Records … November 1995

Pram
Sargasso Sea
Too Pure/American

Pram’s CD came in a blank plastic jacket without any information. I’m not sure what this type of packaging is used for cause it doesn’t help me a bit with the printed portion of the music business. The singer is a breathy girl. The backing music is ambient electronic. Don’t be fooled, this is not more of that new age-y ambient stuff nor is it techno. It is mostly electronic, but it is more experimental than anything else. Mostly it is very pretty, there are some dark moments and the required edge is present. On some pieces the singer is completely missing on others she is used almost as an afterthought and on others her voice is the song.

Forget the blips, beeps, bleeps and washes, whoever is programming this music uses actual notes or tones similar to harps, bells and, dare I say it, whistles. The keyboards are prominent, sometimes spooky, sometimes gothic and sometimes churchy. Overall it’s good listen, relax for an hour or so.

Thomas Jefferson Slave Apartments
Bait and Switch
American

Like Pram the Thomas Jefferson Slave Apartments came without a cover. They play abrasive old school punk which means you won’t hear the shit on the radio. If All, the Descendants and Bad Religion influenced half the bands now signed to major labels the underground is filled with bands more in tune with the Sex Pistols and the Circle Jerks. But wait just a minute, old school punk rock isn’t the entire story. They’ve been listening to Pavement/Sebadoh/Daniel Johnston records too. Plenty of noise, buzz saw guitars, sandpaper vocals, some lo-fi and songwriting skills — Bait and Switch is one of the better CDs of the month. American should get out and promote the band more. 

Ruth Ruth
Laughing Gallery
American

Ruth Ruth are another abrasive combo. After the Thomas Jefferson Slave Apartments they sound tame. Looks like there’s three of them making the racket. American, in my opinion, has some of the most creative people around working in their promotions department. You never know what kind of weird stuff or packaging they will use to gain the attention of the lowly fanzine hack. Ruth Ruth’s bio came as an 11 by 17 tabloid fanzine type of deal. American also has the most creative publicists going. (Check out the dossier on the Lords of Acid sometime.) This publicist uses their song titles as a way of engaging the reader. The song titles pretty much describe my social life anyway. So read on Garth. “Uninvited,” “Uptight,” “Amnesia,” “Neurotica,” “Pervert” and “I Killed Meg The Prom Queen.” The first track, “Uninvited,” is best for everyone who read the SLUG two-issue Ramones history. One song with three chord guitar does not an album make. The rest of it goes a little deeper. Chris Kennedy does the singing while playing bass. The guitarist is Mike Lustig, the drummer is Dave Snyder. The publicist places the disc in with the pop punk hordes. Sorry, I don’t hear it. I hear more Saints, Dead Boys, Ramones and even some Motocaster-garage in this than All or Buzzcocks. It’s a good CD. Now why didn’t they get this creative with the TJSA disc? (Acronyms are big at my day job.)

The Jesus and Mary Chain
Hate Rock ‘n’ Roll
American Recordings

The Jesus and Mary Chain enter with a disc describing my sentiments exactly. “I Hate Rock ‘n’ Roll” has these lyrics, “I love the BBC/I love it when they’re pissin’ on me/I love MTV/I love it when they’re shittin’ on me.” Now neither network has ever pissed or shit on me and I don’t live in England so I don’t have any contact with the BBC, but I hate the shit and piss out of MTV and I hate the shit and piss out of the music “business.” Interestingly enough, since Marilyn Manson appears in these pages, is this quote from Jim Reed. “The way it works these days in the music business, is that if you have any lyrics that are even slightly controversial, rather than make a big song-and-dance about it, people usually just ignore them. People have figured out that if you ban a record, it’s the best thing you can do for its sales, you know?” Tell that to Larry Miller, DeeDee Coradini and the management of the Delta Center. 

The CD contains four new songs; one song from The Crow soundtrack, a remix and the rest is recent B-sides. “Penetration” is here, please refer to the Strange Days soundtrack. For long-time fans of the band there is plenty of noise. For new fans there are a couple of “pleasant” tunes. The cover is pretty bland, the disc inside is flawless. “Give me penetration!” 

The Beat Farmers
Manifold
Sector 2

“Memphis To Nixon” opens the disc with a Foghat sound. “Doubts About Love” sounds like Sky Saxon fronting Rank and File. The Beat Farmers have escaped financial rewards for all the years they’ve been together. Their music doesn’t appeal to the masses. “Mystery” is copied from The Eagles and then they leave California all together to visit West Virginia or some damn place with “Country Western Song.” See what I mean? The styles are all mixed up.

Manifold is probably the most commercial album Country Dick and the boys have ever recorded. I know there’s a radio hit sitting on it someplace. Is it “Mystery,” “Beer Ain’t Drinkin,”‘ “Blue Radio,” or “I Could Be Anything”? Not a chance. In spite of the variety of radio formats available today the Beat Farmers are too rude for any of them. The hooks are there, the lyrics aren’t any more offensive than a lot of other stuff, but for some reason the boomers never made this band heroes. Now they’re too old for the 20-somethings and they aren’t a hippie band, they’re not punk enough for the teenagers and they aren’t pretty enough for middle-aged women. I guess that unless a miracle occurs the Beat Farmers will make their livings on the road playing for the cult who loves them and hopefully gaining a few new ears at every stop.

G. Love & Special Sauce
Coast to Coast Motel
Okeh 

In case most of you missed it on the first release G. Love comes back to instruct. This is not rap music — hello — it’s the blues. As if I need to go through this spiel again Okeh is a record label from way back when. They released countless prime diia that played at 78 rpm and among their specialties were blues, R&B and hillbilly. The label was revived a few years back as a part of the multinational known as Sony. To date everything released by Okeh has been blues. I’m not holding my breath for the hillbilly. 

Love is a white boy with a deep love for the blues. The blues he plays are fucked up and that’s why the vast majority of America didn’t catch the category on the first release. He makes things very clear on the new one. The urban experience is captured in a country style by G. Love. The guitar playing is rooted in the Delta, the lyrics are sung/rapped and the drum kit has to be the simple bass, snare, and tom tom. Love has a kinship with Mississippi John Hurt as he demonstrates to perfection when the things spin to “Everybody.” The only guitarist in town who can copy the licks G. Love lays down is in the Pepper Lake City. The CD isn’t selling squat around town. 

