>From GORDONKA@ctrvax.vanderbilt.edu Fri Aug 13 21:14:26 1993 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Volume 1, Number 4 ELECTRONIC R.A.D! August 1st, 1993 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ R.A.D!, "Review And Discussion of Rock & Roll" and ELECTRONIC R.A.D!, it's on-line counterpart, are published monthly, on the first of every month except for February and June, and are copyright 1993 by Keith A. Gordon & CONSPIRACY M.E.D.I.A. Reprinting is okay, just be sure to send us a copy. ELECTRONIC R.A.D! is posted every month in the Usenet newsgroups alt.zines and alt.music.alternative. Back issues are available by anonymous FTP to uglymouse.css.itd.umich.edu in the /pug/Zines/RAD directory. Your comments are welcome, as are editorial contributions of reviews, opinion & such. Direct all mail to 826 Old Charlotte Pike East, Franklin, TN 37064 or via the net to: GordonKA@CtrVax.Vanderbilt.Edu, subject R.A.D! Sorry, but we are unable to offer on-line subscriptions at this time. CONSPIRACY M.E.D.I.A is a no-profit anarchist collective involved in the creation of mixed-media. ========================================================================== CONTENTS OF THIS ISSUE: File 1: ROCK & ROLL READING, PART 2 (Article/Reviews) File 2: MUSICAL ALCHEMY: VOIVOD (Interview) File 3: SCATTERLINGS (Rock & Roll news) File 4: NEW CD RELEASES FOR AUGUST (Info) File 5: KOOL KUTS (Record Reviews) File 6: SHORT CUTS (Mini Record Reviews) File 7: LETTER FROM OUR READERS (Comments) CD RELEASES REVIEWED THIS MONTH INCLUDE OZRIC TENTACLES, JAMES HALL, BILLY IDOL, THE MIGHTY MIGHTY BOSSTONES, MICHELLE MALONE, PLEASURE BARONS, VOIVOD, FLAT DUO JETS, THE GRAPES, DAVID RICE, MURRAY ATTAWAY & MORE! ========================================================================== File 1: ROCK & ROLL READING, PART 2: FANZINES A couple of months ago, in the first installment of Rock & Roll Reading, we reviewed the best (and worst) of the commercial music magazines...and what a sorry lot they are. You can't read RAYGUN, ROLLING STONE is showing signs of senility and the metal mags, well...that leaves pretty much just CREEM and SPIN, and even they often fall short of the mark from time to time. All is not lost, however, music lover...for there's always another choice to be made...if not in our land, then in another. The small press is alive and thriving here in the land o' plenty, providing the inquiring mind with a diverse selection of underground and alternative music fanzines to choose from. With stores like Tower and others popping up in every city, carrying music mags from around the world, the interested reader can check out the scenes in England, Germany, Australia and even Singapore. Which is what this second part to Rock & Roll Reading is all about. With this issue we'll rate the better-known and easiest to find music 'zines as well as a few of the imported variety. Each mag is rated in five categories, with varying scales of importance. Out of a possible score of 100, each category is broken down as follows: Editorial Diversity, up to 25 points; Editorial Substance, up to 25 points; Style, 20 points; Relevance, 10 points, and Value, 20 points. An extra "Hipness" bonus of up to 10 points could be awarded to publications carrying that certain something which makes them "de rigeur" among the elite crowd... SCORE TABLE: 90 to 100 points: A great Rock mag, always worth getting. 80 to 89 points: Flawed in some way, but better good than bad. 70 to 79 points: Heavily flawed, but good for an issue now & then. 60 to 69 points: Truly mediocre, feeble & pretty much useless. 50 to 59 points: For the illiterate or intoxicated only... Below 50 points: Not even good to line a bird's cage with... (Due to an error in the first part of this feature, an incomplete score table was presented. Our thanks to the many observant readers who sent various missives, Email and letter bombs to inform us of this fact. The mailroom boy will be out of the hospital in September...) ------------------------------------------------------ YOUR FLESH (# 27 -- $3.95 from P.O. Box 583264, Minneapolis, MN 55458-3264) This is a extra-big issue of this hard-core 'zine with a bad attitude, and from the pseudo-porno cover to the final closing ads 144 pages later, it's chockful of good reading. Interviews with The Genitorturers, the infamous Monte Cazazza, Keiji Haino of Fushitsusha and the Sun City Girls are complemented by articles on artist Tristan Tzara, the Ramones and the Orb, as well as lots of reviews of disc, video, etc and a handful of columns. Lots of ads, but they're of the indie variety and look pretty cool. Layout shows inspired use of black & white graphics and photos and the whole thing is quite readable. DIVERSITY: 18 points, SUBSTANCE: 20 points, STYLE: 15 points, RELEVANCE: 8 points, VALUE: 19 points, ("Hipness" Bonus: 8 points). TOTAL: 88 ------------------------------------------------------ FLIPSIDE (# 84 May/June 1993 -- $2.50 from P.O. Box 60790, Pasadena, CA 91116) A staple in the R.A.D! office, FLIPSIDE offers a consistent window to the subterranean world of indie music, providing essential coverage with more diversity than one might expect from a "hard-core" music zine. This recent issues offers poetry, zine reviews and an extensive letters sections alongside pieces on Cell, Legal Weapon, Bad Manners' Buster Bloodvessel, Superchunk and Ween, among others. Live show reviews, scene reports and a slew of CD and tape reviews round out a good issue. (This issue also had a 7" flexi-disc by Cell inserted!). Punkature-styled layout gets a bit droll at times, and the ink comes off on your fingers a lot, but well worth its reasonable cover price. DIVERSITY: 23 points, SUBSTANCE: 23 points, STYLE: 12 points, RELEVANCE: 8 points, VALUE: 20 points, ("Hipness" Bonus: 7 points). TOTAL: 93 ------------------------------------------------------ ALTERNATIVE PRESS (# 61 / August 1993 --$3.50 from 6516 Detroit Avenue, Suite 5, Cleveland, OH 44102-3018) The Muffs, Smashing Pumpkins, Pitchblende, Dillon Fence, the Reverend Horton Heat, Ethyl Meatplow, Kramer, Tesco Vee and Mercury Rev are the stars here in A.P.'s mix of major label and indie "alternative" artists. Some of the articles are quite offbeat and creative, and the requisite reviews are well-written, offering a diverse selection of music. The layout is clean, though boring, with ads seemingly crammed in wherever they happen to fit. A great singles review section notches a few extra points. Overall, a fine effort from one of the longest running of the "new music" styled zines. DIVERSITY: 20 points, SUBSTANCE: 22 points, STYLE: 