Tom Constanten “Greatful Dreams” Relix. Yikes, my whitewater raft-goddess girlfriend knows more of these songs than I do, you probably will too So this fart played keyboards for the Dead “from 1968 thru 1970.” He’s quite the piano player. The CD was released last year, and I think I would have played it once or twice since had I noticed it when it arrived. Imagine takes on “Let it Be,” “Friend of the Devil,” (both of which I recognized) “Boris the Spider” ( she knew it, I didn’t recognize it at all.) “I’ve just seen a face,” “Season of the Witch,” and more. Get the idea? I think this guy has a little too much fun tickling the ivories, but it makes for a fun-enough record. - Ment

Diamanda Galas “Schrel X” Mute . I tell the story every time I review a Galas release, and this one is five years old already so why break with tradition. I was in my grandpop’s den, watching HBO when I first heard her. It was the soundtrack to American Ninja IV. or something like that. She was credited with “vocal realizations,” I think. Memory is fading a little. That was more than 15 years ago. This is not dinner music, unless you’re that sprokets couple in the television commercial. Really, a Galas CD is an art piece to be studies, less than listened to. Some might even say it’s unlistenable or dismiss it as “purely experimental.” But the anguish rings through. She has carried her show to many corners of the earth, as performer, activist, and spectacle. This seemingly angry CD, filled with profanities and screeches is based on a 1994 radio project. She developed it further at Ohio State University under a creative residency grant. Further support came from the Wexner Center for the Arts, On The Boards (Seattle) and others. They all must get it, even if you don’t and I’m not sure. I do know that Max the cat can’t stand it. Talk about ears slicked back! - Ment


Faith Kleppinger, self-titled demo CD. Faith interrupted her own set to give me this disc last year at Meow Mix. Gearing up to see her again this year, at The Living Room, I wanted to revisit the fragile emotionally-charged vocals. When she sings “I’m Fine,” you can almost believe her. Her style is intimate. The recording is low-fi, as if a couple of microphones were hooked up to a tape deck, late one Thursday night in my living room. I think almost anyone can record this way. I recommend it. Of course, it was probably a four-track, because Faith overdubs her own vocals on several of the six songs on this disc. Twice as much Faith can’t be bad. - Ment

Pillbox “Gimmie What I Want” Not Your Concern. At times sounding like Chrissie Hynde, at times who knows who, Susan Hyatt’s got the wretched baby-doll looks and I’m sure her hips move just right on stage. She sang about life in plastic, before it was fashionable in Hollywood. She’s got a surly snarl to her voice that will force you to pay attention. She’s got the New York-meets-Los Angeles punk sound that will make you take notice. While she’s clearly the star, I would have moved the drums up a touch in the mix. They’re important to this sort of stuff. I’m sure there will be second CD, if there isn’t already, to get that minor detail right. “You’re the one that I love the most. You’re the one that I hate.” Get the picture? - Ment

A..J. Croce “Transit” Higher Octave Music. Never heard him? But the name sounds familiar? I picked up an A.J. Croce cassette at a Caldor going out of business sale. Best couple bucks I spent that month. Croce’s got that too-many-cigarettes voice, bar-room, roots sensibility that can deliver a line like “Summer can’t come too soon,” without the listener wishing he were a member of the GoGos. If anything, he’s a little too evenly intense. “It’s hard to make arrangements, if you don’t know the score,” he says. True. Then he slips into a sort of oompa, oompa, interesting. Really, it’s just smart rock and roll, not too slick but far from sloppy. All 12 under four minutes a shot. Get the picture? I’m sure if it were possible, father Jim would be smiling down. - Ment

Fish Altieri, “Anthology of an Unknown” self released. Remember those greasy haired kids in junior high that preferred to doodle on their loose-leaf paper than string words together to form sentences? There are similar doodles inside the package of this CD. Who’s that guy that plays soprano sax without soul? This is not the most inspiring disc in my collection. Vanilla is a tastier flavor. - Ment

Speak No Evil, “Welcome to the Downside” Universal. It’s got a good beat and I’m sure you could dance to it. There’s a nice mix of percussion and guitars, power rock beats and tribal rhythms, all combined to scare the cat. Even our mooches. But then, cats have no place at rock concerts, right? It’s foundation is near-enough to Napalm Death, with more intelligible vocals, that you can’t help but like it. Unless you can’t stand this sort of thing, in which case nothing I say will convince you. - Ment.

