== ISSUE 162 ====  CONSUMABLE ONLINE  ======== [November 19, 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 Apeles, 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, Steve Kandell, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, 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.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
REVIEW: Portishead, _PNYC - Portishead Live_ - Simon West
INTERVIEW: Kent - Tim Mohr
REVIEW: Yo La Tengo featuring Jad Fair, _Strange But True_ - Chelsea Spear
REVIEW: Mercury Rev, _Deserter's Songs_ - Niles Baranowski
REVIEW: Grooverider, _Mysteries Of Funk_ - Simon West
REVIEW: Soundtrack, _Velvet Goldmine_ - Patrick Carmosino
REVIEW: Grace Jones, _Private Life - The Compass Point 
   Sessions_ - Joann D. Ball
REVIEW: Sepultura, _Against_ - Linda Scott
REVIEW: Mogwai, _Kicking A Dead Pig - Mogwai Songs Remixed_ - Tim Mohr
REVIEW: Matthew Good Band, _Underdogs_ - Daniel Aloi
REVIEW: Frontline Assembly, _Monument_ - Lee Graham Bridges
REVIEW: Various, _In Their Eyes: '90s Teen Bands Vs. '80's Teen 
   Movies_ - Chris Candreva
REVIEW: Motley Crue, _Greatest Hits_ - Linda Scott
REVIEW: Bare Jr., _Boo-Tay_ - Jon Steltenpohl
REVIEW: The SunKings, _Adios_ - Chris Hill
REVIEW: Seam, _The Pace is Glacial_ - Kerwin So
REVIEW: Ultrababyfat, _Silver Tones Smile_ - Christina Apeles
ERRATA
TOUR DATES: Better Than Ezra / Bic Runga, Buffalo Tom / Goo Goo 
   Dolls, Cracker, Deftones / Pitchshifter / Quicksand, Evelyn 
   Forever, Everlast, Irving Plaza, Marilyn Manson, Miles, Motley 
   Crue, Offspring, Rev. Horton Heat / Amazing Crowns, Tricky / 
   Whale, Underworld
THE READERS WRITE BACK!
Back Issues of Consumable
---
	REVIEW: Portishead, _PNYC - Portishead Live_ (London)
		- Simon West
	Portishead kicked off the 1997 tour in support of their 
self-titled second album with a now legendary one-off concert at 
the Roseland Ballroom, New York City, backed with a 30 piece 
orchestra. The show has now been released on a videocassette and, 
in edited form, on _PNYC_.
	A couple of songs on the album were taken from concerts 
later in the tour, notably "Sour Times." Grittier and slower here 
than in its original format, it prowls around for four minutes 
like the soundtrack to some otherworldly Western before exploding 
into a faster approximation of the studio version, Gibbons' voice 
wailing and growling above the guitar. Great stuff.
	For the most part, the 11 songs presented here stay 
pretty true to the original versions - the orchestra does a fine 
job of emulating the studio tape loops and beyond, adding a new 
layer of atmospherics to the band's haunting songs.
	 On top form as expected is Beth Gibbons. Possessed with 
a truly astonishing voice, she does full justice to these songs 
live, rising from a whisper to a scream, and all points along the 
way, clenching the microphone and puffing endless cigarettes.
	The crowd is enthusiastic and knows the material, but 
lets itself down occasionally - the people responsible for the 
clapalong during the magnificent "Roads" should have been shown 
the door immediately.
	Portishead fans will want to snap this up, but the video 
is obviously a much better souvenir of the actual Roseland concert, 
providing the unexpurgated set and also the accompanying visuals. 
If anyone at London is listening, this concert would be absolutely 
perfect for release on the DVD format, so that both sound and 
vision can do justice to this most unique of bands. Meanwhile, the 
album is highly recommended to fans of the first two albums, and 
the video is essential. A surprisingly great live band.
---
	INTERVIEW: Kent
		- Tim Mohr
	Instead of fending off the darkness of the long winters in their 
native Sweden, Kent embrace it and usurp its power for use in their 
dramatically emotive songs. Kent produce a guitar-based sensation of 
longing, similar in feel to Radiohead, Smashing Pumpkins, or Geneva. 
Consumable quizzed the band about their music during the recent CMJ 
festival in New York.
	Unlike many prominent Swedish bands such as the Cardigans or 
Wannadies, Kent play music that, due to certain perceptions of Sweden, 
seems more appropriate. Is the rest of the world stuck with a false image 
of Sweden--high rates of alcoholism and suicide, months of sub-zero 
temperatures and near-darkness--or is the blissed-out faction of Swedish 
pop music just compensating for genuinely depressing conditions?
	"The other bands are lying. The people who say they're going to 
have a party--you know, 'throw you're hands in the air...'--they're the 
ones who are really depressed. The ones most likely to commit suicide. And 
we, who are always singing about killing ourselves ["Not really," they 
chuckle], the moody ones...we are the opposite."
	So popular perceptions of Sweden are true?
	"I don't really know if Swedes are that moody. I mean, I know 
everyone says that it's depressing, and that Sweden is *the* suicide 
country. But it isn't actually true...because the Finns commit suicide 
more often than we do."
	And some people rather like darkness...
	"But for eight months?"
	Both the sound and the lyrical themes on _Isola_ have such depth 
and genuine emotion. How did your style develop, how did you muster the 
confidence to sound so different from other successful bands?
	"We've got our own way of playing songs. I think it's also that 
the Wannadies come from a power-pop background--they play distorted pop 
music--and the Cardigans come from jazz. Jazz and classical music...well, 
and heavy metal."
	"We come from...the Cure. The depressing side of 80s music: 
Depeche Mode, Cure, Joy Division, the Smiths..."
	Kent's recent European tour demonstrated that _Isola_ has already 
garnered a loyal following: Kent sold-out four nights in a row in London, 
as well as most of their continental appearances.
	But that's nothing compared to the reverence they inspire at home. 
Some Swedish indie-kids told Consumable that Kent are as important to the 
contemporary Swedish scene as the Smiths were to England in the 80s.
	"That's impossible to say--but that's one of the best compliments 
we've ever gotten."
	So you want to be that big elsewhere?
	"We would just like to hear one of our songs on the radio while 
riding in a taxi here. It happened in London, and it was a great feeling."
---
	REVIEW: Yo La Tengo featuring Jad Fair, _Strange But True_ (Matador)
		- Chelsea Spear
	It was a fine idea at the time.  Inventive indie icons Yo La 
Tengo were to work with Jad Fair, whose playful work with the bands the 
Residents and Half-Japanese had influenced legions of detuned 
avant-rockers to not take themselves so damn seriously.  On this 
proposed outing, Yo La would provide a kalidescopic sonic background 
