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Outsight
Outsight: The Other 9/11
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Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.
Published, somewhere, monthly since July 1991. Feel free to re-print this article.
Please, keep Outsight informed: 248-623-1601 or
Email Outsight at outsight@usa.net
Ratings are (1) = :(, (5) = :)
Outsight Radio Hours Internet radio Webcasts with live interviews:
Sundays 6pm-8pm EST http://www.new-sounds.net
THE OTHER SEPTEMBER 11
Alternative Tentacles and AK Press continue to jointly release spoken word titles of relevance and import. The debut of the Freedom Archives series is Chile: Promise of Freedom. This reminds us of September 11, 1973. This date for Chile resulted in more societal disruption and the death of more people than New York's September 11. This was the bloody coup that saw a U.S.-backed Pinochet overthrow the democratically elected Allende. Of course, the U.S. has never paid a tenth of the price for that compared to what it is exacting from Al Qaeda. The interviews, music and narration of this audio documentary tell the story of how a progressive democratic experiment crumbled under the pressure of the CIA and neighboring countries. Noam Chomsky in The Emerging Framework of World Power offers a critical analysis of United States foreign policy suggesting that the post-9/11 world is what the United States has orchestrated from pre-9/11 actions.
Listen to or Buy Chile at Amazon.com
Listen to or Buy Chomsky at Amazon.com
NEW PRIMUS WEBSITE HAS LIVE RECORDINGS
Primus announces the launch of www.primuslive.com. The band will be offering downloadable soundboard recordings of every performance from the 2003 'Tour de Fromage'. The shows will be available in both standard MP3 and CD quality FLAC audio formats. November shows will each become available 48 hours after the show. Downloadable Zoltron-designed artwork for use in CD jewel cases will also be included with purchases. In addition, fans will be allowed to tape the shows themselves. The 2003 'Tour de Fromage,' which supports the current release of the EP/DVD Animals Should Not Try to Act Like People (Interscope Records), will be a multi-media theatrical stage production with two full sets by the band.
DEMOCRACY IN ACTION: "LOST" INDIAN TRUST
Estimates range from $10 billion to $176 billion in funds that have been "lost" by U. S. government agencies. Will mismanaged Indian trust funds ever be repaid? Vice chair of the Senate Committee on Indian Affairs, Daniel Inouye, says he has been flooded with appeals from Native Americans and questions about whether "any other group of Americans would be singled out in this manner for such treatment." The momentum stalled when members of the House Appropriations Subcommittee on the Interior put last minute language into the HR 2691 conference report on Interior appropriations, seemingly to delay or derail the prospects for repaying Indian individuals and families. Implore Congress through your Representative to honor U. S. trust responsibilities to Native Americans. The House of Representatives bill already passed is HR 2691, the Interior Appropriations bill. Express your disappointment to your members of Congress that a rider was added late and secretively to the Interior's appropriation bill in the conference committee. Last minute riders on appropriations bills are troubling and democratically unfair, especially when they fundamentally change the direction of a bill before proper public discourse is possible. This bit of information came to me from the legislative action arm of one of the few religions with a truly non-violent past. That is, The Quakers. Check it out at http://www.fcnl.org - where you can sign up for their e-mail newsletter as well as learn how to contact your Rep
TWEAKER TO DO THEME SONG FOR WB's "XIAOLIN SHOWDOWN"
Grammy Award winning artist, record producer and music composer Chris Vrenna, a.k.a. Tweaker, formerly of Nine Inch Nails, will compose and produce the main title song for Warner Bros. Animation's new television series "Xiaolin Showdown." The half-hour, action-comedy-adventure series debuts November 2003 on Kids' WB! The series is based on the mythical Xiaolin martial arts inspired by ancient Chinese monks. Each episode's showdown culminates in a fantasy universe showcasing gravity-defying, extreme martial arts skills. "Animation has always been a big influence on me, so I am really very picky about what I like and what I don't like," said Vrenna. "'Xiaolin Showdown' is something pretty dynamic with intense action, so I was very motivated to compose an equally dynamic and memorable theme for it. It's totally a thrill to be able to do it!" More information on Vrenna is at http://www.tweaker.net and http://www.waxploitation.com.
