==== ISSUE 83 ==== CONSUMABLE ======== [August 2, 1996] Editor: Bob Gajarsky Internet (Temporary): gaj@westnet.com Sr. Correspondents: Jeremy Ashcroft, Martin Bate, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Jamie Roberts, Joe Silva, John Walker Correspondents: Dan Birchall, Lee Graham Bridges, Scott Byron, Paul Grzelak, Eric Hsu, Tim Hulsizer, Stephen Jackson, Daniel Kane, Mario Lia, Bob Mackin, Al Muzer, P. Nina Ramos, Linda Scott, Ali Sinclair, Jon Steltenpohl, Courtney Muir Wallner Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Also Contributing: Shirley Brown Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' IMPORTANT NOTICE INTERIVEW: Too Much Joy's Tim Quirk - Tim Hulsizer REVIEW: Black Crowes, _Three Snakes And One Charm_ - Linda Scott MACFEST CONCERT REVIEW: Hayden, Holly McNarland - Bob Gajarsky REVIEW: Sublime, _Sublime_ - Sean Eric McGill REVIEW: Spooky, _Found Sound_ - Jamie Roberts REVIEW: Far, _Tin Cans With Strings To You_ - Shirley Brown REVIEW: Pink Noise Test, _The Electric Train_ (EP) - Jamie Roberts REVIEW: Chimera, _Earth Loop_ - Bob Gajarsky CONTEST: Chimera NEWS: Beck at benefit, Pete Droge, Header, Morrissey, Philadelphia Music Conference, Punk: The Original TOUR DATES: Baboon, Barkmarket, Biohazard / Dog Eat Dog, Bryndle, L.T.J. Bukem / MC Conrad / D.J. Tayla, Camber, Tracy Chapman / Charlie Hunter Quartet, Cheap Trick / Trip 66, Chimera, China Drum Elvis Costello, Enormous / Perfect, David Gray, Hayden, H.O.R.D.E. (incl. King Crimson), Jawbox, Nusrat Fateh Ali Khan k.d. lang, Little Feat, Mae Moore / Tara MacLean, No Doubt / Goldfinger, Pantera, Poorhouse Rockers, Possum Dixon / Yum Yum / Dig Primitive Radio Gods, Rembrandts, Sepultura / Far, Sex Pistols / Gravity Kills, Slayer, Steely Dan, Warped Tour, Wild Strawberries Back Issues --- IMPORTANT NOTICE: If you are corresponding with Consumable from Thursday, August 1 to dates unknown (hopefully less than a few days), please ONLY send e-mail to gaj@westnet.com - the main account will be unable to answer mail for several days. Thanks for your understanding. --- INTERIVEW: Too Much Joy's Tim Quirk - Tim Hulsizer I got the call at 10 am. A very tired-sounding Tim Quirk, telling me to call him back at his hotel, room 216. This I did, discovering he hadn't been to bed yet. Hey, no big surprise there - after all, this is rock and roll. Anyway, knowing he was about to fall asleep I got right into it. Portions of fanboy adulation have been edited so as not to annoy you, the reader... Consumable: Have you been playing since the last album _Mutiny_ or did you guys have to get back into it? Tim: Actually the latest tour is the first time we've gone out more than a night or two in a row in three years. The last actual tour we did was spring in '93 and we spent the time after that just basically writing songs and recording and doing the occasional one-off just to put some money in our pockets. Mostly we were hustling to get another deal. C: This album seems harder than the last couple. T: Yeah, there's a couple reasons for that. Part of it is the mood we were in, part is the fact that it's three years since the last record. We recorded 30 songs, we could've put this album together any number of different ways...there's other more loping numbers we could've thrown on but in the end these just seemed like the 13 songs that made the strongest, most coherent statement. Another thing is that it's the first time the guy who produced the band, apart from being IN the band, has SEEN the band live before he made the record. Even though Bill {Wittman} did the last record, he'd never seen us perform live until after he was done with the whole thing, which is the same thing with Paul Fox and _Cereal Killers_ and Michael James with _Son of Sam I Am_. No one ever saw what the band was like live until it was too late (laughs). They go back and say, "Oh THAT's what you're about." Which is not to say one is better than the other, but it does account for the difference. C: There's a song on the new album called "You Will". Are you skeptical of this whole "computer movement"? T: Well, skeptical's not really the right word, because you know, I'm hooked up, I got it, I dig it. It's just those AT&T commercials...I just don't understand WHY anyone would wanna get a fax at the beach. You go to the beach, you're away from all that bullshit! You know? What's the point? I don't understand why that's a goal to work toward! C: So what's up with the artwork for the new album, did you ask for that stuff specifically from him or did he turn that in himself? T: No, he was our 5th or 6th try actually, as an artist. We'd come up with this idea, sort of along the style of R. Crumb and we actually went after Crumb and asked him, but