== ISSUE 157 ====  CONSUMABLE ONLINE  ======== [October 7, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Sean 
                      Eric McGill, Tim Mohr, Al Muzer, Joe Silva, 
                      Lang Whitaker 
  Correspondents:     Christina Apples, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Robin Lapid, Linda Scott, Scott Slonaker, 
                      Chelsea Spear, Simon Speichert, Jon Steltenpohl, 
                      Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW / CONCERT REVIEW: The Church / Peter Koppes - Joann D. Ball
REVIEW: Son Volt, _Wide Swing Tremolo_ - Tracey Bleile
REVIEW: Soul Coughing, _El Oso_ - Lang Whitaker
REVIEW: Buffalo Tom, _Smitten_ - Jon Steltenpohl
REVIEW: Combustible Edison, _The Impossible World_ - Christina Apeles
REVIEW: Del Amitri, _Hatful of Rain - The Best of Del Amitri_ - Joann D. Ball
REVIEW: Less than Jake, _Hello Rockview_ - Kerwin So
REVIEW: Jack Drag, _Dope Box_ - Jon Steltenpohl
REVIEW: House of Love, _The Best of The House of Love_ - Joann D. Ball
REVIEW: Jaz Klash, _Thru The Haze_ / 60 Channels, _Tuned In... Turned 
   On - Simon West
REVIEW: Mysteries of Life, _Come Clean_ - Daniel Aloi
REVIEW: Snow Patrol, _an educational film by..._ - Tim Mohr
NEWS:	John Lennon, Ian Brown
TOUR DATES: Air, Archers of Loaf, Better Than Ezra / Possum Dixon / 
   Athenaeum, Broadside Electric, The Church, Cravin' Melon, N'Dea 
   Davenport, Firewater, Io, Irving Plaza, Korn, Lenny Kravitz, Liquid 
   Soul, Reel Big Fish / Spring Heeled Jack, Samples, Sand Rubies, Dee 
   Snider's StrangeLand Tour, Mike Watt
Back Issues of Consumable
---
	INTERVIEW / CONCERT REVIEW: The Church / Peter Koppes
		- Joann D. Ball
	The Australian-based band The Church has always followed its 
own psychedelic muse.  That muse has inspired the band to produce 
some of the most ethereal sounds this side of paradise, and has also 
moved the band to generate a host of catchy, irresistible jangly pop 
songs during the past 18 years.  Of course, such greatness has been 
balanced by an album or two that missed the mark, and a handful of 
songs that didn't quite click.  But apart from all that, The Church 
has never stopped using and celebrating the wonderous power of 
recorded and live music to share energy, expand minds and bring 
beautiful people together.
	Consumable Online caught up with The Church on the first two 
dates of the American tour in support of record number eleven, 
_Hologram of Baal_ (Thirsty Ear).  It's been eight years since The 
Church toured Stateside as an all-electric quartet and much has 
transpired for singer/bassist Steve Kilbey and guitarists Marty 
Wilson-Piper and Peter Koppes.  Kilbey and Wilson-Piper kept the 
Church going in addition to a variety of other projects while 
Koppes took time off to develop and further his own musical and 
entrepreneurial pursuits.  It was just a matter of time, though, 
before the muse reunited the trio and joined them with new drummer 
and fellow spirit Tim Powles.  And so, The Church has returned with 
a new record and a new label, and fortunately, the same inspired 
vision reigns supreme.
	The Church's live revival took place at The Belly Up Tavern in 
Solana Beach, California, a few miles north of San Diego.  And an 
almost full house of mostly twenty- and thirtysomethings gathered 
to hear the power and glory of The Church's trademark sound.  
Completely outfitted with a six-string bass, poetic sage Kilbey 
took his place at center stage.  On his right, Koppes secured 
himself in the middle of all the technology, hardware and gadgets 
that allows him to recreate those complex and intricate studio 
sounds through his guitar.  Fellow guitarist Marty Wilson-Piper 
set up shop at the other end of the stage with a collection of 
trusty Rickenbackers within arms reach.  And drummer Powles climbed 
to his perch behind the drum kit, prepared to lay down the pounding 
beats that would propel the words and swirls out to the crowd.
	What was to be a long and sweaty night began with "Aura" from 
1992's _Priest=Aura_, right through "Myrrh," the sonic assault from 
the still-brilliant _Heyday_, and back to "An Interlude" from early 
release _Blurred Crusade_.  Then the band fast forwarded to "Ripple" 
before finally arriving at  "North, South, East and West" from the 
hugely successful _Starfish_.  With "N,S, E &W" securing the bond 
between band and audience, The Church introduced "Louisiana" as 
the new single.   "Buffalo," another great song from the new record 
which also happens to be named for an American locale, followed 
several songs later.
	There was the predictable swell of cheers and applause for the 
smash hit "Under the Milky Way," but even the epic "2 Places At Once" 
from Kilbey and Wilson-Piper's mystical 1994 release _Sometime 
Anywhere_ capitvated the crowd.  By the set closer "Reptile," the 
crowd had been whipped up into a frenzy reflecting the guitar mania 
Wilson-Piper was generating from all parts of the stage.  The Church 
then returned for two stellar encores, first delivering "Destination" 
and a sizzling version of "Tantalized" and then finally ending the 
spirited show with the power jam "You Took."  On its first gig 
ever featuring the new songs, The Church was in superior form and 
treated this Southern California crowd to the kind of blistering 
two hour set that Australian fans have come to know and love so well.
	Consumable Online caught up with guitarist extraordinare Peter 
Koppes the day after the triumphant tour opener.  Backstage at an 
outdoor festival on the Pacific Ocean in Orange County, Koppes was 
surprisingly rested despite only a few hours of sleep.  He was 
also excited and eager to talk with Consumable about all things 
Church related.  In what was more a wonderful conversation than a 
typical interview, Consumable found out what Koppes had been up to 
during his sabatical and discussed what makes The Church such a 
powerful, progressive force in rock music.