to support Fair's bizarre stories, with titles taken directly from the 
pages of the _Weekly World News_ and other tabloids.  The track 
"Ultra-Powerful Shortwave Radio Picks Up Music from Venus" has already 
become a classic on mix tapes, after being included in the odds-and-sods 
collection _Genius + Love = Yo La Tengo_. 
	Unfortunately, to quote the rest of Elvis Costello's famed 
lyric, now that _Strange But True_ has shipped to stores, it can be 
regarded as a brilliant mistake.  The song titles are hysterical, and 
Yo La's musical accompaniment provides some intriguing textures to the 
twisted tales with names like "Helpful Monkey Wallpapers Entire House" 
and "Dedicated Thespian Pulls Teeth to Play Newborn in High-School 
Play".  However, after listening to one or two tracks, you get a 
general idea of what the songs are going to sound like, and after a 
while they start to blend together.  A collaboration between Hoboken's 
favourite musical children and the guy behind Half-Japanese certainly 
suggests a musical equivalent to the two great tastes that taste great 
together found in every Reese's Peanut Butter Cup, but the results 
leave much to be desired.  For best results, read the song titles in 
the store, or wait for someone to include a snippet or two on a mix 
tape.  This disappointing collection is intended for completists only.
---
	REVIEW: Mercury Rev, _Deserter's Songs_ (V2)
		- Niles Baranowski
	At once panoramic and claustrophobic, Mercury Rev's fourth 
album is a slap in the face to anyone who dismissed them after lead 
singer David Baker left the band. Equal parts symphony, psychedelia 
and pop, the band has managed to anchor its disorienting soundscapes 
in the conventional and rather than compromising them, it has made 
them even dreamier and more seductive.
	Most astonishingly, the band has even managed to turn out 
three fantastic future hit singles (astonishing for a band once 
considered the pinnacle of inaccesibility); "Opus 40", which is the 
ballad to end all ballads; a sexy Roxy Music-esque number (complete 
with slick saxophone solos) about riding the rails called "Hudson 
Line" and best of all, the jaunty "Cat's in the Cradle"-esque 
"Goddess on a Hiway," all of which are probably better than anything 
you heard while driving to work.
	Any of these songs would be great enough done by anyone, but 
Mercury Rev brings a gentle, rather than a bludgeoning, touch to them 
that's particularly welcome. Vocalist Jonathan Donahue's falsetto is 
the opposite of, say, Richard Ashcroft's preachiness or Noel 
Gallagher's begging; rather, it's the sound of a young boy afraid to 
talk macho to the girl he's wooing because he's doing all this for 
the first time.
	Similarly, Suzanne Thorpe's flute and Jimy Chambers's 
harpsichord are slight and shy, hiding in the shadows only to emerge 
briefly as on "Endlessly," which has a few bars of "Silent Night" 
thrown in to make it even more bleak and pure-sounding. Even though 
_Deserter's Songs_ as a whole shares this bleak, virginal feeling, 
it's hardly an unwelcome one. Even so, the few upbeat tracks present 
here are needed to keep focus. "Delta Sun Bottleneck Stomp" could 
pass for a more old-fashioned (dig that harpsichord!) Charlatans 
playing a hoedown at the world's end.  And veteran guitarist Sean 
"Grasshopper" Mackiowiak's lead vocals on "Hudson Line" are all 
about motion, with each line being clipped as if jetting off into 
the horizon. "Gonna leave the city/ gonna hop a train tonight" he 
promises, restless and full of hope.
	A few of the grouchier longtime Mercury Rev fans may feel 
slightly cheated about most of the 12 tracks on _Deserter's Songs_, 
grumbling about "sell-outs" and the like.  But there's only so long 
that you can stay true to an abstract ideal, like noise, before the 
loneliness begins to eat at you (as it seemed to on 1995's _See You 
On the Other Side_) and the desire to connect with someone else (like 
your listeners) takes over, be it through hooks or humor (there's a 
lot of unself-conscious mockery here, like in the Dali-esque "Moles"). 
For the first time, Mercury Rev sound like they give a damn and it 
makes _Deserter's Songs_ one of the warmest, most artful and alluring 
records you'll hear this year.
---
	REVIEW: Grooverider, _Mysteries Of Funk_ (Higher 
		Ground/Columbia)
		- Simon West
	The man they call The Godfather of drum & bass 
finally gets around to putting his own album out. Grooverider 
has been part of the DJ scene for a dozen years, including a 
four year stint spinning discs at London's Heaven on Rage 
night and heading up Goldie's Metalheadz nights. Name-checked 
by all, from protege Goldie to minimalist master Photek, 
Grooverider is credited by many as the inventor of drum & 
bass. The expectations for _Mysteries Of Funk_ are rather 
high then, given the history and reputation.
	Unfortunately, what we get is rather less than 
expected. _Mysteries Of Funk_ is by no means a bad album, it's 
simply less inspired than you might have hoped - the bar has 
been cleared, but not raised. First off, it's too long by 
half. This is not uncommon with the drum & bass set, or indeed 
albums as a whole these days, but someone's got to realize 
eventually that less can indeed be more.
	Second, and substantially more importantly, there's 
not a lot here that's truly revolutionary. The usual ingredients 
are thrown into the pot - brass samples, science fiction 
soundbites, the odd ethereal vocal. It's all been heard before 
for the most part. There are moments of greatness - the 
aggressiveness of "Where's Jack The Ripper?" brings to mind 
Photek's clean, savage beats, with a touch more instrumentation, 
"560 Degrees" drops the jazz noodlings in favor of a hard beat 
and an industrial feel, and "Time & Space" has a cool jazz feel 
and clean beat to it.
	Not a bad album, and drum & bass fans will doubtless 
want to pick it up in order to hear the master at work. Ultimately, 
however, _Mysteries Of Funk_ sounds like the teacher has spent a 
little too much time listening to his students. An unfortunately 
unadventurous album, in this most adventurous of musical genres.
---
	REVIEW: Soundtrack, _Velvet Goldmine_ (London)
		- Patrick Carmosino
	Let me preface things by saying that it would be 
difficult for this soundtrack to be as woefully disappointing 
as the self-indulgent wankfest that the film it came from was. 
However, if there is a use for it besides having on record 
Radiohead vocalist Thom Yorke's rather nifty Bryan Ferry 
impersonation and an astonishing new Pulp track - well, I 
somehow fail to see it.
	Quite like the film, this 70's Glam exploration
gets off to such a promising start with Brian Eno's anthemic 
"Needle In The Camel's Eye". It is this track that fuels the 
