Tribute to Powerpuff Girls, split single by the Apples in Stereo and Bis (7", Kid Rhino)

This pink vinyl slab of sweetness and fight features songs inspired by The Powerpuff Girls, a cartoon series based around three super-powered child champions.

Apples in Stereo contribute 'Signal In The Sky', a catchy thumper in a vaguely Seventies-glam style, while Bis crosses electro-pop with punk-pop to arrive at 'Powerpuff Girls (End Theme)'.

This in an excerpt from HEROES AND VILLAINS, an entire CD, which has a few other stellar contributions from: Optiganally Yours, whose 'Walk and Chew Gum' has tons of the cheesy Optigan electronic keyboard sound effects on it, as you might guess; Shonen Knife, whose catchy, high-camp rewrite of their earlier 'Twist Barbie' is entitled 'Buttercup', and does not suffer for its derivativeness; Komeda, with an angular, clanging piece of electronics, topped with a soothing female vocal, entitled 'B.L.O.S.S.O.M.'; and Sugarplastic's mildly jazzy 'Don't Look Down'. Devo and Frank Black are a smidgen too intense, while Dressy Bessy are TOO cutesy with 'Bubbles'.

Yes, I still watch cartoons - wanna make something of it? BIFF - KERSPLAT - BAMFF!!

Bret (guitar), Heather (drums, vocals) and Calvin (vocals) do a clean-strummed, country-pop ditty on the A-side, though the drums are very well recorded and even get a brief solo, while the B-side is, as the title suggests, a vaguely limbo-like dance number. The lethargically tapped claves are a highlight, as are the comic-horror lyrics which suggest Cramps meeting B52s.

It was a smidgen disappointing that Calvin sang lead on both, with his low baritone, since Heather's chances at the mic were always a treat, but one cannot have everything, and I believe Calvin has been the only member actively pursuing music of late, so the others may have been rusty.

Don't hold your breath for anything else, but it is an entertaining little confection.

Celebrate the Misery/Another Bridge, by Flare (7", Mother West Records, 132 West 26th Street, NYC, 10001, USA)

The A-side is a stripping of a track from Flare's debut album, BOTTOM, with the credit going to Stephin Merritt of Magnetic Fields fame. His strategy seems to have been to peel away, or at least severely reduce, everything but the vocals, by the lovely, large, talented fellow LD Beghtol, and add sleigh bells, to result in what could be described as the dark-period Brian Wilson doing a single with Nico circa 1974. Way disturbing, but way beautiful too.

The B-side is an Everything But The Girl song with which I am not familiar, by the band's new lineup that features strings. I am reasonably certain that the original does not sound like this - but that's okay - it's better off this way...

Frumpies Forever by Frumpies (7", Kill Rock Stars)

Four more songs from the Frumpies, which is essentially Bikini Kill minus Kathleen and with Molly Neuman of Bratmobile on drums. They seem to delight in, and/or have to for scheduling reasons, recording music and then adding vocals considerably afterwards.

The title track has a stomping garage-pop feel - not surprisingly, since it's at least partially about the Headcoatees, a now-defunct female band of that ilk.

"We Don't Wanna Go Home" is about how the various members of the group have dispersed across the USA, which might account for those belated voice contributions.

"Turn Off The Faucet" touches on domestic ennui and despair, and isn't exactly fun listening.

Then they do a sarcastic attack on "Tell Me", an early Rolling Stones track. Since cheap irony is growing thin on me, I cannot say I much cared for this. It IS a pretty obscure song (I only know it because there is a (good) cover of it on one of the GIRLS IN THE GARAGE collections) - if you don't like it, leave it alone. Making fun of it simply seemed juvenile to me.

Noisy, sloppy, mostly fun guitar-pop. No big agenda, but worth a few spins...

TV Zombie/He's Got Heart by Rondelles (7", K)

'Til Summer Ends by Bela (CD, Mother West Records, 132 West 26th Street, NYC, 10001, USA)

Bela (Jeff Hogan, vocals/guitar; Mauro Felipe, bass and guitar; Fred Pisciotta, percussion; Julia Kent, cello) does rather melancholy pop, heavy on the cello and lead bass, but doesn't necessarily dwell in misery, since the tracks are generally compact and keep a fairly brisk pace without being aggressive or rushed.