10 points, RELEVANCE: 6 points, VALUE: 16 points, ("Hipness" Bonus: 6 points). TOTAL: 80 points ------------------------------------------------------ BOSTON ROCK (#131 April 1993 -- $2 from Box 371, New Town Branch, Boston, MA 02258) Long-time regional favorite seems to have met with some national success with widespread distribution these past few years. If you believe, as I do, that the tabloid format was made for Rock & Roll zines (remember the old ROLLING STONE, or CRAWDADDY?), then check out BOSTON ROCK! This issue features "artist profiles" of Inspiral Carpets, Jesus Jones, the Wallflowers, Antenna, the Jayhawks, Gang of Four and Jude Cole as well as longer pieces on fIREHOSE, Pigface and Ultra Vivid Scene. Nobody balances indie and major label coverage better, and nobody crams more into an issue than BR, regardless of its seemingly small size. Local music coverage from Beantown provides regional flavor and the usual reviews of music, film and singles are typically well done. DIVERSITY: 24 points, SUBSTANCE: 23 points, STYLE: 12 points, RELEVANCE: 10 points, VALUE: 20 points, ("Hipness" Bonus: 8 points). TOTAL: 97 ------------------------------------------------------ OPTION (# 51 July / August 1993 -- $3.50 from 2345 Westwood Blvd, #2, Los Angeles, CA 90064) This is the slickest, most widely distributed of the music 'zines presented here, almost on the level with the major league publications we reviewed two months ago. OPTION's stubborn refusal to sell-out to gain a national audience and their dogged persistence in providing balanced and diverse musical coverage place them here though, making them the "best buy" among these alternative music mags. # 51, typical of each bi-monthly issue, slaps the mighty George Clinton on the cover with an in-depth article on the "Godfather of Funk." Pieces on Screaming Trees, Front 242, U-Roy and jazz-man William Hookers provide lots of heavy reading material, while an insightful piece on the work of several "Desolation Angels" like Exene, Pleasant Gehman and other female artists is an unexpected bonus. Always well-written; get it! DIVERSITY: 25 points, SUBSTANCE: 25 points, STYLE: 16 points, RELEVANCE: 8 points, VALUE: 18 points, ("Hipness" Bonus: 8 points). TOTAL: 100 ------------------------------------------------------ CMJ NEW MUSIC MONTHLY (July 1993 -- $4.99) >From the folks who have published the influential College Music Journal for the past decade, a stab at newsstand-distributed music mag. C.M.J. has helped chronicle and define "alternative" Rock from its inception and, from the appearance of this first issue of CMJ NEW MUSIC MONTHLY, will continue covering the subject with style and quality. This issue is like a cross between its sister trade-paper and a slick, commercial music zine, with columns on different musical styles (Rap, Dance, Metal, etc) and lots of reviews of new product. A little light on features (Primus and Tsunami being the biggies this ish), maybe they'll expand as time goes by. Seemingly a little steep at $4.99, it's well worth the cover price for the CD of new music that is included with each issue (This issue's disc includes a well thought out mix of indie and major stuff, with Idaho, Verve, Matthew Sweet, Rocket From The Crypt and 14 others...). DIVERSITY: 20 points, SUBSTANCE: 18 points, STYLE: 16 points, RELEVANCE: 8 points, VALUE: 20 points, ("Hipness" Bonus: 8 points). TOTAL: 90 ------------------------------------------------------ FILE 13 (# 14 Spring 1993 -- $2.50 from Box 175, Concord, MA 01742) Editor Mark Lo does a great job of putting together one of the best all- around music zines that I've run across. His opening editorials are always insightful and highly personal, a trait many zines could stand to emulate. FILE 13's musical coverage is widespread, with a review section which covers everything and anything. This issue, Mark's fourteenth, features interviews with Gruntruck's Ben McMillan and New Zealand's Bats, columns on Rap and Techno, Mason Jones' continuing tour diary of Japan, the usual in-depth record reviews and more. No trends, no slick paper, no fancy graphics, just real people writing about music. DIVERSITY: 22 points, SUBSTANCE: 23 points, STYLE: 12 points, RELEVANCE: 8 points, VALUE: 16 points, ("Hipness" Bonus: 5 points). TOTAL: 86 ------------------------------------------------------ MAXIMUM ROCK N' ROLL ($3 from POB 460760, San Fran., CA 94146) What can I say about the grandfather of all music zines? Punk style and attitude, great reader feedback via letters section, reviews of everything and essential coverage of punk, thrash and metal. If you're into it, this is it! DIVERSITY: 15 points, SUBSTANCE: 25 points, STYLE: 15 points, RELEVANCE: 10 points, VALUE: 18 points, ("Hipness" Bonus: 6 points). TOTAL: 89 ------------------------------------------------------ INDUSTRIAL NATION (#7 Spring 1993 -- $3 from 114 1/2 E. College Street, Iowa City, IA 52240-4005) >From the heartland of America comes the best coverage of industrial and related genres that you'll find, bar none. This issue offers features on BIgod 20, the Electric Hellfire Club and Consolidated, reviews of music, comics and lots more. DIVERSITY: 15 points, SUBSTANCE: 25 points, STYLE: 20 points, RELEVANCE: 10 points, VALUE: 15 points, ("Hipness" Bonus: 8 points). TOTAL: 93 ========================================================================== File 2: VOIVOD: MUSICAL ALCHEMY The Canadian band Voivod have built a large cult following during the past decade, appealing to Rockers of all stripes with their unique hybrid of heavy metal, punk thrash and seventies-styled progressive rock. The bands long-standing lyrical fascination with science fiction themes have made them cyberpunk favorites and have placed them at the forefront of that growing cultural trend. With a jump to a major label, MCA, and a new album -- _The Outer Limits_ -- Voivod seem poised on the brink of success. R.A.D! caught up with Voivod drummer and lyricist Michel Langevin in Montreal after the bands return from a brief European tour and asked him a few questions. -------------------------------------- Keith A. Gordon KG: Why dont you tell us a little about _The Outer Limits_? ML: The new album, I would say, is a mixture of the last three -- the conceptual side of _Dimension Hatross_, the haziness of _Nothingface_ and the catchiness of _Angel Rat_. We put a touch of the future, but also a touch of the past. We wanted an old-fashioned side to this album, like old sci fi, like pulp magazines, old fifties movies and sixties TV shows like The Twilight Zone or Outer Limits. Its the future for Voivod, because