==== ISSUE 101 ====    CONSUMABLE     ======== [February 27, 1997]

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

 Address all comments, subscriptions, etc. to gajarsky@email.njin.net
==================================================================
	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
INTERVIEW: Squirrel Nut Zippers' Tom Maxwell - Joe Silva
REVIEW: White Town, _Women In Technology_ - Bob Gajarsky
REVIEW: Mazzy Star, _Among My Swan_ - David Landgren
REVIEW: The Art of Noise, _Drum and Bass Collection_ / _The 
   FON Mixes_ - Jamie Roberts
REVIEW: Various Artists, _The Smiths Is Dead_ - Bob Gajarsky
REVIEW: Bjork, _Telegram_ - Eric Hsu
REVIEW: Big Head Todd and the Monsters, _Beautiful World_ - Simon Speichert
REVIEW: Longpigs, _The Sun Is Often Out_ - Simon West
REVIEW: Greg Kihn, _Horrorshow_ /_The King Biscuit Flower Hour 
   Presents Greg Kihn_- Daniel Aloi
REVIEW: Drain S.T.H., _Horror Wrestling_ - Linda Scott
REVIEW: Arcanum, _The Spoken Scream_ - Bob Gajarsky
NEWS: Depeche Mode, Dread Zeppelin, London Suede, Melankolic, Moe., 
   Sand Rubies/Sidewinders, Waitresses
TOUR DATES: Backsliders, Bally Sagoo, Better Than Ezra / Jane Jensen, 
   Bloodhound Gang, Camber, Lisa Cerbone, Cordelia's Dad, Shawn 
   Colvin / Freedy Johnston, Connells, Cordelia's Dad, Coward, 
   Cracker, Cravin' Melon, Donovan, Jason Falkner / Silos, Mary Ann  
   Farley, Goldfinger / Reel Big Fish, Dave Hawkins, Hazies, Humble 
   Gods, Humpers, Irving Plaza , Joykiller, Local H / Failure, 
   Luciano, Metallica / Corrosion of Conformity, Moe./Sweet Vine, 
   Nancy Boy, New Bomb Turks, Odds, Pen Pal, Plexi, Professor & 
   Maryann, Rasputina / Cranes, Samples / Stir,  San Francisco 
   Noise Pop Festival, Sebadoh, Sick of It All, Sissy Bar, Sister 
   Hazel, Sno-Core Tour, Space, Sterling, Tool / Melvins, Type O 
   Negative / Sister Machine Gun / Drain S.T.H., Urchins, The Urge, 
   Volebeats
Back Issues of Consumable
---
	INTERVIEW: Squirrel Nut Zippers' Tom Maxwell
		- Joe Silva
	As is right by most Amerindie standards, the stage of
Athens, Georgia's 40 Watt Club remains the unadorned
pedestal of several generations of DIY rock heroes and
associated wannabees. Typically met at all flanks by
clutches of boho-baggy clad boys and girls who are usually 
greeted by the mumbles and indirect glances of those they've 
come to worship, the welcome cry of "Buh-ruthers
and Sistas!!" goes out to meet the throng. In the half-light,
evening jackets and strands of faux pearls can be seen
muscling for hip swinging room alongside the staid band shirts
and random piercings. The Squirrel Nut Zippers take the
stage armed with swing, smiles, and a flu bug that's
unoticeably tagged a few key members. The horns are
phat, the furnace is lit, and the the first congo lines
probably ever seen within the club's dingy walls are
drawn in the sands of the altera-nation. A day or so
later, Tom Maxwell elucidates from a hotel room the
satisfaction of the post-inaugural buzz and the stress
of being hot.
	Consumable: Someone at the label (Mammoth) told me you were
sick during the Athens show.
	Tom Maxwell: Oh yeah, absolutely. It's a winter tour
my friend. Jim (Mathus) and Katharine (Whalen) had
to actually go to the doctor. In fact, I spent the first
song and a half deciding whether or not I was going
to pass out.
	C: And you had just come from the Inaugural didn't you?
	TM: Yes, we played the inaugural ball. What a
whirlwind. We played a Rock The Vote party
the night before at this restaurant called the Red
Sage and astoundingly enough it made the front cover
of the Wall Street Journal, "Hottest party in town,
music by the Squirrel Nut Zippers." It was basically
like a frat party because there was too many Goddamned
people in there, but everybody looked great and one
of them happened to be Kevin Costner. Every so often
I'd turn around and there would be Uma Thurman or something.
	C: I know there were a lot of parties up there, but was
there any sort of theme to the gig you played?
	TM: Yeah, we were at the 21st Century Ball, the so-called
youth Ball and it was held at the Postal Museum.
	C: So were you guys onstage when the President came in?
	TM: No, I don't think anyone was onstage, because when
he comes in, they have a big 'ol lockdown and they pick
a few representatives from each band to come up. So like
a clutch of security guys come in and gather up everybody
in some room and basically I got to peek through a
curtain at the back of his head. However, Jim and Katharine
were onstage and they got to meet the President and
Vice-President and their wives.  They were thrilled
to death. It's incredibly surreal.
	C: Didn't you guys do a long engagement at the Olympics?
I remember thinking that when the bomb went off, that you
were one of the bands down there that week.
	TM: We had played our last show the night before and I guess
it happened late Friday night, early Saturday morning. We
had really been held up getting out of town because the
President was coming in. So we go up to Asheville and play
a show and somebody comes up to us and says "Did you
hear about the bomb?" and we were just crushed. That
experience had been so positive for us. There was really
a good spirit there...a great spirit. For whatever reason,
we were part of a southern music showcase, and they
put us up in a dump of a motel but with all these
great cajun fiddlers, Austin two-step bands, American
Indian singers. So we all instantly congregated on the
deck outside of the bar and held jam sessions nightly until
six in the morning each night. And soon the performances
at Centennial Parl became secondary to these incredible
jam sessions that would take place.
	C: Now just taking those two events into account, do you
guys consider yourselves "made" yet?
	TM: If anything we're going to have to start cloning ourselves
to meet the demands being made on our time. We just started
receiving some airplay on some big FM stations and now the
ballgame is starting to change. We've gone from the kind of
band where it's "Just do your records, and do your thing." to
"Jesus, we NEED a video and we need it right now!!" So we're
kind of stunned. We spend most of our time being exhausted.
	C: Did you guys put out a video for this record?
	TM: Yeah, well I got to direct a video for "Put the Lid On It,"
but then came the one-two punch of that it didn't turn out
to be the radio single and MTV wouldn't play it because we
intimated that we might burn a house down.  We're shooting
the video for "Hell" the day we finish this tour.  It's my
goal to set it up to be as much like the Lawrence Welk
show; the way it's lit and shot and the costumes. How can you get any 
better than that? I really want it to look like a late 60's broadcast.
	C: Now is the third record more or less in the can now?
	TM: Yeah, just about. It's recorded, mostly
mixed and we're going to master it out on the west
coast. We recorded it in an old house in my hometown
of Pittsboro, North Carolina. We had convinced the
label to let us do it ourselves. Instead of going back
to a studio, we took the money that was going to
be advanced to us and bough or borrowed a bunch of