	CO: How are things different this time around on tour, ten years 
after _Starfish_?
	Koppes: Well, a year ago we did a tour in Australia, and a year 
before that we did a tour of Australia.  So we did like two-and-a-half 
hour shows with a complete variety of all of the albums.  But we 
haven't played the last three albums in America, so in a way we're 
wanting to play some of those songs here and also some of the songs 
from the new album which we haven't even played in Australia.
	CO: How do you think the reception is going to be here rather 
than from a native crowd in Australia?
	Koppes:	I think music is the great leveler and I think that you 
get a situation where the people who like our kind of music become 
those kind of people in every place, wherever it is.
	CO: What is your kind of music?  How do you describe it?
	Koppes:	Um, progressive music for music aficionados, you know, 
who like the exotic and esoteric and like intelligent pop.
	CO: Is that something that you guys consider at all. . . in 
terms of what kinds of fans might be out there?
	Koppes:	I think that there's a lot of nostalgia these days.  A 
lot of people in Australia. . . [that] is the only indication I can 
go by but around the world it seems to be the same.
	CO: Nostalgia for the eighties or for yesterday generally?
	Koppes:	Yeah, for music they are familiar with.

	After describing how Australian fans have followed The Church 
over almost two decades, the conversation shifts to why Koppes 
temporarily stepped away from one of Down Under's most beloved bands.

	Koppes:	I left the band to identify with myself outside of the 
role that was imposed on me by the circumstances of being in the band, 
which include the public's identity which they associate with me as 
being a part of something, you know.  And we're all staunch individuals 
as you know by all of the solo records.  Even the drummer's got a solo 
record out there.

	Koppes then began to list his solo projects, a process which 
is only completed by the end of our meeting.  Obviously, he was an 
extremely busy man during his few years away from The Church.  Not 
only did he play a variety of instruments on the solo projects but 
he also formed his own Australian record label.  Koppes is obviously 
very proud of his musical accomplishments and explains his 
entrepreneurial venture as an extension of his genuine love of 
music.  As for the records, Koppes mentions _Water Rites_ credited 
to his band The Well and reflective of his fascination with water 
and a release under his own name called _Love Era/Irony_.  .

	Koppes:	And I recorded stuff that Steve was producing with 
artists.  You know, it'd be writing or playing guitar on some 
tracks on some things of his.
	CO: So it was always a friendship [with Steve Kilbey]?
	Koppes:	Oh, yeah.  When I left the band I said to Steve, you 
know,  we could do some stuff together.  It's just that I didn't want 
to be in the band as part of that big, that monster.
	CO: That friendship goes back how many years?
	Koppes:	Twenty-umm. . .  1974. . . twenty four years.

	The conversation then shifts to what originally inspired 
Koppes to pick up first the Hammond organ, then the drums and 
finally the guitar.
	CO: Influences for you?
	Koppes:	Songs, songs . . .
	CO: And artists?
	Koppes:	Ultimately Jimi Hendrix, not just as a guitar player 
but as a songwriter and as a human being.  I think more importantly, 
like John Lennon, he was an amazing human being.  I've always 
regarded myself as a human being first and a musician second as 
well.  And I identify with people of that politics in their music 
as well.
	CO: On this new record, _Hologram of Baal_, it doesn't really 
say who does what in the liner notes.
	Koppes:	(laughing) We didn't have time, I swear!  We did 
everything.  Our new drummer plays bass on tracks...he's critical 
to the band now,  the impetus of the band, because he engineered 
the album and he produced it with us.  But being an engineer he 
actively produced it on every, well, when we were doing over dubs 
he'd be working together with Steve closely, with Marty closely.  
And with me, he's an essential part of my soundscaping because he 
intuitively does what I want him to do.  In fact, he played drums 
on my last solo album.
	Koppes:	There's another album [by] The Refo:mation that Steve, 
myself and Tim did previous to the Church reforming which was 
another stint towards us deciding that The Church is just gotta 
get back together in that format. It would be like something to 
really come back together for.  It was a big, big evolution in our 
songwriting style and relationship, musical relationship, that 
worked toward the new album.
	CO: A lot of times people are trying to find a hook.  So, if 
a band disappears for a while, as they think [The Church] might have 
and comes back after a certain number of years' absence, they are 
trying to find out where the band left off.  So, are you picking up 
from _Seance_ or from _Heyday_ or just going forward?
	Koppes:	We never pick up.  We're a psychedelic band, nothing 
to do with the drugs, but psychedelic meaning the mind expanding.  
And we splintered in so many different directions in our music that 
we have styles of songs that we sometimes go away from and then 
come back [to] a couple of albums later.  There's our soundtrack 
kind of instrumental songs, then there's the pop jangly ones and 
then there's long songs.  We have experiments with long songs.
	CO: Speaking of long songs, there's the bonus CD "Bastard 
Universe." [available as part of the limited edition double CD 
version of _Hologram of Baal_]
	Koppes:	(laughing) That's a pretty long song!  That was a 
spontaneous creation.  Not mapped out, but our writing process is 
like that.  It's just a particular style of creating music that we 
couldn't really get a particular song out of any of the pieces.  
But they were an evolution.  And in a way it shows people how we 
write at the same time.
	It's a very interesting piece of music that's very satisfying 
'cause you've got four producers in the band, four songwriters, 
four multi-instrumentalists who've done it for so long now that you 
know when something is supposed to change.
	In fact, that ["Bastard Universe"] happened the night after a 
gig where we really tuned in.  It was really a great gig.  And we 
were setting up in the studio again afterwards. . . we probably 
wouldn't be able to do it again like that either because it was 
just that head space, that communion of the concert the night before 
and being all producers.

	The conversation shifts to what Koppes looks for in a band.  
An avid music fan himself, Koppes cites the Verve and Oasis as a few 
of the newer bands that he enjoys because the have personalities that 
he's interested in.. With that opening, Consumable asks Koppes to view 
The Church from a fan's point of view.
	CO: With the Church who do you think the average fan would 
target or zoom in on?
	Koppes:  It's always been a variety.  A lot of people like 
Marty because he's good fun and energetic and exciting.  A lot of 
them like Steve because he's a poet and very serious.  You know, he's 
of the great songwriting ilk. In fact, he gets emails from English 
musicians of the new generation thanking him for his inspiration.  And 
a lot of them like me because I'm a guitarist who's always coming up 
with something new and I'm quite capable on my instrument.