Susan McKeown “Bushes & Briars,” Alula . I seem to never get to this label’s material in time to call it new or even recent, but I’m always glad when I get to it. Susan McKeown’s “Bushes & Briars” is a delectably long journey through decidedly Irish melodies and rhythms. McKeown’s voice, strong without becoming, is a refreshing escape from the no-talent pop that seems to fill the airwaves and my television screen while surfing. She has stories to tell and why not listen. They’re perfect for headphones at the office, or a candle-lit evening at home. Also on ALula: Gerardo Nunez’s Calima is, well, a bit like -- no exactly like a flamenco guitar album. I’ll save it for a theme dinner. Nice instrumental background. Beyond that, it won’t figure too high in my rotation. - Ment

various artists “Blessed by the Night; The Dark Metal Compilation” Zoomica Music. The title of this import comp suggests a collection of death metal bands but consists of music more in the Goth industrial vein. The costumery on the book art is pure cheesy but the music varies from cheesy to soaring and bombastic. Ranges from rocking metal guitar lines coupled with violin and guttural German vocals to pianos and drum machines with throaty sinister lead vocals with soprano chorales for back up. There are no familiar names on this comp; not surprising, Die Krups and Rammstein don't really delve as far into the Goth territory visited by bands on the collection with appropriate names like Lacrimosa, The Gathering and The Bleeding Light. Definitely up your alley if you like industrial that leans deep into the shadow of the crypt. - EAK

Karney, self-titled, Tangent . Although I've been spinning discs and giving my opinion for a few moons now, I must defer to the judgment of funk high priest George Clinton who asked the hyperbolic rhetorical question of Karney, "How'd a white girl get so funky?" A first rate singer songwriter who has always supported herself through commercial and creative music gigs (no day jobs!!?!), Karney shows a knack for masterful vocals and instrumental themes, and as writer and producer, blends up musical styles and guest artists like a good DJ - Jamaican dub style vocals, bassoon, and brass instruments plied in the dizzying style of Mojack. Will catch the ear of indie rock as well as singer songwriter fanciers, with substantial guitar riffs, catchy hooks, and narrative-oriented lyrics. - EAK

various artists "Waxing Off: Delicious Vinyl's Greatest Hits,” “The Very Best of DAS EFX,” Rhino - Rhino again shows its ear for older recordings that deserve re-release. This release features tracks taken off the full- length single artist discs that Rhino has already revived from Delicious vinyl's venerable back catalog of early hip-hop. If you don't recall, Delicious was a small contender from LA that used plucky determination and ingenious promotions to nearly steal the title from NYC based hip-hop labels. Former heavyweights like Young MC and Tone Loc rub elbows here with contenders of proven staying power such as The Pharcyde and Brand New Heavies, along with more over looked acts such as Born Jamericans, Whorida, and Masta Ace. If the new hip-hop has left you unsatisfied and made you nostalgic for the 'early days' Rhino can plug you in either through this compilation or the full-length releases of these artists which Rhino has also released in the last year. Rhino has also raided the solid gold vaults of other back catalogs, including Elektra's collection of East West recordings from Brooklyn hip-hop pioneers DAS EFX, originators of the 'stutter-style' on the vocals, a style of machine gun fire fast freestyle vocals capitalized upon by newer jacks such as Busta Rhymes and ODB. These tasty hip-hop nuggets are certainly tasty enough to be served up to a fresh, and understandably hungry generation of rap fans. - EAK