we want to experiment more in that direction. We always wanted to do the soundtrack for a sci fi movie and we never had the offer, so we wanted this album to have the feeling of a score for a movie. KG: What is it about science fiction that is so fascinating? ML : Were living right through it. I read Omni Magazine and Discover and Mondo 2000 and Im always amazed that Im living, that I have the chance to be here in the nineties and hopefully Ill get to see the big counter turn in the year 2000. With virtual reality and chaos theory, its totally amazing...every year theres a revolution in science, and we try to think about that. We try to write short stories that are science fiction oriented in order to express a point of view. Its like sci fi folk tales that reflect our times. KG: Who are your favorite authors? ML: It would be William Burroughs and Phillip K. Dick...but also a guy from Poland named Bruno Schultz, which is a bit like Kafka, but not as cold, more poetic. Kafka is also one of my favorites. I really got into William Gibson after we released _Dimension Hatross_. We did a tour in the United States and a lot of people were telling me that it was similar to _Neuromancer_, the concept of Dimension Hatross. So I picked up that book and was totally amazed. I really got into cyberpunk like _Blade Runner_ and _Neuromancer_ and think that the forefathers of cyberpunk were Gibson and Phillip K. Dick. KG: It seems like cyberpunk is going to become the next big cultural trend... ML: Yes, definitely. Its funny, because its been around for quite a while, but its sort of taking the government by surprise. Like all these whiz kids, breaking into systems with their modem and computer at home, virtual reality, chaos theory...again, its a revolution, and Im happy to be into it and Im happy that weve been working on it for about 10 years, to promote this side of science. Hopefully, more people are going to be aware of what were doing in 1993 than in the past. Weve been this cult band who have been condemned to be underground, but we want the cult to grow a little bit. We want to become this multi-media band with a screen on stage, and lasers, and virtual reality...but we need financial support for that, so we need to sell a little more albums. KG: Do you modem any? ML: Unfortunately not, because I havent got the time to work on it, because Ive been so involved in Voivod projects. Ive been contacted by groups on the Internet and other informatic systems that want me to modem, so as soon as possible Im going to get one and do that. Im already a couple of years behind. The reason why Ive been contacted by these organizations is that it seems the name that they see the most often on the boards is Voivod. It seems like a lot of computer freaks are into Voivod, but then, its related, so I can understand that. KG: Well, you address a lot of subjects that young computer enthusiasts, myself included, are into: science fiction, the futuristic story lines, the artwork that youve done for your albums, Voivods music...are all elements that mix together and that a lot of people are interested in. ML: Its a reflection of the chaos of our times. I hope that somebody would take the new CD and put it in a time capsule so that an archeologist would find it in a thousand years. It would, to me, at least, reflect the nineties. KG: Thats an interesting idea. Michel, how and why did you begin writing songs? ML: It started after I...I did all these drawings when I was 12 about this mechanical, post-nuclear warrior called the Voivod and I started to write stories about it, and they were based on my dreams. I felt that there was a missing link in my art and I decided to put my concepts to music. So I started to play guitar and drums. When I met the other guys and we decided to form the band, I explained to them that it would be nice to be an art/metal band, with a concept developing from one album to another. What I would do is tell my stories and show my drawings...and weve been doing that for 10 years. After the fifth album, we decided that the Voivod story was...we had talked about everything that we wanted to talk about, so it was the final chapter. The Voivod going back, after many mutations, he was going back into his own head to be happy - a bit like Syd Barrett. After that, we decided to explore new fields, create new creatures and talk about other science. For the future albums, we dont feel like the Voivod is going to come back...he is happy. KG: Theres so many other things to talk about... ML: I get so many scientific magazines and theres so much going on that I cant keep up. Theres so much that we want to talk about, we could be writing material for 100 years! KG: What are the reactions to Voivod from different audiences? ML: Here in Canada, were not as popular as in the United States or in Europe and Japan. What Ive felt in the past is that in Europe, theyre more into the lyrics, and in the U.S., more into the music. Otherwise, the crowds are pretty similar. In Canada, we only really play in Montreal, Toronto and Vancouver. KG: What are Voivods musical influences? ML: My main influence is Van der Graaf Generator, as a drummer, and as a lyricist, Peter Hammill. We also try to put a Motorhead touch in our music. When I was 16, I saw them and decided to form a band. KG: That was the big, influencing moment? ML: In 1981 or 82, they did the "No Sleep til Hammersmith" tour and they came to Montreal. I was living 300 miles north of Montreal and I had to hitch-hike to come, and it totally changed my life. I didnt want to be a nuclear scientist anymore, I wanted to be a musician. KG: Thats a pretty big change in plans, isnt it? ML: Yeah, it is. Actually, I wanted to be an alchemist, so at first I took chemistry and found that it was not similar to alchemy. So, I thought that maybe nuclear physics would be similar, but after hearing that nuclear scientists were building lasers for the Star Wars project, I decided that it would be closer to alchemy if I were to become a musician and artist, mixing elements like visual arts and music to create something new. Were trying to restructure music, and its a big risk, and weve been suffering for that risk for 10 years. Hopefully, '93 will be good for us. ========================================================================== File 3: SCATTERLINGS LOLLAPALOOZA '92 WILL BE ALL BUT a memory by the time you read this, and beyond all of the hype and hoopla, there were some definite points high and low... ARRESTED DEVELOPMENT's energetic and electric performances will probably be remembered as the highlight of the festival, their