Stiff Sheet

Bikini Kill
Reject All American
Kill Rock Stars  

I want to hate this record. It took me a week to figure out that Kathleen sounded somewhat like the girl from x-ray specs. For that reason alone I should hate it. But I don’t. As a matter of fact, this is one of the best records I’ve heard this year. The music is well structured, and the lyrics are juvenile but thought out, and that, my friends, takes a lot of talent. “Bloody Ice Cream” is an incredible song that I would like to give to all the female writers I’ve known so they could realize they’ve been programmed. This record is catchy, fun, angry and poppy. My hat’s off to the Olympia, Washington, crew for making such a good record. The chances of you liking this record are much like the chances that I hate you: it is pretty much a fact. So you’ll excuse me while I go put this record on again and steal all your toys. —Sausage King

Torcher
The Beautiful Sounds Of
Tim/Kerr  

This CD was released some time ago, and it might have received a review in SLUG in the past. Tim/Kerr sends the stuff to the office where it is snatched up by deadbeats or sent out of town. My connection with Tim/Kerr just informed me that Torcher has released “Home” as a single and they have a brand new CD due shortly with a slightly altered lineup. If Salt Lake City radio doesn’t pick up on Torcher then the radio deserves its “bland” reputation. This is without a doubt one of the most amazing CDs I’ve run across for at least a week or two. Michael Belfer (guitar) was formerly in the Sleepers and Tuxedo Moon. If that Tuxedo Moon reference doesn’t perk up a few ears then you aren’t as trapped in the ’80s as you would like to believe. The drummer, Michael Urbano, has played with Todd Rundgren and Cracker. Wait, don’t stop reading. He is currently playing in John Hiatt’s band. Wait, don’t stop reading — it pays the rent. Paula Keyth is the vocalist/bassist/songwriter.

Torcher is about as far from John Hiatt as it is possible to imagine. Three people somehow manage to lay sonic wave upon sonic wave. Textured is a word thrown about in the world of sound criticism. Texture seems like more of a touchy-feely thing unless this CD is playing. The Beautiful Sounds Of opens with “Ocean.” Since I’m not as connected as some hacks involved with this rag, I haven’t heard the latest Killing Joke, but I’m thinking they might do well to have Keyth write a song for them or guest on vocals. The song brings to mind a smell usually associated with the ocean or something similar. The smell can be deadly if the more concentrated Great Salt Lake/State Street hooker version encounters the olfactory nerves. “Home” is the single. What a blast for car systems! The single isn’t the best song. There are reasons for not releasing the best song as a single. All of them have to do with the title. It’s OK for boys to sing about it, for example Trent, but girls are still required to speak in metaphors. “Sex,” program the disc changer for this song and press repeat then… go have some. They call it “industrial strength pop.” I’m ranking it up there with Gang of Four’s Entertainment and Killing Joke’s Killing Joke. I guess the ’80s never ended after all because this makes my Top 50 and it is only April. Tim/Kerr is quickly becoming the Sub Pop of the 90s. Portland is the next Seattle. Watch for Super Deluxe and the Dandy Warhols on major labels soon as you purchase anything featuring the Tim/Kerr label, especially Torcher. —Wa  

Pee Shy
Who Let All The Monkeys Out
Mercury  

Maggie and Terre Roche influenced by the Shaggs. Three girls with a boy drummer and a thank you list including everyone from Rancid to Sebadoh. With a CD such as this, a list of the instruments is important — accordion, guitar, piano, clarinet, bass clarinet, keyboards, piano, acoustic guitar, accordion, drums, synthesizer and bass. Two accordion players in one band? Has Larry Pino, or whatever his name was, revived his chain of accordion instruction schools?

Lo-fi accordion rock that is heavily involved in minimalist tendencies and the sound of the female voice. Yes, and they do include spoken word from a feminist perspective. How this combo wound up on a major label is way, way beyond me. How Maggie and Terre wound up on a major label is a question that I ponder to this day. “Dance motherfuckers, I want to take you higher.” Girls lusting after boys who don’t know they are lusted after appears to be the major subject matter of songs. Relationships from the female perspective. A completely gorgeous disc that doesn’t rock at all. Quiet music existing outside the realm of singer-songwriter, trance, ambient, rock, jazz, the modern world or society in general. When all is said and done for the month Pee Shy wins as the best band I’ve listened to in the realm of SLUG.

Pee Shy receives the much desired, seldom given “Five Slugs To The Face” for “Who Let All The Monkeys Out.” Outrageous music that is destined for a cut-out bin near you — with collector value in the future. —Wa  

Pitchshifter
Infotainment?
Earache Records

Coming down like the first crack of thunder that hails a terrible storm, Pitchshifter’s new record hits you like a ton of bricks. Describing themselves as electro-industrial cynics, they have toured with the likes of Fugazi to Napalm Death. Good reason. Putting together the perfect mix of harsh guitar work and warped rhythms from both a kit and sampling, the England-based group sings in first person about prejudice and human apathy — both of which they despise. Crushing chords are laid over pounding beats that follow the biting lyrics of vocalist/leader J.S. Clayden that tears into the listener in the tradition of Big Black or Rapeman. Very political and angry, this CD is a molten mass of crunchy guitar and violent beats that makes Ministry and NIN sound like whiny schoolgirls. The best example of the new surge of metal/industrial lately by far. Look for it… find it… buy it! —Billy Fish

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