he hates rock bands so he said no, but someone had told us Doug Allen was one of his favorite artists so we tracked him down and we looked at some of his stuff first. The first guy that did a drawing, we described it like, "It's a guy and a girl in bed...they're very realistic and sexy-looking but you know in a very sleezy, sort of twisted way. They've obviously just finished having sex and they've each got a thought balloon coming out of their head and it merges into one and says, 'Finally', because that's what they're both thinking." We told that to every artist we had, and the first guy gave us a picture of two CLOWNS in bed! Why in the world would we want a picture of clowns? We said "sexy" not "scary"! (laughs). But Doug Allen, we told him what we wanted and he was the first person who got exactly what we were thinking. It's as though he dug his hand into our brains and scooped the picture out of 'em. It was totally cool, and then he threw in all this extra neat stuff that we hadn't even thought of...a lot of the details are all his, and the strip on the inside of the lyrics to "Jersey Sky". I'd sorta had this idea that it might be cool and I asked him to do it. I didn't really have any idea whether it would turn out good or not, because you know I can be kinda precious about my words basically, and it came back way better than I thought it coulda turned out. I was so happy and proud of that. C: Do you guys have any plans for a video off the new album? T: We still have plans for videos off the old records, honestly! (laughs)Ah yes, it's just a question of what song we decide to plunk down the money on. We'll see how it goes with radio. C: The video you did for "Donna Everywhere" was directed by Penn & Teller? T: It was actually directed by Teller. It was Penn's idea and Teller directed it. It was great fun, but the thing is, Teller doesn't say a word onstage but boy is he a loudmouth when he's directing! (laughs) It was really fun, the only thing was, he saw us drinking beers and he asked us to stop. And you know, because we're sort of WASPy, non-confrontational type people (in real life, not onstage in the band) rather than just go "no, this is what we do," it was like we were back in junior high school, hiding our beers in cups and soda cans and stuff so he wouldn't know. But it was fun..we just took over a mall in Topeka, Kansas. C: How did you get to work with [rapper] KRS-One on "Goodkill"? T: Let's see...Our publicist at the time, who ended up marrying Sandy, the former bass player, also worked with KRS-One at that time and we were big fans of his, always had been. And Sandy had been talking to KRS one day and he said, "you know, you should do something on our album!" We're whores basically; whenever we meet anyone famous or semi-famous or semi-talented we're like, "Oh, we should work together one day!" And you know, no one had ever said yes before but all of a sudden he was like "okay" and it was really cool. We went through the album and he had to go back to New York but he still wanted to do it. So we sent him a DAT with the music in the right channel and he tried several different raps over it and recorded them in the left channel and we picked one and it turned out great. C: A few years back Too Much Joy were touring with the Wonder Stuff and there was some sort of problem. What happened? T: To this day we don't have a satisfactory answer. The tour was going great, we were selling out every room we were in and it was a perfect opening headliner slot basically, we were bringing in fans of our own which pretty much helped fill up the club. We were introducing them to the Wonder Stuff and at the same time winning over the Wonder Stuff's fans for ourselves. We thought everything was going great; it might have been going a little too great, I'm not sure. It's just that the Wonder Stuff were...well, drunken English bastards, as far as that goes! (laughs) We made a couple of attempts to get to know them, not in an ass-kissing way, not to be buddies or anything, but just to be friendly. They were all rebuffed, and I don't know, they were just really miserable and at odds with each other and with everybody on that tour. We did a show in Asbury Park..we had two nights off and then we were going to D.C. and at the end of the night we just said, "See you guys in a couple days in D.C." and they're all like, *effects British accent* "Royt, royt, see you there." We pull up in front of the club two days later and the club says, "oh you can't unload your van, you guys aren't playing, didn't they tell you?" We'd been kicked off the tour and no one had bothered telling us. It was a really messed up situation because you know, both bands had the same booking agent at the time