a recording equipment. We brought up Mike Napolitano
how worked with us on _Hot_, and we just set up
this house. I mean the plumbing needed fixing, the
foundation was rotting, the electric wiring was
primitive to say the least and the heat wasn't on.
We had to get all this shit fixed up, and get this
equipment in, but it was a good old North Carolina
house. One room has a high ceiling and it sounds
good, and every room has different personalities
and we made a record. However hectic and stressful
a time it was, I think we knocked one out of the park.
I think it's better than the first two put together. We
were able to realize more of the production sound
that we've been trying to go for even though we were basically 
reinventing the wheel. Not everything worked out as well as we 
would have liked, but I think it starts where _Hot_ left off.
	C: So how will that work now? I think you called it
from the stage, that this would come out in Spring.
	TM: Not even brother.  Summer or fall. We're pushing
it back a little bit because somebody smells money
on _Hot_. We're going to strike a delicate balance,
because the band wants to keep rolling and putting
out material. I don't want "Hell" to be played into
the ground on FM radio and to have people get sick
of it. This new one is more like Big Star's _Third
Record_. The songwriting is really great, but there's
also times when things kind of break down. We were
making weirder sounds on this record than we ever have.
I feel like we've gone onto a new level. It was like we
were getting our sound on _The Inevitable_, we became
a live band for _Hot_, and then on this record there's
this new thing going on that's weird and great.
	C: I know you guys are into people like Cab Calloway
and Fats Waller, but do you find yourselves going back
to that well for inspiration or is that music around
you so much that it's ingrained at this point?
	TM: Both. I actually wrote a tribute song to Fats
Waller's guitar player Al Casey on this record.
I got to meet him and it was the thrill of my
life. And I wrote a song for him. There's also a
song on there that's kind of a tribute to Cab
Calloway. I really didn't think about it when I
wrote it, but when it came out, I was definitely
going for that Cotton Club orchestra sound. So I
always go to that well. But even our weirdest and
darkest moments, I think we retain some of that
sensibility even though on the face of it what we're
doing doesn't bear much of any resemblance. It's
just damn good music.  Are you saying that we're
at the point now where we can be musically self-sufficient?
	C: Yeah.
	TM: I think we always have been in that we haven't
covered people's songs or lifted people's riffs. We've
just always tried to go for the emotional nut of the
thing and proceed from there.
	C: Does anyone ever come up and accuse you of
being derivative in that sense?
	TM: Never. Never to my face. If some people come
away feeling like that, they don't ever tell us
about it. Besides by and large, I don't think most
people have ever heard of these guys. Rock and roll
didn't pick up on a lot of the things that were in
pre-war jazz that we like and jazz disassociated
itself from it and denied it.  And when they do talk
about Fats it's much more of a condescending thing.
I mean they can't deny how popular he was, but nobody
is interested in giving him credit. I think he was the
greatest thing in the world.
	C: But it's amazing how now that you guys are htting your
stride, whether it's commercially or just getting a bigger
fan base, you see things like swing nights in Atlanta rock clubs.
	TM: Well, that's cool. I don't know how much we had to do
with that. Of course everybody wants to contextualize
what we're doing, which is the last thing that we want to do.
	C: What sort of response do you get from older people?
	TM: Overwhelmingly positive when we can reach them.
For example, you're not going to reach these people
playing the 40 Watt in Athens. But when you do NPR
people hear it. When we play early shows in Chapel
Hill, for instance, we're able to get the twelve year
olds that love us and the seventy year olds. The people
seem to be universally excited about it. But the market
is devisive where they say "You fit into this six year
age range, by God, and we don't expect anybody else
to listen to this." And it can be extrapolated just
as easily to race. I talked to our label about how can
we get black people to come out and they looked at
me like I was from Mars. "They have their own charts."
is what was told to me. Which is true, but it's FUCKING insane!!
	C: But considering some of the roots of the stuff you're
doing, it seems sort of logical.
	TM: Sure, it did to me too, but that doesn't seem to
be theway that things work out. I mean there are black
people that are fans of ours, but the percentages are 
infinitessimal. We don't even physically move in the same circles.
	C: Is the dynamic changing for you at all now that things
are taking off?
	TM: Well we just fired our bass player, which was a traumatic
thing to do. That was a thing where friction that might have
been there when we were all dishwashing chumps didn't
make a difference and now three or four years down the
road, we couldn't work together. It was very painful for
everybody. When money gets involved everything changes.
And when you're not allowed to get together in a relaxed
manner and enjoy each others company and play music, it's
a sad thing. When we see each other, it's associated with
being tired, sick, being on the road, humping and doing our
thing.  But right now the band's getting along great. We
split the publishing money equally, not just to the songwriters.
But you know, I've been in the thing for three years now,
and one day it will derail, but I'm just trying to do the
best job I can now and see this thing through.
---
	REVIEW: White Town, _Women In Technology_ (Chrysalis/EMI)
		- Bob Gajarsky
	A bonafide Internet user hits the jackpot, and thus establishes
himself as a net.legend...
	30 year old Jyoti Mishra has been working as the main focus 
of the English band White Town since the late 1980s.  Early gigs 
supporting bands such as Primal Scream and the Sea Urchins were 
the precursor to independent singles on his own Satya label, and 
eventually on the Parasol label.  Several White Town songs appeared
on independent compilations, and his debut full length, _Socialism,
Sexism and Sexuality_ didn't generate much interest outside of his
native land.  Up until this point, White Town's tale sounds like
hundreds of other independent bands who can only see their name
in the trades if they purchase an ad.
	But something went terribly wrong - or right, in this case.
Mishra soon decided that "I was fed up with playing the guitar...I 
started moving more into a sample-based synthy direction", and 
recorded new songs, including the wonderfully infectious "Your Woman".
Released as part of a four-song EP (_Abort, Retry, Fail?_) in 
England, radio programmers loved it.  And this rags-to-riches tale 
started to blossom Mishra from a caterpillar into a butterfly.
	Defying all odds and debuting at #1 in the UK, "Your Woman" 