MUTATED FUGS
Michigan's Mutant Press and friends come together for Blood For Oil (Mutant Press). Some of the Fugs songs are updated to reflect current political realities, but a lot left untouched still hits home. Among the songs on the eleven-track CD is "C.I.A. Man" as "CIA", "Kill for Peace" and "The Bed is Getting Crowded". The band even includes the Fugs' take on Ginsberg's "Howl" as "I Saw The Best Minds Of My Generation Rot". The title track is a Youngman original, with lyrics directed at President Bush and company. Mr. Yummy is credited as one of the Blood For Oil guests and "Mr. Yummy" is one of the standout tracks on the new, self-titled Mutant Press album. Both albums show the Jerome T. Youngman signature of simple, direct programmed drum loops, distorted but not overly loud guitars and a penchant for cynicism and lowbrow humor.
THE LEMON FLOWER IS SWEET
Cherry Red Records launched a brand new reissue label, called Lemon Records. The object is to be "re-releasing rock and new wave albums from the '70s, '80s and '90s." I don't know how I feel about the decades I grew up in being reissue material, but as Bowie said, "Time may change me/But I can't trace time." Among the first releases is the Mother Love Bone debut Apple and a hot, rocking album from Vinegar Joe called Six Star General. Vinegar Joe (formerly Dada) was Chris Blackwell's formation to give Island Records a response to Allman Brothers. This short-lived early '70s band launched the career of Robert Palmer. Released at a time when Palmer's demise is causing his career to be reflected upon may be fortuitous for bringing deserved attention to this excellent rock band and Cherry Red's Lemon venture. Also out is a new release of the eponymous Dan Reed Network album. This is the equally Prince-inspired and Night Ranger-inspired attempt to erase color lines in rock that was eclipsed by the contemporaneous Living Color. With The Official Art Vandelay Tapes, Lemon is not reissuing a period album, but gathering Graham Parker rarities from the time. This will be of real interest to collectors and a reissue of Parker's Up Escalator is also in the works. Promising to release three CDs per month, Lemon also has out Trapeze's You Are the Music - We're Just the Band. This was vocalist Glenn Hughes' last album for the jazz-tinged rock band before going on to greater fame in Deep Purple. You will be surprised at his soulful vocals on such tracks as "Coast to Coast".
Listen to or Buy Apple at Amazon.com
Listen to or Buy Six Star General at Amazon.com
Listen to or Buy Dan Reed Network at Amazon.com
Listen to or Buy You Are the Music at Amazon.com
DVD Reviews ************************
Snog
Adventures in Capitalism
Metropolis Records
http://www.Metropolis-Records.com
DJ David Thrussell first brought wide recognition to his Snog project with the 1992 club hit "Corporate Slave". That is the last of a baker's dozen of videos on this compilation. Thrussell's voice becomes the most Stan Ridgway-like on "Fill My Hole" which closes out the first trio of videos. These all have a Chuck Close-like fetishistic focus on the mouth-portion of a human face. Perhaps an allegory for the consumption of consumerism, this approach yields John Waters-like shock value in the close-ups of sloppy tooth brushing ("Late 20th Century Boy", "Empires") and chicken eating ("The Human Germ"). This mirrors the level of critical detail Thrussell has for modernity, which reaches a feverish pitch recalling Emergency Broadcast Network (EBN) on "Born to be Mild". These videos are all obsessively edited and feature-rich, allowing more to be discovered on repeated viewings. A handful of interviews reveal Thrussell's anti-corporate philosophy as well as the fact that America's freedom of speech laws gave life to the Snog Relax Into the Abyss, which was effectively quashed in Thrussell's less conducive Australia. Tracks found here off that album are "Are You Normal Enough?" and "Real Estate Man". The slogan-based attacks on consumerist culture and the post-psychedelic image collages are like a cross between Survival Research Laboratory's phrase assaults and the neo-hippie look of a late-period Psychic TV lightshow. It is video artist Richard Grant that works with Thrussell's sounds to make these pieces and he deserves at least as much credit as Thrussell for the final success. However, the duo seems to be unable to move out of this formula of densely constructed moving collages and socially aware content for any of the tracks. Thrussell's refreshing and witty radicalism aside, this DVD is good electronica for the headspace or the dance floor, even if you say to yourself with apologies to Papa John: "The message may not move me or mean a great deal to me/But hey! It feels so groovy to say!" (4)