	At this point, Kilbey, Wilson-Piper and Powles enter the large 
RV that the band is using as a dressing room.  Kilbey briefly comes 
over to the table where Koppes and Consumable have been talking before 
moving up front to help write the set list for the band's upcoming 
performance.  Sensing that Koppes will soon need to prepare for the 
gig, Consumable Online brings the conversation to a close.  Before 
sharing some final words about the relationship between The Church and 
its devoted followers, though, Koppes reminds Consumable about the 
Refo:mation record _Pharmakoi/Distance Crunching Honchos With Echo 
Units_ that he, Kilbey and Powles released last year.  He feels so 
strongly about this  crucial precursor to the reunion, that he offers 
his Immersion Records website http://www.cmm.com.au/phantom/immersion 
as the source for more information about it, his other solo projects 
and a new release by Margot Smith called _Taste_ on which the trio 
also played.

	Koppes:  Going back to your earlier question. . . We just draw 
out a certain audience anywhere in the world and it's usually the most 
beautiful people in any city,  And I love that.  I love going and 
seeing the beautiful people in any city.

	The Church's American tour continues until mid-October.  
Thereafter, the band will tour Australia and Europe.
---
	REVIEW: Son Volt, _Wide Swing Tremolo_ (Warner)
		- Tracey Bleile
	Son Volt has woken up and found that you can go home again, 
literally.  After 1997's somnambulistic _Straightaways_, _Wide 
Swing Tremolo_ brings the return of stirring, smartly-turned out 
music transmitted on waves of early fall winds. The evolution comes 
from a sharper, cleaner, and overall ever more harmonious sound - 
approaching superior live quality that surpasses the confines of a 
studio.  With a deft blend of many middle-American standards; 
country, blues and a solid grounding in garage-rock - Son Volt 
personifies musical synergy by being greater than the sum of these 
parts.  _Tremolo_ is the result of this innovation, a release that 
unfolds in three dimensions to reveal the quiet brilliance of its 
creators.
	The mood shifts gears on every song - from the opener 
"Straightface" abounding with snarly guitar and wailing harmonica 
and Farrar's voice boiling out through a vocorder which flows into 
the rolling bass, vibrato guitar and sweet harmonizing of "Driving 
the View".   The juxtaposing of tempos is important, but even more 
integral to the development of the band is the way they have worked 
within the song structure; either to incorporate many layers of 
sound or use a few as possible while still achieving maximum effect.  
Take two of the softer songs - the spare arrangement of mostly 
mandolin and slow march time snare drum of "Dead Man's Clothes" 
against the buzzy guitar,  shimmery keys and drum loops of the 
disc's closer, "Blind Hope" and you have a sense of what they were, 
or were not (as they case may be) setting out to do.  And the 
pattern continues throughout and enforces the strength of each 
individual song in the patchwork of the whole.
	The freedom to experiment came the discovery by Farrar 
and company of an abandoned lingerie factory right next to their 
hometown of Belleville, IL as a homebase for rehearsing, and 
eventually, recording this release. The band noted that being able 
to leave a huge variety of instruments in one place to be available 
at all times was an impetus to use every one while writing, and 
having the freedom to try the same songs many different ways before 
committing - a luxury not always available when you're on someone 
else's studio time budget.
	On a song like "Medicine Hat" or "Flow" there is a sense 
of the band becoming a more cohesive unit, and while Farrar's 
evocative and image-based lyrics are still a centerpiece, the sound 
has become fuller and more complete. Son Volt is still immediately 
recognizable from the instant you hear Farrar's lost-soul twangy 
voice, but again, there is a marked feeling of experimentation, in 
the pacing, and not staying directly on the path of one style or 
another.  It is refreshing when the Americana sound doesn't have 
to rest on resorting to violins and a lapsteel on every song.  Even 
a slower country-flavored number like "Carry You Down" has a 
less-than-typical structure and an interestingly abrupt ending.  
And that is what draws you through this release; thinking you know 
what you're going to get, and instead it's full of great twists and 
a sense of urgency.
	The delicious irony of creating at a place you can call 
home is that you can travel farther in your mind when you know you 
have a safe place always waiting for you when you're ready to come 
back.  So heed Farrar's call on "Driving the View" that "When 
you're driving the view / Living it down / With just enough time 
to revel" you had best go exploring now while you can.
---
	REVIEW: Soul Coughing, _El Oso_ (Slash)
		- Lang Whitaker
	I'm a believer, and I have been for a while. Much like the 
Macintosh computer community, it takes a certain zealotous sort to 
follow Soul Coughing. Ever since I first sipped the sonic concotion 
of their debut album, _Ruby Vroom_, I've been hooked.
	However, like a spurned Mac addict forced to use Windows at 
work, the lack of commercial success that has marked Soul Coughing's 
career has been maddening to me. Even though I recognize the 
incredible mixture of sound and fury that personifies Soul Coughing, 
I don't understand how anyone else misses the beauty.
	Soul Coughing's latest release, the unfettered _El Oso_, 
takes the band deep into humid jungle territory. Stacking layers of 
harmony on top of lead singer/guitarist M. Doughty's earnest singing, 
Soul Coughing finally allows the drum-and-bass/club sound that 
they've tried to subvert through the years to surface. Surprisingly, 
the band thrives in the thick brush, using melody and rhythm to 
hack through the vines and escape the label cannibals calling for 
commercial success.
	For the most part, the melodic guitar jangles from Doughty 
that used to be the basis of many Soul Coughing songs are gone. 
Instead, the focus of _El Oso_ is on the bottom, and baby got back. 
Drummer Yuval Gabay, always phenomenal live, is finally given room 
to strut his stuff. Gabay is fabulous at mimicking the insistence 
of a drum machine. On several songs (like "), Gabay's beats are 
mind boggling. Bull fiddler Sebastian Steinberg is not as essential 
on _El Oso_ as on past records, but he still turns in tight 
performances. Mark De Gli Antoni, SC's sample man, knows exactly 
when to dub in a whir here, a buzz there, or a Chris Rock snippet 
("$300").
	The lead single off of _El Oso_ is the loopy "Circles", a 
melodic yet intensely convoluted trip. There is a strong geographical 
connection on _El Oso_, as many songs have some sort of atlased 
reference ("Houston", "Pensacola", "The Incumbent"). On the whole, 
the subject matter of _El Oso_ is less coherent than on either 
_Vroom_ or _Irresistible Bliss_. On _El Oso_ Doughty strings 
together phrases and words that make no sense next to each other 
("roller boogie mother fucker"), and then he repeats those phrases 
until you find some odd sense of being at home in them.
	As Soul Coughing continues their perilous journey towards 
stardom, I just hope they continue on at their own pace. There's no 
reason to believe they won't.
---
	REVIEW: Buffalo Tom, _Smitten_ (Polydor)
		- Jon Steltenpohl
	When you make your list of classic American Rock bands, there's 
a good chance that Buffalo Tom wouldn't be there.  And that's a shame.  
Spawned during the late 80's in the same New England scene that 
sprouted Dinosaur Jr. and Blake Babies, Buffalo Tom never really 
broke free from a dedicated following of fans.  Yet, unlike many of 
their contemporaries whose albums leap from classics to clunkers 
without rhyme or reason, Buffalo Tom has slowly continued to mature 
and improve its sound to the point where the band can't really be 
ignored anymore.  _Smitten_ finds Bill Janovitz and his band mates 
Chris Colburn and Tom Maginnis driving further down the American rock 
highway with billboards of broken dreams and bruised hearts marking 
the way.