includes a sample of a 1932 jazz hit, Lew Stone and the Monseigneur 
Band's "My Woman".  The sample (not unlike what the Squirrel Nut 
Zippers are using, but from the original release), hooks up with 
the Buggles radio static on "Video Killed The Radio Star" and a
healthy dose of keyboards similar to St. Etienne to create a track
which might just be heard on American radio all through the spring
months.
	"Your Woman" was truly a DIY project - recorded in Mishra's 
spare room, and this was a deliberate action on his part.  
"The whole point of me recording at home," states Mishra, "is to 
stay out of all the airless, artless studios scattered around the 
country where music is machined to some technical level of 
acceptability. Consequently, _Women In Technology_ is *full* of 
clicks, pops, earth hums, and bum notes."
	However, just as Soho failed to clear proper credits from the 
Smiths with "Hippychick" (and wound up giving 25% of their sales to 
Morrissey and Marr for "How Soon Is Now"), Mishra learned the 
unfortunate rule of clearing samples first.  Now, as he recalls, 
"30% of the royalties (from "Your Woman") go to the publishing company."
	The unfortunate part of the album is that, not unlike the 
Primitive Radio Gods' "Standing Outside A Broken Phone Booth With 
Money In My Hand" (which sampled B.B. King), people who buy _Women 
In Technology_ to hear 12 songs identical to "Your Woman" will 
likely be disappointed.
	Much of _Women In Technology_ has a Johnny Hates Jazz meets 
the Dream Academy feel to it - slower, synthesizer-driven tracks.
Some of the slower tracks from Cause & Effect's _Trip_ would blend
nicely with this collection. Probably the best example of this is 
on the soft "A Week Next June", where Mishra's vocals sound a bit 
like Paul McCartney on this nearly-acoustic track.
	"Going Nowhere Somehow" is another track which immediately catches
the listener's ear with a unique sound similar to the slower side of KLF
(think: _Chill Out_).  But in a world of niche-marketing and radio 
programming, it probably *won't* be the listener who has heard "Your 
Woman".  
	What does the future hold in store for Mishra?  He's currently
being courted by Madonna's Maverick label - and the most recent artist
that she took such a strong personal interest in was a Canadian named 
Morrissette.  Took home a couple music awards here and there.  He's
also decided to cover the Magnetic Fields "Famous" for his next EP.
And, in between jetting to the U.S. and Europe, you might
just catch him on the Internet...
---
	REVIEW: Mazzy Star, _Among My Swan_ (Capitol)
		- David Landgren
	_Among My Swan_ is Mazzy Star's third album. The first 
album, _She Hangs Brightly_, slipped unnoticed past many, this 
reviewer included. On the other hand, a lot of people sat up and 
paid a lot of attention to their second album, _So Tonight That I 
Might See_.
	Credit must go to the suits for not pressuring Dave Roeback 
and Hope Sandoval into cashing in on their new-found fame with a 
formula copy, but instead letting them take all the time they needed 
to work on the new album. In many ways, the gamble paid off: this 
album is not so different from _So Tonight That I Might See_. The 
bluesy fragility and country melancholia is still very much present; 
much of the percussion is nothing more than a simple tambourine, 
and the instrumentation hovers between an acoustic or electric
guitar, with a few basslines or violins dotted here and there.
	The album opens on a sleepy track "Disappear", with Hope 
sounding only half-convinced that the album has started, and a 
guitar doodling around upon waves of heavily distorted electric 
guitar way down in the mix. The second song, "Flowers in December" 
picks up, with acoustic guitar and tambourine providing the backdrop 
to a harmonica intro that sounds like the melody to The 
Go-Between's "Quiet Heart".
	As the songs go by, it becomes clear that Mazzy Star are 
intent on pursuing a precise direction in their music. While the 
first album was a quirky patchwork of different writing styles, the 
second album slimmed down the variants and on this album they have 
reduced their margin of manoeuvre down to almost nothing. The first 
four songs blend into each other with little differentiation; all 
stripped down to the bare bones of delicate guitar noodlings, 
laid-back percussion and Hope's vocals. Which makes for excellent 
the-party's-over late night listening.
	Which makes "Take Everything" a bit of a kicker. The song 
starts out much the same as the previous tracks, however, it builds 
up considerable intensity and lifts the album up a notch. Possibly 
due to William Reid returning a favour (Hope Sandoval added the 
vocals to the Jesus & Mary Chain track "Sometimes Always" on 
_Stoned and Dethroned_), to lay down a JMC guitar riff on the song.
	Briefly, taking in the rest, "All Your Sisters" is an 
absolute gem.  Down the minimalist path again, with only an 
acoustic guitar to accompany Hope. "I've Been Let Down" and "Look On 
Down From The Bridge" are the two most overtly country-sounding   
tracks. "Umbilical" is very much the song "So Tonight That I Might 
See, Part II". Same guitars going beserk in the background, 
exploding like fireworks; along with "Roseblood", with its 
reverse-gated guitar.
	_Among My Swan_ is an album that begs to be considered 
as a whole. It's not the sort of album to be heard in shuffle 
mode. It deserves to be listened to from start to finish to get 
the most out of it. That said, in all honesty, if you don't have 
the budget to both this and _So Tonight That I Might See_ then I 
would class STTIMS as being more important. So get that first, and 
if you like it, you'll probably winding up purchasing _Among My 
Swan_ anyway. You won't be disappointed.
	Resources on the net: there isn't a lot out there. The 
best bet is to scan the newsgroup alt.music.mazzy-star for current 
information.
---
	REVIEW: The Art of Noise, _Drum and Bass Collection_ (Discovery)
		_The FON Mixes_
		- Jamie Roberts
	The Art of Noise are one of the most sampled bands in music 
history.  Pieces of their work are found in some of the most popular 
music of the past 13 years (The Prodigy's "Firestarter" comes to mind 
among many many others).  Their beginnings in 1983 saw them as a 
faceless studio-bound vehicle for Trevor Horn, and their body of 
work created "...the blueprint for new styles of hip-hop and 
electro-rhythms" and became "...a crystal ball of hardcore 
technology".  Now we come to the stage where the very people who 
were moved by AON's early works to create on their own, come "home" 
and put their spin on the work of their mentors.
	_The FON Mixes_ are the hardcore's response to their 
historical influences.  Each original Art Of Noise track is re-mixed 
with a burst of energy from noted mixers like Mark Gamble, Youth and 
Richard H. Kirk of Cabaret Voltaire (using the pseudonym Sweet Exorcist).
	On the _FON_ CD "Peter Gunn" is mixed with "Dragnet".  It 
gets really campy and exaggerated using vintage Art Of Noise echoes 
and backbeat as it lumbers along.  This Mark Gamble mix of "Peter 