and our own agent had to tell us we couldn't do these shows they'd booked for us and they swore up and down they weren't going to stand for it, they were going to talk the Wonder Stuff out of it, that they couldn't do that, that it wasn't up to them, they were just being jerks. Then all of a sudden [the agent] just turned around and said, "you know what, sorry about this guys, just go on home and we'll make it up to you." And we ditched that agency shortly thereafter. It was not a happy scene. C: Was that before or after you guys wrote the song, "Long-haired Guys From England"? T: Oh that was after. We were doing that song every night on tour, in fact the first night of the tour we asked them (not that we were going to stop if they minded), "Oh, you don't take offense at that, do you?" And they were like, "No no...we're the long-haired guys from England! We think it's funny..ha ha!" And they seemed to mean it at the time. C: What kinds of beer do you guys like the best? T: I'm a Molson Golden man, myself. I also like Red Stripe and I'll drink a Sam Adams now and again. I guess Sam Adams and Red Stripe come in brown bottles, but I'm mostly a green-bottle boy, as long as it's not Rolling Rock. C: I got your first album, _Green Eggs and Crack_ [long out of print] and I think it's good. Do you think that's ever going to be available again? T: Yeah, the thing is we kept telling everybody we were going to put it out in 1993 but then the problem is, we put out _Mutiny_ and then we had problems finding a new record company and the time between _Mutiny_ and the new album just started getting so long we didn't want anyone to think _Green Eggs and Crack_ was our next album. We're just so young and learning on it! And now if anything it'll probably be even longer because if we put out anything that's not a new record, it's going to be all the songs we have a backlog of from these sessions. I want it to happen so people will stop stealing it from college radio stations, that bums me out! I hate it when people come up to me and go, "yeah man! Sign this!" and when I ask where they got it, they go "I stole it from my college radio station!" like that makes them cool or something. It's like not returning books to the library! C: I was really disappointed last year when I tried to go out and replace all of the old TMJ albums on CD and they're all out of print. T: Yeah, that just happened last year. Someone was over at my apartment one day and they knew I was in a band but they had never heard it and they asked to me to play something. So I thought I'd put on "Crush Story" since this wasn't really a rock-type person. I thought this is pretty, this will win them over, and I put on the CD and it started skipping! I thought, Oh no! My only copy of my own record is messed up! I went to the store to buy another one and I couldn't find them anywhere so I had to go to the flea market. It was very depressing! C: You guys have the best liner notes of any band i know...is the whole band responsible for writing that or what? T: Basically it's a lot like the lyrics. I'll sit down and write 'em, then submit 'em for the band's approval. And they'll nitpick, throw in a stray line here or there. It's a group process but it begins me. C: Other than the Who, what are your favorite bands? T: Actually the thing about the Who, especially with this record is, alot of that's Bill. I guess on the cover of _...Finally_ there's a Kiss album, a Clash album, and a Who album. Basically Doug Allen had given us blank spaces for three different records but there's four guys in the band so Jay and I both chose _London Calling_ so that sort of solved that problem. But I was a huge Who fan when I was a teenager, still a pretty big Who-ophile, but apart from them I would probably say The Clash are probably #1 of all-time for me. Currently I like...well, the Flaming Lips are pretty happening and the Mekons now and forever will be good. I like the Wedding Present too; that's off the top of my head. And thus, after a couple more minutes of chatting about other stuff like Star Wars, the conversation ended. Having been illuminated about a number of points, I slouched back to my hole, to wait for the next record. We can only hope it doesn't take too long. --- REVIEW: Black Crowes, _Three Snakes And One Charm_ (American) - Linda Scott With their fourth album, The Black Crowes have been given the unenviable task of topping their stunning _amorica_. Their earliest albums, 1990's _Shake Your Money Maker_ and 1992's _The Southern Harmony And Musical Companion_, were fairly straightforward, good time, Southern-rock albums. 