opening Hard Day's Night/Trainspotting-ripoff fan chase 
sequence. After that, soundtrack and film alike flounder into, 
yes, an authentic 70's hedonistic haze of overwroughtness and 
dreck.  Along with Eno's opener, it is the occasional appearance 
of originals from Roxy Music (of which there is 1 versus 4 
covers!?!?!), T-Rex, Lou Reed and Steve Harley that make most 
every other track: cover version and new 'period piece' alike 
pointless.
	As far as covers go, it is fair from a marketing standpoint 
to appeal to the 'alternative' fan by bringing in the likes of 
Yorke and his  guitarist Jonny Greenwood, Bernard Butler (whose 
former band Suede, would be quite capable of making grand 
contributions to this), Sonic Youth's Thurston Moore and Steve 
Shelley, Mike Watt, Mudhoney's Mark Arm, Gumball's Don Fleming, 
former Stooge Ron Asheton, Placebo, Teenage Fanclub and Elastica's 
Donna Matthews. But to put these people together and just have 
them do note-by-note versions as opposed to just using the original 
tunes is futile. These artists have gotten where they are by virtue 
of their uniqueness, so why not have them present the songs in their 
own context? Fleming, Moore and Shelley as well as A&R god/wanna-be 
rock star extraordinaire Jim Dunbar have already proven this formula 
to fail via the _Backbeat_ soundtrack. Ultimately, the most 
noteworthy things here are the above mentioned Bryan Ferry 
impersonation by Yorke on such poignant pieces such as the Humphrey 
Bogart-elegy "2HB" and "Bitter's End" (which as perhaps intended, 
has this writer taking a closer look at Roxy Music's pre-"Love Is 
The Drug" catalog) as well as Teenage Fanclub's take on the New York 
Dolls' "Personality Crisis" with Matthews on vocals.  Ultimate 
lowlight: Ewan McGregor's heavily produced shriek of a vocal on the 
Stooges "T.V. Eye" which sounds only less awful than the sight of 
him as a way too chubby Iggy Pop character performing it in the film.
	Think of David Bowie and T-Rex having their own versions 
of the Rutles and you have the essence of the 'period pieces' 
written for the film by Shudder To Think and Grant Lee Buffalo - no 
more, no less. All have that dramatic, string-enhanced, dry 70's 
production. If you have to compare, then pit S.T.T.'s "Ballad Of 
Maxwell Demon" against Bowie's "Ziggy Stardust". Here, Shudder To 
Think miss a bit of the feel by using none of the anthemic 
sensibilities that made "Ziggy" the classic it is, whereas Grant 
Lee's "The Whole Shebang" has a vibe that is pretty reminiscent of 
"Oh! You Pretty Things" and tunes like that. Though it is through 
efforts like these, that you realize how badly this presentation is 
missing genuine Bowie tunes from the period. Pulp rise so far above 
this lot with "We Are The Boys"; an absolute corker that finds 
singer Jarvis Cocker losing his cool croon and whisper for some full 
throttle vocalizations. Mix his voice with an overdriven, compressed 
mix of fat horn and buzzing guitar and you get an idea of perhaps 
what the album and the film meant to get across in the first place: 
that underlying the fashions and new sexuality of the time was a 
driving sound.
	Sadly enough, "Velvet Goldmine" will not do for resurgent 
interests in Glam Rock what "Austin Powers" did for 60's Lounge Kitsch.
---
	REVIEW: Grace Jones, _Private Life - The Compass Point 
		Sessions_ (Island/Chronicles)
		- Joann D. Ball
	Shocking, exotic, bizarre, strange, striking and incredible.  
Singer and vision thing Grace Jones was all of that and more.  Eddie 
Murphy brilliantly captured the extremes of Jones' public image in 
the brilliant but overlooked 1992 film "Boomerang."  And now _Private 
Life: The Compass Point Sessions_ features the best of Jones' genre 
busting musical output.  With sixteen tracks and a running time of 
two-and-a-half hours, the release is the definitive Grace Jones 
collection. With but one exception, the selections included here 
are from Jones's short but electric heyday of 1980 to 1982.  In that 
post-disco, early new wave period, the Jamaican born model, actress, 
performance artist, and dancefloor dominitrix defied the 
conventional and flaunted the outrageous both in the studio and on 
the concert stage.
	With Jamaican reggae riddim twins Sly Dunbar on drums and 
Robbie Shakespeare on bass backing her in the studio, Grace Jones 
generated a number of club favorites and a few chart hits.  
"Private Life" was a U.K. hit while the single "Pull Up to the 
Bumper" from the album _Nightclubbing_ marked Jones' Stateside 
debut.  An R&B Top 5 hit, "Bumper" never achieved much crossover 
success at pop/rock radio.  In general, Jones' sound defied 
categorization.  It was neither Black nor White and it was as 
international as Jones herself, drawing on American soul and R&B 
as well as British rock, Jamaican reggae, world music, and more.
	As the tracks on _Private Live_ reveal, Grace Jones was 
not afraid to tackle any artist or any musical sound.  She had an 
uncanny ability to reinterpret a song and make it her own.  Her 
cover of the Pretenders' "Private Life," a favorite of songwriter 
Chrissie Hynde, captures the reggae vibe that the Akron native 
and her English band couldn't quite pin down.  Jones also put 
her unique brand on such diverse selections as the Smokey 
Robinson-penned "The Hunter Gets Captured By The Game," Roxy 
Music's "Love is the Drug," the Police's "Demolition Man" and 
Joy Division's "She's Lost Control."  But the most unusual song 
ever covered by Jones has to be Johnny Cash's "Ring of Fire."  
Fortunately, the unreleased demo version of the classic is 
included here along with long versions of the previously mentioned 
songs.
	While Grace Jones may have been too far ahead of her time 
in the early 1980s, _Private Life: The Compass Point Sessions_ is 
proof that she was always great at whatever she did.  Although 
her productive prime was nearly twenty years ago, she continues 
to influence popular culture and music. Her visual antics have 
influenced other artists and video producers while her pre-techno 
grooves are frequently dropped into house and electronica records. 
Rap artists have paid tribute to Jones since the very beginning 
of the music form, starting with The Mean Machine's sampling of 
"Pull Up to the Bumper" for the 1981 Sugarhill Records cut "Disco 
Dream."  More recently, Patra did a steamy rap cover of "My 
Jamaican Guy" and L.L. Cool J sampled the Jones original for his 
blockbuster hit "Doin' It."  Despite of the samples and covers, 
Grace Jones herself has remained outside the musical limelight.  
Perhaps the renewed interest in her cutting edge back catalogue 
will lay the groundwork for an eagerly awaited return.