Gunn" is as right-on representation of the original track, as his 
mix of "Yebo" is abstract. With its ominous beginning, and its 
blend of African chants with mechanized beats, there is not much 
of the original to be heard in this mix, which runs just short of 
two minutes.  "The Art of Slow Love" is brilliantly re-done by Youth 
starting off a bit like Primal Scream's "Loaded" easing into a long, 
slow, sexy groove. Samples of "Moments In Love" are sprinkled 
throughout the track, seemingly reminiscing about the original AON 
track.
	_The Drum and Bass Collection_ tackles many of the same 
songs, but with a more textured approach.  This collection features 
mixes from ILS, Flyright, Lemon D (from Metalhedz) and Lightfoot 
among others.  I was not readily familiar with the work of these 
mixers, as many Americans will not be, but their work on this CD 
speaks volumes.
	Flyright tackles "Peter Gunn" in a way that is diametrically 
opposed to Gamble's (from FON).  Completely unrecognizable as "Peter
Gunn", this track speeds along at a breakneck pace.  There is no 
exact pattern or reason to this mix of the track, but that is what 
grabs your attention, and keeps it to the end.  The bassy meandering 
of Lightfoot's almost-six-minute version of "Yebo" makes its 
numerous tempo changes with low-key grace.  The levity with which 
ILS attacks "The Art of Love" is not at all like Youth's 'Slow' 
version.  It owes more to break-beat in the beginning, and its tempo 
changes plateau at an ambient groove.
	The Art Of Noise has contributed a great deal to the music we
all listen to.  Getting your music from the very source of this genre 
will show you how it has developed over the years, and will allow 
you to pick out samples from this often credited group.  Using the 
old AON albums as reference points and comparing the mixes is as 
enlightening as listening gets.
---
	REVIEW: Various Artists, _The Smiths Is Dead_
		- Bob Gajarsky
	Outside of R.E.M. and U2, the Smiths are the best-known band
around the globe from the "alternative" branch of the 80s.
And no one can bring his fans to tears of joy and adulation
as quickly as Morrissey.  Therefore, with millions of worldwide
fans of the Smiths, it would seem natural that these people would
be the perfect target audience for a tribute album of 1986s _The
Queen Is Dead_, aptly titled _The Smiths Is Dead_.
	Think again.
	The liberties taken on _The Smiths Is Dead_ by many
of the individual bands are quite different from the original
Morrissey/Marr compositions - and in the process, will likely
anger devoted Smiths fans who long for music which stays
true to the originals.  
	The ten song compilation (which follows in identical
order to the 1986 classic) leads off with The Boo Radleys version
of "The Queen Is Dead".  The "Wake Up Boo" band completely ignores
their leanings towards the 60s pop sound and while omitting the
"Take Me Back To Dear Old Blighty" intro from the Smiths, does
their best impression of Portishead's "Sour Times".
	Slowing down Marr's instrumentation is a tactic utilized 
several times throughout the songs.  The Divine Comedy sound like 
Crash Test Dummies on their walk through "There Is A Light", 
and the High Llamas do their best psychedelic Beach Boys on
"Frankly Mr. Shankly".  The Trash Can Sinatras unfortunately lack
the passion which drove "I Know It's Over" - and, of course, 
Billy Bragg couldn't slow "Never Had No One Ever" down
much more than the original, and it's interesting to hear Bragg's
accent replacing Morrissey's.
	Don't get the idea that the entire compilation is a walk
in the park.  Supergrass come off as a super-cool garage punk band (!),
wailing away on the drums for "Some Girls Are Bigger Than Others",
and Placebo do Morrissey's sneers justice in "Bigmouth Strikes Again".
Therapy? toss in some slightly different guitars on "Vicar In A
Tutu", and press darlings Frank & Walters and Bis contribute on
"Cemetry Gates" and "Boy With The Thorn In His Side", respectively.
	This was originally issued through France's Les Inrocktuples
magazine, and has since found its way to import racks in the states
and many areas of Europe.  Music industry insiders looking for a
change of pace from the daily grind have fallen in love with
this compilation, and those fans of the current British alternative
scene will likely want to purchase a copy as well.  However, 
_The Smiths Is Dead_ should come with a warning sticker: "Not for
the Morrissey worshipper."
---
	REVIEW: Bjork, _Telegram_ (Elektra)
		- Eric Hsu
	A few years ago this would have been called "a bunch 
of remixes." But now remixing for the dance floor has become 
recognized enough as an art that this can be hyped as "radical 
reinterpretations" of songs from Bjork's last album _Post_ (get 
it? Telegram... Post). That's a pretty fair description: 
basically, the record is a bunch of covers of _Post_ songs for 
which Bjork was kind enough to show up and sing vocals.
	Some of the more extreme remakes include the ever-dabbling-
in-rock Brodsky Quartet (remember their string quartet version of 
"Purple Haze"?) who do a chamber music version of the lovely 
"Hyperballad", and Outcast who do a grindingly techno version of 
"Enjoy". Dobie has thrown in a reggae dub into the middle of a 
loping "I Miss You".
	Evelyn Glennie and Bjork have collaborated on a charming 
percussive new song called "My Spine", which is mostly charming 
for the novelty of the percussion (exhaust pipes) and Bjork's 
spontaneous enthusiasm. Among the other remixers are Mark Bell 
from LFO, Eumir Deodato, Graham Massey, Dillinja, and Finnish 
techno band Metri. Dillinja revs up "Cover Me" with a big drum 
and bass sound that takes the original hanuting piano line and 
makes it really catchy.
	In the end I find the remixes interesting, but uniformly 
inferior to the original mixes. When I listen to the artistic 
choices made on this record, it gives me a renewed appreciation 
for the skill and tastefulness exercised on the magnificant 
_Post_. Bjork comments, "_Post_ has a lot of different emotional 
angles on it... I flirt with this idea, but on _Telegram_ I gave 
myself liberties to go all the way with that."  And it's true. I 
think these remixes are best heard as remixes and not as an intro 
to either Bjork or these songs.  In stretching for emotional 
extremes the songs on _Telegram_ often become one-dimensional.
The net effect of listening to this record was to make me go back 
and listen to _Post_.
	My recommendation: listen to _Post_. If you think it's 
awesome and/or like any of the remix artists mentioned above, 
listen to _Telegram_ in a store. But psychologically, treat this 
as an album of B-sides.
---
	REVIEW: Big Head Todd and the Monsters, _Beautiful World_ (Revolution)
		- Simon Speichert
	As of now, I cast my vote for Todd Park Mohr as songwriter of the
year. The way Todd writes simple pop songs for a three piece band, they
sound like symphonies.  There's a certain ambience to Big Head Todd and the
Monsters' songs in that they just seem to fit the mood perfectly.
	All the songs on _Beautiful World_, BHTM's fifth album, were
written by Todd, with the exception of "Boom Boom" which was written by