	Buffalo Tom's problem with fame might be their avoidance of a 
trendy sound.  There's a little bit of "no depression" country sound 
mixed in with a Dinosaur Jr. crunch.  Add to that a bit of alternative 
pop and superb writing prowess, and you get a great sound.  
Unfortunately, there's no "ego" here to drive goofy samples or guitar 
riffs.  _Smitten_ is a straight forward exercise in rock.  Which makes 
_Smitten_ a lot like a Smithereens album.  You'll love every song, but 
there won't be a single hit on it.
	Or maybe there will be this time.  Picking up on the current trend 
of catchy, suggestive songs like Marcy Playground's "Sex and Candy", 
alternative radio stations seem to be playing anything that a 15 year old 
boy might think is cool.  "Rachael" just might fit the bill because of a 
chorus line with the words "but aren't you really just a penny whore, 
Rachael tell me what I'm waiting for".  The song's actually a lot deeper 
if you catch the first verse, but who's going to bother figuring out the 
lyrics?
	More typical of the album are bittersweet ballads like "Postcard" 
and "Wiser".  "Scottish Windows" adds keyboards and strings to the mix. 
Desperation and survival are touched upon in the melancholy "Register 
Side".  "It's about the in betweens," sings Janovitz.  The song is about 
a man hiding from his past.  Comments Janovitz, "he quietly watched life 
go by on the register side."  The album closes with a crescendo of 
bleeding guitars with "Walking Wounded".
	About the only flaw is that Janovitz's voice is beginning to show 
wear and tear in a Bryan Adams death spiral.  Chris Colburn takes the 
lead on a few songs for this album, and does a fine job.  As a whole, 
_Smitten_ is a perfectly balanced album.  There's ballads, grunge, 
alterna-pop, no depression, and more.  Think of Bruce Springsteen 
with a grunge sound or Neil Young in a three piece version of Crazy 
Horse, and you're getting close to Buffalo Tom's sound.
	_Smitten_ is cleary Buffalo Tom's best album after a history 
of improving albums, and fans of the band will be pleased.  As for 
new listeners, there's no glaring singles on _Smitten_, but if you 
hear "Rachael" on the radio, give it a good listen.  You just might 
like it.
---
	REVIEW: Combustible Edison, _The Impossible World_ (Sub Pop)
		- Christina Apeles
	A space age, eerie feel to this release.  Atmospheric sounds 
that place you in another world, or better yet -- out of your own.  
Almost spooky, with vocals taunting you along with fleshy bass, tinging 
bells and keen beats to rouse the body.  There is no empty, wasted 
space on this release.  Vibrations and combinations of sounds that are 
so damn clever, it makes you wonder, 'How in the hell did they think of 
that?' Walking through unknown territory of rhythms that soothe.  Termed 
'vibrant hypnotica', it is Easy Listening on acid.  Music, with the 
lounge feel lying just beneath the surface, that evolves into pure 
artistry.
	C.E. teases with their first track "Utopia" opening with a 
twenty-five second delay;  I had to check my CD player to make sure it 
was working, but once the song started, I was instantly charmed.  
Dreamlike chord progressions coupled with the voice of Miss Lily Banquet 
and background vocals reminiscient of gooey love songs from the fifties, 
drew me into a dream state.   Meanwhile, "Pink Victim" is a song you'd 
expect to be in a sex scene of a James Bond film, which is why magazines 
like Esquire have called their music 'spy jazz.' Their sound is truly 
evocative.  It's all about setting the moods and C.E. are definitely 
masters of that craft.  "20th Century" is carnivalesque at its best 
with the quirky feel of being underneath the tent, watching the clowns 
running amok in the progression of animals and performers.  "Cat O'Nine 
Tails" is pure lounge grooves, though unoriginal, the familiarity of 
the song is comforting, with the beats just where you’d expect them to 
be -- just where your dancing feet want to go.
	I've done the exotica clubs and lounge bars, but I've never 
really taken to the music.  I always felt it was the corporeal 
atmosphere that made the music work in this age, but with a listen to 
_The Impossible World_, I see how Combustible Edison creates its own 
tangible atmosphere for the listener without being surrounded by the 
velvet furniture, dark lighting, chic people and cocktails, though all 
of the above are always nice fixtures to have around.  No wonder the 
band has such a following and now I've fallen for their sound as well.  
Around since 1992, Combustible Edison was among a few during the early 
nineties where grunge ruled the airwaves and packed the clubs, but C.E. 
plunged into a different world, only to emerge into the later half of 
the decade with a sound that is still hypnotic, genius -- this is music 
as an art form.  The band has been featured in a ton of publications 
ranging from The Utne Reader to Newsweek to Esquire, plus appearances 
on Space Ghost: Coast to Coast and Regis and Kathy Lee, proving their 
appeal is diverse and their acclaim is well-deserved.  After success 
with their 1994 debut, _I, Swinger_, followed by _Schizophonic!_ in 1996, 
_The Impossible World_ completes the trilogy, with thirteen brilliantly 
composed tunes.  They've taken easy listening out of the realm of the 
elevator-confined space to create a new brand of Leisure music that is 
a bizarre mix of the carnivalesque, electronic, ambient, pop, and 
lounge -- a cocktail worth drinking.
---
	REVIEW: Del Amitri, _Hatful of Rain - The Best of Del Amitri_ (A&M)
		- Joann D. Ball
	Spanning Del Amitri's ten year career and four releases on A&M 
Records, _Hatful of Rain - The Best of Del Amitri_ covers the range of 
styles that comprise the Scottish band's signature sound.  Named for 
the song "Hatful of Rain" from 1990's A&M debut _Waking Hours_, the 
17 tracks on this collection include Del Amitri's best known songs, 
some of the band's most notable album tracks and a few goood surprises.
	Before highlighting the band's past gems, _Hatful of Rain - 
The Best of Del Amitri_ gets off to a wonderful start with the new 
track "Cry To Be Found."  On this sexy number that suggests the Bee 
Gees' "Love So Right," vocalist Justin Currie explores the upper 
reaches of his range and gives Barry Gibb a run for his money.  This 
new cut highlights an approach that was first suggested on sultry 
"Just Like a Man" but is fully developed here.  Staples like "Always 
The Last to Know" (also from 1992's _Change Everything_) and Top 10 
hit "Roll To Me" (from 1995's _Twisted_), on the other hand, reveal 
the basis of the band's upbeat, accessible and radio-friendly 
Scottish jangle.  In a class all its own, though, is "Stone Cold 
Sober" with its heart-pumping bass and slashing guitars.  It's this 
rockier side of Del Amitri that takes center stage during the 
band's energetic live performances.
	In contrast to Del Amitri's brighter, uptempo moments are 
the more melancholy songs  like the acoustic guitar-based "Tell Her 
This" and "Be My Downfall."  Here, the band's appreciation of 
American country and western music is evident in both sound and 
storyline.  The new song "Don't Come Home Too Soon," which closes 
the compilation dresses up this approach with lush orchestral 
strings.
	Focusing on the heartache and pain, as well as the frequent 
intoxication and inebriation that accompanies it, is a Del Amitri 
trademark.  And while chief songwriter and bassist Currie captures 
the ups and downs of the human condition with his strong, capable 
voice, co-songwriter and guitarist Iain Harvie skillfully translates 
these observations with his passionate fretwork.  Not only does this 
tendency to address such weighty matters reveal the band's Glasgow 
roots, but the band also makes embraces its Scottish heritage by 
adding hints and touches of Scottish folk music in all the right 
places.  A perfect example of this can be found in the song "Spit 
in the Rain" (previously unreleased in the U.S.).
	Overall, _Hatful of Rain - The Best of Del Amitri_ celebrates 
Del Amitri's accomplished past.  Starting and ending with two 
touchingly good songs, this record gives one hope that the band has 
at least another productive 10 years ahead of it.