Marilyn Manson
Smells Like Children
Interscope

Miles Crenshaw, infamous idiot talk radio host once said that “record company executives” sit in the corporate boardroom thinking up bands like Marilyn Manson. Just like them Miles is a white, middle-aged male. No way Miles. Alice Cooper thought up Marilyn Manson and I think it was around 1967.

Without Alice Cooper there wouldn’t be a Marilyn Manson. They admit it in the press kit. “Nutty! Self Mutilation! Chickens! Arrests! Spitting!” Didn’t Alice perform at least a few of those tricks on stage nearly 30 years ago? The highlights of the disc are the covers. All the little “new wave” (or is that “new age?) trendies love the Eurythmics. Marilyn Manson actually understand the words to “Sweet Dreams”! Then they cover an original of the “original” stage act that was only an act — Screamin’ Jay Hawkins and his ditty “I Put A Spell On You.” It’s a concept album masterminded in the boardrooms of corporate America for purchase by unsuspecting parents. “I don’t know what this music is about. I can’t stand the music my eight-year-old listens to. It doesn’t have any “bad” words or songs about killing your parents on it does it?” “No ma’am, buy it and put it in little Bobby’s stocking, then go smell him while he’s sleeping.” Send a promo to Miles Crenshaw. He’ll forget taxes, the CFR, sex with a rubber (“showering in a raincoat”), and DeeDee for at least a week. 

They’ll sell tons in Salt Lake City. All those repressed little minds need it for the sickness that has been bred into them for the last, almost 200 years. Do I hear a little “hillbilly” influence in the remixed “White Trash?” In-bred motherfuckers. They close with a cover of Patti Smith’s “Rock ‘n’ Roll N*****”? In-bred motherfuckers. 

Mojave 3
Ask Me Tomorrow
4AD

Last month the Tindersticks captured my attention with their dreamy soundscapes; this month it’s Mojave 3. Ask Me Tomorrow will darken the lightest mood, it’s guaranteed to kill any party. The opening song once again brings to mind The Pallbearers. The Pallbearers released one CD in 1993. Sometimes I think that the only one copy was produced for my listening pleasure because I’ve never met anyone else who knows about it or the Pallbearers. Portishead was the first band to remind me of the Pallbearers. The second was Gringo, another band few have ever heard of. Now, close on the heels of Gringo, along comes this Mojave 3 disc, which won’t be released until January of 1996, and it has Pallbearers stamped all over it. 

Mojave 3 is comprised of two former Slowdives. Neil Halstead is the guitarist/vocalist. Rachel Goswell is the female vocalist and bassist. Joining them are Ian McCutcheon on drums and Christopher Andrews on piano. The ties that bind each and every one of the aforementioned bands together are one song and a female vocalist. “Love Songs On The Radio” is Mojave 3’s version of the song. It opens the CD. This is where things start becoming weird. I’m not on drugs, although I may be insane, but this song completes a quartet of songs beginning with “Phantom Pain” by the Pallbearers. “Phantom Pain” has creepy keyboards and a deep, resonant female voice proclaiming how deep the pain is; “Sour Times” by Portishead has the same subject—the song is close enough to “Phantom Pain” to draw a lawsuit. The keyboards are replaced by bass, guitar, and computer wizardry, the melody is almost a duplicate. Next is Gringo’s “Circles.” Same subject, same dreary melody and like Portishead, the keyboards are replaced by guitar and bass. All three women have a deep voice. The drums on “Circles” are mainly cymbals and minimalist. “Love Songs On The Radio” completes the square. Once again the haunting female voice croons her pain, and I’ll be damned if the minimal guitar, bass and brush strokes don’t sound like they’re lifted directly from the Pallbearer’s “Phantom Pain.” Goswell has a higher vocal range than the other three, but that doesn’t stop her from expressing how bad it hurts. Each song is a country ballad. Two British bands, a Canadian one, and an American one come up with strikingly similar country ballads about the pain of love in the space of two years? Anyone thinking Portishead’s “Sour Times” isn’t country should listen again. Each band is depressed as hell, each CD is a classic from start to finish and I’m out of tissues because after listening to the four of these back to back I’m so sad that I can’t stop crying. You too can complete your collection when Mojave 3 is released.

Oasis
(What’s The Story) Morning Glory?
Epic

They’re back with the dreaded second album. The toast of Britain in ‘94 made some progress in the states with their first. Are they as dead as Suede in ‘95? Not if “Roll With It” makes it to the radio. The Beatles influence is even stronger on this outing. I’ve seen them compared to the Kinks also, but that comparison comes more from the feuding brother’s side of the story. 

I don’t think (What’s The Story) Morning Glory? matches up to Definitely Maybe. Oasis can irritate depending on the mood. “Roll With It” never fails to please, “Don’t Look Back In Anger” can be unpleasant, “Hey Now!” is as good as anything on the first (a single perhaps?), “Some Might Say” is copied from T-Rex, “Cast No Shadow” is blatantly Beatles, “She’s Electric” is another single out of the Lennon/McCartney songbook, “Morning Glory” is heavy on the psychedelic side of things and “Champagne Supernova” has Paul Weller guesting. The ballad finishes things off. There are two short, untitled instrumentals bringing the grand total to 12 songs. I like this band, it could be because I saw them play or maybe I don’t have any taste. They aren’t something to listen to every day. Liam Gallagher’s voice can grate in large doses. Once in awhile is fine, if they manage another Salt Lake visit, go see them because live they are superb. 

Various Artists
Strange Days (Music From The Motion Picture)
Lightstorm Entertainment 

Dangerous Minds is the soundtrack they all want. Salt Lake City is a “Gangsta Paradise.” Strange Days hasn’t attracted much attention—the soundtrack, not the movie. Skunk Anansie opens it with their song of sex and television religion. That song is available on their new CD. The second entry from the heavy band led by a diminutive female is “Feed.” “I want to have you for your sweet taste.” No, the song isn’t about cunnilingus, more like George Orwell. “I’m big brother watching you.” 

Lords Of Acid, Tricky, Deep Forest, Me Phi Me/Jeriko One and Strange Fruit all check in with a tune describing the future of music. Of special interest is the saxophone breaking up Strange Fruit’s “No White Clouds.” Juliette Lewis covers P.J. Harvey credibly with an uncredited backing band. Me Phi Me has been missing in action due to the overwhelming popularity of the gangstas. If “hereWEcome” is a foreshadowing of what is to come, he’s harder today than the hard guys. Since the movie is titled “Strange Days,” Ray Manzarek joins Prong to cover the tune. What would Morrison think of the doomsday organ? Satchel continues to end the world before Hate Gibson contributes to Leonard Cohen’s increasing royalty checks by covering “Dance Me To The End of Love.” Why they weren’t included on Tower of Song probably has more to do with fame than talent. 