TRACK LISTING--Disc One:  Private Life (long and dub versions); 
Love Is The Drug (long version); Breakdown; Warm Leatherette 
(long version); The Hunter Gets Captured By The Game (long 
version); I've Done It Again, Pars (long version); Use Me (long 
version); She's Lost Control (long and dub versions).

TRACK LISTING--Disc Two:  Walking in the Rain; Cry Now, Laugh 
Later; Nightclubbing; The Apple Stretching; Nipple to the Bottle 
(12" version); My Jamaican Guy (12" version); Feel Up; I've Seen 
That Face Before (Libertango); Demolition Man (long version); 
Unlimited Capacity For Love; "Ring Of Fire (demo); Man Around 
The House; Living My Life (7" version); Slave To The Rhythm (Hot 
Blooded version)
---
	REVIEW: Sepultura, _Against_ (Roadrunner)
		- Linda Scott
	In 1996 Sepultura frontman and co-founder, Max Cavalera 
left the band over business management disagreements (the 
remaining band had fired its business manager who happened to 
be Cavalera's wife). In the scheme of things, that could have 
been the end of Sepultura; or two, weaker bands formed from the 
halves.  Against the odds, the Brazilian thrash metalists on 
either side of this public feud have strong entries on the metal 
charts.  Previously reviewed was Max Cavalera's self-titled 
_Soulfly_ which debuted to metal community raves earlier this 
year.  Sepultura shows off new, bellowing, American vocalist, 
Derrick Green, on _Against_ - and both bands seem to be on their 
ways again.
	Sepultura, post-Cavalera, shows some progression and 
experimentation, but their metal base is as solid as ever.  
Influenced by Metallica, Motorhead, and Slayer, Sepultura is 
a ferocious band that began as almost pure death metal but 
quickly moved to songs about rage, frustration and violence.  
Rage Against The Machine would be challenged by lyrics inspired 
by governmental destruction of entire peoples and the environment. 
Songs that reflect the poverty and pain of living unknown in a 
Third World country have become Sepultura's hallmark.  And now 
the band moves into experimenting with world music touches that 
soften some of the speed metal tracks.
	_Against_ is make or break for lead vocalist Derrick 
Green.  Can an American from Cleveland really understand and 
express where the Brazilians and the band are coming from?  Green 
says he is not a Cavalera clone, but his style is nearly perfect 
and he has the right, roaring vocals for this band.  In some cases 
the vocals seem to be mixed low so that they are only occasionally 
intelligible, but the overall effect is blasting rage.
	Metallica fans will be blown away by guesting bassist 
Jason Newstead's track, "Hatred Aside".  Newstead shows off his 
hardcore roots and makes you wish Metallica would do a track like 
this to end those sellout rumors.  Other solid tracks on _Against_ 
are the title song and "Choke".  These are real Sepultura roots 
songs as opposed to the four instrumental tracks in the second 
half of the album and songs like "Kamartachi" recorded in Japan 
with bizarre whistles and Koto drumming.  Tracks like "Kamartachi" 
show the band stretching to be more than just thrash metalists 
known round the world.  Produced by the band and Howard Benson 
(Motorhead), _Against_ is Sepultura's Brazilian war cry.  Their 
name may mean "grave" in Portugese, but Sepultura is alive and 
blowing the lid off on _Against_ . 
---
	REVIEW: Mogwai, _Kicking A Dead Pig - Mogwai Songs 
		Remixed_ (includes "Mogwai Fear Satan" e.p.) 
		(Jetset)
		- Tim Mohr
	This is an incredible package: a double CD (or limited-edition, 
triple, colored vinyl) containing stellar remixes of Mogwai by a dozen 
different mixers including names like Alec Empire, u-ziq, Kid Loco, and 
My Bloody Valentine.
	Scotland's Mogwai craft dramatic, wind-swept instrumentals, 
often building from a light, single-instrument-breeze to a full, 
wind-tunnel-guitar-howl over the course of a song. Their music mimics 
the structure of life, metaphorically juxtaposing experiences of 
revealed beauty with moments of personal anguish, finding quiet 
resolutions amidst the noise of anxiety and depression.
	Though Mogwai songs have a sense of inevitability, the 
addition of beats (along with a host of other effects used by 
the remixers) gives immediacy to the progression of their songs.
	Take the remix of "Tracy" by France's Kid Loco. An understated 
atmosphere of sorrow still envelops the track, but Kid Loco's slow, 
trippy percussions offer a buoy in a sea of sadness--even as his dubby 
echo-effects emphasize the watery surroundings. This is remixing at 
its best.
	The Hood remix of "Like Herod" loops a spooky keyboard line 
to create a feel similar to the haunted dancehall of Witchman. Max 
Tundra reverses the structure of "Helicon 2" by starting with a burst 
of white noise and then moving into what had been the long introductory 
phase of the original.
	"Summer" gets a drum'n'bass rework in Klute's "Weird Winter 
Remix." The remix sticks to the minimalist school of drum'n'bass but 
gains immeasurably from the interesting pieces of Mogwai material 
inserted between the drums and the bass.
        Some of the songs have been more seriously altered, also with 
excellent results: Surgeon makes of "Mogwai Fear Satan" a six-minute, 
single-note, mock symphony, substituting the whir of a hundred warped 
computers for the crescendo of an orchestra.
	Kevin Shields of My Bloody Valentine takes liberties as well. 
MBV are often credited (by critics) as the most significant influence 
on Mogwai--and this seems to be reinforced both by the way Kevin 
Shields understands the structural and logical extremities of "Fear 
Satan" and by the way he takes the song to these outer limits with 
such a deft touch. The My Bloody Valentine remix is a sixteen minute 
voyage to hell and back: Shields lets the tension of the song build 
for five minutes, releases a barrage of noise, then--just as the 
noise threatens to overwhelm--creates a quiet denouement. Then he 
repeats the cycle a second time but this time leaves the listener 
craving a final resolution.
	Fellow Glasgow residents Arab Strap put together a Stars On
45-style medley of Mogwai songs, running through several distinct 
musical genres in the process. They start with a fairly Big, 
complicated, David Holmes-esque beat, segue into dark house, and 
fade into jumpy hi-hat patterns borrowed from drum'n'bass.
	Of all the remixers, only u-ziq proves incapable of not 
sounding too much like himself. His signature distorted percussions 
deprive his mix of "Fear Satan" of any Mogwai personality. Even Alec 
Empire--not exactly "Mr. Subtlety"--manages to add his (also 
trademark) frenetic, scatter-fire breakbeats and retain something 
of a Mogwai atmosphere.
	_Kicking A Dead Pig_ succeeds in a way that similar recent 
projects from High Llamas (_Lollo Rosso_), Low (_owL_) or even Primal 