	TRACK LISTING:  Cry To Be Found, Roll To Me, Kiss This Thing 
Goodbye, Not Where It's At, Nothing Ever Happens, Always The Last 
To Know, Here And Now, Just Like A Man, Spit In The Rain, When You 
Were Young, Driving With The Brakes On, Stone Cold Sober, Tell Her 
This, Move Away Jimmy Blue, Be My Downfall, Some Other Sucker's 
Parade, Don't Come Home Too Soon
---
	REVIEW: Less than Jake, _Hello Rockview_ (Capitol)
		- Kerwin So
	Q:  Why couldn't the rude boy with one arm skank?
	A:  Because he couldn't pick it up!

	All right, so I admit that joke was less than jake, "jake" of 
course being the slang equivalent to "cool" or "swell".  Don't confuse 
that with the Florida band Less Than Jake, who actually happen to be 
pretty swell, all things considered.  I'll skip the stuff about their 
rock-solid history of DIY ethics, broad-based appeal, and impeccable 
choice of cover tunes, just to say that the band's latest release on 
major-label villain Capitol, _Hello Rockview_, offers another solid 
platter of straight ahead, perfectly executed, ska-punk.
	The fourteen tight originals (I think), clocking in at under 
40 minutes, overflow with crunchy three power-chord 'n' brass fun, 
sunny harmonies, and the requisite goofy song titles like "Help Save 
the Youth of America from Exploding" and "All My Best Friends are 
Metalheads".  There are less samples and horns here than one might 
expect from Less Than Jake (more punk than ska, let's say), but 
nonetheless, look for _Hello Rockview_ - with any number of "modern 
rock" radio-ready hits - to win over even more fans to the ever-expanding 
and sweaty LTJ camp.
        There's probably lyrics about Pez in here somewhere, but I was 
too busy high-steppin' it to catch 'em.  Despite the fact that _Hello 
Rockview_ blasts an overall uniform sound that rarely strays from the 
ska-punk formula, it will nonetheless have the kids bouncing off the 
walls yet again-- even those with only one arm.
---
	REVIEW: Jack Drag, _Dope Box_ (A&M)
		-  Jon Steltenpohl
	When Jack Drag's leader, John Dragonetti, comments "we approached 
every song as its own planet, and we knew there were inherent problems 
in that," he knows what he's talking about.  _Dope Box_ is an album of 
broken up sounds that shows incredible promise, but is a tough listen if 
coherency is your goal.  Nearly all of the great styles of late 80's and 
early 90's college rock are represented whether it be the Pixies, the 
Stone Roses, Weezer, or even some of the U.K.'s shoe gazing bands.
	The designated radio single is a track called "Seem So Tired".  It's 
an incredibly danceable pop track.  Unquestionably, Jackdrag studied "Fools 
Gold" intensly in an effort to fill the gap so shamelessly left when the 
Stone Roses cock teased the world with only one decent album in 7 years 
before finally breaking up.  The lead singer breathlessly croons over a 
swirling beat driven by a lazy, loopy bass line.  God bless Jack Drag for 
proving that it might be possible for other bands to capture the spirit the 
Roses so briefly embodied.
	The title track, "Dope Box", follows a similar pattern of pop 
satisfaction and infectious groove, yet other songs are seemingly from a 
completely different band.  The best chance for a single on the album 
besides "Seem so Tired" is the album opener "Debutante".  "Debutante" is 
kind of like a garbled Weezer clone because it's smart and grungy without 
losing its pop flavor.    Shades of Beck's "Devil's Haircut" are present 
in "I Feel Really O.K.".  Alternately, "Where Are We" could pass for a 
Smiths song with guitar work right out of the Johnny Marr fakebook.  The 
only clunker on the album is the last track called "Kung Fu Dub".  It's 
a bit too incoherent at first, but shows the promise of the band when it 
breaks down into a beautiful crooning finale.
	Jack Drag are sonically exciting, but they need a little experience 
on songwriting and album coherency.  This is one of the most inspiring debuts 
I've heard in a long time because the stength and originality of the band 
is immediately evident.  There's a glut of bands hitting the charts now 
featuring smart ass lyrics played by wholly average bands.  Jack Drag steps 
right up to the plate as a band which plays music much better than their 
level of songwriting would suggest.  Unfortunately, _Dope Box_ is exciting, 
but a bit unrefined.  The album has a lot of merit, but its true strength 
is the promise of Jack Drag eventually maturing into a classic band.
---
	REVIEW: House of Love, _The Best of The House of Love_ (Mercury)
		- Joann D. Ball
	_The Best of The House of Love_ is a remarkable 15-track 
collection chronicling the all-too brief history of The House of Love.
Compiled by Housemaster Guy Chadwick and Paul Reidy of Mercury Records, 
the compilation is a near-perfect overview of the band's brilliant musical 
output.
	The rousing "I Don't Know Why I Love You" is the lead-off track 
on _The Best of The House of Love_.  And rightfully so, since it was 
the first single from the band's self-titled Fontana/PolyGram Records 
debut which was released worldwide in early 1990.  Also included here 
from that first major label effort are the tracks "Beatles and the 
Stones" and Shine On."  While the single mix of "Beatles and the Stones" 
featured here doesn't have the news/interview snippets and music 
samples that introduce the album version, the song still stands out 
as one of Chadwick's most insightful and reflective songs.  On the 
other hand, the upbeat "Shine On" is most illustrative of The House 
of Love's ability to deliver straight-ahead Britpop.
	The House of Love's sophomore effort for Fontana/PolyGram was _A 
Spy in the House of Love_, released in late 1990.  While not as stellar 
as its predecessor, it nonetheless had some good songs including 
"Marble" and "Safe" which are featured here.  A whopping five tracks 
were taken from the band's 1992 follow-up _Babe Rainbow_, and the 
most outstanding of these is undoubtedly "You Don't Understand."  
Featuring a soulful Hammond organ over a pulsing beat, "You Don't 
Understand" is an all out tour de force which instantly recalls 
