Record Reviews: July 1996

Gruntruck
Shot-Illusion-New God
Betty Records 

Gruntruck is at it again, this time with their own record label, Betty Records. Shot-Illusion-New God is an EP of 3 songs, thus the title. Each hard-hitting song is brand new and acts as a teaser to a new full-length release later this year. Gruntruck sound great. Time has only been good to these guys and now in 1996 they sound totally fresh and ready for the mid to late 90’s. Jack Endino produced the album so expect good things because when you buy this, you are going to get good things. —RDJ 

Kelly Hogan
The Whistle Only Dogs Can Hear
Long Play Records 

The first thing you need to know about Kelly Hogan, as far as this reviewer is concerned, is that she used to be part of the Jody Grind with Smoke member Bill Taft. Now, Smoke’s CD had already been reviewed by me in an earlier issue as the greatest album that I’d heard so far this year, so her lineage has much to commend it. Now, female singers who speak their lyrics as often as sing them and so off key (or at least around the melody) much of the time is much like being in a room full of naked sweaty people. It’s not so bad at a Crash Worship concert. But in the Deseret gym locker it’s not quite as appetizing. Likewise, Jewel sucks because she doesn’t have one. I say this because someone recommended the album and I have the unfortunate history of having heard the whole thing. Hogan on the other hand approaches her musical style with a sense of humor, allowing everything to be thrown into the mix and come out smelling like roses. Whether it’s a fancy flamenco guitar or a smoky cornet, it’s all welcome to the blend because the discerning Hogan ear knows what to do with it. She reminds me of Liz Phair in that she’s doing what she wants, and although no one song stands out as a catchy single, the whole album just feels cool. Stylistically it owes to jazz and cocktail as much as it owes to anything, musically, and lyrically, and Hogan’s voice is perfectly suited to the neo-Billy Holiday groove going on. This album is like not only having a good beer, but having it in a frosty mug. —Capt. America 

Feedtime
Billy Amrep Records 

Alright, okay, so this record was done last month! Well you people can’t seem to get it through your heads that this record kicks butt. If you did, there would be a lot of these records sitting on the shelf at finer record stores, so hit the eject button on your worn out d.c. player and try sliding something new and different in. Like a monstrous diesel train plowing down the tracks at high speeds on a collision course with a car trapped on the tracks, that’s the kind of pressure and imagery Australia’s Feedtime supplies with their music. Like a mix between Blues, Punk, and boot stomping Rock n’ Roll, the three members of this band know how to pump out heavy pounding music. The vocalist Rick, used his voice in a deep growl that at times on “You Don’t Know My Mind” and “Vigilante Man” reminds me of Lemmy from Motorhead; while on other tracks like “Melody Line” and “Long Haul” it brings to mind some of those old blues records. In fact, like a lot of blues artists, Rick’s guitar work is filled with heavy distorted slide guitar; bringing their blues influence higher in the mix. Some songs start and end quick, with some chords being banged out repetitiously, showing their punk roots. These guys are exactly what you would call music deconstructionists, because of this you should check them out; especially if you crave something exciting and fresh.These guys should aim to please that musical sweet tooth, without the trip to the dentist for a root canal. —Kevlar M 

Doug Savercool
Weird Poetry
Vagrant Records 

Fuck this guy. Just so you know this is an album recorded live at a poetry reading by Doug Savercool. Poetry “reading” is not really the best description of what he’s doing, as he screams his way through the album. He’s basically the angry young man, the Denis Leary, the Dennis Miller, the Sam Kinison. All of those fine men were better at what they did (that is of course why you’ve heard of them and not Doug Savercool). He has a couple of funny things to say: “Go Kill Yourself” is kind of funny, and “The Sweater” is okay, but he screams too much and then starts laughing at himself. A bad sign. And it’s followed by “The Night of the Gargoyle,” which sounds like a poem designed to get into the pants of a Type O Negative fan. I mean really embarrassing stuff. Totally without humor, complete with bad church organ music in the background. Like the Terrorride at Lagoon. Like your teenage nephew taking the spotlight. MAYBE it would be okay live. That’s a big maybe. On disc however, the hour it took me to listen to it I will never get back, and that’s something Doug Savercool cannot be forgiven for. —Capt. America 

Fred Schnieder
Just Fred
Reprise Records 

You may remember Fred Schnieder from The B-52’s. Well kids, those 80’s dance-happy, party-throwing, crazy-cat days are gone…and so are the B-52’s. Just Fred is bleak and dark. Not too much toe-tapping and not too much fun, to tell ya the truth. Just Fred is just plain old…shit. I would much rather have a sing-along chorus and a little bit brighter outlook. Fred yells a lot and it comes off like a faux anger to get his Ya Ya’s out. Save your money, thank me later. —RDJ 