Eyuphuru, "Yellela", World Music Network. WMN licenses recordings from a variety of overseas labels and distributors and feeds the rhythm bones of world music fans in these united States. Eyuphuro is a time- honored Mozambican act, which was reunited to team up original members including Zena Bacar with newer talents from the Southern African seaside nation. Like other bands from sub-Saharan Africa, Eyuphuro uses a busy layering of sunny, ebullient guitar tracks, punchy brass accents, and the nasally and at-times somber tones of vocalist Bacar, who made her living fishing before joining Eyuphuro. The blend of sounds and rhythms from a half dozen native cultures with electrified modern styles is an apt metaphor for the nation of Mozambique which has seen a blend of African, Arabic, and Latin culture over twelve centuries during which misfortune occasionally tainted the sunny white beaches. The English translations of lyrics sung in the Macua Language (in which Eyuphuro means whirlwind) illustrate the types of misfortune which taint the promise of simple and idyllic living once manifest in these tropic climes - themes include warfare, AIDS, poverty, the decay of social institutions, and the trials of women in modern Mozambican culture. - EAK

Carlos, "Devil's Slide", Amazing Grease . The apparent torch bearers of San Fran's 'noise pop' sound, Carlos has shown longevity and ingenuity in a genre whose very name suggests something frail and short-lived. Carlos' sound is hard, guitar fueled and bouncy while the vocals have an emo-core hint of longing to them. Major developments on this album - evolution away from a sound that drew comparisons to Smashing Pumpkins on 1995s Amy Armageddon (the band's 2nd) and the addition of guitarist Richard Marshall - alum of the NY's manically brilliant Alice Donut. A latter-day Cheap Trick - Carlos offers an irresistible recording for anyone who digs a fuzz-toned indie rock ride with vocals that suggest the majestic pangs of everyday life's trials and challenges. - EAK

various artists "Tribute to the Pixies", "Opium Jukebox: Songs to Download Porn By" Invisible . A collection of mainly hard-rock bands from Japan (licensed from Tokyo's Rock Records) paying homage to one of indie rock's greatest bands. Unlike most compilations, which seem to seek out obscure tracks to cover, this disc hits all the bomb tracks - Debaser, Wave of Mutilation, Bone Machine, Gigantic,… The bands here are not household names on this side of the Pacific and the liner notes, with the exception of song lyrics, are in Japanese, so all we know about them are that they like to rock and have a passionate admiration of the Pixies. These tracks are not cookie cutout soundalikes but bear the distinctive stylistic mark of the individual artists. Dreamy, pungent covers also abound on Opium Jukebox, the duo of Martin Atkins and Bobdog, whose focus is more diffuse. Bands covered include Love and Rockets, Jane's A, Devo, and Nirvana. Like Invisible's previous collection of Elvis covers, these are virtually unrecognizable to folks familiar with the originals. Instead we are treated to industrial soundscapes with windy atmospherics, thin twangy sitar-like strings, voice-over samples, and more typical keys and drum tracks. - EAK

Chemlab, "Suture" Invisible . Chemlab should be familiar to those of you who have been plugged into the Rag for a while. Krayge Tyler of Virus 23 (V23 CD Available from MMG Mail Order) laid down guitar for two of these remixes of Chemlab songs put onto Invisible wax in Chicago after a tour with KMFDM. This fits in well with the Invisible scene - rocking industrial tracks with electronic precision and organic balls and singer/writer Jared Louche's 'glass-shard' vox, sharp but sparkling. You can almost re-create the experience of bouncing on the dancefloor to live Chemlab while listening to this disc. Rock on. - EAK

Lunachicks “Babysitters on Acid” Go Kart (reissue). Wow, this chugs as much as it did the first time I heard it back when the band had been playing the CBGBs circuit with the rest of the scumrockers (including yours truely) It really stands up, seriously. Sounds fresh - could be new. I’ve lost touch with this band’s career. So I’m sure the newer material is slicker and polished. I think I saw Theo in an ad for something or other, and there was a whole history there that makes me wonder why I haven’t paid more attention. What does this all mean? Well if you missed it the first time around, need it on CD, or just gotta have it now, “Babysitters on Acid” is available again. Title track is adorably brilliant. The pace of the whole album is relentless. - Ment.