Traffic's "I'm A Man."  Also taken from major label Eyes," and "Crush 
Me"  Surprisingly, though, there are no tracks here from The House of 
Love's fourth and final Fontana/PolyGram release, _Audience With The 
Mind_.  One can only wonder why Chadwick chose to ignore this record 
entirely - even the record's outstanding single, the aggressive 
"Hollow."
	As House of Love fans know, the eponymous major label debut is 
often called "the butterfly" album in reference to its cover artwork and 
to distinguish it from two earlier records bearing the band's name.  The 
acoustic "Loneliness Is a Gun" included here on _The Best of The House 
of Love_ appeared on the first self-titled album, which was a German 
compilation of the band's early singles released on Rough Trade/Creation 
Records in 1987. The track "Christine" hails from the other self-titled 
record which was released  on Relativity/Creation Records in the US in 
1988.  And rounding out this collection are the rarities "Destroy the 
Heart," "Never Written," and "Let's Talk About You."
	That the House of Love had tremendous potential as a pop rock 
band is evident throughout _The Best of The House of Love_.  Appreciated 
in its native land, the rest of Europe and Japan, England's House of 
Love was largely ignored in the United States.  Thus, it's not surprising 
that this retrospective was released with little publicity or promotion 
in America a full month after its August street date in other parts of 
the world. Nevertheless, this collection serves as a wonderful reminder 
of that which was The House of Love and a great introduction to one of 
the most underrated British bands of the past decade.  And despite the 
collapse of The House of Love, leader Guy Chadwick remains dedicated to 
crafting intelligent music and has formed a new band for that purpose.  
In what has been a very busy 1998, Chadwick has toured Europe and Japan 
to support the long-player _Lazy, Soft & Slow_ and a five-song EP 
called _You've Really Got A Hold On Me_, both of which can only be 
found Stateside on import.
---
	REVIEW: Jaz Klash, _Thru The Haze_ / 60 Channels, _Tuned 
		In... Turned On (World Domination)
		- Simon West
	Los Angeles-based artist/producer/remixer/composer The Angel is 
nothing if not prolific, popping up as remix producer for artists from 
Frente to The Pharcyde, solo and collaborative tracks on the Gridlock'd 
and Playing God soundtracks, and now two full length releases within a 
month of each other, as 60 Channels and part of Jaz Klash.
	Recorded back in 1996 and released in the US in September 1998, 
_Thru The Haze_ is a collaboration between Bristol-based duo More 
Rockers and The Angel, as Jaz Klash. More Rockers (Rob Smith and Peter 
D) are veterans of the Bristol scene - Smith is one half of respected 
drum and bass team Smith & Mighty. The end result of this collaboration 
is _Thru The Haze_, in which More Rockers' drum & bass and dub style 
combines with The Angel's hip hop and jazz leanings to brilliant effect, 
on one of the albums of the year.
	Live musicians, including jazz veterans Jacky Terrasson and 
Brian Auger, combine with the breakbeats of drum and bass, hip hop 
beats and jazz melodies, and the occasional vocal from The Angel or 
guest vocalist Cockni O'Dire, creating a record that's a cohesive 
fusion of these diverse genres, rather than a load of samples banged 
on top of a couple of jungle loops. Smoky, laid back and cool, _Thru 
The Haze_ is genuinely new music. Get it if you like jazz, get it if 
you like drum and bass, hip hop, whatever.
	The 60 Channels project is similarly progressive, combining 
trip hop, hip hop, jazz, funk, soul and drum and bass. It's a more vocal
 affair - The Angel provides lead vox on most of the tracks, with guest 
appearances by Cockni O'Dire, Asian Dub Foundation's Navigator, Frente's 
Angie Hart and Japanese vocalist Monday Michiru. Real instrumentation is 
used here again to good effect, particularly Louis Russell's guitar. An 
Angel project proper rather than a collaboration, _Tuned In... Turned 
On_, like _Thru The Haze_, showcases her unique style and talent to 
similar effect. Styles and beats flow in and out of the tracks, but again, 
there's a cohesiveness here that sets 60 Channels above the crowd. Standouts 
include the single, "Ride With The Flow", the ominous guitar riff, blowing 
horns and sultry vocal of "No Come Down", and the funk of "Laid Back & Eazy". 
	Conclusion? Buy both. _Thru The Haze_ is jazz/breakbeat fusion 
at its finest, with a jazz sensibility missing from many of its peers, 
while _Tuned In... Turned On_ is more progressive still - the atmosphere 
of trip hop, the pulse of drum and bass, the heat of funk, the attitude 
of hip hop and the cool of jazz. An astonishing talent.
---
	REVIEW: Mysteries of Life, _Come Clean_ (RCA)
		- Daniel Aloi
	Positively catchy, unabashedly romantic and ultimately 
honest, Jake Smith's heavenly songs seem to hit me on an alternate 
plane. I hear them coming out of the radio only in my mind. They 
also serve to remind me of all the vagaries of love, usually the 
upside of same, in my real life.
	This kind of pop songcraft doesn't do much in the marketplace 
these days, but the Mysteries of Life's rootsy pop songs have the 
potential to be spilling out of real radios everywhere, at least in 
a better world. (Aside to RCA promotion execs reading this review: 
make it happen!)
	Anchored by singer-songwriter/guitarist Smith and his wife, 
drummer Freda Love, this Bloomington, Indiana group continues in 
earnest with a masterpiece of sincere sentiment, equal to the 
winning 1996 RCA debut, _Keep a Secret_ . That album's lyrical 
intentions were simply stated, with some innocent, almost adolescent 
expressions of yearning and lust. This new one mostly carries on, as 
in a truly committed relationship following the rush of courtship, 
with the day-to-day ups and downs of love. And yes, the album titles 
address one another.
	Aided and abetted by some Bloomington/Indianapolis scene 
musicians -- including Lisa Germano, singing on the closing track 
"Southdowns"  -- Mysteries continues to explore the hope and promise, 
drama and tension inherent in love. The music, laid-back but 