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Various Artists
The Slog Movie
We Got Power Films/MVD
Subtitled L.A. Hardcore Archives '81 - '82, this movie introduces the dramatis personae that played the stage for the birth of L.A. hardcore. Meeting Pat Smear (Germs), Randy Rampage (D.O.A.), Jordan Schwartz (SWA, Black Flag) and more we see a scene that was not just anti-pop, but a radical counterculture as well. Funny and striking, the documentary includes plenty of vintage live footage from Circle One, Red Cross, TSOL, Sin34, Fear, Circle Jerks, Henry Rollins, and more. This extended version includes never seen before footage. An audio commentary track has running narration from Mike Watt, Keith Morris (Circle Jerks), David Markey and Jordan Schwartz. (3.5)
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Steve Hanft & Ross Harris
Southlander: Diary of a Desperate Musician
Eclectic DVD
This indie film really works. It is an imaginative journey by a struggling keyboardist after his stolen mythical "Moletron" vintage synth. The extreme characters and extreme situations are buffered with song episodes and all of this rarely falls flat. While being a travelogue through hell for a distraught keyboardist, it is also a hallucinogenic musical with music episodes from Beck (as middle man to a Luddite destruction artist), Hank Williams III (gun-toting junkman) and Union 13. This film also includes music by the now deceased Elliot Smith. Beth Orton acts and sings and Future Pigeon is central to the story with its dub pop. Jazz drummer Billy Higgins helps create a Sun Ra-like space jazz scene. Also, do not miss the extensive footage that not only includes complete songs but the impressive Robosaurus car-toting prop. There are a couple of good character actors here you will recognize: Lawrence Hilton-Jacobs ("sweathog" Freddie "Boom Boom" Washington on the TV sitcom "Welcome Back Kotter") and Richard Edson (Stranger than Paradise, Do The Right Thing) and Gregg Henry (Body Double, Sharon's Secret). (3.5)
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Boris Karloff
Snake People
Sinema Diable/Eclectic DVD
The stage for this 1968 freaky horror flick is an island of the demented and dangerous. Central to the freak show is Mexican cheesecake pinup Tongolele and her sensual dances. Zombies, cannibalism, chicken beheading and voodoo in the name of science are some of acts in this wild circus emceed by an evil dwarf. It is an interfering new cop in town that stirs up this nest of ghouls and their caretakers, resulting in mayhem. The film is over-the-top enough to be entertaining. This comes at the very end of Boris Karloff's career, being one of four Mexican films, which he appeared in as a result of two weeks of filming in 1968 Jack Hill. It is the insanity and creepy stylism that transcends the schlock to make this a B-plus movie. (3)
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Mario Gariazzo, Director
The Eerie Midnight Horror Show
Sinema Diable/Eclectic DVD
In the mid-'70s Italy had a cottage industry in knock-offs of The Exorcist, sometimes resulting in legal action. Among such films are Beyond The Door, House of Exorcism, Abby and L'Odessa. The latter of which came to the English-speaking market as Enter The Devil, The Sexorcist, The Tormented and now The Eerie Midnight Horror Show. This current re-titling is the most perplexing, although it may have been necessary to not use The Sexorcist because of the same-name anime feature. However, the film's softcore porn angle on The Exorcist seems to fuel its recurring resurgences. While there are some picture quality problems here on this dubbed version it is, apparently, not the worst print and audio edition available. Comparisons to The Exorcist are most valid in the second half as the woman shows signs of being possessed and priests battle her resident demon. The first half is a swinging scene of a rose-whipped masochist mother (Lucretia Love) and the star (Stella Carnacina) that gets sexually infected with demonic possession by a randy crucifix-affixed diabolic entity (Ivan Rassimov). (3)