Joy Electric
We Are The Music Makers
Tooth and Nail Records 

No samples, no computers, no drum machines and no real instruments. The entire album is done on the synthesizer, including the drum sounds. God bless the guy. Taking a page from the Tiny Tim guide to hit making, his album and concept seems to come wholly from biblical sources. He calls himself Count Ronald Martin. He’s obviously pretty kooky. Reminiscent of Seth from Shalkopera (or whatever the hell it was called). Being as I am a big fan of the synthesizer life, the wholly created sound, the desire to look modern civilization in the eye and wipe it all away, embracing big brother with both arms and never looking back (musically, we’re speaking musically here), I think it’s great. It’s joyously stupid music. The reason this music has an attraction for me is that it doesn’t even pretend to have a realistic emotional base. The root word for the synthesizer is all important here. It’s totally synthetic. A teflon shrink wrap nylon rayon polyester leisure suit of a musical experience. Like living in a big plastic bubble and floating around candyland. Like living in a video game (not a video game like Mortal Kombat, more like Q-Bert, or Bubble Bobble, or Mappyland (if you remember Mappyland then my hat’s off to you, call into the station and l’ll arrange free passes to the big show). Certainly, certainly certainly not for everyone, but I love it. Even thinking Esquivel and Combustible Edison are the greatest is no guarantee you’ll like this. It;s out there. However, if like me you’re tempted when you run across Greshon Kingsley vinyl priced at $125.00 in Greenwich Village and you’re seriously considering it, then this is a much less pricey if slightly less satisfying alternative. —Capt. America 

Today Is The Day
Amrep Records 

I just have one thing to say to Today Is The Day; Unsane. That’s how these guys are trying to come off as; maybe not intentionally, but they are closely walking the same line. Using distorted vocals, rock meets industrial elements, lyrics about killing, destruction, and nightmare situations are common in Today’s compositions; but being able to put it off as well as the gods of hate rock, Unsane, is not in Today’s ability. I don’t know, I mean they sounded cool; a three piece that uses guitar, drums, and a sample board sparked my interest at first. After listening to the record I was just plain annoyed and bored, some parts of the record keep me focused and amazed. The lyrics are doom and gloom for the sake of shock value. For example; “Everyone is against you” or “Bend over daddy’s girl, play with my cock” and my favorite “Kill the children and burn their souls” I guess if you think this is cool then go buy the record, but I’m warning you; these guys try to come off as some type of repulsive “scary” mirror of the dark side of life; instead it seems disjointed and fakely contrived. I don’t know, maybe this would go over well for all those gothic “baby-bats” who wear their mommy’s dress and hang out at conFUCKme’s. Yah know, the kind who say shit like, “I do drugs because I’m dead and it doesn’t do anything to me”, sure, right bud, you’re just too cool for me, now go paint your face. For the rest of us, you want hard hate rock with distorted vocals and lyrics that will fuck with your friends; then go pick up the new Unsane. It’s on AmRep, it’s called Scattered, Smothered, and Covered and it will really please that nightmare side of your life. —Kevlar M 

Chance the Gardener
The Day the Dogs Took Over
Warner Brothers 

Naming your band after one of the greatest and most affecting characters in film history is a pretty big ball stand off. They certainly don’t break enough ground to deserve the name. I have to say that I wanted to be able to say they sucked because the name pissed me off, but I am unable to do so. They’re a southern flavor rock band, never get out of hand with their instruments in either the southern or the rock directions, and keep it tight. Local college favorites make good on the big label kind of success story. The vocals have the emotional twang of the heartfelt sentimentalist, the Chris Isaaks of the world unite. The only problem, as one elderly but astute grand dame once put it, “where’s the beef?” Nothing remarkable going on, what’s the point, sure it’s fun to play so you all got together and formed a band, fine, but what’s your take on the world? What spin are you going to put on things? Why should we give YOU our money? Why should we listen to you instead of the other bands on the radio? I’m not sure they would be able to answer these questions. They’re fine, they’re fine. Nothing against them. I hope they do well. If they come on the radio while you’re sitting there shooting the shit with your pals, they will be a welcome mix to the aura, and they’re nothing you’d take the time to turn off, but neither would they make you stop and listen. They’re the musical equivalent of Kraft Cheese Slices. —Capt. America 