Anger Management, Lord Barfly, Live at The Seattle Times Building, Seattle, 12/08/00. These bands braved rain and cold to show their solidarity with striking Northwest Newspaper Guild members who had been on strike since Thanksgiving. The Times had not been particularly warm and fuzzy with strikers - inflexible in negotiations, the Times 'family-owned' business had erected chain link fences around their building and hired security guards BEFORE contract talks broke down. Powered by a portable generator and warm spirits, the bands used a rental trailer and the street as a stage and managed a sound mix that was superior to the mix in some Seattle clubs. Anger Management, which debuted with a show last summer (see UR #31) have gotten tighter, pumping out frenetic funk metal with masterful turntable accents courtesy of DJ Trip and rapping that is growing more credible with each show. AM's sound will be especially pleasing, and familiar, to fans of the plucky, steely bass burps in early Red Hot Chili Peppers and especially Suicidal Tendencies spin-off Infectious Grooves. Fans in Seattle can expect to see more of the band's tight funky rap metal this summer as the band will be gigging out more and sharing bills with other funk loving heavies. And don't be surprised to see them at the next picket line or demonstration. Mike Clark, who supplies AM's crunching guitar attack, said, "We are ready to play wherever there are pickets or demonstrations for causes we believe in." Maybe they'll show up in Kingston to support the Newspaper Guild in their trying negotiations with the greedy, intransigent corporation that owns the Daily Freeman. - EAK

Mumble and Peg, "All My Waking Moments in a Jar" Vaccination . Bawdy rollicking vocals and dark to sinister lyrical themes that fall somewhere between Tom Waits and Nick Cave, instrumentals with an appealing type of simplicity in guitar, keys, occasional banjo, and rhythm section - these tunes are off- kilter enough to maintain an unassailable indie credibility, morbid enough to garner interest from reformed Goths, scrappy enough to start a fight at the pool table. Sure to be a badge of pride for those who obstinately favor the off-beat, improbable, and self-assured music of musicians who are playing what pleases them. - EAK

Moths, Bastards of Melody @ The Charleston, Brooklyn, NY, 7/29/01. The homey environs of The Charleston for some years have enjoyed the talents of Moths as a resident band even as they make increasingly extensive forays into touring and club-hopping throughout the East Coast. The cliché applies - the more things change, the more they stay the same. Moths are getting their due in the form of recognition from promoters and the music press, with the release of Lepid Opera on Luna Sea Records, but their humor and guy-next-door humility are still right at home in this true neighborhood bar. That is not to say that they, and other bands which share the bill at the Charleston, don’t rip it up with guitar fueled rock - high test with additives of distortion, irony, and thought-provoking vocals. Newcomers Bastards of Rhythm from NJ also have the chops and appeal to garner interest on bigger stages. They could have been Weezer if Weezer hadn't already existed and gotten the grooming and promo push from the major label - appealing guitar hooks, sweet harmonic chorales from several vocalists, and a Beatlesque knack for crafting pop tunes. - EAK

The Damned “Grave Disorder” Nitro . You could put five in the player, hit shuffle, and you’d still pick The Damned right out. Distinctive sound, that hasn’t changed much in 20, 25 years, however long it’s been. These tracks are too fast to dance to, too loud to make out to, I think they’re just meant for standing around and banging your head to. Capt. Sensible and Vanian say their long-running collaboration benefits from the fact that they “dig a lot of the same things musically.” Nitro claims the band was the first to release a punk rock single, and influenced countless other bands. Possibly more so on the left coast than right, but no one can deny their staying power. I’ve never been a Damned-superfan, but I did enjoy the one live show I caught years ago in NYC. I’m sure they’re just as good today, if not as young. But no word of a tour that I’ve heard. - Ment.