blues legend John Lee Hooker, who contributes guest vocals on the song. The
album, produced by Jerry Harrison (Crash Test Dummies, Live, Neurotic
Outsiders), is comprised of 12 songs. Some of the more outstanding songs
on the album are first single "Resignation Superman", "Tower", "Please
Don't Tell Her", and the aforementioned "Boom Boom".
	Big Head Todd and the Monsters are amazingly proficient on their
instruments - what can you expect after over a decade of playing
together? - melding together to create technically perfect songs. Brian
Nevin's drums and Rob Squires' bass, the perfect rhythm section, hold down
the groove, leaving just enough room for Todd's awe-inspiring guitar
playing and singing. Every fan, and even those who aren't, should look up
to Big Head Todd and the Monsters for their ability to function as a
unit.
	It's tough to describe what BHTM sound like. Imagine old rock and
roll, real rock and roll, from the early 50's. Then take that and combine
it with modern rock (not alternative, not metal). Take that mixture and
give it to some technically proficient guys with a lot of soul, who love
to tour. Hey, if you've got that, it's a beautiful world.
---
	REVIEW: Longpigs, _The Sun Is Often Out_ (Mother/Island)
		- Simon West
	Yes, another British guitar/bass/drums quartet - hardly 
an endangered species these days. Sheffield's Longpigs have 
actually been around three years, but only escaped various record 
company problems to release their debut a year or so ago, now 
finally up for a Stateside release.
	It's worth the wait. _The Sun Is Often Out_ is a fine 
debut, mixing jangly guitar hooks and a slightly deeper atmosphere 
than most of Longpigs' peers with an energetic, distinctive vocal 
style that frequently launches into falsetto.
	Slightly over to the rock end of the spectrum, Longpigs 
display enough style and originality to distinguish themselves from 
the pack, from the Radiohead-flavoured pop of "She Said" to the 
opener "Lost Myself", which starts out deceptively slowly, before 
exploding into a power-chord driven chorus. "Far", a recent single, 
is 3-minute pop at its finest, a rhythmic, chantlike verse giving 
way to the catchiest of choruses. "On and On" is a gorgeous mid-tempo 
ballad, unspoiled even by singer Crispin Hunt's occasional tendency 
to sound uncomfortably like one of the Proclaimers. The powerful 
"Jesus Christ" is also excellent. "Jesus Christ / I'm on fire when 
you smile" wails Hunt in a voice that suggests he's actually burning 
at the stake.
	Three years into the British indie rebirth, then, and bands 
like Longpigs are showing that there's still talent waiting to
surface. Success in the UK could well carry over to the States with 
a little airplay - Longpigs, like Kula Shaker, have more of an 
'international' accent than Blur, Pulp, et. al, and (Oasis excepted) 
this seems to be translating to more success in the States than the 
more obviously 'English' sound of yer Casts and Bluetones. _The Sun 
Is Often Out_ is never astonishing, but it's a fine record, the best 
parts of which suggest real potential for greatness. Not quite 
Premier League then, but solid First Division stuff.
---
	REVIEW: Greg Kihn, _Horrorshow_ (Clean Cuts/Rounder)
		_The King Biscuit Flower Hour Presents Greg 
		Kihn_ (King Biscuit Records)
		- Daniel Aloi
	The first thing you notice about Greg Kihn live on CD 
is what a masterful power pop songwriter and showman he was. 
But the first two things you notice on either of Greg Kihn's 
mid-1990s solo studio albums is that he's no longer a power pop 
artist, but still a great songwriter.
	In the mid-1980s, Kihn was at the top of his game and the 
height of his success. He had Top 10 hits on the radio, an 
appealing and refreshing image of self-parody in his videos on 
MTV, and album titles that endlessly punned on his name (_Next 
of Kihn_, _Kihntinued_, _Citizen Kihn_, etc.) His name recognition 
at the time was the payoff for more than 10 years of dues-paying, 
from his native Baltimore to his adopted San Francisco bay area 
home, as his cross-country tours saw him graduating from clubs 
and college venues to arenas.
	Kihn's strengths come to the fore in the King Biscuit 
Flower Hour concert recorded April 22, 1986 in Philadelphia and 
just recently remastered and released from the KBFH archives. 
Numerous surprises await a 1997 listener; let me spoil them for you:
	-> The tour for Kihn's final Beserkley album, _Love and 
Rock and Roll,_ featured a then-unknown lead guitarist named Joe 
Satriani, whose solos lift the show well beyond the arena-rock 
standard and into the stratosphere.
	-> The opening "Another Girl, Another Planet" is a fiery 
pop song that bears striking resemblance to the recent No Doubt 
hit "Spiderwebs." (There goes my chance to sum up this then-and-now 
review with "they don't write 'em like that anymore.")
	-> 10 years later, it's still safe to say Kihn made some of 
the most danceable songs of the post-New Wave era, from "The 
Breakup Song" and "Reunited" to "Jeopardy" and "Little Red Book." 
The latter must have had the audience bobbing like a sea full of 
corks.
	-> Kihn does two Bruce Springsteen songs, the wordy 1972 
rocker "For You" and "Rendezvous," an uptempo love song from 1976, 
never recorded by The Boss and originally covered by Kihn on a 1982 
LP. Performed with power and passion, Kihn makes them his own.
	-> Kihn shows his sense of humor, and acoustic roots, on a 
one-time-only performance of "Imelda Marcos Talking Blues," and 
his rock and roll heart (rivaled only by Springsteen at his 1976-78 
peak) on two rocking bonus tracks, "Happy Man" and "Testify," from 
a 1982 college show in New Jersey.  The liner notes manage to cover 
Kihn's career in a minimum of words, and he is quoted describing 
his approach to rock and roll and songwriting.
	King Biscuit has so far released 12 remixed and remastered 
shows by different artists, at a bargain price of about $12.98 - 
and the Kihn disc is superlative. 
	Like 1994's _Mutiny_ before it, Kihn's latest, _Horror 
Show,_ fits the mold of a solo effort by a mature popsmith who 
once ruled the charts - foregoing commercial aspirations for a 
personal vision, he hews to artistic truth and yields beauty.
	That praise sounds pretty high-minded, I know, especially 
for a guy who's folksy enough to seem to be saying "here's my 
latest bunch of songs, folks, hope you like 'em" - but the artist 
formerly known as "the one who did 'Jeopardy'" is that good at 
what he does. But no more arenas for him - he'd rather play the 
coffeehouse (or take a regrouped Greg Kihn Band back to the clubs).
	Art and literature and history inform Kihn's recent work. 
_Horror Show_ opens with Eric Von Schmidt's "Kay is the Month of 
May," comparing (like a true poet) a woman to a list of famous 
painters.  In "JFK," Kihn tries to make sense of the experience 
he shared with a nation in 1963. The title track equates love
with a monster movie. (And "Vampira" extends the theme in a humorous 
country vein, absolutely no pun intended.) "Noa Noa" continues a 
romance with the sea he previously set out on _Mutiny._