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CD Reviews ************************
Audra Kubat
Million Year Old Sand
Times Beach Records
Audra Kubat continues to excel and surpass herself as a vocalist. On this album, she reaches a plateau where comparisons to Rickie Lee Jones and Joni Mitchell become valid. The arrangements are largely acoustic and in this space, Audra's simple, unadorned phrasing compels the listener to listen, take in and be transformed by the poetry of these songs. (4)
Paul Westerberg
Come Feel me Tremble (CD and DVD)
Vagrant Records
Come Feel me Trembleis 13 all-new tracks from Westerberg. The focus is on the man himself with his songs and guitar, in the arrangements. The basic delivery and this focus make the album approach classic The Replacements in spirit. A fourteenth track is a cover of Jackson Browne’s “These Days”. A separately released DVD documentary of the same name is out that candidly shows a humble and down-to-earth Westerberg bringing it to the fans. (3.5)
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Nathan Wiley
Bottom Dollar
Sonic Records
Nathan Wiley is a clarion voice in neo-Americana, delivering compelling rootsy songs that reverberate with the listener for a very real emotional content. In these days of electric pop, the brushed drums and cleanly picked guitar lines lend a nostalgic air to the music. But, Wiley is no mere time capsule. Full of enough material to credit him as a stalwart roots songwriter of the first degree, this independent debut also includes standout track "Betty, Betty (ride that hog)". This eerie track has Tom Waits production values of AM radio and alarm clock with the electric guitars and vocal compression so that the song echoes down from the ceiling. (4)
The Prime-Time Sublime Community Orchestra
( )
Corporate Blob Records
The idea of this parenthetical titling is that you can put your own title in. That's right, write it right on the copy you should have of this album. I'm calling mine My Neo-Classical Runneth Over. I call it this because this orchestra takes a post-classical substrate and spreads over it a thick jam of electronic and ethnic seasoning. "Holy War in Your Pants" has Eastern and Western instrumental, while "A Day at The Mall" is an easy listening tune with free jazz, Chinese music and Native American chanting. The rest of the six tracks are a post-bop infusion into chamber work ("Erectile Cognitive Bop Bits") and more unexpected cross-genre collages from the sophisticated sonic kaleidoscopes of "Pomp and Vindaloo" (curried '60s with bossa nova), "Fellini's Pickup Truck" (avant-bluegrass jazz) and the grab bag of "Invocation and Fanfare of the Tahitian Garbage Fairies" with a Polynesian percussion section. (5)
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Connie Evingson
Let it be Jazz: Connie Evingson Sings The Beatles
Summit Records
A fully expressive vocalist, Connie Evingson is very interpretive in her renditions of The Beatles songs on this album. Approaching them as an interpretive jazz singer, you are going to like this album, even if you are a jazz fan that (gasp!) does not like The Beatles. Fans of The Beatles lacking in appreciation of jazz, may very well find a new appreciation for the genre on listening to this disc. Certainly, Evingson is not a jazz ambassador seeking to bridge worlds, and this is nothing like the lackluster jazz albums of pop covers prevalent from the mid-'60s to the mid-'70s. Evingson makes these great jazz songs as she stretches out in phrasing and lyrics on these tracks. Mary Louise Knutson on piano and Fender Rhodes gives a hip, vintage feel to the keyboard side of things on this exquisite disc. (4.5)
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Various Artists
Let's Copp a Groove!: Lost UK Soul – 1968-72
RPM Records
The funk is on fire on this collection of would-be lost UK soul singles. Most material is from the Beacon label. Beacon's label manager and promoter Roger St. Pierre pens the liner notes for this compilation, every track of which is making a CD debut. The cuts from Root & Jenny Jackson and Jon & Jeannie are explosive, while the power blues of John Fitch & Associates shows why he received comparisons to Jimi Hendrix. (4.5)
jkettle
Momentary Delights
Soul Shard Records
Equal parts Serge Gainsbourg Euro-lounge and Portishead slow-mo' trip-hop, this is an after-hours contribution from Jeff Kettle (Suki Tawdry, Menthol Hill). The deep, chill-out grooves on this album are becalming tones for midnight moments. (3.5)