insinuating and satisfying, is integral to Smith's straightforward 
lyrics (as in the chorus "c'mon, c'mon, c'mon, kiss me goodnight..."). 
	He brushes his guitar (usually an acoustic) as softly as he 
can, singing sotto voce so as to gain attention. The band finds its 
groove behind him, keeping the arrangements a little loose but always 
focused. Think of the '50s Sun Sessions sound applied to melodic 
indie rock technique, and you have Mysteries' musical m.o. -- Smith 
seems to have found a sense of purpose to underscore his already 
capable approach to conveying heartfelt emotions.  Many of the 
songs, especially "That's How Strong My Love Is" and "A Year Ago 
Today," and a seamless fit with previous work.
	This is the second version of this album, with 8 of the 14 
songs coming from earlier recording sessions. As a fan, and an 
obviously biased one at that, I wouldn't mind hearing what ended up 
in Smith's closet.
	Last winter, after The Mysteries of Life had completed what 
was going to be their second album, and some advance copies went out 
to promote a tour that culminated in a SXSW showcase. Some brand new 
songs were so well-received, the band went back in the studio, 
enlisting producer Brad Wood to record new songs and revise old ones 
for a new _Come Clean_ (they kept the title song).
	Of the newer songs, "Downhill," the first single, and "Caught 
Up" are insistent (with electric guitar!) while "Hey Kate" is the 
type of song you could have heard two years ago.
	On _Keep a Secret,_ the band was Smith and three women. Two 
years, two independent EPs and much touring later, it's four guys 
who outnumber Love. Bassist Tina Barbieri is gone, but cellist 
Geraldine Haas is on both albums -- even on the newer "Hey Kate" -- 
but not in the current lineup. 
	Despite all this, and some obvious growth/shift in direction, 
there is, as I've hinted, a smooth continuity between the two recorded 
phases of Mysteries. They are still romantic, genuine, timeless -- a 
band you can love, and fall in love to. Recommended most highly to 
fans of Howard Jones, Crowded House, Marshall Crenshaw, and the 
acoustic side of Neil Young.
	A few words on the band's alt-rock pedigree: The members have 
figured in the Blake Babies (Love), Antenna (Smith and Love's band 
from 1991-94), the Vulgar Boatmen (keyboard player Dale Lawrence, who 
also sang backup on "Keep a Secret" and sings on "Tell Me" here) and 
Velo-Deluxe (bassist Kenny Childers' band also has Antenna/Blake 
Babies alum John Strohm, and Smith as an occasional bassist). Childers 
also sings and writes on this album. (Underscoring how identifiable 
the scene apparently is in Bloomington, Smith says he considers 
Mysteries and the Boatman as part of "a school of music.") Kim Fox, 
who moved to Indiana from New York City and has her own solo 
DreamWorks deal, was also in an interim touring lineup (on keyboards 
and vocals) in 1996-97. 
	For more clues to Mysteries, go to their web site at 
http://www.bugjuice.com/mysteries .
---
	REVIEW: Snow Patrol, _an educational film by..._ (Jeepster - Import)
		- Tim Mohr
	Though Wales gets all the press these days, Scotland is spitting 
out quality bands even more quickly. Perhaps the long-time success of 
bands like the Jesus & Mary Chain, Primal Scream, and Teenage Fanclub 
make the new Scottish bands less exotic than their Welsh counterparts. 
Snow Patrol is typical of a new breed of Caledonian talent that has 
managed to establish new parameters of experimentalism. Somewhere 
between the sprawling soundscapes of Mogwai, the laid-back pop structures 
of the Pearlfishers and Trash Can Sinatras, and the noise-bombs dropped 
by the early Jesus & Mary Chain, Snow Patrol formulate short songs with 
sinister-but-not-overpowering guitars and relaxed-but-incisive vocals.
	Opening the e.p. with "one hundred things you should have done 
in bed," Snow Patrol display a laconic, self-deprecating sensibility 
that manages to undermine the lad-couteur of contemporary Britain. The 
jacket actually mentions FHM and Maxim magazines, two of the most 
successful neo-caveman publications. From the controlled vocals (akin 
to Teenage Fanclub), it is difficult to tell whether Snow Patrol are 
disappointed that they haven't done any of the 100 things. In fact, 
beyond the line "I don't give a toss" from "Sticky Teenage Twin" on 
the previous e.p., it is difficult to imagine Snow Patrol allowing 
themselves to get passionate about anything--they seem far too numb, 
too emotionally drained.
	The last of the four songs is the longest song Snow Patrol have 
recorded to date, slowing to a dirge and repeating the morose line, "I 
could stay away forever if I tried." The quiet playground noises that 
preface the song make a striking juxtaposition, the implied innocence 
prior to the world-weary depression of the song itself.
	Snow Patrol record for Jeepster, the label known for releasing 
Belle & Sebastian, perhaps the best known of the new Scottish groups. 
The bands share an atmosphere of tiredness, as well as an ability to 
turn a wickedly analytical eye on any situation. Snow Patrol play 
guitars with an assortment of pedals and effects, however, and avoid 
the airy arrangements used by Belle & Sebastian.
---
NEWS:	> Capitol Records' web site ( http://www.hollywoodandvine.com )
is the place to preview tracks and liner notes from the November release 
of _The John Lennon Anthology_, a 4 CD box set of nearly 100 
previously unreleased solo tracks.
	On October 9th, internet users will be able to hear Yoko Ono's 
audio introduction to the box set, and "I'm Losing You." This will be 
followed by "Oh My Love" on October 16th; "Watching The Wheels" on 
October 23rd, and "Sean In The Sky" on October 30th. Each piece will 
feature an enhanced presentation for the Microsoft Windows Media Player.
	> Former Stone Roses' lead singer Ian Brown's debut 
solo album, _Unfinished Monkey Business_ , will be released 
in the U.S. on October 6.  A review of the import was 
featured in the February 16, 1998 issue of Consumable Online.
---
TOUR DATES:
	Air
Oct. 11 Seattle, WA Aerospace
Oct. 13 San Francisco, CA Bimbo's

