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Lisa Marr (bass/vocals), Mr. Pepper Berry (guitar/vocals) and Mr. Corky Pigeon (drums) gave us a seasonal gift, and it's hopefully still sitting under SFTRI's tree (on which point - thanks for the present, Bill). "Christmas In My Heart" is a cowpunk lament about how the narrator doesn't feel up to Christmas, being a dumpee and all. "Santa Baby" updates the Eartha Kitt classic to include groupies and Elvis. Pepper gets the B-side, "Father Christmas", a thrash cover of a tune from the 1970 stage Production SCROOGE. All in all, a good stocking stuffer.
Lisa and friends have also released a teensy new CD-EP (7 songs, 15 minutes) whose cover and title prove that playing with Pansy Division, even once, forces you to pastiche AC/DC eventually. It's very loud, very live and very sloppy, usually in a good way, though I can't get used to Lisa screaming. 'Come Back' has the catchiest tune and a bluesy feel. As to Pepper's turns on the vocal mic? Perhaps I'll get used to them...his 'All Around The World' is not without hooks. The similarities to cub, Lisa's former outfit, are fading - which is not always a good thing. Still, it's a hard-rockin' experience, and energetic enough to overcome the relative lack of pop...
Kaia contributes a tuneful strum-along, "The World's Greatest Haircut". While she can do no wrong (musically), it's merely average by her standards. Sarah Dougher, on the other hand, does a stunning and sparkling multi-guitar-and-vocal piece, "The Old Way", that sent shivers up my spine. That's the real reason to get this, but move fast, as it's rapidly running out...
The single includes the title track, which is a bopping, Motownish tribute to people who inspire the band members (Kathleen Hanna, zinester Johanna Bateman, dyke film-maker Sadie Benning) and their friends; a remix with soundbites tossed in from some of those legends; and two other songs, of which only the rapid-edit tape-play of "They Want Us To Make A Symphony Out of the Sound of Women Swallowing Their Own Tongues" seemed more than filler.
The CD, which continues the sample/punk-rock trend of Kathleen's JULIE RUIN project, but more smoothly, is fabulous. Highlights besides the single include the furious "The The Empty"; the fun and defiant "My My Metrocard" (how can you NOT love a song that contains the lines: 'Fuck Giuliani! He's such a fucking jerk!'?) and the tender "Les And Ray" - but it is a nearly flawless, though too short, document. May the experiment continue...
Chris Xefos from King Missile on accordion, guitar, percussion and vocals; LD Beghtol from Flare (more on that later) and Magnetic Fields on vocals. When two Bears meet, it is a humbling experience. The addition of bass and strings from two former Camper Van Beethoven fellows simply multiplies the 'stun' factor.
"Turnabout" has a lively country bounce with big backing vocals, rather sad lyrics and an accordion/violin dominance, sung by LD in his precise, broad, lovely tone. "New Mission Terrace No. 47" is a dark, brooding, Nico-like pulse, with a very long, droning intro of twanging guitars, keyboards and strings before an extremely processed vocal reminiscent of Michael Stipe channeling Robert Smith enters, also delivering morose words (though the abrupt shift to a jaunty waltz and higher vocals at the end was a delightful surprise).
Now the sad news - it's going to be expensive. Due to the system that label uses, it will be expensive from Mother West ($5 US plus $6 for shipping). I would suggest saving your pennies and getting the Flare CD BOTTOM as well (more later), since both would cost you $25 altogether.
This Canadian dyke/feminist outfit, like Ember Swift (who I saw them perform with once), have been known to toss horns and strings into vaguely folky, personal and political songs. They rock more (or at least more conventionally), since they have electric guitars and big drums, though the sound here is occasionally not too lively or exciting. On stage, though, they were stunning, and there is word of more material to come...so, while this is a bit too short and low-key, it is a good introduction nevertheless...
Angela Davis, for those to whom she needs an introduction, is a long-time activist on prisoners' rights and against racism. This talk from 1997 makes all the right connections, and Dr. Davis' way with tone, words and wry humour prevents it from being a harangue (though, frankly, the prison industrial complex, Nike and Immigration and Naturalization Services deserve a harsh tongue-lashing and then some). It's really good stuff, and surprisingly entertaining, for all of its grimness (at one point, Angela says she doesn't want to depress or frighten the audience - and then takes that back, but only if the fear and depression spur them to do something - and, with any luck, this CD will inspire a few more to contribute).