appearance in every city guaranteed to bring the crowd to their feet dancing. BABES IN TOYLAND were perhaps the most underrated and ignored band during their brief stint with the tour. If their Nashville performance was representative of those in San Francisco, Chicago or Toronto, then they were ill-served by the festival goers. Other notable moments of the two month tour include TIMOTHY LEARY's appearance in "The Forum" as a guest speaker, FISHBONE's Angelo Moore jamming with PRIMUS in Seattle (and dancing out in the crowd during A.D.'s sets in many places during the tour) and UNREST's emergence as second stage favorites. Among the low points of the festival was the air of commercialism which permeated the entire affair. Missing were the politically-oriented booths from the likes of PETA, replaced by trendy merchants pushing trendier trinkets to the lolla-babies (got your Visa card handy?). The media hype surrounding the event reinforced its role as a pseudo- alternative affair. The much-hyped cyber-pit was a yawn, and the major- label status of many of the bands was all too evident, with Sony representing half of the main stages eight bands, the Warner/Elektra/ Asylum family another three. I, for one, would have liked to have seen more of SEBADOH, and why not add someone like PAVEMENT or COME to the main stage, eh? The saddest event occurred during the Nashville Lollapalooza engagement, where, in parallel episodes, first Metro Police made the folks at the Cannabis Action Network booth remove literature and hemp items which they said "promoted drug use." Later, Starwood security made a vendor remove a sticker from his booth which said "Fuck The D.E.A.!" Claiming that such an item was counter to Starwood's "family image," a minor controversy ensued until Starwood gave in and allowed the vendor to sell the sticker, but only if he didn't display it openly on his booth. As a result, a handful of concert-goers bought stickers to give away while one enterprising young man plastered them all over his body. Only in the Bible Belt, folks, only in Nashville... SPEAKING OF THE MUCH TALENTED BABES IN TOYLAND, their recently released six song EP, _Painkillers_, offers some rare and interesting material. Among the disc's cuts is a remake of "He's My Thing," a song from the trio's 1989 _Spanking Machine_ LP on Twin Tone, and "Fontanellette", a 30 minute live recording of an April 1992 performance at New York's CBGB's. Four new songs round out the disc, currently supported by the band's appearances at Lollapalooza and elsewhere. GYROSCOPE RECORDS IS THE NEW ambient music label that was launched by Caroline Records with the July 19th release of BRIAN ENO's _Neroli_ album. Best known for his role as U2's producer and collaborator, Eno's work in the field of ambient music, which began in 1975 and has resulted in half a dozen albums, is unparalleled in its scope and influence. Other scheduled releases from this ground-breaking label include a collaboration between ambient artist ROGER ENO and former Dream Academy member KATE ST. JOHN, instrumental master LARAAJI's _Flow Goes The Universe_ and HAROLD BUDD and DANIEL LENTZ's _Music For 3 Pianos_. Not to be confused with much of the dreck which passes for "New Age" music, ambient instead strives to work within a musical theme and is somewhat more experimental and unpredictable. POLLY JEAN HARVEY IS, PERHAPS, the hottest "alternative" artist on a major label today, and one worthy of the title. Her tortured vocals sing inspired lyrics of sexual desire and frustration, the cacophonic music swirling behind in the mix. Accolades have been heaped upon her recent Island release, _Rid Of Me_ and have won her a spot opening for U2 for a handful of international dates in London, Glasgow, Stockholm and Oslo. CHAOS RECORDS, ALONG WITH THE folks at Columbia, has released the all-star filled soundtrack to the upcoming Mike Myers film, "So I Married An Axe Murderer." Among the acts on the disc are SOUL ASYLUM, SPIN DOCTORS, BIG AUDIO DYNAMITE II and CHRIS WHITLEY. The first single from the film/album is a remake of the Bay City Roller's pop hit "Saturday Night" by NED'S ATOMIC DUSTBIN. THERE'S A BUZZ AROUND BLACK TRAIN JACK and their Roadrunner debut disc, titled _No Reward_. Formed from the ashes of N.Y.C. hardcore-skate heroes Token Entry, the band has built a loyal following with heavy east coast gigging... Also from the folks at Roadrunner, TYPE O NEGATIVE will be releasing their next disc in August. Titled _Bloody Kisses_, the band has completed work on their first video ever, the cut "Black No. 1" from the afore- mentioned disc. The band is also working on a video profile and is also producing a self-directed video for their song "Christian Woman," a nine- minute opus containing adult subject matter. PETER GABRIEL HAS ANNOUNCED plans for the first "WOMAD" tour of the United States this coming September. WOMAD, an acronym for "World Of Music Arts & Dance," was launched by Gabriel some eleven years ago as an attempt to break through musical and artistic barriers by bringing audiences a diverse selection of musical performers. In the past, the all-day festival has offered artists as different and original as REM, the Pogues, Youssou N'Dour, Hugh Masekela, Suzanne Vega and the Bhundu Boys. Over 60 WOMAD festivals in 12 countries have occurred since its founding, featuring artists from 90 different nations. The line-up for WOMAD's American tour carries on in its tradition of diversity and interest. Featured will be New Zealand's pop heroes CROWDED HOUSE, Manchester, England's JAMES, Jamaican Reggae superstars INNER CIRCLE, critically-acclaimed Native American artist JOHN TRUDELL, JAH WOBBLE'S INVADERS OF THE HEART and such Gabriel Real World labelmates as the DRUMMERS OF BURUNDI, SHEILA CHANDRA and Russia's TEREM QUARTET. The initial U.S. appearance of WOMAD will be September 6th at the Saratoga Performing Arts Center and will complete the tour three weeks later with a grand finale in San Francisco's Golden Gate Park. Other locations and ticket information will be announced... (BANDS & LABELS, PLEASE SEND YOUR PRESS RELEASES, RECORDINGS AND OTHER PROMOTIONAL MATERIALS TO: CONSPIRACY M.E.D.I.A, 826 OLD CHARLOTTE PIKE EAST, FRANKLIN, TN. 37064) ========================================================================== File 4: NEW CD RELEASES FOR AUGUST Deborah Harry / DEBRAVATION (Sire) Bad Brains / RISE (Epic) Eric Gales /PICTURE OF A 1,000 FACES (Elektra) My Life With The Thrill Kill Kult / 13 ABOVE THE NIGHT (Interscope) Poor Righteous Teachers / BLACK BUSINESS (Profile) Sylvian & Fripp / THE FIRST DAY (Virgin) Richard