Street Dogs
Saving Hill
Crosscheck Records
Singer Mike McColgan (Dropkick Murphys) fronts this Boston hardcore band. McColgan made a surprising move in 1998 when he left Dropkick Murphys to do what he always wanted to do: fight fires. McColgan is a Boston firefighter so do not expect the kind of touring Dropkick Murphys was famous for. McColgan received the help of Ken Casey and Al Barr, both of Dropkick Murphys, as well as Dickie Barrett (Mighty Mighty Bosstones) on this album. Dropkick Murphys' drummer Jeff Erna is in Street Dogs, making this nearly a new Dropkick Murphys album, at times. This is melodic hardcore music from a distinctively Boston direction. (3.5)
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The High Llamas
Beet, Maize & Corn
Drag City
It is instrumental music with alluring, but delicate melodies. The band eschews guitars for a string section. It drifts you down a river of Pet Sounds and Tin Pan Alley, '70s soft rock and cinematic scores. While the rhythms percolate, melody and harmony weave and intertwine to sublime effect on this record of gentle orch pop. Sean O'Hagan is a master of the light touch with a wide palette of sounds on this sweet pocket symphony. (4)
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Birdsongs of the Mesozoic
The Iridium Controversy
Cuneiform Records
Beautiful cover art by famed Roger Dean (Yes, Asia) ornaments this CD. This is fitting to enclose the sophisticated art music inside. The quartet is a progressive, art-jazz ensemble, light and limber as it deftly moves the themes from Ken Field's saxophone to the keyboardists (Erik Lindgren, Rick Scott) as Michael Bierylo nets it all together with the guitar. This chamber rock is too hip to be merely intellectual but well smart enough to appeal to fans of jazz and neo-classical music. All this is done with a smile, making the music, done without bass guitar and only just so much percussion, light and cheery. (4.5)
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Robert Wyatt
Solar Flares Burn with You
Cuneiform Records
Robert Wyatt, formerly of Soft machine, has released some great albums on a variety of labels during his extensive career. Several tracks here come from two different BBC broadcasts of 1972 and 1974. Then there are home and studio recordings, as well as the title track being a soundtrack to the Arthur Johns' short film Solar Flares Burn with You. The film is included in QuickTime format. The five tracks from the 1974 BBC broadcast are done with Curved Air keyboardist Francis Monkman. The music lacks cohesiveness. Some of the live material seems unrehearsed ("Sea Song"), giving this album an uneven quality highlighted by the ill-thought cover of "I'm a Believer". That being said, the flashes of brilliance here and the rareness of the material make it a must for fans of Wyatt and the Canterbury Scene. (3)
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The Slow Poisoners
Days of the Soft Break
Heyday Records
Andrew Goldfarb left the outrageous noise of Caroliner behind to create some pretty darn good indie pop. The music of this album has something nostalgic about it, but it is hard to say whether that is 1960s American rock, of 1860s British music hall. Then of course there is the jazz and '70s soft rock elements. There is something post-folk about the song-oriented approach and then combined with the sparkling glam elements of the arrangements makes some tracks recall early David Bowie ("The God That Failed"). This is a glitter-covered take on Ian Whitcomb crossed with psychedelic San Francisco. (4)
Brian Jonestown Massacre
..And This is our Music
Tee Pee Records
Shimmering, neo-psychedelic cosmic space ballads fill this CD. The paisley-printed music is stylistically uniformed and alluring in its sublime beauty. These songs bask in the soft, lysergic glow of a multi-colored and expansive soundscape where each track is an unhurried nugget unearthed between early Rolling Stones and Velvet Underground. (4)
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Radiotones
Bound to Ride
Buzz Records
The standout track here is the same as the previous album Whiskey'd Up. That is, the rousing, pub rock anthem "Close to the Edge". The Scottish ensemble continues to offer a swinging, tough blues sound that this time is electric. This adds substance to the music that matches the gravel voice of Dave Arcari. There is nothing that strikes one as European about anything from this group. Radiotones has so incorporated a working-class, electric blues bar band sound matched with real skill and style that the group becomes representative of what it names in the album's final track "Hard Muscle Jazz". (4)