1994's _amorica_ was a darker, harder rocking, more complex album. It won critical praise with the caution of a need for more focus and polish. Expectations that _Three Snakes And One Charm_ will be _amorica_'s successor won't be met this time around. _Three Snakes_ is more like an album that could have come before _amorica_. It shows natural growth from the earlier efforts without _amorica_'s power. Fans will see this as a return to the band's roots, Southern-rock, but this time with big dollops of blues, gospel, bluegrass, soul and country. The Crowes have stayed with another part of their success formula - retrorock and imitation of their influences. Lead vocalist Chris Robinson has toned down the extreme Jagger/Rod Stewart posturing. and the music is less Stones, Aerosmith and more Lynyrd Skynyrd and Allman Brothers. The sound is brought to you by a band together for eight years. Rich Robinson (brother of Chris) is on rhythm guitar; he and Chris handle all the song writing. The sextet is rounded out by Marc Ford (lead guitar), Steve Gorman (drums), Johnny Colt (bass), and Eddie Hawrysch (keyboards). The band is one of the more controversial ones (vocal pro-drugs, partially banned _amorica_ cover), but this pulls the group together. The only threat seems the ongoing Chris/Rich battle. Joining The Black Crowes on _Three Snakes..._ are banjo player Rick Taylor, pedal steel guitarist Bruce Kaphan, the Dirty Dozen, vocalist Gary "Mudbone" Cooper and Gary Shider of the P-Funk All Stars, singer Erica Stewart of Ziggy Marley, and singer Barbara Mitchell. The album sounds rich, full with interesting textures brought by all these guest artists. "Good Friday" is a great choice for the album's first promotional single; it's one of the best tracks on the album, a lovely ballad with a familiar, Stones-like vibe. The first song in the stores will most likely be "Blackberry", a soul track for which the band will shoot a video. From here it looks like The Black Crowes have another hit. _Three Snakes And One Charm_ may not go beyond _amorica_ musically; it's a different, lighter vibe and can be judged on its own merits. This is a good, consistent album from a good, consistent, performing band. The Crowes always seem like they are about to make the big leap into superband, but _Three Snakes_ isn't likely to be the release because of its reliance on a proven and solid formula instead of a leap into the great unknown. In the meantime, _Three Snakes And One Charm_ is good rock listening. --- MACFEST CONCERT REVIEW: Hayden, Holly McNarland - Bob Gajarsky New York's Macintosh Festival featured several hundred bands in various locations in New York City and Hoboken, all looking to strut their stuff for music professionals and afficionados of all ages. The second year of this festival showed it wasn't just for exclusive industry people, but also for the die-hard people who wanted to experience new music, first, before it broke out across the country. Twho artists who exemplified the spirit of the festival - and both coincidentally are from north of the border - were Hayden and Holly McNarland. Hayden appeared at Hoboken's legendary Maxwell's (and later in the week at New York City's Knitting Factory), and the intimate setting only served to magnify his performance. With vocals and a spirit which could evoke comparisons with the late Kurt Cobain, this powerful acoustic guitarist set forth a mind-numbing selection of songs, interspersed with personal comments on life, that captivated his audience. And it wasn't griping - just talking, as if he were among friends whom he hadn't seen for a few weeks. The lyrics aren't deep, but in a folk fashion, they tell *stories*. According to Hayden, "Bad As They Seem" is about 'a guy who spends his summer days playing guitar on the roof of his parents house, writing about different neighbors as they walk by', while "Stem" tells about an unfortunate incident where 'I stopped in at a variety store to buy a rose for a date; on the way to her house, I ran into some wind and lost all of the petals'. "In September" is infectious on disc; acoustically, it silences a room with raw power and energy. His voice becomes an added instrument, rising and falling in nearly perfect synchronization with his guitar. His debut album, _Everything I Long For_ (which is more than acoustic) has been available for more than a year in his native Canada, and has recently seen the light of day in the United States. Holly McNarland is another Canadian native who has seen her first album, _Sour Pie_, released in her home country before being issued here in the States. The 21 year old Vancouverite at times, sounds like the next in the line of Kate Bush Tori Amos/Sarah McLachlan - at other instances, her vocals have seemingly come from her country bcakground (she began singing those songs with her mom), yet there's