Winding things down are Lori Carson & Graeme Revell with the music for “mellowing out” and then Peter Gabriel inserts himself into a Deep Forest. Is that him yodeling? The soundtrack actually serves as a recommendation for seeing the movie, if only to view Skunk Anansie’s big screen performance.

Various Artists
The Doom Generation – Music From The Motion Picture
American 

Well at least we know what to call the generation following X. Another soundtrack for the mall rats. Curve, Love & Rockets, Meat Beat Manifesto, MC 900 Ft Jesus, Medicine, Slowdive, The Jesus and Mary Chain and the Cocteau Twins all contribute a tune. Completing the list are The Wolfgang Press, The Verve, Lush, Babyland, Pizzicato Five and Extra Fancy. “This Heaven,” the Love & Rockets entry has the customary female moans over throb and grind. The Cocteau Twins are about ready for KSL or the Breeze. Adrian Sherwood mixed the Wolfgang Press’ “Christianity.” No complaints from me, Sherwood can do no wrong. Most would call it trip hop or some other trendy name, I think it used to be called “dub.” Meat Beat Manifesto remixed their own “dub” version of “Paradise Now.” That’s about 14 minutes of dub when combined with The Wolfgang Press, enough to bring this CD to the top of a stack of soundtracks.

There’s more. The Jesus and Mary Chain add vocals to the Pyramids’ “Penetration.” They don’t admit it, but those synths steal a taste of the oldie. MC 900 Ft Jesus still sounds like Ken Nordine who has a new reissue out. If only humanity had a brain Nordine would sell like Jesus. The tune is “But If You Go.” Lush checks in with over nine minutes of industrial dub remixed by Spooky. Now how about some true noise. First up is Babyland with marching drums, a guitar stuck on one chord and a girl “singer” who gargles with Drano. Guitar screeches back one of the better female singers in rock, Beth Thompson and Medicine’s “Slut.” Pizzicato Five? Is “Groovy Is My Name” an Annette Funicello or Lesley Gore cover? See the Cocteau Twins. “Violator” by Extra Fancy is a sing-along punk anthem. Slowdive ends the disc. I believe they have broken up because the forthcoming Mojave 3 disc features Neil Halstead credited with writing “Blue Skied An’ Clear.” Strange Days rates slightly above The Doomed Generation because it lacks the Pizzicato Five and the Cocteau Twins.

Superchunk
Here’s Where The Strings Come In
Merge Records 

Grover
My Wild Life
Zero Hour 

I owe both of these bands an apology. They sent their music to me fully expecting some advance publicity on their visit to town. Even though I gave the information on the show well-in- advance, an editorial decision eliminated my words. The publication was not SLUG. Superchunk received a paragraph, Grover didn’t get anything. That is sad because Superchunk is at least as famous on the independent music scene as say… Fugazi. They own their own record label and they release music by not only themselves, but also by other bands well worth your attention.  

The story on Grover is even more interesting. Mitch Easter’s former wife is the singer. Mitch Easter is a too seldom recognized “pop” mastermind, the former leader of Let’s Active (one of America’s greatest “pop” bands) and he produced portions of Grover’s CD. I don’t make the decisions, but I intend to make sure both bands receive some press in this paper at least.

Here’s Where The Strings Come In follows closely on the heels of Superchunk’s singles and B-sides compilation, Incidental Music 1991-1995. The single, “Hyper Enough,” opens the new album. Single is kind of a misnomer because unless the long-awaited miracle occurs the only place anyone in Salt Lake City will hear it is late at night on community radio or in the dorms at the U. I guess MTV is playing the video, but so far I haven’t seen much reaction. The “single” has all the elements vital to a flawless song. Melody, hooks, a memorable chorus and a big beat from the drums. An even better song is “Yeah, It’s Beautiful Here Too.” The guitars (Superchunk is a guitar band, after all, a point they don’t let anyone forget for about 50 minutes) on the song both repulse and attract. It’s fascinating to listen to a band that creates such beauty out of harsh, distorted guitar — Mac McCaughan doesn’t exactly have the voice of a songbird, either. An even better song (is that possible?) is “Sunshine State.” This song would appear to be a love song turning the cliched insult, “stick it where the sun don’t shine” into a happy recollection of actually sticking it where the sun don’t shine. 

Some of the hooks Mac comes up with are thoroughly brilliant, if he’d lay off the abrasive noise the big lump of humanity that makes bands millionaires might catch on. Who knows what they want? The Presidents Of The United States released a CD everyone ignored until the marketing muscle of a major label gave it a push. The Presidents are good and they are nearly as abrasive as Superchunk. Don’t they have a Chapel Hill connection as well? They can’t match Here’s Where The Strings Come In. 

Grover was one of the opening bands at Superchunk. The are fronted by Angie Carlson, a girl who spent time singing for Let’s Active in one of their later incarnations. She worked as a music journalist previous to her participation in that band and marriage to Mitch Easter. Now she’s turned her talent with words into songs and her fingers to chording a guitar. The guitars on the CD are slightly tamer than Superchunk’s. That noisy quality giving so much of indie land its attraction is present. The noisy guitar isn’t all provided by Carlson. Kevin Salem contributes the overdubs and the production. Easter produced four of the songs at his Drive-In Studio. Chris Phillips (drums) and Dave Burris (bass) complete the touring version of Grover. Remember it’s a band not one person. 

My Wild Life is unashamedly pop. The “drive-in” Studio isn’t capable of much else. I’m not sure what the single from the CD is, but “Pretty Machine” is my choice. As the Liner notes state the heavy bass is provided by Easter. That and the double entendre lyrics, not to mention the guitar screech, make pop that is bitter sweet, not syrupy. The flood of girl singers on the market today makes things difficult for Grover. The combination of Carlson, Easter and Salem will attract a few listeners. Word of mouth could bring more notice over time. Touring with Superchunk can’t hurt. I saw the CD bashed in some glossy publication—don’t believe everything you read. Zero Hour is carving out a niche with the sound of girls. 22 Brides was in town the night before Grover. Both bands no doubt sold a few CDs after the show. In case you missed them live the recorded version is the next best choice. Things aren’t all Nova, Morissette, Bjork, Merchant and Elastica. 

