subscribe 
scorchers" either in the subject or in the body of the message.
	I've been running the list since late 1996 and we now have 
over 100 members.  The Scorchers have recently appeared on the Conan 
O'Brien show, ABC's In Concert, and USA Today!
	Be sure to check out the official site at: 
http://jasonandthescorchers.com
- Donald Derrick
---
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