Scream (_Echodek_) do not. Granted, the cinematic soundscapes of 
Mogwai make excellent foundations for remixes due to their sprawling, 
a-traditional structures and hold-your-breath sense of timing and 
dynamics. But the success of _Kicking A Dead Pig_ is not limited to 
remixers who only managed not to screw up the original songs too 
much. On the contrary: with few exceptions, the remixers have altered 
the songs in significant ways, put them in completely different 
contexts, or drastically changed arrangements in a manner that 
should be interesting to fans of Mogwai and to fans of the remix 
artists.
---
	REVIEW: Matthew Good Band, _Underdogs_ (Mercury)
		- Daniel Aloi
	Compromise. Any band with a major label deal knows it well. 
And it's what I hear a lot of in the new Matthew Good Band album, their 
U.S. debut. When I saw the MGB play a North By Northeast showcase in 
Toronto in June 1997, what impressed me was the obvious debt their 
sound owed to other meaningful Canadian bands like 54-40 and The 
Tragically Hip. 
	Now, though, that sound has been almost entirely scrubbed of 
its Canadianness. The Vancouver-based band now more closely resembles 
the Tonics and Matchbox 20s of the American FM world than anything 
like 54-40... not a bad thing, if you're fans of those two bands (I'm 
not). Good now says he hates "people who emulate bands." There remains 
a lingering, sublimated echo of The Hip, particularly in Good's vocals, 
but that's about it for any connection with his band's past. Onward 
into the saturated American radio market, with a stab at commerciality. 
It seems a little too calculated, but...
	The album is very powerful-sounding, interminably edgy, and 
the songs are largely emotionally driven. I actually could bring myself 
to like the premise of "Middle Class Gangsters" and "Look Happy, It's 
the End of the World," sounding like some great social commentary of 
old from the likes of the Manic Street Preachers or Pure. In the lyrics, 
there's a lot of cynicism about material values, in songs like the 
single "Indestructible," the existential "The Inescapable Us" and 
"Everything is Automatic." 
	Chalk one up for artistic integrity. 
	With other influences including the Pixies and Afghan Whigs, 
and that aforementioned Tonic/20 sound, the MGB should now have no 
problem fitting in (and being forgotten) on American radio. But at what 
cost? It's kind of a shame, really. There are plenty of Vancouver and 
Canadian modern-rock bands who deserve a shot at success and still plow 
their own course, from Odds to Pure. Maybe given a little growth, and a 
chance to experience what U.S. success really smells like, the Matthew 
Good Band may become nostalgic for its days as a platinum independent 
Canadian act.
---
	REVIEW: Frontline Assembly, _Monument_ (Roadrunner)
		- Lee Graham Bridges
	From rattling, pounding drum machines to the distinct sound of 
the sawtooth waveform emanating from the synthesizer - some of the 
most widely known early conventions of the electro-industrial-dance 
genre were designed, implemented, and delivered by Frontline Assembly.  
The band formed in 1986 by Bill Leeb, FLA represented a new and 
different sort of industrial from earlier, staple bands of the scene 
like Einsturzende Neubauten and Throbbing Gristle.  Bands like Front 
242, Skinny Puppy, and FLA brought an '80s new wave flavor to a dynamic 
type of music that, nonetheless, seemed very rigid and straightforward 
at the time.
	_Monument_, while not delivering a comprehensive history of 
the band, tries to sum up the band's style with twelve remixes and 
rare/b-side tracks from the band, mostly during their productive early 
'90s era.  For better or worse, the songs comprise a fairly uniform 
package; the same tempo, synthbass lines, and menacing vocals (reverbed 
and heavily distorted, of course) can, to the uninitiated listener, 
sound tired by the end of the disc.
	Strangely, however, such constant reiteration is exactly the 
point of _Monument_ - the album's tracks are not meant to represent 
the band's full repertoire.  As the title hints at, the album is a 
celebration of FLA's classic style, and the songs selected are meant 
to demonstrate that style to new listeners.  "Re-Animate" sports some 
catchy vocals, while remixes of "Virus", "Big Money", and "Resist" 
reinforce the nostalgia factor for FLA fans and, at the same time, 
put a unique spin on classic FLA tracks.
	The sad truth is this: electro-industrial is slowly being edged 
out by oh-so-"sophisticated" breakbeats, jungle, and pure electronica 
(many Front 242 fans were recently disappointed in just such a way by 
the band's _Reboot: Live '98_).  With the hope of fans everywhere 
riding on the revival of the genre, it seems that _Monument_ is just 
as likely as anything to repopularize the unique style of music FLA 
constructs.
---
	REVIEW: Various, _In Their Eyes: '90s Teen Bands Vs. '80's 
		Teen Movies_ (Rhino)
		- Chris Candreva
	An interesting idea to launch their new "Cheap Date" records, 
this Rhino release features teen bands of the '90s covering songs from 
teen movies of the '80s. You remember the John Hughes era: Pretty In 
Pink, The Breakfast Club, Fast Times, Ferris Bueller, etc.
	It's an interesting idea that could be a win for all involved. 
The nostalgia value of the songs is likely to pique the interest of 
many, in the process giving visibility to the new label, and hopefully 
at least some of the young artists on the album. I'm just not sure 
they've succeeded.
	What came immediately to mind when I first played this album 
was a fraternity basement in college.  A bunch of us would get 
together with our instruments, in the basement of the house where the 
guy with the drums lived. We'd have a few beers, think of songs 
someone knew the chords to, show everyone else, then play really 
loud just the rhythm part, while someone sang into a mike.
	You know - a cover band.
	A good number of the tracks sound basically like an average 
frat house cover band. Given the average age of the musicians is 16 
(some are as young as 9), this may actually be a compliment. The live 
feel is refreshing, especially on these songs which started life 
fairly processed. These kids have energy.
	Some of the tracks, though, sounds very much like some people 
who just got together to jam out some chords. You don't, however, 
come away with a feeling for what style, in any, the band has.
	You know - a cover band.
	There are a few notable exceptions. "Bring on the Dancing 
Horses" by Round House stands out in its arrangement of chords and 
harmony vocals. F.O.N puts a Mighty Mighty Bostones' spin on The 
Cars' "You Might Think", resulting in a tune might just get me into 
a mosh pit one more time.
	It's a neat concept, but what we really end up with is a 
disc of tracks by high school cover bands. It could be worth buying 
as a novelty, but don't expect to find a lot of musical depth.