Lumen
This Day & Age
Ghost Train
Vocalist Pinkie Maclure dresses up these electro-ballads with jazzy, patiently delivered vocals. Providing the electronics and rhythms is John Wills (Loop, The Hair and Skin Trading Co.). Wills' accompaniment is melodic, but the ornamentation is minimal. This puts the focus on Maclure's smoky voice with the music framing subtly and seeking not to distract. The result is artsy, but Maclure's classic approach to vocals makes it all seem natural and not at all contrived. (4.5)
Kerosene Brothers
Choose Your Own Title
Audium Records
This group is an extension of Hayseed Dixie, containing the same core members as that project. Key here is the brother banjo and mandolin masters Don Wayne and Dale Reno. This is a solid, rock 'n' roll album with bluegrass seasoning from those mandolins and banjo. On Choose Your Own Title the music has come down from the mountain and into the city for a visitation of Appalachian roots music into a rock 'n' roll show. (4)
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Cul De Sac
The Strangler's Wife
Strange Attractors
This tense score for Roger Corman's film hides malevolence under its surface ("Second Victim") that also occasional shimmers with a soft, moonlit beauty ("Lovemaking/Mae's Theme"). Cul De Sac's instrumental music crosses genres and never fails to expand upon itself, and is well suited to being the audio canvas for the complex motivations for murder. Cul De Sac seeks to and succeeds at a creation inspired by '70s film soundtracks with avant-rock leanings, such as Nosferatu (Popol Vuh) and More (Pink Floyd). Going in an understated, ambient direction, the group succeeded in this through a somewhat ad hoc approach. Some pieces of the composition were brought in to the studio while other portions were composed on the spot or improvised as the film played in the studio. (4.5)
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Atrium Carceri
Cellblock
Cold Meat Industry
Sonic alchemist Simon Heath's Atrium Carceri project here offers an album of dark and brooding instrumental atmospheric electronica. The quiescent ruminations reflected in this gloomy opus are just the sort of intellectual mystery Heath sought to inject into the darkwave movement. The title of the track "Machine Elves" suggests the mood of this music, a sort of thoughtful appreciation of an H.R. Geiger-like vision. (4.5)
Laibach
Wat
Mute
The Slovenian crypto-fascism (avant-totalitarianism?) that pervades this group's art continues to provoke thought and confuse. The German-sung lyrics fit nicely with the cold, industrial beats but does nothing to clarify the message for most. The austere and authoritative delivery seeks a Nuremberg Cathedral of Light backdrop, but without being intimidated by the group's stylism (Nazi officers always had the best uniforms), we can agree there are two points worth considering here. (1) This is a good industrial record that should not be missed. (2) Why? (3.5)
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Quasi
Hot Shit
Touch & Go
The tracks of Hot Shit deliver a perplexing and alluring experimental indie rock that is at once romantic and disillusioned, rooted and progressive. A melancholy feeling pervades the Byzantine complexity of slide guitar and a country-fried singer (Sam Coomes) dropped into a noise-op project. Sampled strings drift in and pushing it all is the powerhouse drumming of Janet Weiss (Sleater-Kinney). (4)
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Neurosis & Jarboe
Neurosis & Jarboe
Neurot Recordings
A current of ambient noise occasionally wells to ominous thunderheads on this recording. Vocalist Jarboe (Swans) exquisitely offsets the gloomy menace with her exquisite, cold and crystalline vocals. Of course the music is not all doom-and-gloom. Quite often glinting acoustic guitar and warm melodies break through to shine down on the damaged land. This is an album of texture and mood that dispenses with the shock-and-awe approach of the military industrial-metal complex to find a rich and fertile land far from both the predictable hard rock derivatives and the threat of new age. (4)
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KK Null