Thompson / MIRROR BLUE (Capitol) Cracker / KEROSENE HAT (Virgin) John Mellencamp / HUMAN WHEELS (Mercury) Baby Animals / SHAVED & DANGEROUS (Imago) Black Market Flowers / BIND (Relativity) Armageddon Dildos / HOMICIDAL DOLLS (Sire) Coming In September: ....discs from Meatloaf, Kate Bush, John Hiatt, INXS, Iggy Pop, Rickie Lee Jones, The Breeders & The Cure ========================================================================== File 5: KOOL KUTS Ozric Tentacles / _Strangeitude_ (I.R.S. Records) Ozric Tentacles / _Jurassic Shift_ (I.R.S. Records) It would be safe to say that there's not another band in the world quite like England's Ozric Tentacles. Their albums are lengthy, free-flowing affairs, skillfully blending a world of diverse musical styles, distilling them into a sound as unique as it is oddly familiar. Their songs -- wonderful, mesmerizing, complex compositions of traditional acoustic instrumentation and high-tech electronic wizardry -- bristle with life's energy and beauty. Their live performances are legendary, making them on of the U.K.'s top touring bands, while their many recordings have earned them a great deal of critical acclaim and major league status. They are largely unknown in the United States, however, with a loyal cult following grabbing every import off the shelves as soon as they hit these shores. The band recently signed with I.R.S. Records, who have released not one, but two excellent Ozric Tentacles discs to serve as an introduction to the band and prepare audiences for things to come. _Strangeitude_, the first of the pair, provides the listener with a fabled "journey to the center of your mind." A 45 minute musical sojourn that combines elements of progressive Rock, Middle Eastern and Asian musical influences and synthesized "space rock" more akin to Hawkwind that any new age fops. _Strangeitude_ is a magnificent recording, grand in its conception and adventurous in its reach. _Strangeitude_ presents the Ozrics at their best: free form instrumental compositions that both enchant and entertain the listener. _Jurassic Shift_, recorded in the Ozrics' home studio over the course of several months in late 1992 / early 1993, is much more electronically- oriented than its predecessor and, also, much more esoteric. Amid layers of whirling, dancing guitars and the constantly chirping electronics, the listener will discover a multitude of sounds, both real and imagined. The eight cuts presented on _Jurassic Shift_ are lively and aggressive, plunging the appreciative listener into an age-old world of psychedelica and magick...and this is the trademark handiwork of Ozric Tentacles. These two releases, leading up to the band's first, albeit brief, U.S. tour, will open doors to an entirely unexpected and enjoyable musical experience for the new listener. ------------------------------------------------------ Billy Idol / _Cyberpunk_ (Chrysalis Records) Idol, an MTV pioneer and Punk Rock legend, mined platinum for years with recordings that had become increasingly redundant, relying far too often on a sneer and a growl than on any steady musical concept. Then the consummate punk discovered computers and cyberspace and made what, in my mind, is the inevitable evolution from punk to cyberpunk. The change fits him well, breathing new life into his work, bringing new ideas and energy to his music. Inspired by his trek into the computerized world of electrons and fiber- optic cable, along with his exposure to William Gibson's literary works, _Cyberpunk_ touches upon many of themes that those familiar with the culture have embraced. Lyrically presenting a futuristic world controlled by corporate overlords and populated by cybernetic cowboys, overzealous religious fanatics and a zombie working class held in virtual slavery, _Cyberpunk_, the album, works well as one of the first musical interpretations of cyberpunk culture and idealism, acting as a bookend to other previous works. Musically, the disc offers some of the best that Idol has produced since the days of "White Wedding" or "Dancing With Myself," recapturing the spirit, hunger and fury that fired Idol and led to his previous successes. Lyrically entrancing and musically diverse, _Cyberpunk_ is rhythmic, thought-provoking and often times disturbingly discordant, much like the world being described, the world that we may become. ------------------------------------------------------ ****************************************************** R.A.D! #7 SECRET WORD: OZRIC ****************************************************** ------------------------------------------------------ James Hall / _My Love, Sex And Spirit_ (Daemon Records) The former frontman for Mary My Hope steps out on his own with a solo debut that doesn't stray far from his previous work, building on the dark, gothic feel of Mary My Hope's best material, adding a touch of metal influence, muddying up the mix, making it a bit grungier. Hall is his own man, however, and the crossing of styles fits well. Haunting, esoteric lyrics are obscured by the musical mix-down, Hall's vocals taut and razor-sharp beneath the constant drone of the music. Hall is a denizen of the emotional netherword of Rock & Roll, comfortably at home in the collective psyche of the listeners, peering down poetic avenues reminiscent of Artuad or Rimbaud or Blake at his darkest. _My Love, Sex And Spirit_ grows upon you with each listening, an intricate and fascinating album which bares the soul of the artist while daring the listener to do the same. (Daemon Records, PO Box 1207, Decatur, GA 30031) ------------------------------------------------------ Michelle Malone / _For You Not Them_ (Sister Ruby Records) Like so many before her, Atlanta's Michelle Malone grabbed a major label debut, viewing it as the brass ring of success. The experience, and the lone album that it produced, was most likely an embarrassing, frustrating and disappointing interlude in Malone's career. Shed of the label contract with a sigh of relief (shared by the label, since they sure as hell had no idea what to do with a talent like Malone), Michelle found herself on her own, again... ...and is much better off for it. As she states in the liner notes to _For You Not Them, she stopped writing songs to fit the label's mold and began writing for herself once again. The result is simply invigorating, a disc created out of love and sincerity and passion renewed, recorded for the artist and her audience. _For You Not Them_ showcases the talents that Malone's previous effort only hinted at: a skill for songwriting which evokes great imagery and wordplay, a fine musical sense