TRACK LISTING: Pretty In Pink - The Grown-Ups; Don't You (Forget 
About Me) - The Godjits; A Million Miles Away - Dyslexic Church; 
Somebody's Baby - Phantom Planet; If You Were Here - Ben Lee and 
Spitoon; Bring On The Dancing Horses - Round House; Oh Yeah - Crazy 
Glue; You Might Think - F.O.N.; I Melt With You - The Rondelles; In 
Your Eyes - The Stinky Puffs; If You Leave - Marigold; Weird 
Science - The English League; Raised On The Radio - Slimer; 
Johnny, Are You Queer ? - The Knock-Ups; School's Out - The Donnas
---
	REVIEW: Motley Crue, _Greatest Hits_ (Motley Records/Beyond)
		- Linda Scott
	Motley Crue, together for 17 years with 35 million records 
sold and 25 million concert attendance, needs no long introduction.  
These guys live their professional and private lives in the media.  
In the turmoil, let's not lose track of the fact that these guys 
have made some terrific music together.  Their rock style is more 
Kiss and Aerosmith than the hard rock, in-your-face image.  And just 
like Aerosmith, amazingly, some of their best music has been their 
sweetest soft rock ballads.
	_Greatest Hits_ is one for Crue fans and first time Crue 
album buyers.  The hardcore fans will find two new tracks, "Bitter 
Pill" and "Enslaved" leading off the album.  Both are solid Crue, 
but they are overshadowed by the monsters behind them.  The 
selection and track arrangement are excellent. 
	Songs from the best selling albums _Dr. Feelgood_, _Girls 
Girls Girls_, _Shout At The Devil_, _Theater of Pain_, and the first 
hits collection _Decade of Decadence_  are all here.  Consider this 
track list: "Girls, Girls, Girls", "Same Ol' Situation", "Wild Side", 
"Glitter", "Dr. Feelgood", "Kickstart My Heart", "Home Sweet Home", 
"Afraid", "Don't Go Away Mad (Just Go Away)", "Without You",  
"Smokin' In The Boys Room", "Primal Scream", "Too Fast For Love", 
"Looks That Kill", "Shout At The Devil".  They're all here making 
this one album the one for new to Crue shoppers to try.  A couple 
of personal favorites didn't make it ("Angela" and "You're All I 
Need") but there are none that should be discarded.  With what the 
Crue has given us here, let's not quibble over one or two more tracks.
	_Greatest Hits_ is the first album on the Crue's new label; 
17 great tracks that rock hard and soft.  Their latest tour (in 
support of this album) is happening now - and with the band's interest 
in the Internet, their site (http://www.motley.com) is updated frequently. 
---
	REVIEW: Bare Jr., _Boo-Tay_ (Epic/Immortal)
		- Jon Steltenpohl
	When people think of Nashville music, they usually assume that 
you're talking straight ahead country music a la George Jones.  Bobby 
Bare, Jr., son of the semi-famous country singer, has recently emerged 
with his twisted vision of how music really should be.  The result is 
a band called simply "Bare Jr." and a debut album entitled _Boo-Tay_ 
(as in, shake that...).  Where most of Nashville seems to be just fine 
with making light rock with twang, Bare Jr. sounds a little country 
and a lot punk.
	And they do it right.  Like relative unknowns such as Killbilly 
and Slobberbone, Bare Jr.'s takes classic country, injects a little 
humor back in it, and puts it in the garage.  While Wilco and Son Volt 
seem content to look back with a quiet gaze on the backroads of the 
heartland, Bare Jr. tears it up at the roadhouse bar.  With titles 
like "Tobacco Spit" and "I Hate Myself", you don't have to worry about 
things getting too serious here despite some heavy lyrics.  Bobby Bare, 
Jr. and his father are friends with Shel Silverstein (writer of "A Boy 
Named Sue") which should tell you something about this album.  The 
guitarist's nickname is "Grimey", and the band's featured instrument 
is a distorted dulcimer played by one Tracy Hackney.
	The nice thing about Bare Jr. is that they never sound like 
they're trying to be goofy as a gimmick.  This is genuine music that's 
just slightly twisted.  Imagine Green Day and the Georgia Satellites 
sharing the same stage, and you'll start to get the picture.  Their 
producer, Peter Collins, has such diverse credits as Queensryche, 
Indigo Girls, Suicidal Tendencies, and Jewel, and at times you hear 
everything from Faith No More to Lynyrd Skynyrd floating around _Boo-Tay_.
	Songs like "Tobacco Spit" and "Give Nothing Away" are melancholy 
rockers that recall Buffalo Tom.  On "You Blew Me Off", Bare Jr. finds 
the energy of free spirited pop-punk of bands like the The Offspring.  
The shout out chorus trades "You blew me off" with the revelation that 
"It turned me on!".  Both the acoustic and electric Dylan are 
represented with "Soggy Daisy" and "Naked Albino" respectively, and 
the album closes with "Why Won't You Love Me".  It's a crazy, frantic 
romp filled with delicious anguished screams and even a completely 
unnecessary drum solo thrown in for good measure.
	It's easy to see exactly why a group like Bare Jr. got signed 
to a major label like Epic.  They're quirky, have a great pop sense, 
and they rock. The best song on the album is a track called "Love-less". 
It's got crunching guitars, a sing-along chorus, a mournful harmonica, 
and a country flavored double meaning on the title.  Despite the 
potential pitfalls of their country pedigree, Bare Jr. ditches any 
cliches at the door and seems satisfied with just delivering great 
music.  _Boo-Tay_ is a fun album that deserves to be played loud.
---
	REVIEW: The SunKings, _Adios_ (San Jacinto)
		- Chris Hill
	Abhor the mass marketing of Hootie and the Blowfish all 
you want, a pleasurable honesty permeates their music.  The same 
magic is captured in the SunKings' _Adios_.  This is ideal bar 
band music, with tequila-laced guitar, powerful vocals, and 
smooth drumming, something to pull the Friday drinking crowd 
up to the stage in awed appreciation.  If you listen close, 
the smoke-filled bar room atmosphere springs to life.
	Robert Pounds' raspy voice draws immediate attention as 
"Hey Hey" kicks off the eleven songs on _Adios_.  Rough at the 
edges, his voice elongates notes or cuts them off with a bluesy 
yelp.  Backed by Greg Galbraith and Dave Gwinn on guitars and 
Trey Wheeler on drums, the SunKings form a tight, weathered 
unit, with songs of simple subjects: life and love, to which we 
we can all relate.  "Brand new life with a brand new face/but 
the same old song in another place ... Now it's coming around 
again/Spread the truth that you like to bend" from "Believe" is 
a nice example of taking familiar themes and infusing them with 
heart and soul.