The Aqua Velvets
Surfmania
Mesa

The CD is released on a major label which copies a style popular about 40 years ago. There it is, right on the cover, “full dimensional stereo.” The back cover is a semi rip-off as well. Can you say Estrus, Dionysis, Del-Fi or Get Hip Mesa/Bluemoon? 

At least you don’t have to search for your Aqua Velvets “surf”? WEA is distributing this shit. It’s in every record store in town, but no one is buying it. Why? Fuck, they discovered indie labels recently. I come to this music after many hours spent with Dick Dale, The Lively Ones, The Crossfires, The Trashmen, The Tornados and newer combos like Agent Orange. Moving into the present we have Straitjackets, Man… or Astroman?, the Galaxy Trio and Satan’s Pilgrims. 

The Aqua Velvets for the most part stick with pleasantries. Remember Mesa/Blue Moon is first and foremost a label interested in capturing the market of balding heads and grey beards. Pulp Fiction caused them to remember what happened before their brains were turned to mush by psychoactive substances and they began listening to “new age.” The opener, “Surfmania,” is the most rockin’ tune on the disc. The remainder is all-right surf music lacking an edge. “Martin Denny, Esq.” might be a hit with the natty bald head wearing his remaining hair in a ponytail. The ocean sounds are exactly what they need for reducing the stress at their high intensity jobs at a desk. 

Sorry folks, surf bands today don’t need “electronic drum triggers & sequences.” The Aqua Velvets are a “new age” surf band. “Cabaña Del Gringo” is about as tired as I’ve heard. This CD is manufactured. I have little doubt that it was released to capitalize on a vibrant underground. File the shit with the rest of the “new age” and look for the bands creating this music for real! Snore, zzzzzzzzzzzzz. Man… or Astroman? kicks the Aqua Velvets’ asses all over the entire universe. Stick this up Uranus. 

Zen Cowboys
Electric Mistress
Moonshine Music 

“Up the ante and dropped your panties/Coz you lost at poker and wound up broker/Get a johnny up at the junction/put the fun back in dysfunction.” Zen Cowboys are who knows what. I’m guessing some kind of drag queen cowboy band. The music they put out is dub, trip hop, psychedelic, funk, acid jazz, house and alternative rock all rolled up with a twisted end ready for smoking. If you think the lyrics beginning this piece are pulled out of context there are more. “Do you wanna do you wanna/Spank a rattlesnake in the head/Dance the seven veils in bed/Drink your wine of porcupine/Kiss the head of a bull in red/Do you wanna walk on water with me/Coz from your crazy bones to your crazy smile/Make a dead man come send a young man wild/From your slippery tongue to your slippery thighs/Put me in a trance leave me tongue-tied/From your ice-cream eyes to your little red lair/You’re the honey for a hungry bear/From your big nose to your fingertips/Do you wanna have your body licked.” 

Electric Mistress is the best CD of the month. Where it came from, where it went and where you’ll find you own copy are questions for the Zen Cowboys to answer. 

8 Storey Window
Ultimate/Atlas (5)

London’s 8 Storey Window’s self-titled LP is abrasive guitar with melodic pitches, backed by excellent rhythm and fronted with somewhat reserved vocals. At times there is a slight guitar dabble in the metal forum, regarding chord progressions! Guitar solos are present that really come off as proficient and mature rather than just short, ratty stints. Overall, the LP has a dreamy sound, striking no offense at seasoned pop fans. There is plenty of space in the song structures—a pattern of shrilling guitar has no place on this record! It would no doubt be pleasant to extract more jams or improvisation out of 8 Storey Window during studio sessions because they appear to be a band that can maintain this style of recording! 

“I Will” is the single from this record—it’s hard in the chorus with great chord changes throughout the song—definitely hooks the listener. “Screaming Waterfalls” has a catchy riff—the song is nicely spaced. 8 Storey Window definitely identifies with a dreary element in their songwriting with the above mentioned tracks and “Already Gone” — similarities to Pink Floyd’s psychedelia in the verses. Their hard side basically ranges from tame metal/industrial to the sounds of Led Zeppelin! —Gary Savelson 

Alligator Gun
onehundredpercentfreak
Relativity Records

Alligator Gun is self-described punk rock. Okay? Alligator Gun should just admit they are the next Superchunk/Sugar and college radio would go ape-shit over onehundredpercentfreak. If you are saying to yourself, “I just can’t enough slack mother fucker,” or, “I just can’t get enough Bob Mould,” then buy the CD. Or if you are more punk than Alligator Gun, buy their seven inches. This album is as good as Sugar’s File Under Easy Listening and any Superchunk. —Sue Denim 

Green Day
Insomniac
Reprise Records

Writing a bad review for this record would be like hunting a dairy cow with a howitzer. Not only easy, but fun. This is a shitty record, not that Dookie wasn’t pretty crappy. It has no redeeming values, not even pictures of the band that will show us what all them kids will be wearing this year. If you think Green Day has their finger on the pulse of America’s youth, I got news for you: it doesn’t have a pulse, it’s been a corpse for about ten years. Take your little ideas about there being an interesting scene going on in the US and shove it down your ever-expanding cappuccino-drinkin’, P.C. spoutin’ throat and gag on it. Insomniac I won’t be able to sleep till I unload this disc. The music is still a blatant rip off of the Buzzcocks, and, well, ever since Billie Joe (the crazy singer-boy-thing) began to drink you can’t understand a word he is saying even with the lyric sheet. And even if you could, the lyrics just point out that our twenty-seven year old singer needs to move out of his Mom and Dad’s house. I don’t think even the kids will like this record, there is just nothing to expect. I mean shit, it is just Green Day. —Sausage King

Neutron Cafe
Photon Records

This is my favorite little band from NY, and little is quite the understatement. While most probably look at the chests of these “chick rockers,” the experienced listener can tell that underneath it all they have something special… probably tattoos that read “Girls Kick Ass.” This is only a two-song demo, from the Photon Power Disc, but it leaves you with a taste of what this female trio can do. The music is hard, aggressive, raw metal, with a good sense of melody and a healthy disregard for conventionalism. I would love to hear a full-length, perhaps in a better studio. Hopefully they are in the studio, if so, bring it on. They also send out a righteous newsletter called The Neutron Report. Want some? NEUTRON CAFE, P.O. BOX 2550 N. BABYLON, NY 11703 (516)-243-2941 —Maxx 