Atomic Disorder
Neurot Recordings
KK Null achieved wide recognition in his landmark series of recordings as guitarist for post-hardcore outfit Zeni Geva, a band deadly intensity and seriousness. Here, however, Null shows us his side as an electronic composer for a cacophonous symphony of electro-noise. The episodes of ragged drumbeats are the most engaging where. With Japanese simplicity the low, over-modulated percussion is contrasted with high, metallic clangs. This is exhibited on the first track of this CD where each track is untitled. Otherwise, KK Null seems to flounder at the most basic level seeking a direction for this incoherent opus. Perhaps that is where the title comes from! (3)
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Uppercut
Four Walls
Blackout Records
This is more than a re-issue of the Uppercut Four Walls EP. The New York hardcore band’s sought after collectible from the late ‘80s/early ‘90s scene is buttressed with seven tracks from the post-Uppercut Mind’s Eye. Mind’s Eye included several Uppercut members as well as guitarist of Killing Time. Uppercut remains a product of its scene, with similarities to Killing Time, Sick of it All and Gorilla Biscuits as well as Agnostic Front. Uppercut has that muscular, big hardcore sound whereas Mind’s Eye is a little more fun and sinewy heading toward Token Entry territory. (3.5)
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Fracas
On Trial
Cheetah’s Records
Fracas has a large sound, in fact it revs up with that throaty NASCAR sound. The band faintly smells of the spilled race fuel found near such racetracks in all areas of the country that when far North locals tend to append a “-tucky” suffix to. These southern leanings come out magnificently on the rendition of Johnny Paycheck’s “15 Beers”. Another good cover here is Dr. Know’s “Watch It Burn”, the only other cover on this 16-track CD of pretty darn good hardcore. (3.5)
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Various Artists
Advanced Calculus
WRCT/These Bricks Are Mine
This nice, 2-CD indie rock compilation comes from the live music show “Advanced Calculus” and its archive of recorded one-hour sets. This Carnegie Mellon University station show is like so much college radio in its daring focus on cutting edge talent. This bevy of Philadelphia talent shows a lot of edgy, independent hard rock on Disc One. Creta Bourzia has a nice mix of ‘80s retro and hardcore elements, like The Police crossed with Fugazi. Nothing else really stands out, everything is just as fresh and unfamiliar as heard on any number of edgy hard music shows of the collegiate variety. Things really pick up on Disc Two, which has all the best-produced and most musical cuts. The real standouts here on this post-electro modern rock side is synth rockers Zombi, two-bass band Lorelei and Life in Bed, the first three tracks. Also notable is Black Moth Super Rainbow, a rock band featuring keyboards. Incongruously stuck at the end are two hip-hop tracks from Beam and Strict Flow that, strictly speaking, don’t go with the flow. (3.5)
Clear Horizon
Clear Horizon
Kranky
Clear Horizon is a continuation of Toledo, OH's Jessica Bailiff on Kranky. This inaugural release from Bailiff and David Pearce (Flying Saucer Attack) is a slow tempo and lo fi release with Bailiff's voice a soft and alluring call through the gently ebb and flow off a moonlit white noise tide. Pearce and Bailiff assure us this fertile cross-Atlantic collaboration will continue. (3.5)
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Dean Roberts
Be Mine Tonight
Kranky
This minimalist recording features prepared guitar from Giuseppe Ielasi and Christian Alati. This post-minimalist indie production gently moves forward with Dean Roberts showing marvelous restraint. Roberts plays acoustic and electric guitars, piano, percussion, bass, harmonium and the seldom-heard glass harmonica all while maintaining sparse, under-stated arrangements. Still, the disc falls short of perfection for unsure, creaking singing that exudes a tentative mood over the album. (3)
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Thrall
Lifer
Alternative Tentacles
Thrall's Mike Hard (God Bullies) continues to deliver kick-ass hard rock with lyrics to commit to heart. It is fitting that Thrall come onto the Alternative Tentacle roster because Jello Biafra's lifelong message of anti-authoritarian individualism matches Mike Hard's message. While this album does not rise to the level of God Bullies' Mamawombwomb or Thrall's Hung Life God, this is a smart, post-metal hard rock album that has got more to say and a better way of saying it than most comparable 2004 releases. (3.5)