The Joykiller
Static
Epitaph Records 

Jack Grisham and the boyz from Joykiller are at it again. Static was released at the tail-end of May, so if you still don’t have the new Joykiller album go directly to your favorite CD store AND BUY IT NOW!!! The new songs sound like sing-along top 40 hits on a couple hits of speed with an espresso chaser. Ronnie King’s piano is more up front with meatier and better parts. The piano really stands out on this one, which is a good thing. My favorites: “Hates,” “She’s So Static,” “Wanting The Kiss To Go On,” and “What A Girl.” Let the CD keep playing after “What A Girl” ends and you’ll hear Jack goofing around in the studio. Yea, he’s a funny guy! —RDJ 

The Wesley Willis Fiasco
Spookydisharmoniousconflicthellride
Urban Legends Records 

In less enlightened times Wesley Willis would undoubtedly have been hung for possession. As in demonic. A diagnosed schizophrenic who hears voices calling his name and taunting him, he has decided to deal with it musically. I’ll say this for him: He’s funny as fuck. Songs like “Pop that Pussy” and “Casper the Homosexual Friendly Ghost” are sure to offend the staunchest of liberals, which is just great. Hell, they offend me, but I was laughing anyway. The music is appropriately pretty thrash punky, and Wesley raps for the most part. I would swear to god I’ve heard him before, it wouldn’t surprise me if he has showed up with the Beasties somewhere. It should be said that his main point of interest is that he’s clearly crazy. Apart from random swearing and Tourette’s syndrome-like symptoms, he throws in occasional total non-sequiturs like: “Continental – one airline can make a difference.” He ends every song with “Rock over London, Rock on Chicago!” He’s simply a little nutso. He’s got a little bit of an anal fixation, as many of implorings involve asses (fuck up his ass, drive up his ass, fuck his ass up, Casper was fucked up the ass by fifteen Muslims, et. al.). More power to him I say. I don’t know if I’d enjoy his company in person, but I can certainly enjoy his album as it allows me a safe distance from which to laugh at him. Worth every penny. To convince you properly, I would simply have to print the lyric sheet here. Instead I will end with just this one, from “I Can’t Drive”: “Say Ronald Reagan, what the fuck are you doing in my house? If you come back again this way, I will shit out a weapon and shoot the living shit out of you.” —Capt. America 

Lowercase
All Destructive Urges… Seem so perfect
AmRep Records 

Amphetamine Records is one of my favorite indie labels, they’ve put out some pretty strong records by Unsane, Cows, and Hammerhead, in the few months going into 1996. Not to mention they have in the past put out records in the past by Helmet, Surgery, and Tar. They have always had a talent for putting out fresh new music before any major labels could jump on it. One of the newest additions to their family is the band Lowercase, whose most striking feature is that they’re made up of just two members. No, they’re not one of those mindless Industrial groups that are centered around one or two people (aka Filter, NIN, Prick), instead they are a guitar player/singer and a drummer; no bass player. Finding no need to construct their music with a lower end, the guitar actually creates the intensity by keeping in time with the drummer. After reading their press kit, I was looking forward to hearing the record, since I’ve always been one to listen new and experimental; and a band that doesn’t use a bass player sparked my interest. I don’t know if I was expecting Pussy Galore (they didn’t use a bass player either) or maybe I’m used to AmRep’s hard rocking bands; but in actual truth, I had a hard time listening to this record. The music is interesting and well played by the two musicians, but there are too many quirks with the construction of the tracks. Some of the tracks carry on too long and end up becoming monotonous, while never reaching a full climax that I feel most songs need to have. The biggest problem I have is that the singer’s voice, while at times is at a flat baritone, is at others at a high annoying shriek that sounds really bad. There are good screamers, and there are bad ones; and this guy needs to be told to either give it up or take some voice lessons. I’m sorry but nothing is worse than someone who screams because it’s popular in the underground to do it. Anyway, after a few more listens I have discovered that there were actually some decent tracks like “As Your Mouth”, “Deceit”, and “Sometimes I Feel Like a Vampire.” Still, you can’t buy a C.D on the value of a couple of songs. Maybe if I listen to it a few more times it’ll grow on me (they’re been a shitload of albums that at first I hated and then later played all the time). Also the band is playing with Unwound in May; so I might really like them live and sometimes that really helps. In the meantime if you really like deconstructed music that’s artistic and experimental then you might want to pick this up, if not then grab Unsane’s, Cows’, and Hammerhead’s new ones; they’re also available by this label and they sure will kick your ass into submission! —Kevlar M 