Edsel
Techniques of Speed Hypnosis
Relativity 

One thing’s for sure about a band like Edsel: you either love ‘em or hate ‘em. The arty, intricate songs that are the band’s trademark leave little room for the casual listener. For its third long player, the DC natives headed to England and enlisted the aid of producer Anjali Dutt, who has worked magic for my bloody valentine and Oasis, to help bring its sound into focus. The result is the most clean and overtly poppy sounding songs the band has recorded to date. Not clean in a predictable way, but in a way that really brings the songs into focus. Singer Sohrab Habibion’s affected poetic vocals reside very much in the forefront which has a way of getting a bit tedious after awhile, but the crisp, melodic guitar riffs that infect most of the songs make it worth the listen. Techniques Of Speed Hypnosis is not necessarily meant for a wide spread audience but if you enjoy the fey art pop fanatics of bands like Shutter To Think, Edsel might just float your boat. —MacGyver

Change of Heart
Tummysuckle
Virgin Music Canada/Luna Mouth

I got so excited when I read the bio for this band—they had opened up for so many cool people, like Nick Cave, Firehose and the Meat Puppets. They were produced by the guy who had done the Melvins and Kyuss. When I put on the disc I realized major acts never picked their opening bands anymore and if you have money you can record with anyone. I’m not saying this record is bad I’m saying it is not what I expected. The songs make up a fine college radio album. It has got that pop sound that we are growing so accustomed to. You’ll probably tap your foot to it in that standard four four tempo. It’s just a record that doesn’t do anything, it doesn’t really move but it doesn’t stand still, it just is. In five years it’ll be a dusty CD in about five people’s closet, people like me who had to review it all the other copies will end up in the bargain used CD bin. Then again they could get on a soundtrack to a hip alternative movie and be the next Gin Blossoms. I wouldn’t pay money for it, but, hey I wouldn’t pay money to join a club in high school either, so draw your own conclusions. —Sausage King 

Slider
Fremont
A&M 

OK, here’s a quick lesson in punk rock. The Offspring was not the first punk band and believe it or not, neither was Green Day. Punk rock happened in the 70s. I don’t really care who started it, it was like twenty years ago. Now there are plenty of bands these days that take the music of yore and go somewhere with it. Slider is not one of them. Fremont sounds almost exactly like the new Jawbreaker record, slicked out, super boring songs and really cheesy vocals. This shit made me yearn for my 38 Special 45’s. These guys need to run down to the local five and dime and buy themselves a used vinyl copy of London Calling and a fucking clue to go with it. I’d rather sit over the toilet and hock up every last piece of phlegm in my lungs than listen to another minute of this ridiculous nonsense. Yuck! —MacGyver 

 

Blur
The Great Escape
Virgin

Sgt. Pepper’s Lonely Hearts Club Band, Morrissey, Roxy Music, all the danceable British pop music from the late 80s to date with flawless production — by now you should have a feeling for The Great Escape, Blur’s fourth album. It’s decorated with horns and strings that give it a grand appeal—plus you have Englishman, Damon Albarn’s alto/baritone drawls to appreciate! Blur has moved in a different musical direction on this record which is honorable. Sticking to the days of old (“There’s No Other Way,” “She’s So High”) couldn’t possibly be a challenge for the band—hence, they mixed their usual pop guitar, synthesizers, and rhythm with trumpets, saxophones, trombones, violas, violins, and cellos. Do you think the studio bill was high? Albarn has always written lyrics with an English audience in mind, making specific references to home in his songs. There is nothing wrong with this of course, but foreign audiences might not always understand his point! Has everyone heard of Trafalgar Square (London) or the British colloquialisms “tellie” (this should be an easy one to figure out) or “bum” (your backside)? He also has somewhat of a cynical and satirical writing style, almost depressing. Some of the good cuts on The Great Escape are “stereotypes” — blur pop, “Country House” (late Beatles), “The Universal” — a ballad with beautiful strings and horns — Albarn is cynical and optimistic about the future of humankind—your guess is as good as mine (this song sounds like Morrissey if he was an R&B singer in the late ‘50s-early ‘60s), and the slow paced “Yuko and Hiro,” Brian Ferry (Roxy Music) would be flattered! —Gary Savelson 

Self
Subliminal Plastic Motives
Zoo Entertainment/Sponge Bath Chords

When I picked up this record to review I got into the car and had station X on. And I kid you not, they were playing some band that I thought was a band of guys trying to cash in on the girl rock explosion. It was this fuckin band. Nothing special at all here, another typical college drivel record, the frat boys sure do love it and the girls all think they’re cutey pies. I just think they suck. —Sausage King

Cornershop
Woman’s Gotta Have It
Luaka Bop/Warner Bros. 

Cornershop is a band from England led by a man of Asian-Indian descent, Tjinder Singh (vocalist, guitarist). Their first LP, Woman’s Gotta Have It, sounds like a punky new version of early Joy Division (now New Order) beside the Eastern musical influences. There is a unique quality on Woman’s Gotta Have It—Indian singing, sitar, tambouras, dholki, enchanting rhythms—all funneled inside a self-indulgent vision of noise and distortion, it’s as if Ravi Shankar produced a British indie record! More so, Cornershop’s musical efforts are driven by the confrontation between the Asians and British in the UK—the emotions that lie between the two groups. There is a stereotype that Asians “own small corner shops”—hence the band derived its name from that. Singh is looking to express his feelings concerning the social divide on this musical outing. —Gary Savelson 

Hot Damn!
In High Heel Sluts (Music For You Horny Bastards)
HELL YEA RECORDINGS

Hot Damn is a quartet of talentless, humorless, intellectually bankrupt, inept, dubious, and dull Californians. Their album says, “Thanks to nobody, we did it all ourselves.” But there is at least one tune I recognized as being stolen directly from Germs, musically at least. So they are also criminal little fucks. Zebra is the singer and songwriter, when she isn’t (presumably) making pornos, or doing nude modeling for back street Eastern European fetish pornographers and filth mongers. The gimmick behind Hot Damn! is the same tiresome sexually frontloaded bullshit that sells magazines, cars, and almost everything else. Songs about sex by groups like Pansy Division or The Cramps are models around which Hot Damn! labors. However, Hot Damn have no sense of humor, no sense of risqué, no sense of rock, and no sense of tastelessness. There isn’t one successful double entendre on this entire disk. Losers!! Being Californians, I wouldn’t be surprised to discover that Zebra, the leader, was discovered after giving a particularly difficult fluff to Tom Byron. —St. Felcher 