	The structures and singing on _Adios_ urge comparisons 
to Hootie, the Black Crowes, and Big Head Todd and the Monsters. 
All are musicians who take pleasure in classic songwriting: 
guitar solos, sharp fills, and clever hooks crashing against 
emotion-laden lyrics.  Yet each has their individual flairs 
which comprise a unique identity.
	_Adios_ is produced by the band and San Jacinto label- 
mate Rich Hopkins with few frills.  Hopkins also steps in with a 
guitar lead on "Believe", a sound immediately recognizable to 
fans of Rich's music, either with the Sand Rubies or his other 
band, Rich Hopkins & Luminarios.
	Hopkins and the band are a good match.  They focus on 
what they do best - belting out Southwestern music with a 
passion.  The only hiccup is a "hidden" track following the last 
track, "Never Sent": Pounds, singing unaccompanied what sounds 
like a vocal track they decided not to include on the final 
product, and rightfully so.  A jarring note is not the way to 
close up such a comfortable album.  However, if that's the door 
charge, it's a small one for such gems as "Turnaround" (with 
Thomasina Jones adding wonderful backing vocals), "Rain's Gonna 
Fall", and "Find a Reason".  
	Online availability at http://www.contingency.com 
---
	REVIEW:  Seam, _The Pace is Glacial_ (Touch & Go)
		- Kerwin So
	Three long years have transpired since Chicago's venerable kings 
of indie rock, Seam, have released any new songs to satiate fans hooked 
by 1995's critically acclaimed _Are You Driving Me Crazy?_   Has it 
been worth the wait?  In a word, yes!
	Seam's fourth and long-awaited LP, appropriately titled _The Pace 
is Glacial_, offers another satisfying platter of solid, moody and complex 
songs for the Seam-starved masses, along with a few forays into 
stretching the band's sound.  
	The album opens with up-tempo rockers (a la "Kernel) that will 
make you swing your skinny mod hips, notwithstanding the elegant 
intermission of "Wig".  "Kanawha" finds Seam testing out some new 
effects on both guitar and drum treatment: a delayed guitar wash, 
heavy reverb on the snare, and a poignant E-bow solo offset 
Sooyoung Park's trademark whispered vocals, leaving the listener 
enthralled and meditative.  The brooding continues into "Nisei Fight 
Song", a heavy, controlled number featuring some of the dynamics 
we've come to love about Seam, including an unusually aggressive 
Sooyoung shouting, "I cannot remember/ My history reflected/ I 
haven't said anything/ That's the glaring omission."  The song's 
plaintive ending refrain builds and fades on itself until you realize 
you're no longer in the same place you were when the song began.  At 
this point the new version of the Mariachi-inspired "The Prizefighters" 
snaps you from your reverie.  I think this version sounds more inspired 
than the one found on the Lounge Ax Defense and Relocation CD.   
	Then, _The Pace is Glacial_ reaches a fascinating contrast 
between the only Seam song that I don't like-- the awkward, unSeamly 
chant- along "In the Sun" - and the album's standout track, the magnificent 
"Inching Towards Juarez."  While there isn't exactly a smooth 
transition after "In the Sun", the closing tracks on this record will 
remind you how great Seam are.  The pristine, expansive beauty of 
"Juarez" will make you stop whatever you happen to be doing at the 
time, only to be drawn in by the precise guitar work, brooding bass 
lines, delicate drumrolls like desert breezes, and the subtly painful 
lines, "Rub out your eyes/ This ship is sinking."   
	"Pale Marble Movie" opens similarly to one of my favorite 
songs, "Rainy Season":  a lone guitar dryly strumming a melancholy, 
descending progression. Universal relationship rule #343:  "I could be 
there for you, better to you/ But you make it harder, harder, harder."  
By the time you've finished absorbing the "autopilot"-esque spiritual 
instrumental "Aloha Spirit", you'll have to summon the effort to get up 
off your back and scramble for the repeat button.   
	As it should be.  Seam, notorious homebodies, are currently 
planning a sprinkling of December and January shows on both East and West 
coasts.  Be sure to catch them now lest ye have to wait  
another eternity.  
---
	REVIEW: Ultrababyfat, _Silver Tones Smile_ (Velvel)
		- Christina Apeles
	I was a bit skeptical of this release after viewing the less 
desirable artwork, which isn't fair, but then I listened to _Silver 
Tones Smile_ and even if I could get over the cover of the album, the 
music couldn't keep me interested.  Just as I would've passed over the 
release in the stacks at a music store just due to its packaging, I 
wouldn't have given Ultrababyfat a second thought if I heard their 
song on the radio.
	Within fifteen seconds of the opening track "Trick," one band 
came to mind: Veruca Salt.  This release consists of quirky melodies, 
girly concerns, and mostly nondescript pop rock.  The vocals of 
founding members, Shonali Bhowmik and Michelle DuBois, were raspy at 
times with harmonized out of key choruses, but without the aggressive 
punch of female-headed rock bands like Sleater-Kinney or raw charm of 
the Breeders/Amps.  
	Ultrababyfat is close to the Amps in terms of musicality on 
"Stupid" and "Bent On," meaning simple guitar chords with plenty of 
distortion, but lacking the highs and lows in the vocals or timely 
breaks in the music, that makes the Amps worth listening to -- being 
creative within limits.  On "TCBA," Ultrababyfat did hook me with 
their opening "Doot, doot, doot's," groovy bass line and lively 
drumming, with poppy vocals layered on top of one another, but that 
was the only song in that genre.  This is a vocal-heavy release and 
if you don't like their voices in the first song, it's likely you 
won't be able to stand listening to their rants in the tracks that 
followed.  Such was the case with me, where I could never really get 
into Bhowmik and DuBois' singing, and the music rarely offering much 
relief, without any quality guitar solos or long intros for me just 
to appreciate the sounds of Ultrababyfat sans vocals.
---
ERRATA:	> Reader Arush K. pointed out that B.B. King and U2 
collaborated on "When Love Comes To Town", not "Angel Of 
Harlem" as stated in the review of U2's _Best Of_.
---
TOUR DATES:
	Better Than Ezra / Bic Runga
Nov. 21 Las Vegas, NV The Joint at The Hard Rock Cafe
Nov. 23 Santa Cruz, CA Palookaville
Nov. 24 Sacramento, CA Crest Theatre
Nov. 25 San Francisco, CA Slim's
Nov. 27 Portland, OR La Luna
Nov. 28 Seattle, WA Crocodile Cafe