	The album is direct, honest and heartfelt. From the 
evocative, moody original love song "Beam the Light" to a cover 
of the bouncy Cajun two-step "Alligator Man," Kihn kindles a warm 
connection with the listener. The acoustic arrangements (recorded 
with nearly the same cast of Baltimore supporting players used on 
_Mutiny_) amble from contemporary folk to country to rock and back 
again, and the recording is clean and crisp.
	As with his earlier tributes to Springsteen, Kihn continues 
to pay his musical influences back, with covers in context with his 
new songs - this time with a nice version of Ray Davies' classic 
"Waterloo Sunset" and an arrangement of the traditional song 
"Trials, Troubles, Tribulations." (_Mutiny_ also included sea 
shanties and covers of the Rolling Stones, Buddy Holly, the Velvet 
Underground, Bob Dylan and others, along with acoustic Kihn 
originals.)
	First and foremost, though, the man is a writer to be 
trusted - and incidentally, his first novel, also titled "Horror 
Show," has been published by Tor Books concurrent with the album.
---
	REVIEW: Drain S.T.H., _Horror Wrestling_ (Enclave)
		- Linda Scott
	Picture a Swedish band and what comes to mind?  Roxette?  
Ace of Base?
	These pop music bands are popular in Sweden and with MTV 
and its crowd of music watchers.  Drain S.T.H. is a woman's 
quartet from Stockholm, but you won't see them singing 
pseudo-dramas on the box.  Drain is a heavy metal band influenced 
more by Black Sabbath than Abba.  Along with most hard rockers, 
their music and videos aren't getting airplay.  In this alternative 
and rap-controlled state, those that rock hard depend on the clubs 
and music sales for their audiences.  
	_Horror Wrestling_ - the title refers to wrestling with 
problems and horrors of life.  Twelve tracks of dark lyrics 
underscored by throbbing bass and crashing riffs make up this first 
full length Drain album.  Lead vocalist Maria Sjoholm and drummer 
Martina Axen come up with these raw lyrics out of who knows what 
experiences.  Guitarist Falvia Canel blasts the occasional speed 
metal riff and bassist Anna Kjellberg makes the bass pound.  
_Horror Wrestling_ is for metal and hard rock lovers only with its 
harmonies that remind one of Alice in Chains and the distant sounds of 
Sabbath.  Current band favorites are Sepultura and Pantera, and their 
current Type O Negative tour cements their position as pounding 
rockers - not Swedish cotton candy pop.  
	The band came together in 1993, but Axen and Canal have been 
working together for twelve years.  They were quickly signed by MVG 
in 1994 and put out an EP and _Horror Wrestling_ in Europe.  _Horror 
Wrestling_ is now available in the States, and if you live for the 
sharp edge of metal, get a copy.  
---
	REVIEW: Arcanum, _The Spoken Scream_ (2Surreal)
		- Bob Gajarsky
	And everything we once loved came back again...
	Once upon a time, Duran Duran ruled the pop world, and Depeche
Mode and New Order were providing a dancefloor alternative to bad 
remixes of generic pop songs.  The mid 1980s don't quite seem so
long ago with the volumes of _Just Can't Get Enough_, _Flashback
Favorites_ and _Living In Oblivion_.  Rising out of the ashes of
this not-quite-forgotten era comes Marietta, Georgia based Arcanum,
set to kick up the 80s with all new music.
	Think of post-Vince Clarke Depeche Mode, or even Martin Gore's
solo album of covers _Counterfeit, combined with early-mid 80s Duran 
Duran.  As thoughts pass of those hairstyles (and yes, lead singer Shaz
*does* have the floppy-hair and long sideburns), ignore the image
and remember the music.  Catchy synthesizer-driven, pounding (but
not heavy) grooves with vocals which could seemingly drive anyone 
to dance.  The lighter side of Trent Reznor, or even Ministry's
long since-disavowed _With Sympathy_.
	Arcanum captures these images with a flair far greater than
associated with an indie band.  Key tracks on _The Spoken Scream_ include 
"Rhythm Is A Sadist", which would fit in nicely on DM's _People Are 
People_, and "Love Like A Loaded Gun".  "Losing Control" periodically 
threatens to veer off into any number of New Order songs before 
returning to its base roots, and much of the album continues down the 
same path: familiar keyboards and guitar sounds which excite the ear and 
fulfill the longing for a new wave of new wave.
	Curiously enough, some of their more recent work (not available
on the CD), such as "Phantasm" is a driving combination of Nine Inch 
Nails, Enigma and the Prodigy, coupled with Martin Gore's vocals.  
Guitarist/keyboardist Brett Schieber noted that the band is "really
getting into the drum and bass/techno scene coming out of Europe", which
makes it likely that the band's future projects will continue down
that path, without completely abandoning their starting point.   Keep an 
eye out for these guys.
	If the Durannies modern music or Depeche's twists
into more guitar/less keyboard have you yearning for days gone
by, Aracanum might save the day.  And at 70 minutes, _The Spoken
Scream_ packs a lot of bang for the buck.
	For ordering information, contact the band via e-mail at
arcanum@mindspring.com, or check out the band on the web at:
http://www.mindspring.com/~arcanum
---
NEWS:	> Word on the street is that extracts from the new
Depeche Mode album _Ultra_ have already appeared across
the Internet.  Initial reports of the tracks
suggest a return to the mainly electronic style of _Violator_ and 
_Music For The Masses_. The influence of Bomb The Bass' Tim Simenon 
can also be heard throughout the album.  There are eleven tracks,
plus one unlisted instrumental; two songs are sung by Martin Gore,
the remainder by Dave Gahan.  The first single, "Barrel of a Gun",
is the exception rather than the rule; the second single, "It's No Good",
sounds like classic Depeche Mode.  _Ultra_ appears in stores on April 15.
	> To subscribe to the Dread Zeppelin e-mail list, send a message
with the subject of "subscribe" to dreadzep-list-request@eskimo.com
	> London Suede are currently on tour in Japan for a tour
of the Far East.  They have just finished recording B-side for their
fourth U.K. single, "Lazy" - the single will be released on April 14,
six days after the American release of their _Coming Up!_ album.
These tracks, produced by Bruce Lampcov, are the first time the group
has worked with a producer other than Ed Buller.
	> A new record label - a collaboration between Caroline Records,
Virgin UK and Massive Attack - has been formed.  The label, Melankolik,
has already announced several signings, including Horace Andy, Craig
Armstrong and Ariel.
	> Moe. will be on L.A. Live (http://www.lalive.com) on Friday, 
February 28th.
	> The Sand Rubies are performing at South by Southwest
in March, and will be returning to the recording studio soon.
Information on the Sidewinders, Sand Rubies and Rich Hopkins &
the Luminarios can be found at the web site http://www.contingency.com
	> A new site chronicling the Waitresses and their
members is available at http://www.hardcafe.co.uk/waitresses/
---
TOUR DATES:
	Backsliders
Feb. 28 Bethesda, MD Twist & Shout