Shatterproof
Slip It Under The Door
MCA/Fort Apache Records

What would happen if you mixed the Velvets with Sebadoh and threw in a dash of corporate rock? Shatterproof, that’s what. A morbid band with a sense of catchiness. A good record to write reviews to. I like this band and I’d probably buy this record because I read a lot and write a lot. These guys might be huge or they might slip into oblivion. It’s quirky laments. Buy it. That’s it. —Sausage King

Dog’s Eye View
Happy Nowhere
Columbia Records

Most likely, there can be an objective consensus that NYC’s Dog’s Eye View, led by Peter Stuart, sounds like Counting Crows. Stuart’s voice almost clones Adam Duritz’s singing at certain points on the electric-folk release, happy nowhere. There are plenty of melancholy ballads included on the record which manages to blend in a version of country-blues with Stuart’s heartfelt vocals! Maybe you can place Dog’s Eye View in the Jeff Buckley, Chris Whitley pool of musicians—being on the border of playing acoustic guitar solo and plugging in the electric option, using some volume. Counting Crows aside, Stuart dares to tread on John Mellencamp turf with “Everything Falls Apart” and “Cottonmouth”-jagged strokes on the acoustic and manic rhythm! “Small Wonders” is a gem to relax to, providing a melodic guitar lick and maintaining a low noise level. “Bulletproof and Bleeding” is a superb acoustic (just Stuart and his guitar), dragging the listener into a bottomless pit of glum-warning: this song is only for the chronically depressed! —Gary Savelson

Notes From The Underground Vol. 1 & 2
Priority Records

First off, I saw the review of this record in Grid magazine. Their first error was to say that Priority Records was just an old rap label. I’m sorry, did the Cro-Mags put out a record or two on Priority? Is it really that surprising that they would put out a record of underground music? I think not. Secondly, Grid had the audacity to say that a certain number of the bands on here were just your normal, average crap. This from a magazine produced by your average everyday dullards at Station X. Let me just tell you there is nothing average about the songs by Unsane (these boys fuckin go), Barkmarket (one of the greatest bands to slink the earth, and Foreskin 500. Thirty Ought Six sounds as much as like Big Black as R***man sounds like Smashing Pumpkins. Grid should stop trying to drop names on Big Black or I’ll call my friend Steve, who has some knowledge of that band, to come show you what Big Black was really about (sorry, was I name dropping?) The track by SLUG, ironically, is great. This is a good record to familiarize yourself with some harder to find bands; I’m sure it’s got something you’ll like on it. As for Grid magazine, a homeless friend of mine says it doesn’t have enough meat to it to keep him warm at night. —Sausage King

Jughead’s Revenge
13 Kiddie Favorites
BYO Records

A decade ago these guys would’ve been something to reckon with. Today, however, they can be considered to be stepping on the punk revival kick along with Rancid and Green Day. You can hear they cut their teeth by listening to the likes of Minor Threat, C.O.C., and other such ‘80s stock. Standard 80s chord chopping and slurred angry vocals. The lyrics read off like the high school geek’s spiral notebook collection of “I hate my parents and society” cheese. Overall it’s not a bad little fanzine packaged collection of “paint-by-the-numbers” punk. Play it at a party and no one would complain or rave about it. I did like the sloppy loose guitar squalls of a lead, especially the track “My Troubled Sleep,” but it never sees to get above an alternative Muzak. The pieces tend to sound alike and never get up and kick your ass. If it weren’t for pauses in the noise you’d never know they’re playing a different song. If you get off on the Social Distortion kinda thing, get it or don’t, either way you won’t be disappointed or inspired. —JAND 

Electrafixion
Burned
SIRE

Echo and the Bunnymen were one of the leaders of the modern rock movement in the 1980s, earning colossal recognition—songs such as “Killing Moon” are still staples in alternative radio today! Ex-members, Ian McCulloch (vocalist) and Will Sergeant (guitarist) are up and about in their new band, Electrafixion. With the addition of bassist Leon De Sylva and drummer Dony McGuigan to the duo, Burned both mirrors the Bunnymen’s authentic sound of unorthodox guitar tracks (middle-eastern infleuence)—add McCulloch’s signature vocals (sounding more like Billy Idol these days)—while introducing a harsher side of energetic distortion on Sergeants part—the production of U2’s Zooroopa may come to mind! Burned can lead you astray into a mist of generic rock but still manages to retain some melodic character. 

“Sister Pain” is an impressive rocker with Edge-like (U2) guitar licks and Bunnymen piano. Another nice one is “Lowdown,” very melodic so you can hum along in the chorus—look for the reverbed guitars (clean and dirty) and firm rhythm! “Lowdown” and “Too Far Gone” were written in corroboration with Johnny Marr of The Smiths, another legendary group of the 80s. The humble side of “Time-Bomb” is another tribute to the Bunnymen while “Never” brings on the Manchester, England dance sound. —Gary Savelson

Tubalcain
25 Assorted Needles
Verdugo Records 

It’s Bauhaus meets Motley Crue. You decide if that’s good. I think it’s like a short dog trying to fuck a horse. It just doesn’t stand up enough to be noticed. It has no redeeming values, it’s just horrible. Have we digressed so far? —King 

Lisa Loeb & Nine Stories
Tails
Geffen 

On a quest for exotic or alternative music that no one else knows about? You’ll forget all of that when you taste Lisa Loeb & Nine Stories’ debut LP, Tails. This record is a melodic gold mine of folk-pop and fabulously melancholic love tunes guaranteed to ricochet in your thoughts as you drift through daily monotony! Loeb’s adorable voice (mastering harmony) fronts 13 effulgent beds of music. Her acoustical guitar ballads with light rhythm are sobering and she’s sure to please with her electric guitar pop. Lisa, get ready for the wonderful world of platinum! Loeb, out of New York City, with her band Nine Stories (Tim Bright: electric guitars, Jonathan Feinberg: drums, Joe Quigley: bass), entices you with her pop single “Do You Sleep” about obsessive love and the death of a relationship. Other upbeat tracks ready for the pop arena are “Waiting For Wednesday,” a song about who’s gong to break up with who and “Taffy”-hard rhythm. Loeb’s ballads are powerfully morose; “Sandalwood” is the best with runners up “Hurricane”-a narrative about an ambitious “witch” who seeks to manage the inner strife of passersby, and “When All The Stars Were Falling.” Hey, guess what else is included on Tails? Give up? “Stay,” Loeb’s hit song-found on the soundtrack to the motion picture Reality Bites — nice bonus! — Gary Savelson