Flare, on CD, is a project by LD Beghtol (vocals); Damian Costilla (guitars, tapes, etc.) and Ernest Adzentoivitch (bass, tapes, samples), with contributions from a drummer, keyboardist and string player. It's generally fairly dark stuff, though very pretty and eerie. Titles like "Last Call", "Celebrate The Misery", "Lack of Better" and "Tangle" (not to mention a cover of Moby's "When It's Cold I Like To Die") should be a hint as to the tone. Though it can be a bit too gloomy and slow, especially if you are sick when you listen to it, as I was, LD's languid, long vocal lines and Damian's wondrous guitar more than make up for it. Sadly, the band has lost Damian since this was recorded, but continues with some line-up changes.
See the Moth Wranglers' review earlier for hints on how best to get this.
In which the angry youngish man of 'Getting Off', his first CD, learns to keep worrying but love the hooks.
TUNES! CLEAR, SOMETIMES GORGEOUS VOCALS!! PIANOS AND SYNTHS AND PROGRAMMING!!! OH MY!!!!
While there ARE harsh numbers, like "Pride", "The Living Dead" and "Fight About It", they have much more subtle and textured approaches, and the pain of "Not Good Enough" (vaguely martial pop tune) or "Worthy" (piano bar jazz!) or "Meet You At The Church" (Morrissey meets Elvis Costello) is made more bearable (if you will) by their catchiness. Scott even has a guest musician or two this time to leaven it out, though the bigger production reveals he is a truly skilled multi-instrumentalist.
AIDS and homophobia remain his big subjects, for reasons both personal and political, and "Leather Ghosts", in particular, is an utterly heartbreaking and darkly funny disco dirge about both, but he makes them more approachable by being so attentive to a more inviting sound.
The cover this time around is "San Francisco", a village People song he seems to have far more affection for than his deserved annihilation of "Streets of Philadelphia".
Oh - I'm thanked in the credits *blush*.
Mr. Gira, of Swans fame, spins five long stories of murder, mayhem and degradation in a very quiet, calm voice to an extremely hushed, reverent audience. In a way, this is scarier than his often terrifying work with that late outfit...if only because you can tune out a screaming voice of evil...it's the subtle, low-key depravity that sneaks into your brain...
Michelle Breslin, the singer/guitarist of this band, used to be in Fifth Column, and her vocal style has hints of that outfit's Caroline Azar, along with a touch of Lush and maybe even early Courtney Love. The songs are generally tuneful with a smidgen of dissonance, a la Sonic Youth. She is ably backed by Steve Keeping (drums), Rudy Rempel (guitar/vocals) and co-producer Daryl Smith (bass) - she has had several line-ups, one of which I caught in January, 1996 at Caroline's play "Satan's Mistress" and another one of which, featuring Beverly Breckinridge from Fifth Column on bass, is captured here on the bonus track "Don't Talk".
Of the main songs, I was especially taken by "Alien Squirrel Kidnapping" and "Laidback Runner" for their churning drone and sheer drive respectively. All told, it's a solid, accomplished debut CD.
Angus (1938-1979) was the original drummer of the Velvet Underground in 1965 and briefly in the summer of 1966. This material dates from three to seven years after that time, however, and, except for hints of Indian/Asian influence/drone, doesn't really sound like that band at all, though the flute, harmonium and flexible hand-drum-and-bell-driven rhythms, ironically, are reminiscent of Nico. It's all very improvised and hypnotic, and excellent music for an evening in (your mind). Of course, I neither use nor recommend altered states of consciousness, but this might make an interesting 'trip' soundtrack...
Rachel (drums/organ/vocals) and Radio (guitar/vocals) are back - and this time the album is tantalizingly close to half-an-hour long (pleeeeeeeeeeease - 79 minutes next time!?). They continue their quirky, sample-and-tape, precise but rhythmically tricky ways, with way more Loud Guitar - and thoughtfully include "Vaselina" from their fab 10" HI-FI EP for the vinyl-challenged. Obscure, poetic lyrics - grooves to slip your backbone and discs to - what's not to love?