that isn't afraid to experiment a little at the edges, and a throaty, sensual voice that is capable of both hard rocking in reckless abandon or seducing with a sultry kiss of soulfulness. Malone is a fine performer and a wonderful artist, her skillful employment of Rock, Blues and Soul a joy to behold, indeed. With this wonderful release and a major story in Creem, perhaps Michelle will finally garner the respect and adoration that she so richly deserves. (Sister Ruby Records, 3562 Canadian Way, Tucker, GA 30084) ------------------------------------------------------ Flat Duo Jets / _White Trees_ (Sky Records) The Flat Duo Jets -- the duo of guitarist/vocalist Dexter Romweber and accompanying drummer Crow -- pull off the tightrope walk of balancing fifties Rock influences, hokey Country and soulful sixties R & B, molding it into a modern sound without ever coming across as revisionist. Instead, this dynamic duo capture the feel and energy of those classic sides in creating an homage to that era that is totally and completely irreverent. Sure, they respect the music, but they have fun with it, tossing large chunks of trash culture into the mix on _White Trees_, displaying their lyrical love of B-movies, rhinestone-clad Country music, TV and oldies in their creation of an entertaining, enjoyable disc that always has its tongue planted firmly in cheek. If you want to listen to a disc with the look and feel of the real thing, and an attitude to boot, look up the Flat Duo Jets. (Sky Records, 6400 Atlantic Blvd, Suite 220, Norcross, GA 30071) ------------------------------------------------------ Rod Stewart / _Unplugged...and Seated_ (Warner Bros.) Considering the fact that Stewart has done very little of interest for almost fifteen years now, it should come as no surprise that the best material presented on _Unplugged...and Seated_ should come from his early seventies "golden era." Vintage cuts like "Maggie May," "Every Picture Tells A Story," and "Mandolin Wind" suffer very little from their updating, whereas long-time fave Stewart covers such as Sam Cooke's "Having A Party" or Curtis Mayfield's "People Get Ready" are still thrilling. _Unplugged...and Seated_ proves that despite the fact that Stewart may still have what it takes...the ability to belt out a song with power and passion...he really does it so seldom these days. A shame, considering his immense vocal talents... ------------------------------------------------------ Boy On A Dolphin / _Words Inside_ (Modern Records) Irritating psuedo-jazz with cocktail lounge atmosphere and lofty new age pretensions. I'd almost rather listen to Michael Bolton (almost...). ------------------------------------------------------ David Rice / _Orange Number Eight_ (Justice) Rice is quite a find for the small indie Justice, the folks who brought us the _Strike A Deep Chord_ blues compilation. Rice is an interesting and original songwriter, quite capable of mixing musical styles to match his diverse, thought-provoking lyrics. From the haunting anti-war overtones of "Steep Stairs" to the judgemental "Monument," Rice fills his songs with the mystery of imagery, oblique pictures flitting across the listener's consciousness, the music chaotic, underlining Rice's lilting, breathy vocals. At times confusing, but never dull, _Orange Number Eight_ is an exciting and alternative work from a promising young talent. (Justice Records, P.O. Box 980369, Houston, TX 77098-0369) ------------------------------------------------------ Murray Attaway / _In Thrall_ (DGC) The eighties were a hotbed of Rock & Roll in the Southeast, with dozens of bands gracing a circuit that stretched from Louisville to Jacksonville, and included Nashville, Atlanta and the much vaunted Athens scene. R.E.M. were really the only band to break free of the Southern stigma and hit Top 10 consistently, leaving in their wake artists such as Pylon, The Questionnaires, Love Tractor, Rob Junglas and 37 Targetz, among others. Along with Jason & The Scorchers, Marietta, Georgia's Guadacanal Diary were the best of the breed, sadly destined to cult status and commercial obscurity. Murray Attaway, Guadacanal Diary's vocalist and songwriter, was an integral part of that band's magic. _In Thrall_, his solo debut, shows that he has let none of his skills atrophy. Although the songs here aren't as spectacular as GD's tended to be, they're still as powerful. Complex, intricate musical affairs with lyrics to match, _In Thrall_'s tunes range from the haunting mysticism of "Walpurgis Night" or "Angels In Trees" to the deceptive pop charm of "Fall So Far" or "No Tears Tonight." His engaging voice and intriguing lyrics help make _In Thrall_ a sturdy debut; we can only hope that this time around, Attaway garners some of the success that he so richly deserves. ------------------------------------------------------ The Grapes / _Water To Wine_ (Earwise Records) This one's been out since '91, but after recommendations from several people, I've found that it's quite worthy of attention. This Atlanta outfit, to whom the Allman Brothers would be the most logical comparison, do things their own way, often times going into directions other Blues- based bands fail to seek. _Water To Wine_ offers a healthy mix of, and respect for, the Delta Blues and Southern Funk, rolled into a fine musical blend. Tasty guitar licks and soulful vocals make for an enjoyable debut. (Earwise, 1187 Cleburne Ave, Atlanta, GA 30307) ------------------------------------------------------ The Mighty Mighty Bosstones / _Don't Know How To Party_ (Mercury) For those of you who were under the impression that punk bands couldnt have horn sections, I submit to you the Mighty Mighty Bosstones-- a band you might already know, perhaps, from their Converse All-Stars commercial a few years back, when Converse was first starting to realize the possibilities of marketing the All-Star as slacker chic. Except that the Bosstones arent exactly what you could call a slacker band. Its a cross between hardcore punk and ska (You remember ska, dont you? Kind of a reggae mutation, also known as two-tone: remember General Public or, more to the point, Madness? That was ska.) that leads to the unlikely combination (on the Mercury EP _Ska-Core, the Devil, and More_) of covers of Bob Marley and Minor Threat. It sounds totally twisted on paper, and to tell you the truth, its a totally gonzo sound to listen to, but I mean that in the best possible sense, in the same way that Them mixed blues and pop in the 60s and came up with stuff like "Baby Please Dont Go" and "Gloria." Lets put it this way: I was totally prepared to