Small
Silver Gleaming Death Machine
Alias

There’s only a few things to know about Small, and here they are. #1: Archers Of Loaf front man Eric Bachmann was an original member appearing on the band’s first EP. #2: All the current band members are really really nice guys. #3: All three Small records since Bachmann’s departure have one good song, and last but not least #4: anything Small can do, the Archers do better. Get the picture? —MacGyver

Superchunk
Here’s Where The Strings Come In
Merge Records

This is a typical Superchunk record. Roughly translated, it’s a really good record. This band was supposed to be the next Nirvana a few years ago and they were gonna lift the Chapel Hill area into the limelight. Luckily they didn’t get so ravaged by the media. Four people with their heads completely intact that play a style of pop that you thought Green Day was responsible for. They don’t have blue hair, they don’t sing about how much they hate mummy and daddy, they just make really good music. They’ve been doing it for at least seven years so they know how. They support underground music with passion and you should support them. 

Listening to Superchunk is like being twelve and playing flashlight tag. It’s like kissing for the first time. It’s a record to watch Saturday morning cartoons with a bowl of fruity pebbles. It’s just a happy little record. —Sausage King 

Oasis
(What’s The Story) Morning Glory?
Creation Records

Manchester, England’s Oasis slams us with another record after their two hits “Supersonic” and “Live Forever” found on Definitely, Maybe (1994). (What’s The Story) Morning Glory? is a more mature effort incorporating strings that mesmerize the soul. The mastermind behind much of the songwriting on this LP is guitarist/co-producer Noel Gallagher. Brother and vocalist, Liam Gallagher, does his best John Lennon, making the band sound like the Beatles on many songs. There are really some raw moments on this release in-between the mass Oasis dosage of reverb on the vocals, guitars, drums—the whole album for that matter! Recently, Oasis and the other British bands (Bush excluded) appear to be on a nostalgic binge, recycling The Beatles and Rolling Stones. Who can blame them, these were two of the most influential rock bands ever, plus they are from England—role models for the youth, no? The New Music Express and Melody Maker have more expertise in evaluating British pop—no surprise, they are the British music press. Deep in their hearts, the NME and MM are proud of their new found litter (Oasis, Blur, Stone Roses, Bush, Radiohead, Elastica, Pulp, etc.), orchestrating a vast movement against the American rock scene! (What’s The Story) Morning Glory? should conquer the British and American new music charts with its single “Morning Glory” and “Roll With It”—early Beatles, quite melodic. Hopefully, new music lovers can be exposed to the dazzling maturity and stupendous production of the melancholic “Wonderwall”—fabulous strings (judge yourself if Liam can hold down a note!) and “Cast No Shadow.” You are rewarded with the presence of Paul Weller’s guitar and back-up vocals at the close of the record on the slow rocker, “Champagne Supernova.” —Gary Savelson 

Streetcleaners
Pomona Queen
Rotten Records

Normally I’d give these guys a passing review since they mention the Richmond Metal Gods Mulch in their thank-yous. However, AC/DC has their own band and we don’t need another. Mulch or no Mulch, this band has been licking my left toe for too long. The good things about this band are their straight ahead Rockin’ style, no bullshit harmonies to be seen here. The production is a little too slick for me to think these guys aren’t being paid well for their product. This is not necessarily bad, but I don’t see the songwriting as strong enough to dictate a great production. In better terms, I would say these boys have some kind of money backing them be it from a trust fund or from a major there is something rotten about this record. —Sausage King

That Dog
Totally Crushed Out!
DGC

LA’s quartet, That Dog, is attacking alternamania with their second record, Totally Crushed Out! Their strategy, a reel of love songs composed of youthful harmonies in a backdrop of distorted (self-indulgent) and acoustic guitar, accompanied by fascinating violin arrangements. Listen, and find parallelisms to Veruca Salt and Sonic Youth, both label mates! Anna Waronker, 23, takes almost an apathetic approach to singing but her vocals are beautiful, innocent, and unspoiled-far from overproduced. “Ms. Wrong,” and “He’s Kissing Christian” have a power pop appeal (heavy guitars) suitable for some type of success! Stories of breaking-up and subsequent loneliness haunt us on the unsettling ballad, “Anymore,” a 39 word acoustic and the semi ballad “She Doesn’t Know How,” with its melancholic piano hook—there’s some volume at the tail end! 

Totally Crushed Out! will find a home on college radio if nowhere else. This record does not deliver originality in regard to music (that’s a true challenge these days) but it has emotionally charged moments. —Gary Savelson 

1000 Mona Lisas
RCA Records

You know this band. They do that song by that girl from “You Can’t Do That on Television.” And guess what, it’s a hidden track on this little EP! That song is funny as hell. Since it is an EP, the rest of it could suck and it could still be worth getting, LuckiIy, the rest of the EP is not that bad, so go lay down your three bucks and get drunk listening to that “Alyin Sackashit” song. —Sausage King 

 

 

 

 

 

Stellar Dweller
HIWATTRAUMA
Bear Records

At times it seems to drift into a very well engineered, serious, and brooding piece by an earlier Flaming Lips without getting quirky. At others it’s a heavier Pink Floyd (go figure), but more than not, it’s more reminiscent of Smashing Pumpkins without the drive or the huge budget. But all of this is said only to try to sum up their sound; to try to pinpoint an audience for them. In truth they sound more like…well, themselves. Is it great? No, but well worth getting your little greasy hands on if you’re into the radio friendly alternative thing that the ‘X’ station would dish out. It’s a nice little record. I’ll listen to it several times over without getting too bored, but it won’t give me a hard-on. —JAND 

 

 

D.O.A.
The Black Spot
Essential Noise/Virgin Music Canada 

These guys have been around longer than God it seems, but at least it shows. This musically is D.O.A.’s finest work to date. Not that it is a complex, math rock type of album, it’s just plain good hardcore. It’s a great party record with lots of energy and plenty of humor. This record is not your typical pansy pop being shoved down the throats of your average mall punk. It’s the type of thing you would’ve been waiting at the record store in. As far as the songs go, how can you lose with “Kill ya Later” or “Big Guys Like D.O.A..” Generally it is hard to see any difference from this D.O.A. record than from their Hardcore 81 release from 1980. It seems these guys have been able to make a switch to a major without the slow songs. And unfortunately Without their drummer Ken Jensen who died at the beginning of this year in a house fire. Yep It’s D.O.A. alright, thank god some things stay the same. —Sausage King 