other examples when everything indicates she's a true rock 'n' roll independent woman in the spirit of Liz Phair. The song titles do nothing to dispel that last image; "Mr. Five Minutes" and "Cry or Cum" show this woman can stand up on her own, and won't take shit from anyone for any reason. Live, McNarland showcases her vocals much better than on the record; one might think that they toned *down* her resonant chords to make a more successful showing with mainstream audiences. The vocal hyrbidization of country/McLachlan/Phair works well on _Sour Pie_ - it just sounds much better live. And her band performs tightly, well in verse with the rush in McNarland's songs. All in all, two exciting new performers who may well require more than a couple listens on disc. --- REVIEW: Sublime, _Sublime_ (MCA) - Sean Eric McGill I wasn't overly familiar with Sublime until their latest self titled major-label debut came across my desk. Now, considering how great the album is, coupled with the death of vocalist/songwriter/guitarist Brad Nowell - I wish I had been around for more. _Sublime_ isn't an easy album to pin down in terms of style. By mixing a variety of influences - ranging between dance hall, rap, metal and reggae - into their music, Nowell and his fellow bandmates (Eric, bass; Bud, drums) have formed an interesting musical hybrid. It's a style that at many times recalls the work of past performers such as Bob Marley and Jimi Hendrix - but also embraces newer movements in music such as rap and hard rock, which may not sound like it works, but the band pulls it together nicely. The samples flow freely, the guitars are crunchy - and almost everything has a reggae edge to it. Nowell writes with such a reggae-based groove on almost all of the songs on _Sublime_, that it's hard not to go along with him. I hate to sound trite, but you really groove to this album. Eric's basslines (the entire band is known only by their first names, by the way) provide the perfect backing for Nowell's sing-song lyrical work. The songs themselves cover a variety of topics, from the obligatory songs about women to more unusual fare, such as "April 29, 1992 (Miami)" and "Pawn Shop". The first deals with the ensuing riots that spread throughout major cities in America following the Rodney King verdict, and the latter - well, it's a song about a pawn shop. Not usual musical fare on an album of this type - and Nowell's songwriting never takes the subject too seriously. While many others have done songs from the point of view of a looter - none have ever done it with such a flair. _Sublime_ is one of the best releases of the year - and odds are that it will be the band's last. And I really don't know what's worse - that young and talented musicians continue to follow a path of self-destruction, or that we're no longer surprised. --- REVIEW: Spooky, _Found Sound_ (A&M U.K. - Import) - Jamie Roberts This CD is a (U.S. import) gem! Making music, to Duncan Forbes and Charlie May, is more like putting together a car's engine than anything the creative process has been compared to before. The artistry in the melange of clanging objects, and moody ambience is pure genius on this second album by the re-mixer duo. Their combined credits include MC900 Ft. Jesus, Lush, Cud, and Headswim, but this gives no clue to what is in store when this disc begins to revolve. They aptly call their work Cubist, and one might add abstract - to the thousandth power. Their music is something best imagined soundtracking the show Stomp. Do not be mistaken, it is also melodic and smooth. The sounds are not disturbing or loud. Rather they are soothing, like the sound of working lite-machinery (ie. the noise of a fan lulling you to sleep) and draw the listener into a trance. There is some serene piano work in "Lowest Common Denominator", and an odd majesty in the melody of "Hypo Allergenic". These are the "fuzzy" tracks, as compared to the cold, clanging "Central Heating" and "Aphonia". The disparity makes for a CD that slowly paints a complex picture that you are not at all familiar with until the last possible second. This, my friends, is interactive listening! The Spooky boys let you feel what is behind each noise, and pick out how exactly you want to hear each song... each time in a unique way. The only requirement is to let it take you on the whole trip, so you get the well-rounded world-of-music-and-feeling tour. --- REVIEW: Far, _Tin Cans With Strings To You_ (Epic) - Shirley Brown Every once in a while I run across a band that makes me really happy. It's hard to explain, but when I put this disc in my CD player, I just had to turn it up really loud and bounce around the room. This is odd for a couple of reasons; first off, the music