blow off a movie night that I had set up with some of my closest friends in LA, solely on the basis of having heard that the Bosstones were going to be doing a show with Skankin Pickle. Of course, ethics and friendship kicked in, not to mention the fact that I had already seen them the last time they were in town, just three months before. But really, if you had a choice, which would you rather see, some foreign art film from the 60s, with the usual tired-ass themes about the vacuity of modern existence and modern lives, or a band that plays LOUD, kicks some serious ass, and not only encourages stagediving, but throws the mike into the pit so you can sing along? And whose response to the modern experience is "The more I sort it out, the more it gets distorted/ I sort of think Im better off just leaving it unsorted"? Three minutes and twenty six seconds to reach the same conclusion that takes Fellini over two hours in "8 1/2". Besides which, the Bosstones have the energy to confront the situation. Directed energy, in the way that Minor Threat and Bob Marley had directed energy, where the songs not only rocked, but had solid points to make, talked about shit that was going down and ways that you could deal with it. Definitely the opening track "Our Only Weapon" falls into that category (hell, its an opening salvo), but also listen carefully to "Tin Soldiers" and "Holy Smoke." Even tracks which are more like slices of life ("Illegal Left," "Seven Thirty Seven/Shoe Glue") have a kind of gut-level optimism and motivation about them, as if to present solid advice, and more importantly solid music, to help you get through another day with your soul intact. This is their major label debut, after a couple of albums on Boston indie label TAANG! Records, and while its slicker than some of their earlier work (be sure to track down _More Noise and Other Disturbances_), the raw energy comes out in the playing -- besides, Ive never been one to complain about slick production values. Lead singer Dicky Barrett has a growling, almost snarling voice that cuts through any song like a jagged knife, anyway, and brings home the point that the horns and the guitar have been making all along, which is that the Bosstones came to show you a good time and rock. Seeing as how when a lot of people thing of the theme from "Cops" when they think of reggae these days, reducing it to an accent and a drum-playing style, its important to know that there are bands like the Bosstones that are out there showing that reggae/ska and hardcore punk arent that dissimilar; beneath the stylistic differences, they share a lot of the same anger and joy and sheer energy that you can find in any music that really matters. Ska-core is definitely one of those musics. ......................Review By Jesse Garon ------------------------------------------------------ Voivod / _The Outer Limits_ (MCA) For a decade now, French-Canadian cult outfit Voivod has delved into lyrical themes that other bands have only pretended to. Their unusual hybrid of seventies-styled progressive Rock (Van der Graaf Generator and Soft Machine are among their influences) and punk-aligned metallic thrash predates that of newer industrial bands, while their lyrics -- derived from and inspired by songwriter/drummer Michel Langevin's visionary dreams and intense fascination with science -- have long addressed topics such as environmental destruction or man's relationship with the technology he has created. _The Outer Limits_, their latest CD, carries these themes, and others, further, and promises to become their commercial breakthrough. With _The Outer Limits_, Voivod creates a futuristic musical universe that combines elements of fifties science fiction pulp adventuring with modern-day cyberpunk literature such as William Gibson's essential _Neuromancer_, including bits of chaos theory, TV sci fi and unexplained, strange phenomena in their skillful programming of a magnificent lyrical fractal. Musically, Voivod hang in there as tough as ever, fusing their lyrics and accompanying soundtrack in crafting a complete whole that is part fire and fury, part hauntingly introspective. The work that they've done on _The Outer Limits_ offers a reflection of our many possible futures, setting Voivod up as, perhaps, the most important and influential band of the nineties. ------------------------------------------------------ The Pleasure Barons / _LIVE IN VEGAS_ (Hightone Records) First off, any band that records "The Definitive Tom Jones Medley" is inherently cool. I shouldnt even have to say anything more about the record, really. But I will anyway. The Pleasure Barons features Dave Alvin, Country Dick Montana, and Mojo Nixon, a combination that is guaranteed to rock under any circumstances, but there are two elements in particular that ought to be addressed here. First, theres the covers of 70s songs. Weve all become painfully aware of the 70s revival thats been going on, that they are trying to blame on this whole Gen X / T-something shebang, the kind of thing that leads to Brady reunions (not to mention the greatest hits CD compilation I saw in the store, which features the Brady Kids stirring rendition of "American Pie," and the legendary, previously unreleased recording of a Velvet Underground medley, which features Marsha on "Femme Fatale," Bobby on "Heroin," and the whole group on "All Tomorrows Parties" to finish it off), Flintstones movies, and alternative / pop bands devoting entire albums to Abba covers. A lot of other "alternative" bands have been latching onto the idea of covering 70s pop, usually from a camp perspective, as in most of the songs on the Pravda Records "K-Tel tribute" compilations (_20 Explosive Dynamic Super Smash Hit Explosions_ and _20 More_...), but as with every aspect of the media-constructed version of the 13th generation, its now the next big thing; the 70s cover has become to alternative music what the power ballad was to mid-80s heavy metal. Neds Atomic Dustbin does a remake of the Bay City Rollers "Saturday Night," and even Billy Idol, with his techno remix of "Heroin," jumps the train. Though with all due respect, hed jumped it already with "LA Woman," though both covers seem to be on the same artistic level as any of Michael Boltons covers; the original is perfectly sufficient, and the covering artist is content to ride on the coattails of that original, rather than contribute anything new or meaningful to the song. Of course, UB40 has virtually made a career out of being a lousy cover band, but thats another story, and I do have to get back to the original point, which I can do by