	Archers of Loaf
Oct. 7 Albany, NY Valentine's
Oct. 8 Burlington, VT Toast
Oct. 9 Montreal, PQ Cabaret
Oct. 10 Toronto, ON Lee's
Oct. 11 London, ONT Embassy

	Better Than Ezra / Possum Dixon / Athenaeum
Oct. 8 Boston, MA Avalon Ballroom
Oct. 9 Providence, RI Lupo's Hearbreak Hotel
Oct. 10 Killington, VT Picklebarrel
Oct. 11 Toronto, ON Lee's Palace
Oct. 13 Cincinnati, OH Bogart's
Oct. 14 Columbus, OH Newport Music Hall

	Broadside Electric
Oct. 10 Philadelphia, PA Lionfish

	The Church
Oct. 7 Boston, MA Mamakin Music Hall 
Oct. 8 Philadelphia, PA Trocadero
Oct. 9 New York, NY Tramps 
Oct. 10 Washington D.C. 9:30 Club 
Oct. 12 Atlanta, GA Roxy Theatre 
Oct. 14 New Orleans, LA House Of Blues 
Oct. 17 Denver, CO Ogden Theatre 

	Cravin' Melon
Oct. 8 Winston Salem, NC Ziggy's
Oct. 9 Columbia, SC Elbow Room
Oct. 10 Hickory, NC Oktoberfest
Oct. 18 Wilmington, NC Hugh McRae Park

	N'Dea Davenport
Oct. 6 New Orleans, LA House of Blues
Oct. 7 Dallas, TX Caravan of Dreams
Oct. 9 Boulder, CO Fox Theatre
Oct. 11 San Diego, CA Belly Up
Oct. 12 Los Angeles, CA House of Blues
Oct. 14 San Jose, CA Fuel

	Firewater
Oct. 7 Minneapolis, MN 400 Bar
Oct. 8 Madison, WI O'Cayz Corral
Oct. 9 Chicago, IL Lounge Ax
Oct. 10 Cleveland, OH Euclid Tavern
Oct. 11 Detroit, MI Shelter
Oct. 12 Toronto, ON Horseshoe Tavern
Oct. 13 Montreal, QC Jailhouse Rock Cafe
Oct. 14 Burlington, VT Toast

	Io
Oct. 23 Concord, NH Cafe Eclipse

	Irving Plaza (http://www.irvingplaza.com - New York concert hall)
Oct. 7 Edwin McCain
Oct. 8-10 Radiators
Oct. 13 Henry Rollins 

	Korn
Oct. 8 Phoenix, AZ America West
Oct. 9 Los Angeles, CA Forum
Oct. 10 San Francisco, CA Cow Palace
Oct. 11 Las Vegas, NV Thomas and Mack
Oct. 13 Boise, ID The Idaho Center
Oct. 14 Salt Lake City, UT E. Center

	Lenny Kravitz
Oct. 7 Columbus, OH Newport Music Hall 
Oct. 9 Detroit, MI State Theatre 
Oct. 11 Cleveland, OH Lakewood Civic Aud 
Oct. 13 Cincinnati, OH Taft Theatre 

	Liquid Soul
Oct. 7 Aurora, IL Walter Payton's Roundhouse
Oct. 8 St. Louis, MO Washington University
Oct. 10 New York, NY Tramps
Oct. 15 Vancouver, BC Richard's on Richards

	Reel Big Fish / Spring Heeled Jack
Oct. 9 Rochester, NY RIT

	Samples
Oct. 7 Auburn, AL War Eagles
Oct. 8 Tallahassee, FL Potbelly's
Oct. 9 Winter Park, FL Rollins College (Supporting Rusted Root)
Oct. 10 Gainesville, FL Brick City Music Hall
Oct. 11 Tampa, FL Frankie's Patio

	Sand Rubies
Oct. 9 Los Angeles, CA Jack's Sugar Shack

	Dee Snider's StrangeLand Tour (Soulfly + more)
Oct. 7 Washington DC 9:30 Club
Oct. 8 Sayerville, NJ Hunka Bunka
Oct. 9 Philadelphia, PA Trocadero Theater
Oct. 10 Spartanburg, NC Ground Zero
Oct. 11 Raleigh, NC The Ritz
Oct. 13 Ft. Lauderdale, FL Chili Pepper
Oct. 14 Orlando, FL Fairbanks Inn

	Mike Watt
Oct. 7 Charlotte, NC Tremont Music Hall
Oct. 8 Carrboro, NC Cat's Cradle 
Oct. 9 Charlottesville, VA Tokyo Rose 
Oct. 10 Washington, DC Black Cat 
Oct. 11 Philadelphia, PA Pontiac Grill 
Oct. 12 Northampton, MA Iron Horse 
Oct. 13 Portland, ME Stone Coast 
Oct. 14 Cambridge, MA Tt The Bear's 
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
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