just isn't bouncy. Most of the time, it's a hard, driving wall of sound. Secondly, I usually don't bounce. It just isn't me. In any event, I really like this band. I've even braved some pretty random venues to go see them. Almost everyone I have tried turning on to the band seems to like them, too, so I know this isn't one of my weird little psychopathic breaks. There's something really honest about the music. The initial impression is that Far are part of that "anger rock" genre, but they're really not. They don't whine, their lives are not ending tomorrow, they don't advocate hatred or violence, and the music doesn't make me want to run out and shoot up. They write about real things, but in a random way that makes you think, or at least smile. For example, the single, "Love, American Style" is this kind of Natural Born Killers song about a serial killer and this woman who falls in love with him; I cite OliverStone's movie because it's a commentary on how the media glorifies violence, but expressed from a slightly different point of view than I've heard it before. The sound is, well, LOUD, with bits of metal and bits of hardcore, not quite sounding like either. It really hits that primal core of emotion, the way only really good driving music can. But it's not angry - more like pure emotion. Heavy low end, the kind of music that makes you want to stomp around in heavy boots. I would use the word tribal, but there really isn't anything there that one could pinpoint as being tribal. Jonah, the lead singer, has an interesting voice. He can do the soft, melodic thing really well, and sometimes even sounds little boy-ish. For more than half the record, though, he gets raw and raspy, without sounding painful. He conveys emotion well, on a basic level. I suspect that a large part of both the bouncy impulse and the honesty is that Far really love what they're doing, and this can be heard in the music. I think that all good music comes from what Eric Clapton calls the core and is a pure expression of emotion. In the case of Far, whatever emotion they are expressing is always tinged with the joy they feel when they're creating their art. A bit esoteric, perhaps, but I don't know how else I would describe it. In any event, producer Brad Wood (Liz Phair, Sunny Day Real Estate) has done a marvelous job of capturing the band's core on this disc. I know that the band has been known in the past for being overly experimental, but with the release of _Tin Cans With Strings To You_, Far seem to have hit upon the right mix of the tried-but-true with the new. --- REVIEW: Pink Noise Test, _The Electric Train_ (EP) (Boy's Life) - Jamie Roberts This 5-song premiere effort from West Coast 4-piece, Pink Noise Test is a real 'deja vu' experience. What makes this all-too-short CD so interesting are the combinations within each song and within the EP as a whole. There is a British, House-of-Lovey flavor to the tracks with the requisite moaning shoegazer vocal styling. The melodies are adrenaline pop/rock fare, while the lyrics are kitsch-pop, as are the backing vocals (of the 'ooh wah' variety). The musicianship is top-notch, as are the mixes - done by Van Christie (of Die Warzau notoriety) at Chicago's famed Warzone studio. The 'deja vu' element is the biggest draw to this EP. This sounds decidedly like you have heard it before. One listen and you *will* sing along. Your feet are tapping, your head is bobbing, and you can't quite place where you have heard this before. On alternative radio? Soon. On a Top 40 show? Maybe with a major's backing... --- REVIEW: Chimera, _Earth Loop_ (Grass) - Bob Gajarsky The cover of _Earth Loop_, the debut American full length album by the Irish band Chimera, screams out "4AD", the chic alternative label responsible for bands such as the Pixies, Lush, Dead Can Dance, Throwing Muses, Ultra Vivid Scene and many more artists who always seemed to be about three years ahead of the music scene. But this isn't the newest release from 4AD; rather, Chimera spurned their advances and chose to opt with the smaller independent label, Grass. And, instead of being before its time, _Earth Loop_ hits the mark for *this* year. Following the path of the "alternative Irish sound" that has been paved by the Sundays, Cranberries and Scheer, lead singer Eileen Henry sings over a lilting melody, but rather than a straightforward, simple melody, the group turns to a more complex way of expressing their sound. The first single, "Catch Me", opens and closes with a light industrial backdrop, and serenes into Henry's reflective vocals. "Night Song" covers more familiar territory, with less menacing guitars and could be a likely second single. And, with producer Chris Nagle's past history of success