Jeff's voice is on the breathy and soft side, stragnely like Lindsey Buckingham's or Billy Corgan's, though I doubt either is an influence or compliment, and he has a theatrical touch in the way he plays with his vocals.

I was particularly taken by the cello, as string players other than violinists are always a plus in a band for me (the introductory squealing on the track "Heaven's Slow" was appealingly Caleish), but the ensemble is tasteful, controlled and capable of creating a mood. A nice, if slightly sad, disc...

Speaking of the... by Davenports (CD, Mother West Records, 132 West 26th Street, NYC, 10001, USA)

This is power pop, with big hooks, which was not what I had come to expect from Mother West Records, as practiced by: Scott Klass (vocals, keyboards, percussion); Todd Foulsham (drums, vocals); Dan Weinkauf (bass); Sam McIlvain (guitars); and a few guests on extra guitars, keyboards and strings.

If the Rembrandts (theme from FRIENDS) were to cover Elvis Costello mid-period material, this is what it might sound like, with "Object In the Mirror" being my personal fave of the twelve songs, though it was difficult to choose just one.

Powerful - driving - very catchy - and intelligent, to boot. Who could ask for more from ROCK 'N' FREAKIN' ROLL!?

Our New Day by Embrooks (CD, Bomp/Voxx Records, P.O. Box 7112, Burbank, CA, 91510, USA)

Al (vocals, guitar, organ, percussion), Mole (vocals, bass, guitar, percussion) and Lois (drums, percussion) make an appealingly sloppy garage/mod-pop album that time forgot.

The vocal harmonies are exquisite, drenched in echo and obviously well-planned. The guitars feed back, reverberate and chime beautifully. The ensemble plays with great abandon and force, and, I think, more or less live (though the vocals are definitely overdubbed). I do wish the bass and drums were mixed a bit higher, though, in the latter's case, "Bad Flight" gets some neat cymbal and snare work.

Freaky, man - and the perfect soundtrack for a GOOD Sixties-movie parody (are you listening, Mike Myers?).

Cave-In! by Gruesomes (CD, Tyrant Records, 78 Rachel E., Montreal, PQ, Canada, H2W 1C6, Tel. 514.842.5887, Fax 514.842.5906)

Ah, memories of university...1986...hearing one of this band's albums in a friend's dorm room and immediately falling in love with them (that they were cute, rough-looking boys didn't hurt, I must confess in the name of objectification...).

Sadly, they vanished in 1989/90 when Og, their label, called it quits.

From the evidence here, they might as well have not gone away, as there has been little change.

But that's a good thing! Nasal vocals - harmonica blasts - pounding drums and organ - burbly, feel-it-in-your-tummy bass - stinging guitars - what more could you need to set your garage on fire?

Homophobia/Teddy Bear by Ray 'MusicBear' Baker (CD-EP, info on how to purchase it can be found by clicking on the link concealed under Homophobia/Teddy Bear; Ski Hill Records, 4 Ski Hill Road, Portage, Indiana, USA, 46368-8719, ph. 219.7862.1947, [email protected])

When I first heard of MusicBear, he had done a sensitive, folky, romantic self-titled CD.

Obviously, he has learned to shake his furry groove thang in the meantime, as this EP (four mixes of 'Homophobia'; three mixes of 'Teddy Bear') has its big bear paw up in the air in a classic disco-floor pose.

'Homophobia' is a track from twenty years ago by a fellow named Geof Morgan, and is a delightful mix of sarcasm and social commentary, set by MusicBear to: a big, reverberating, busy drum beat; some cheesy synth bass; lots of fake string and horn noises; pitch-shifted backups; and a campy vocal up front.

"Teddy Bear", an original, is a smidgen more gentle, though it has a nice, even bass line; swishing ride cymbals; some piano/harp flourishes; and a very sensuous, swooping vocal and lyrics, all about finding the Bear of one's dreams.

I know I've gone on record as saying I don't like dance music. Perhaps I'm mellowing...I mean, I still wouldn't dance to it...but it was nice to listen to and shake my foot to in my chair...so maybe I am in denial... :)

Ginger's Dish by Paxton (CD-EP, Underdog Music Inc., c/o Gary Cohen Corp., 57 W. 38th St., Suite 600, NYC, 10018, USA; artist at P.O. Box 143, East Jewett, NY, 12424, [email protected])

Though people who have a very odd impression of me will insist I must somehow have known, I was actually unaware that this vocalist, Paxton, was queer until I read about it. However, it WAS a nice surprise, I'll concede.