	Bally Sagoo
Feb. 28 Los Angeles, CA Club Yes

	Better Than Ezra / Jane Jensen
Feb. 27 Orlando, FL Embassy Music Hall
Feb. 28 Jacksonville, FL Milk Bar
Mar. 1 Washington, DC Sheraton Washington
Mar. 2 Ft. Lauderdale, FL Theatre & Club

	Bloodhound Gang
Feb. 28 Carroll Valley, PA HFSKIMO-SnowJob
Mar. 1 Baltimore, MD Fletchers
Mar. 2 Harrisburg, PA Zee's
Mar. 3 Cleveland, OH Grog Shop
Mar. 4 St. Louis, MI Galaxy-KPNT SHow
Mar. 6 Chicago, IL Metro
Mar. 7 Omaha, NE Ranch Bowl
Mar. 8 Lawrence, KS Bottleneck
	
	Camber
Mar. 1 New York, NY Brownie's

	Lisa Cerbone
Feb. 28 Ellicott City, MD The Ellicott Theatre 

	Cordelia's Dad
Feb. 28 Northampton, MA Iron Horse
Mar. 1 Chestertown, MD Andy's

	Shawn Colvin / Freedy Johnston
Feb. 27 New York, NY Beacon
Feb. 28 Boston, MA Orpheum Theater   
Mar. 1 Burlington, VT Flynn Theatre
Mar. 2 Portsmouth, NH Music Hall
Mar. 6 Philadelphia, PA Tower Theatre
Mar. 7-8 Washington, DC 930 Club

	Connells / Odds
Feb. 27 Baltimore, MD Bohagers
Feb. 28 Newark, DE Stone Baloon
Mar. 1 Washington, DC 9:30 Club

	Cordelia's Dad
Feb. 28 Northampton, MA Iron Horse

	Coward
Mar. 2 Baltimore, MD Fletchers
Mar. 3 New York, NY Brownies
Mar. 4 Philadelphia, PA Silk City
Mar. 6 Atlanta, GA The Point (w/Gravel Pit)
Mar. 7 Columbia SC Elbow Room (w/Gravel Pit)
Mar. 8 Jacksonville, FL Milk Bar (w/Gravel Pit)

	Cracker
Feb. 27 Greenville, SC Characters
Feb. 28 Columbia, SC Characters of Columbia
Mar. 1 Charleston, SC The Music Farm

	Cravin' Melon
Feb. 27 Rock Hill, SC Silver Dollar
Feb. 28 Sylva, NC Baily's
Mar. 1 Augusta, GA Red Lion

	Donovan
Mar. 3 New York, NY Symphony Space
Mar. 6 Washington, DC Birchmere
Mar. 8 Philadelphia, PA Theatre of Living Arts

	Jason Falkner / Silos
Mar. 3 Los Angeles, CA House of Blues

	Mary Ann Farley
Feb. 28 New Brunswick, NJ Rutgers University
Mar. 8 Brooklyn, NY Fall Cafe

	Goldfinger / Reel Big Fish
Feb. 27-28 Fullerton, CA Back Alley

	Dave Hawkins
Feb. 28 Columbus, OH Key Largo Coffee Co. 

	Hazies
Mar. 1 Lubbock, TX 19th Street Warehouse 
Mar. 2 Amarillo, TX Blue Iguana 
Mar. 5 South Padre, TX Charlie's Paradise 
Mar. 6 Austin, TX Steamboat 
Mar. 7 Houston, TX Cardie's 
Mar. 8 San Antonio, TX White Rabbit 

	Humble Gods
Feb. 28 San Diego, CA The Showcase (with Incubus)

	Humpers
Feb. 28 Phoenix, AZ Hollywood Alley 
Mar. 1 Salt Lake City, UT Bar & Grill 
Mar. 3 Denver, CO 15th Street Tavern 
Mar. 4 Lawrence, KS Bottleneck 
Mar. 5 St. Louis, MO Hi-Pointe 
Mar. 6 Atlanta, GA Dottie's 
Mar. 7 Chapel Hill, NC Lizard & Snake
Mar. 8 Jacksonville, FL Milk Bar 
Mar. 9 Tampa, FL Tarantula Records 

	Irving Plaza (New York Concert Hall - http://www.irvingplaza.com)
Feb. 28 Max Creek / Vertical Horizon
Mar. 1 Lunachicks / Yuppecide / Sleepasauraus
Mar. 6 Local H / Failure / Ednaswap
Mar. 7 Laibach
Mar. 8 Commitments

	Joykiller
Feb. 27 Dallas, TX Galaxy

	Local H / Failure
Feb. 28 Washington, DC 930 Club
Mar. 1 Old Bridge, NJ Birch Hall

	Luciano
Feb. 27 Springfield, MA Mikaras
Feb. 28-Mar. 1 Brooklyn, NY Brooklyn Academy of Music
Mar. 2 Dorchester, MA Russell Auditorium
Mar. 7 Newark, NJ Club Eclipse
Mar. 8 Washington, DC Capitol Ballroom