with such bands as the Smiths, New Order and the Wedding Present, it looks like the band made an excellent choice of a guiding force behind the music. If the Cranberries knew how to rock - and grabbed a sense of being on the cutting edge, rather than the mainstream - they might be Chimera. --- CONTEST: In conjunction with Grass Records, Consumable is having a giveaway for the band Chimera. Five lucky winners will receive a Chimera frisbee along with their debut, out-of-print U.S. EP, _Day Star_. _Day Star_ contains four tracks: "Closer", "Untitled" and two songs off their current full length album, _Earth Loop_ - "2 Sunny" and "Let Me Be Around". To enter the contest, send a note to nina@blarg.net with the subject header of CONTEST. Inside the note, include your name and address. All entries must be received by August 9, 1996. --- NEWS: > Beck will be one of at least six performers and the Dust Brothers will DJ a benefit concert on Sunday August 11 from noon until dusk at the Santa Fe Loading Docks in downtown Los Angeles. The benefit was organized to raise funds for three-year-old Banjo Sky Harris, the son of Ross and Terry Harris and godson of Beck, who was diagnosed with autism last year. All proceeds will be split equally between the Banjo Sky Harris Fund and the Los Angeles-based charity, Cure Autism Now. Tickets for the benefit cost $10 and go on sale at Second Time Around Records, No Life Records and Spaceland. > Pete Droge will be appearing in Cybertalk on America Online on Monday, August 12 at 9:30 p.m. EST > A new London-based design team, Header, will be producing a quarterly series of enhanced CD's showcasing new work by artists on the cutting edge. Header #1 includes UNKLE from Mo Wax, As One, 4-Hero, a Carl Craig commission and a twenty minute track from Derrick Carter, with seminal 70's drum and bass by King Tubby. In addition, there are back catalog audio tracks, interviews and much more on the CD. For more information, email header@tui.co.uk or check them out on the Web at http://www.tui.co.uk/header > The latest Morrissey concert video, titled _Introducing Morrissey_, will be released on August 13. Songs on the 63 minute compilation, which was taped from his 1995 Sheffield and Blackpool (England) concerts, include "Billy Budd", "Have A Go Merchant", "Spring Heeled Jim", "You're The One For Me Fatty", "The More You Ignore Me The Closer I Get", "Whatever Happens I Love You", "We'll Let You Know", "Jack The Ripper", "Why Don't You Find Out For Yourself", "The National Front Disco", "Moon River", "Hold On To Your Friends", "Boxers", "Now My Heart Is Full" and "Speedway". > The Philadelphia Music Conference is scheduled for October 30 to November 2, 1996. The conference, entering its fourth year, has become the third-largest in the country. For more information, check out the web site at http://www.gopmc.com > _Punk: The Original_ is a 136 page tome containing the best articles, humor and cartoons from the late 1970's magazine Punk. The magazine was the first to report on the new scene, and the book which is released was assembled by original Punk founder (now publisher of High Times), John Holmstrom. --- TOUR DATES Baboon Aug. 7 Lubbock, TX Motor 308 Aug. 8 El Paso, TX Attic Barkmarket Aug. 6 Detroit, MI St. Andrews Shelter Aug. 7 Cleveland Heights, OH Euclid Tavern Aug. 8 Toronto, ON Rivoli Aug. 9 Montreal, QC Fou Founes Electriques Aug. 10 Cambridge, MA TT The Bear Aug. 13 New York, NY CBGB's Biohazard / Dog Eat Dog Aug. 11 Lindenhurst, NY PWAC Bryndle Aug. 7 Seattle, WA Woodland Park Zoo Aug. 9 Los Angeles, CA California Plaza L.T.J. Bukem / MC Conrad / D.J. Tayla Aug. 10 Los Angeles, CA Planet of the Drumz Aug. 11 San Francisco, CA Funky Tekno Tribe Aug. 14 New York, NY SOB's Aug. 15 Pittsburgh, PA Enit Festival Camber Aug. 3 New York, NY Under Acme Aug. 8 New York, NY Brownie's Tracy Chapman / Charlie Hunter Quartet Aug. 6 Vienna, VA Wolftrap Aug. 10 Birmingham, AL Alabama Theatre Aug. 11 Atlanta, GA Lakewood Amphitheatre Aug. 13 Miami, FL Jackie Gleason Aug. 14 Orlando, FL Bob Carr Cheap Trick / Trip 66 Aug. 3 Agawam, CT Riverside Amusement Park Aug. 4 Syracuse, NY Vernon Downs Aug. 6 Rochester, NY New York Nites Aug. 8 Wantagh, NY Mulcahy's Aug. 9 Providence, RI The Strand Aug. 11 Washington, D.C. 9:30 Club Aug. 13 Harrisburg, PA Zee's Chimera Aug. 6 Albany, NY QE2 Aug. 7 Danbury, CT Tuxedo Junction Aug. 8 Cambridge, MA Middle East Aug. 14 New York, NY Brownie's Aug. 15 Philadelphia, PA Upstairs At Nicks China Drum Aug. 5 Atlanta, GA Masquerade Aug. 6 Raleigh, NC Alive Aug. 7 Charlotte, NC Tremont Hall Aug. 9 Birmingham, AL Nick Aug. 11 Dallas, TX Orbit Room Aug. 12 Corpus Christi, TX Backdrafts Aug. 13 San Antonio, TX Showcase Elvis Costello Aug. 8 