Doug has been 'out' in the country for about eight years now, having 'graduated' from a classical tradition to country (he has the pipes for both).
This is a teaser from his forthcoming third album (April 2000) of the same name, featuring three songs. Having recently 'come out' as a rockabilly/country fan (or at least trying to keep my mind more open than it has occasionally been in the past), I have to say I'm looking forward to it (now that I've found out I can get his stuff through HMV here).
The title track is a neat bit of Western Swing about the men of the USA and their various charms. Partial as I am to Danes (one big ol' pup in particular - hi, Arne me boy!!) it did sound rather appealing. :)
"Los Dulces Mexicanos" is a Tejano treat, largely in Spanish, about a fellow south of the border who caught Mr. Stevens' attention.
Finally, there is "Moth To A Flame", a gorgeous torch ballad - sort of like kd lang in drag, were that not redundant - that shows Doug's trained background, and also highlights the tasteful drumming of Ms. Joyce Baker.
All told, very nice country - and, no, that is not a contradiction in terms...anticipating the full-length now...
The long delayed sequel to POP AMERICAN STYLE, which included one track by the Canadian CUB. This one also draws a quibble from me. 14 of the 40 tracks American!? No demented hidden bonus track!? (To be fair, they included a footnote about the cub thing in the first release, asking if you minded - of course I didn't...).
Otherwise, fun stuff. It's more electronic than its predecessor, and several tracks, including, sadly, nearly all of the Japanese ones, are too cutesy to be endured for long - but it's tuneful and an easy listen for the most part, with an occasional shining star, such as: the American BARCELONA's ode to hacking, "I've Got the Password to Your Shell Account" (synth beat; crude guitar; nasal girl vocals; boy doing 'ba-ba-ba' backup); the British CHERRY ORCHARD's jazzy "Everybody Knows" (Tindersticks on Prozac?); and Scotland's PEARLFISHERS' "We're Gonna Save The Summer", the lost Beatles/Beach Boys duet that never was. It's also nice to see tracks in French and Spanish. However - please - for us old men with failing eyesight - no more pastel pink and blue print on blue paper!
For those interested, it's also available in a 3xLP format.
This is 27 slices of Sixties stuff, mastered from various garage 45s, most of which seemed to be in reasonably good shape. Personally, I'm quite taken by the years-ahead-of-its-time surfpunk of "Moaning", by Japan's BUNNYS; the swinging, stonesy "Walking Down Lonesome Road" by Sweden's MERRYMEN; the charming, mildly-off-key Beatles rip of "Not For Me" by Norway's SHIRROWS; and the Merseybeat-meets-Middle-East rock of "Hide If You Want To Hide" by the CEDARS of Lebanon. Like many such compilations, there are more than a few covers - but all done with love, and sometimes with interesting takes on what the words are. It was disappointing that only France and Spain risked native-language numbers. However, cool overall.
14 songs by pen pals of G.B. Jones, editor of Bitch Nation, musician, artist, film-maker, etc.
I have a song on it, "Maureen Tucker". I have the boyfriend's permission to say it's 'interesting'. :)
Highlights include: NIGHT VANDALS' "Night Vandals Theme", a theme for an imaginary riot-grrrl movie of the week (one of three tracks with members of Austin's NEW GIRL ART TREND BAND); ANITA SMITH's very professional "Savage", with G.B. on drums; JEFFERY K's touching "Batgirl Epiphany"; ANONYMOUS BOY's hysterical "Shave Your Goatee", with guitar by Jon from Pansy Division, and PLAIN JANE's "U.F.I." (Jane from THREE DOLLAR BILL). Secret clubs rule!!
Georgia (drums/vocals), Ira (guitar/vocals) and James (bass/vocals) discover the joys of the Velvet Underground's third album, having delved heavily in the first and fourth one. Only "Cherry Chapstick" really hits hard, and there's nothing here as experimental as on the last album, "I Can Hear the Heart Beating As One". Nevertheless, it's hypnotic, pretty and solid - so rock on in a mellow vibe...
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