These four, folk-rocking songs start off with the rollicking "What's It Like To Be You?" a critique of a fashion victim(izer), and move on to the wordy, witty "A Little Better". The last two selections, "How The Love Turns Around" and "The Closing" are more sedate musically and compact lyrically.

Paxton's slightly raspy, sensual and expressive voice brings off material that, in a less skilled mouth, might seem crowded.

Some time this year, a new full-length is due. I know I'll be looking for it.

(P.S. No sign as yet :( ).

Get There From Here by Slojack (self-released CD, 4470 Sunset Boulevard #744, Hollywood, CA, 90027, USA, [email protected])

This, the follow-up to this homo-fronted/guitared band's 1997 debut NAKED, is definitely more laboured over than its predecessor, since it is leaps and bounds above the fairly simple rock and roll of that release.

The band (Eddie Fritz, vocals/keyboards (queer boy); Andy Bartel, guitars (ditto);Ken Frank, bass (not sure, but cute and scarified ;o) ); Jeff Potts, drums (again, it would be rude, if fun, to speculate...)) serves up a varied meal, ranging from the X-like "24 Hours" to the mid-tempo, semi-hopeful number "Someday The Rain", with stops at the relatively tender "One Last Time", the Dream Syndicate-ish "Devil's At The Wheel" and the love/lustlorn tracks "Ain't Got You", "We Belong Together" and "Sad Eyed Romeo".

This is not exactly as 'gay' a record as their first, but an outsider/sexual outlaw vibe is still to be found, as can be guessed by their appearance at September, 2000's Folsom Street Fair, a San Francisco S/M and leather event (where I met them at last).

Fold Your Hands Child, You Walk Like A Peasant by Belle and Sebastian (LP, Matador Records; band at P.O. Box 25074, Glasgow, G2 GYL, UK)

The Scottish gods and goddesses of sweet, subtle sleaze and delicate decadence are back. In this regard, they are second only to Leonard Cohen in his prime, and their propensity for big orchestration, instrumental precision and filthy-mindedness are also shared with that gentleman.

This record is a tad more democratic than its predecessors, with more of the vocalists getting to chime in with their voices and pens, though, as might be guessed, given that they work together, there is a certain similarity between them (having said this, I do not think anyone but Isobel Campbell in the project could have penned the anti-breeding "Family Tree", as I suspect, with no ability to prove this, that at least one of the two male singers is not likely to reproduce).

"I Fought In A War" continues the Leonard Cohen comparison, with its parallels to his "There Is A War", though I suppose it could be influenced by "Love Is A Battlefield" by Pat Benetar (however; I hope, pray and think not).

"Beyond The Sunrise" is so pretty, with its swirling strings, bells and guitars, that it takes a listen or two to realize it is about ghost or succubus sex.

In the long run, this is very lovely, professional music, and proof that a brick can be concealed quite handily in a velvet glove...

He Has Left Us Alone But Shafts of Light Sometimes Grace The Corners Of Our Rooms by A Silver Mt. Zion (LP, Constellation Records, P.O. Box 42002, Station Jeanne-Mance, Montreal, PQ, Canada, H2W 2T3, [email protected])

This spin-off from Montreal's God Speed You Black Emperor!, consisting of: Efrim (keys, guitar, radio, voice); Thierry (bass, contrabass); and Sophie (violin, voice), with occasional help from an extra guitar, drums and clarinet, do a long minimalist, quiet but disturbing piece (the eight sections have titles, but, particularly on vinyl, breaks are non-existent, and even the CD, though it has track IDs, is cross-faded...).

With the exception of the vocal piece, "Movie (never made)", which seems to be about an APEC/WTO protest situation, it is very ambient and classical in nature, with a hint of jazz too. It is repetitive, but not as monolithic and tense as GSYBE!, and the melodies are highly elongated but definitely there if allowed to evolve and permeate your mind.

Dark, but beautiful - ideal music to listen to on a Sunday afternoon as the birds are chirping and your dreams are slowly being eroded by corporate fiends. Of course, that may just be twisted ol' me, tastewise...