mentioning George Lipsitzs book _Time Passages_ (University of Minnesota Press), and its cultural scenario in which popular music, as one aspect of pop culture, is constantly engaged in a dialogic process. That is, the present is always commenting upon and responding to the past, not merely mimicking it. Even Elvis, in the Sun Records studio in the mid-50s, was reacting to the mixture of country, blues and pop in which he spent his formative years immersed. Those earliest singles -- "Thats Alright, Mama," "Blue Moon of Kentucky," etc. -- were all covers that transformed the originals, and made something different from them. In the same way, David Bowies _Pin Ups_ album is a response to the music scene of the late 60s London, Van Morrisons entire career has treated blues and rock standards as simply one facet in the constant process of his personal vision, Nick Caves "Kicking Against the Pricks"... so what about the Pleasure Barons? They do more than a few covers, yes. But they are definitely covers with heart, songs like "Take a Letter, Maria," "Games People Play," and "Amos Moses" that have a kind of 45-rpm purity about them, and which are simultaneously treated with great reverence and savagely undermined. Notice how Country Dicks rant at the end of "Take a Letter, Maria" brings to the surface the chauvinist attitude that was latent in the song from the start. But along with having fun, the band creates a "canon" out of these songs, a tradition of hard-driven, guitar oriented, "rocking tunes" that are both cynical and upbeat at the same time. And that brings me to the second element that makes this album so damn good-- Mojo Nixon, probably the best combination of genuine enthusiasm for the music and cynical commentary upon it. The rants in "Louisiana Lip Lock," "Debbie Gibson is Pregnant," and especially "Elvis is Everywhere" (transformed from the slightly quirky novelty tune which was the single into an angry assault on...well, just about everything) are inspired, creative...its like a Vulcan mind meld of George Carlin and Albert Goldmans vision of Elvis, maybe with some Lenny Bruce thrown in. You put it all together and you have a history (certainly not the history, because the culture will always contain several different histories) of rock encapsulated into one live album that will probably never get the airplay it deserves, but so what? Its out there, and now you know where to find it. ..........................Review by Jesse Garon ========================================================================== File 6: Short Cuts Idaho / _The Palms_ EP (Caroline) Debut EP from the duo of Jeff Martin and John Berry showcases the immense instrumental talents of the two. Offering plenty of sonic dissonance in a dark, almost gothic atmosphere, the four songs presented are certain to tickle your id and provoke a few thoughts. Lyrically somber, brooding and disturbing, _The Palms_ EP is interesting, if limited. Expect more from their coming album. (Caroline Records, 114 W. 26th, 11th Floor, New York, NY 10001) ------------------------------------------------------ Indian Bingo / _Overwrought_ (Rockville) Promising disc from San Francisco quintet shows quite a bit of promise. Featuring Mike Boul's mournful vocals and the twin guitar attack of Phil Carney and Bill Boyle, Indian Bingo hide heavily Smiths-influenced lyrics beneath a veil of sound and anger, but, as they show on songs like "Ice Cooler," they are equally adept at slower, more melodic tunes. Artistic potential is masked by mediocre production and sometimes lackluster material that leaves the listener uninspired; give these guys a few hooks and they'll be a band to watch. (Rockville, 150 W 28th St, Room 510, New York, NY 10001) ------------------------------------------------------ Screwtractor / _Eye_ (Gravel Records / MCA) Six song, 30 minute EP from industrial metal band illustrates mastery of the genre's style and substance, with appropriately howling vocals matched by droning rhythm and screeching banshee guitarwork. Vocals hold few surprises, but show literary promise. The result: interesting but forgettable disc that doesn't strive too hard to rise above the crowd... ------------------------------------------------------ Flesh Eaters / _Crucified Lovers In Woman Hell_ (SST Records) Punk stalwarts Flesh Eaters will never give up the ghost as long as Chris D. fronts the band. This 5 song EP comes hot on the heels of the inclusion of the insightful "Woman Hell" as a flexi-disc in Bruce Craven's recent novel, _Fast Sofa_ and features two versions of that cut as well as the eerie "Crucified Lovers," "If You Want Blood" and a great cover of Fred "Sonic" Smith's "Baby Won't Ya." One of the few true geniuses left in the underground, _Crucified Lovers In Woman Hell_ shows once again that Chris D. is an uncut gem, an artist of considerable skill making music with integrity, passion and a large amount of balls. (SST Records, P.O. Box 1, Lawndale, CA 90260) ========================================================================== ****************************************************** ****************************************************** TAKE VOIVOD TO THE "OUTER LIMITS"!!! To celebrate the release of Voivod's _The Outer Limits_ CD, R.A.D! has finagled a handful of copies of the limited edition version of the disc (with cool 3D artwork!) to give away to our readers. To be fair, the first five electronic readers and the first five hard-copy readers who send their name and address along with the secret word (found in this issue) to either our Email or street address (GordonKA@CtrVax.Vanderbilt.Edu or 826 Old Charlotte Pike East, Franklin, TN 37064) will get one of these great discs free. Good luck! ****************************************************** ****************************************************** ========================================================================== THANX THIS ISSUE go out to Randy Ford, Mary Mancini @ LUCY'S RECORD SHOP, Donnie & the HOUSE O' PAIN gang, Paul Southworth at the University of Michigan archive site, Steve Kares & IRS, the folks at KINKO'S KOPIES, Ron Hogan, Tom Cording @ MCA, Chris Kamatani & THE PRESS NETWORK, Michelle Roche, Pam Cross, Ted Mico @ Shattered, Tower Books, Threk Michaels, the Reverend Maxxima Thule, O23 & Nuit / Brother To Dragons BBS, Dru "j.a." Myers & anyone we may have forgotten! ------------------------------------------------------ Keith A. Gordon / EDITOR & PUBLISHER Tracey L. Dooling / ASSISTANT EDITOR Jesse Garon / CONTRIBUTOR copyright 1993 by Keith A. Gordon & CONSPIRACY M.E.D.I.A >**END OF TRANSMISSION, END OF FILE**<