Nashville, TN Ryman Theatre Aug. 9 Washington, DC Capitol Ballroom Aug. 10 Philadelphia, PA Mann Music Center Aug. 12-13 New York, NY Beacon Theatre Aug. 14 Boston, MA Harborlights Pavilion Enormous / Perfect Aug. 6 Buffalo, NY Nietzche's Aug. 8 Pittsburgh, PA Graffiti Aug. 9 Cleveland, OH Grog Shop Aug. 10 Detroit, MI Shelter Aug. 11 Columbus, OH Staches Aug. 13 Cincinnati, OH Club Gothem Aug. 15 Indianapolis, IN Patio David Gray Aug. 5 New York City, NY Mercury Lounge Aug. 12 Detroit, MI 7th House Aug. 14 Minneapolis, MN 7th St. Entry Aug. 15 Rock Island Rock Island Brewing Co. Hayden Aug. 10 St. Louis, MO Cicero's H.O.R.D.E. (incl. King Crimson) Aug. 8 Bonner Springs, KS Sandstone Amphitheatre (w/Hayden) Aug. 9 Maryland Heights, MO Riverport (w/Hayden) Aug. 10 Nashville, TN Starwood Aug. 11 Cincinnati, OH Riverbend Aug. 13 Pittsburgh, PA Starlake Aug. 15 Boston, MA Great Woods Jawbox Aug. 6 Omaha, NE Cog Factory Aug. 7 Lawrence, KS Bottleneck Aug. 8 St. Louis, MO Galaxy Aug. 9 Cincinnati, OH Sudsy Malone's Aug. 11 Columbus, OH Stache's Aug. 13 Detroit, MI St. Andrew's Hall Aug. 14 Cleveland, OH Odeon Aug. 15 Buffalo, NY Showplace Theatre Nusrat Fateh Ali Khan Aug. 6 Atlanta, GA Fox Theatre Aug. 8 Houston, TX Woodlands Amphitheatre Aug. 11 Berkeley, CA Greek Theatre Aug. 14 Los Angeles, CA Universal Amphitheatre k.d. lang Aug. 7 Interlochen, MI Center for the Arts Aug. 8 Dayton, OH Fraze Pavillion Aug. 9 St. Louis, MO Fox Theatre Aug. 13 Morrison, CO Red Rocks Amphitheatre Aug. 14 Park City, UT Wolf Mountain Little Feat Aug. 4 Atlantic City, NJ A.C. Harbor Music Fest. Aug. 10 Denmark Skanderborg Music Fest. Mae Moore / Tara MacLean Aug. 15 Vancouver, BC Starfish Room No Doubt / Goldfinger Aug. 14 Toronto, ON Lee's Place Aug. 15 Montreal, QC Le Spectrum Pantera Aug. 6 Cedar Rapids, IA 5 Seasons Center Aug. 7 Milwaukee, WI Marcus Amphitheatre Aug. 9 Chicago, IL Rosemont Horizon Aug. 10 Auburn Hills, MI Palace of Auburn Hills Aug. 11 Noblesville, IN Deer Creek Aug. 15 Cuyahoga Falls, OH Blossom Music Center Poorhouse Rockers Aug. 8 Fells Point, MD Horse You Rode In On Aug. 9 Lancaster, PA Lancaster Dispensing Co. Aug. 10 Havre de Grace, MD MacGregor's Aug. 14 Wilmington, DE Buggy Tavern Possum Dixon / Yum Yum / Dig Aug. 6 Toronto, ON Horseshoe Aug. 8 Woodstock, NY Tinker St. Cafe Aug. 9 Providence, RI Met Aug. 10 Cambridge, MA Middle East Aug. 11-12 (New York City or Long Branch, NJ) Mercury Lounge /Metro Aug. 13 Philadelphia, PA Khyber Pass Aug. 14 Washington, DC Black Cat Primitive Radio Gods Aug. 7 Denver, CO Mercury Cafe Aug. 9 Kansas City, MO Hurricane Aug. 10 Minneapolis, MN 7th Street Entry Aug. 11 Milwaukee, WI Shank Hall Aug. 13 Chicago, IL Double Door Aug. 14 Cincinnati, OH Club Gotham Aug. 15 Detroit, MI Shelter Rembrandts Aug. 12 San Mateo, CA San Mateo County Fair Sepultura / Far Aug. 8 Albequerque, NM Wool Warehouse Aug. 10 Denver, CO Ogden Theater Aug. 11 Wichita, KS The Cotillion Aug. 13 Lawrence, KS Liberty Hall Aug. 14 St. Louis, MO Mississippi Sex Pistols / Gravity Kills Aug. 6 Washington, DC Patriot Center Aug. 8 New York, NY Roseland Aug. 10 Boston, MA Great Woods Aug. 12 Toronto, Canada Molson Amphitheater Aug. 13 Cleveland, OH Nautica Aug. 14 Pittsburgh, PA LC Lite Amphitheater Slayer Aug. 7 Boston, MA Axis Aug. 8 Washington, DC 930 Club Aug. 10 Philadelphia, PA Trocadero Aug. 13 Dallas, TX Deep Ellum Aug. 14 San Antonio, TX Sneekers Steely Dan Aug. 6 Kansas City, KS Sandstone Amphitheatre Aug. 7 Denver, CO Fiddler's Green Aug. 9 Irvine, CA Irvine Meadows Aug. 10 Las Vegas, NV Hard Rock/MGM Grand Aug. 12 Los Angeles, CA Hollywood Bowl Aug. 13 Mt. View, CA Shoreline Amphitheatre Aug. 15 Portland, OR Rose Garden Warped Tour (including Rocket From The Crypt, Red 5, Dick Dale, Figgs and more. Confirm all dates.) Aug. 6 Jacksonville, FL Metro Park Aug. 7 Miami, FL Bayfront Aug. 8 Orlando, FL Cocoa Expo Aug. 9 Pensacola, FL Fairgrounds Aug. 10 Houston, TX International Ballroom Aug. 11 Dallas, TX Fairpark Coliseum Wild Strawberries Aug. 9 Ottawa, ON Barrymore's Aug. 10 Barrie, ON Molson Park (this show contains multiple acts, including Alanis Morrissette, Frente, Dinosaur Jr. Shudder To Think and Our Lady Peace) Aug. 11 Toronto, ON Danforth St. Festival --- To get back issues of Consumable, check out: FTP: ftp.etext.org in the directory /pub/Zines/Consumable ftp.prouser.org Gopher: diana.zems.etf.hr Engleski Jezik/Music/Consumable or Hrvastki Jezik/Glazbena Rubrika/Consumable (URL) gopher://diana.zems.etf.hr:70/11/eng/Music/Consumable http://www.westnet.com/consumable/Consumable.html (WWW) http://www.westnet.com/consumable (CIS) on Compuserve Notes: GO FORUM (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. 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