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Harold Ray Live in Concert
Harold Ray Live in Concert
Alternative Tentacles
The idea is so simple and effective that it borders on genius. Why not ditch all music of the last several decades and recreate something that has already worked, namely horn-driven scorching R&B. It is a '60s garage soul riot that comes out running, right out of the gate. Of course, Harold Ray has some affinity groups to look to and takes "Busy Body" from The Lyres and "Ain't Nothin' But a House Party" (J. Geils Band). This puts the band, an assembly of fiery human jukeboxes, into a long line of rock 'n' soul torchbearers stretching back to first days of rock. (4)
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Various Artists
The Sound of San Francisco
Alive
This not merely a sample of San Francisco bands. Each track here was recorded especially for this release. The selected band converges on a '60's-inspired edgy garage rock feel. Whether it be The Coachwhips, Big Midnight or Black Cat Music, the sound is reminiscent of the amorphous proto-punk groups of the late '60s that were primitive and stripped-down. Any of these could a long lost highly sought after collectible from that era of Flamin' Groovies and Television. So, get this now, because these bands are going to be just as sought for after. (4)
Smogtown
Tales of Gross Pollution: Early Recordings – 1995/1996
Disaster Records
This is the early, previously unreleased demos recorded by the band in 1995 and 1996. We can hear on the 19 tracks here that Smogtown's inception found the group forging elements of punk and hardcore into a sneering and cynical brand of rock. Signature to the group's formula is the standout track, the Sex Pistol's inspired anthem "Secret Agent Superstar". Smogtown's two albums placed it in the Hall of Southern California Punk and this early demo material is fitting tribute to the now disbanded group. (3.5)
Jennie Stearns
Sing Desire
Jennie Stearns
Singer-songwriter Jennie Stearns offers heartland Americana that is more about sincere songs than Southern style. Comparisons to Emmylou Harris and Lucinda Williams become valid when listening to Sing Desire. There is a magical melancholy to Stearns voice, subtly resonating with a light vibrato. This beautiful sadness heard in songs like "Knoxville Girl (Parting Gift)" is epitomized by the mysterious tryst called for in the Johnny Dowd-penned "Garden of Delight". (4)
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Hala Strana
Hala Strana
Emperor Jones
This self-titled debut CD is an instrumental album exploring through experimentation the traditional folk music of central and Central and Eastern Europe. Like Steven R. Smith's other post-Mirza bands, this release is sweetly sad soundscapes built up through music based mainly on guitar but featuring many other instruments. Here Smith even uses the instrumentation of Croatian, Hungarian, Romanian, Czech and Polish villages. To approach anew the melodies and scales of these people Smith uses such instruments as gourd guitar, clay flowerpots, glockenspiel and even glass bottles. This is a melancholy but magical, exotic and engaging album. (4)
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Matthew Shipp
Sorcerer Session
Thirsty Ear
On "Keystroke" the sounds of typing on a computer keyboard are the substrate to this piece that merges the squeaking free jazz clarinet of Evan Ziporyn (Bang On A Can Allstars) with the post-classical piano of Matthew Shipp. Such is the setting of the entire album, a marriage of classical elements and free jazz in a field of playful experimentation. The classical elements come mainly from Shipp's piano and the violin of Daniel Bernard Roumain. Ziporyn and William Parker (bass) hold up the avant-jazz end. FLAM uses programming and synthesized to add programmer beats and more as he did for Shipp's Nu Bop and Equilibrium. The interaction is insightful and meaningful as Shipper and company explores the vast areas intersected by the farther reaches of jazz and classical. (4.5)
Outsight is non-mainstream music news and views. The content is wholly based on new releases and a focus on the the eclectic and overlooked.