	Metallica / Corrosion of Conformity
Feb. 28 Uniondale, NY Nassau Coliseum
Mar. 1 Worcester, MA Centrum
Mar. 2 University Park, PA Bryce Jordan Center/Penn State
Mar. 4-5 Boston, MA Fleet Center
Mar. 7-8 Philadelphia, PA Corestates

	Moe./Sweet Vine
Feb. 28 Los Angeles, CA Troubadour
Mar. 5 Eugene, OR The Wild Duck
Mar. 6 Portland, OR Berbatis Pan
Mar. 7 Seattle, WA The Backstage
Mar. 8 Vancouver, BC Town Pump

	Nancy Boy
Mar. 6-7 Newcastle, UK Newcastle Arena

	New Bomb Turks
Feb 28 Tampa, FL State Theatre
Mar. 1 Miami, FL Cheers
Mar. 2 Melbourne, FL Metro Cafe
Mar. 3 Orlando, FL Sapphire Club
Mar. 6 Jacksonville, FL Moto Lounge
Mar. 7 Atlanta, GA The Point
Mar. 8 Athens, GA Atomic Music Hall

	Odds
Mar 3-4 Ottawa, ON Barrymores
Mar. 5 Montreal, QC CabaretMusic Hall
Mar. 6 Toronto, ON Phoenix Concert Theatre
Mar. 7 St. Catharines, ON Front 54
Mar. 8 Waterloo, ON Federation Hall U of Waterloo

	Pen Pal
Mar. 3 Little Rock, AR Vino's
Mar. 4 Lawrence, KS Replay Lounge
Mar. 7 Rolla, MO Open Hand
Mar. 8 St. Louis, MO Hi-Pointe 

	Plexi
Feb. 27 Cambridge, MA T.T.'s
Feb. 28 Washington, DC Black Cat
Mar. 2 Baltimore, MD Memory Lane
Mar. 3 Charleston, WV Empty Glass
Mar. 4 Chapel Hill, NC Lizard and Snake
Mar. 6 Birmingham AL The Nick
Mar. 7 Savannah, GA Bay Street Bar

	Professor & Maryann
Mar. 6 New York, NY Arlene Grocery

	Rasputina / Cranes
Mar. 7 Atlanta, GA Masquerade

	Samples / Stir
Feb. 27 Atlanta, GA Variety
Feb. 28 Tuscaloosa, AL Varsity
Mar. 1 Winston-Salem, NC Ziggy's
Mar. 4 Columbia, SC Elbow Room
Mar. 5 Charleston, SC Music Farm
Mar. 6 Chapel Hill, NC Cat's Cradle
Mar. 7 Nashville, TN 328 Performance Hall
Mar. 8 Athens, GA Georgia Theatre

	 San Francisco Noise Pop Festival
Feb. 27 - Bimbo's - Archers of Loaf, Engine 88, Knapsack, Spoon, Peppercorn
Feb. 28 - Chameleon Club - Trackstar, Papas Fritas, The Moons, Death Star
Feb. 28 - Bottom of the Hill - Fastbacks, Hazel, Model Rockets, Foster Brooks
Mar. 1 - Bottom of the Hill (noon) - Fluf, Peechees, Decal, Frogpond
Mar. 1 - Bottom of the Hill (9 pm) - Meices, Bracket, Action Slacks, Limp
Mar. 2 - Kilowatt (early) - Snowmen, Creeper Lagoon, Retriever, Crash & 
   Brittany
Mar. 2 - Kilowatt (9 pm) - Overwhelming Colorfast, Chixdiggit, Carlos, 
   Me First, Go Pound Salt

	Sebadoh
Feb. 27 Pittsburgh, PA Graffiti
Mar. 2-3 Boston, MA Paradise

	Sick of It All
Feb. 28 Washington, DC Capitol Ballroom
Mar. 1 Richmond, VA Twisters
Mar. 2 Atlanta, GA The Point
Mar. 3 Jacksonville, FL Motto Lounge
Mar. 6 St. Pete, FL State Theatre
Mar. 7 New Orleans, LA Fauborg Center
Mar. 8 Houston, TX Emo's

	Sissy Bar
Mar. 3 West Hollywood, CA  Viper Room

	Sister Hazel
Feb. 28 Tallahassee, FL Floyd's
Mar. 1 Gainesville, FL Florida Theater
Mar. 6 Orlando, FL The Sapphire
Mar. 7 Ft. Myers, FL The Indigo
Mar. 8 Tampa, FL Frankie's Patio

	Sno-Core (incl. face to Face, Pharcyde, Voodoo Glow Skulls)
Feb. 28 Denver, CO Ogden
Mar. 1 Salt Lake City,UT Fairgrounds
Mar. 3 San Francisco,CA Warfield Theater
Mar. 4 Las Vegas,NV The Joint

	Space
Feb. 28 Seattle, WA Moe
Mar. 1 Vancouver, BC Starfish Room
Mar. 5 Los Angeles, CA The Roxy
Mar. 8 San Francisco, CA The Concourse

	Sterling
Mar. 2 Asbury Park, NJ Saint

	Tool / Melvins
Feb. 27 Asbury Park, NJ Convention Center
Feb. 28 Fitchburg, NY Wallace Civic Center
Mar. 1 Poughkeepsie, NY Mid Hudson Civic Center
Mar. 3 Dayton, OH Flara Arena
Mar. 4 Kalamazoo, MI Wings Stadium
Mar. 5 Omaha, NE Mancoso Convention Center
Mar. 7 Springfield, MO Shrine Mosque
Mar. 8 Austin, TX Music Hall

	Type O Negative / Sister Machine Gun / Drain S.T.H.
Feb. 27 Wichita, KS Cottilion
Feb. 28 Tulsa, OK Cain's Ballroom 
Mar. 1 Springfield, MO JukeJoint 
Mar. 2 Indianapolis, IN Emerson Theater
Mar. 3 Milwaukee, WI Rave
Mar. 4 Cincinnati, OH Sudsy Malmes
Mar. 5 Detroit, MI Shelter

	Urchins
Mar. 1 New Brunswick, NJ Budapest Cocktail Lounge

	The Urge
Mar. 1 St. Louis, MO American Theatre
Mar. 5 Cincinnati, OH Annie's
Mar. 6 Detroit, MI Shelter
Mar. 7 Toledo, OH Club 2000
Mar. 8 Madison, WI Wisconsin Memorial Hall

	Volebeats
Mar. 1 Detroit, MI Magicstik
Mar. 6 Chicago, IL Schuba's
Mar. 7 Cleveland, OH Grog Shop
---
Founded in August, 1993, Consumable Online is the oldest continuous
collaborative music publication on the Internet.
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