 

Show Business Giants
Let’s Have A Talk With The Dead
Essential Noise/Virgin Music Canada 

Have you ever made a record so weird it made you laugh out loud? Besides David Hasselhoff’s chart topper? This record is fucking brilliant. It’s got members of Nomeansno (one of the greatest bands to grace the music industry), D.O.A. and Hissanol. This record is one of the most eclectic things I’ve heard in years. The wide range of musical style and complexity is incredible. But the best thing of all is the lyrics and song titles, “I’ve got gingivitis,” “The First Pygmy in Space,” and “Wake Up and Roar Bachelor God.” This record is the soundtrack for a really bad episode of Star Trek, one in which Kirk and Co. land on Gilligan’s Island and get stranded there. The music is so tight at points you couldn’t get a greased pencil through it, and so loose at times it reminds me of your sister’s wedding night… but that’s another story. This record is about having fun and laughing, so pick it up and let’s have a talk with the dead. They are obviously more interesting than most of the living. —Sausage King

Frank Bango
I Set Myself on Fire Today
P.O.S./UPSTART 

This guy is some singer/songwriter with a torturous 80s fixation. Sappy songs that sound like the lame XTC and Elvis Costello records. Oh yeah, he plays accordion on some songs, big deal so does Weird Al Yankovic. This album reminds me of the crappy alternative rock radio station back home in New York that still devotes ninety percent of the day to songs released between 1981 and 1987. The songs are so damn precious and self-important they produce the simultaneous urge to laugh and give Bango a swift kick in the head. Maybe his lyrics mean something to somebody but they don’t mean a thing to me, and there’s nothing compelling in the music to use the slightest bit of redeeming. I think I’ll set myself on fire. —MacGyver 

 

 

Humble Gods
Futurist

What if Beverly Hills 90210 kicked out that babyface wannabe keyboard player and went Hollywood punk? You know people who had the clothes to be punk and still had that dumb attitude punk was still alive. Well kind of like the SLC scene of kiddie mallrat beanery freaks. Well, you’d get Humble Gods, a collection of people who are mad at themselves for leaving their original bands that didn’t go anywhere. Their press kit doesn’t have any reviews but it does have some pretentious quotes from the band. The music is an eighties crossover. The lyrics are just…lame. I suspect that this band is nowhere near humble and they are definitely nowhere in the league of good music. —Sausage King 

 

 

 

No Knife
Drunk on The Moon
Goldenrod Records 

My recently turned-P.C.-moron roommate said I’d have to give this band an OK review. Now normally I’d just say this band sucks to spite him, but they don’t, they’re OK. No Knife reminds me of Superchunk as the record progresses. The best thing about this band is their photos in the CD where the audience looks like they just saw a Mack truck run into a person with leprosy. That kind of “what the hell is going on here” look. I actually think that with a few more records this band will be a good little power unit. So all in all this actually is a nice little disc; a good buy. And to spite my roommate I will go so far as to say this is a really good record. The last track is awesome according to my little weenie of a roommate, excuse me while I go kill him. —Sausage King 

 

Flaming Lips
Cloud Taste Metallic
Warner Brothers

You know the story. It’s The Flaming Lips and it’s really F-ING GOOD. Not their best, but hey, even their worst is worth getting. —JAND  

What can be made of the Flaming Lips?  Oklahoma grown, playing eleven years strong, silly, adventurous? They have a new LP on the market entitled, Clouds Taste Metallic!. They are known for their hit single “She Don’t Use Jelly” which fared well in 1994 on radio, MTV, and even 90210! The new record, produced by Dave Fridmann (ex-Mercury Rev member, a band quite amusing in itself), presents itself as out of sync–the word proficient or professional doesn’t come to mind, nevermind overproduced. Dinosaur Jr., Neil Young, a Sonic Youth overbite, backing vocals like the Beach Boys, outer space sounds-yeah… that’ll give you an idea of where they are coming from! It’s experimental, low-fi music that’s being pushed on Clouds Taste Metallic. 

Lyrical content ranges from good vs. evil to astronauts to outer space. Go for the philosophically inclined “Placebo Headwound”—Wayne Coyne’s voice is the closest to Neal Young that it ever can be, or that he ever wants it to be! “They Punctured My Yolk” is some attempt to create a military waltz if you will, encompassing the gentleness of a melodic lullaby as well. Perhaps The Flaming Lips should perform with the PT Barnum and Bailey Circus instead of on 90210—it’s more becoming of them! —Gary Savelson 

Super Fantastic Meda Smash Hits!
Pravda Records

This record revives all those classic seventies songs, i.e. “The night the lights went out in Georgia, “Hooked on a feeling,” and “Kung Fu Fighting.” Some of the artists include the FASTBACKS, POSTER CHILDREN, & SMASHEE PUMKEE. The best song here has to be “Welcome Back,” the Welcome Back Kotter song, done by Rex Daisy. This record is packaged like a K-Tel record collection. It however tends to lack the ingenuity a cover album should have, making songs in a way that makes them the band playing their own. It ain’t all bad, I mean I did catch myself saying, “get off my case toilet face.” If you want to relive the seventies pick up this record, if you want a record to have a party to pick it up, but if you are really looking  for a really good record to spend money on, get the Unsane record instead. —Sausage King

Love Lies
Speak
Rabid Records

The first song in the title track of “Speak” is a Toad The Wet Sprocket cover. Hold on a sec, I just checked the bio that came with this CD and it appears that I have made a grave mistake. Or someone has. It’s a good thing that I consulted the bio before continuing my counting Hootie rant. I feel a bit ashamed for my hasty condemnation of this band, for it appears that they are taking the alterna world by storm. Hey, they’ve already been added to the 10 wait college powerhouse KWUR, St. Louis and they’re in media rotation at KUSR in Ames, Iowa. I smell a hit, kids… Better run out and snatch up a copy so you can say you liked them back when… Love Lies is a band that is derivative of all that we should wrinkle our collective noses at. Formula pop songs with overtly pseudo-emo vocal whining that makes me feel like removing all of their molars and using them for ear plugs. But hey if you’re down with live and toad and Hootie and the blossoms and the crows you’d love Love Lies. You have my sympathy. —Ms. MacGyver 

Read more from the SLUG Archives:
A Shot Of Blues: October 1995
Written In Blood: Hard Music for a Hard World