The Infinite Zero Almanac 1996
Volume IV Compilation
Infinite Zero/ American 

Rick Ruben’s side project/record label/business deal with Henry Rollins is Infinite Zero. This is the fourth sampler disc to be released. Infinite Zero focuses their sights and energy on re-issuing past artists who were only heard of by a lucky few. Now you can buy and hear Ruben’s and Rollins’ record collection. A lot of his stuff has been out of print for years, until now. On this particular disc, you’ve got artists such as Gang of Four, DEVO, Alan Vega, Flipper Tom Verlaine, Matthew Shipp, along with a few others. My favorites are “The Gang of Four” song, “Love Canal” by Flipper (what a classic!!!) and “61 Highway” by Mississippi Fred McDowell. There are some other great surprises on here as well. Highly recommended. —RDJ 

Meat Beat Manifesto
Subliminal Sandwich
Nothing 

Oh my God, it’s a double disc from Meat Beat Manifesto. I nearly came. Where have they been hiding themselves? I guess with Renzor, since the latest is on nothing. It’s been so long since a Meat Beat Manifesto disc appeared that most have probably forgotten that this band influenced the current generation of sampling dance-music creators. Jack Dangers is the man. The Perfume Tree disc that I listened to earlier bears his influence. Dub bass is one of his trademarks. This one isn’t all samples. He’s learned to play clarinet, Theremin, and a waterphone besides his tape machines and computers. Coming on board are Joe Gore from PJ Harvey’s band and former Supreme Love God bassist John Wilson. While the female voice of Perfume Tree and its shorter length is more appropriate for short attention spans and less experimental mindsets, the two hour length of these two discs is no less enjoyable. Even as I write a blue moon is shining in the heavens. the blue moon brought heaven in the mail. As usual the band is touring behind a new release. Does anyone have the good sense to book them locally? —SLUG Staff

Fishbone
Chim Chim’s Bad Ass Revenge
Rowdy Records 

Buried in the press information are the details on Fishbone’s split with Sony. The “Intro” and two “Interludes” give further information. Now I understand why the recent Weapon Of Choice disc didn’t receive much backing. Fishbone makes nutmeg music; the same as Weapon Of Choice. The album’s title follows up on Give A Monkey A Brain and He’ll Swear He’s The Center Of The Universe. Chim Chim was Speed Racer’s monkey partner. “Nutmeg” stylistically is a mishmash. Isn’t that part of Fishbone’s attraction anyway? They are hoping for a hit with this record. The single is “Alcoholic” and they’ve made a video for it. The weirdest song is “Nutmeg.” Fishbone gives a 10 minute musical definition of nutmeg. The band has some internal problems as well their corporate ones. Kendall Jones and Chris Dowd are both gone. They aren’t missed. The band is stripped down. “In The Cube” is ska/funk. If it was shorter and didn’t contain a few expletives they could make it the single. I hear at least three singles. Right after “Alcoholic” is “Love…Hate.” Now that song is some jamming reggae. A song for relaxing to the smooth. Most people forget the Frank Zappa influence when mentioning Fishbone. “Beergut” is Frank Zappa with a horn section. And how about “Sourpuss.” If that doesn’t have Frank at the bass….In fact a lot of the songs sound like George Clinton/Zappa collaborations. The last record sold 128,000 units according to Soundscan. For some reason I don’t think this one will do much better. It isn’t that it isn’t any good because it is great. I can’t imagine all the kids snapping up No Doubt and Dancehall Crashers music embracing anything this eclectic. Fishbone are the closers on this year’s Warped Tour. If the tour is a success Fishbone will be too. —SLUG Staff

Donna Smith & The Vintage Jazz Quartet
Get It Straight 

This should perk up Gianni’s ears. The cats on the CD play Parker and Monk tunes on acoustic instruments. They aren’t quite local. Donna told me the band resides in Seattle. Acoustic jazz that swings like hell. Scott Spadafora did sneak the sound of a hollow body into a few songs. “Don’t Be That Way” opens the session. Check out Jimmy Brown on the clarinet! Who plays the clarinet nowadays anyways? How about the chick doing the singing? Next up “Yardbird Suite.” Who is that on the guitar? Django Spadafora? It came from Salt Lake City? Jazz means more than a high-priced plastic chair? Swing as in Hot Club Of France with a female vocalist on each and every track. Get It Straight will make my year-end top 50 for sure. Go immediately to the store and purchase Between The Cracks, Wooden Nickels, Get It Straight and The Hitchhiking Party Girl And Her Appetite For Dysfunction. Donna Smith and her band will play at the Ladies Literary Club on july 13. If the Warped Tour is too punk and you don’t have the money for the rockabilly festival in Denver this is the show to see. The jazz is up close and personal and the tickets are only eight bucks. —SLUG Staff

Read more 90s record reviews from the SLUG Archives:
Record Reviews: April 1996
Record Reviews: June 1996