	Buffalo Tom / Goo Goo Dolls
Nov. 21 Chicago, IL Riviera Theatre
Nov. 22 Minneapolis, MN First Avenue
Nov. 24 Denver, CO Ogden 
Nov. 27 Boise, ID Doubletree Ballroom
Nov. 28 Seattle, WA Moore Theatre
Nov. 29 Portland, OR La Luna

	Cracker
Nov. 21 Columbus, OH Mekka
Nov. 22 Pontiac, MI Clutch Cargo

	Deftones / Pitchshifter / Quicksand
Nov. 21 Philadelphia, PA Electric Factory
Nov. 22 Worcester, MA Palladium
Nov. 23 Providence, RI Lupos
Nov. 24 Montreal, PQ Metropolis
Nov. 25 Toronto, ONT Arrow Hall
Nov. 27 Rochester, NY The Dome
Nov. 28 Cleveland, OH Agora Theatre
Nov. 29 Detroit, MI State Theatre

	Evelyn Forever
Nov. 21 Providence, RI Century Lounge
Nov. 27 Long Branch, NJ Smart Bar

	Everlast
Nov. 21 Lafayette, LA Grant St. Dance Hall
Nov. 23 New Orleans, LA House of Blues
Nov. 24 Lawrence, KS Granada Theatre
Nov. 25 Omaha, NE Ranch Bowl

	Irving Plaza (New York City Concert Hall)
Nov. 20-21 Saw Doctors
Nov. 25 Cowboy Mouth
Nov. 27 Holly Cole

	Marilyn Manson
Nov. 21 Poughkeepsie, NY Civic Center
Nov. 22 Boston, MA Tsongas Arena
Nov. 23 New York, NY Hammerstein Ballroom
	
	Miles 
Nov. 21 Zuerich, Switzerland Luv
Nov. 22 Ulm, Germany Cat Cafe
Nov. 23 Augsburg, Germany Kerosin
Nov. 24 Erlangen, Germany E-Werk
Nov. 25 Muenchen, Germany Atomic Cafe
Nov. 26 Innsbruck, Austria Utopia
Nov. 27 Wien, Austria Flex
Nov. 28 Schaerding, Austria Gasthof zur Alm
Nov. 29 Feldkirch, Austria Sonderbar
 
	Motley Crue
Nov. 21 Kansas City, MO Memorial Hall
Nov. 22 St. Louis, MO Fox Theatre
Nov. 24 Fargo, ND Civic Memorial Auditorium
Nov. 25 Duluth, MN DECC
Nov. 27 Evanston, IN Victory Theatre
Nov. 28 Springfield, MO Shrine Mosque
Nov. 29 Tulsa, OK Brady Theatre

	Offspring
Nov. 21 Pomona, CA The Glass House
Nov. 22-23 Las Vegas, NV The Joint 
Nov. 24 Reno, NV Rodeo Rock
Nov. 25 San Francisco, CA Maritime Hall
Nov. 28 Denver, CO Ogden

	Rev. Horton Heat / Amazing Crowns
Nov. 21 Philadelphia, PA Trocadero
Nov. 23 Indianapolis, IN Vogue
Nov. 24 Memphis, TN 616 Club
Nov. 27 Fayetteville, NC JR's Ballroom
Nov. 28 St. Louis, MO Mississippi Nights
Nov. 29 Chicago, IL Cabaret Metro
Nov. 30 Minneapolis, MN First Avenue
Dec. 2 Milwaukee, WI Rave Ballroom

	Tricky / Whale
Nov. 21 Cincinnati, OH Annie's 
Nov. 22 Detroit, MI St. Andrews 
Nov. 24 Indianapolis, IN The Vogue 
Nov. 25 Columbus, OH Newport Music Hall 
Nov. 26 Chicago, IL House Of Blues 
Nov. 27 Omaha, NE Sokol Hall 
Nov. 29 Salt Lake City, UT DV8 

	Underworld
Nov. 20 Montreal, QC Metropolis
Nov. 21 Chicago, IL House of Blues
Nov. 23 Los Angeles, CA The Mayan
Nov. 25 New York, NY Hammerstein
---
THE READERS WRITE BACK!
	> I saw ? And The Mysterians with the Fuzztones at Los 
Angeles' Space Lounge earlier this year and yes they still rock 
live, thirty years on. - Chris R., Australia
---
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