the Apples In Stereo
Science Faire CD
SpinArt. spart48.
by Keith McLachlan.
December 26, 1996.
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What we have here is a compilation of all the Apples singles up to now
and what we also have here is a remarkable album full of wholly
unpretentious, cosmically sunny pop. Feeling, perhaps, a little less
ambitious than their Elephant 6 cohorts the Apples seem to specialize
in perfect vocal harmonies, catchy sing-along choruses and songs that,
funnily enough, I can relate too. Robert Schneider undoubtedly has a
perfect pop song in him, but you should give these nearly perfect
songs a try while you wait for it to arrive. How wonderful that fun
should come back into vogue in pop music.
Quickspace
Quickspace CD
by Keith McLachlan.
December 26, 1996.
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Th' Faith Healers were never a band I would consider essential, their
Pixies-like drone pop had its merits but it was always perhaps outside
of what I was into. But with Quickspace, former healer Tom Cullinan
has crafted a album of intensely groovy numbers. Borrowing liberally
from pretty much all of your favorite legendary krautrock heroes,
Quickspace is a highly percussive album of hypnotic repetition and
character. It is all highly human too, the electronics are minimized
in favor of the more organic groove, lyrics are ancillary and only
integral as to how they add to the flow. Undoubtedly this will be
compared to Stereolab, but fashionable, anti-capitalist avant-rock
this is not, it's all about the groove I tell ya.
Spoonfed Hybrid
Hybernation Shock CD-EP
Farrago. frg-09.
by Keith McLachlan.
December 26, 1996.
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Ian Masters and Chris Trout are back with 25 minutes more of dreamy
soundscape and this time they are joined at least partly by Warren
Defever (of His Name is Alive). On display this time is a more
electronic collection than their fabulous self-titled debut album.
Five songs in all. Two are ambient, flowing models of studio wizardry,
and the rest are simple acoustic based songs charged with the
mysticism of both Ian and Chris's haunting vocals. I am not sure what
the status is of Spoonfed Hybrid at this point but this is a nice
treat to help you during your pondering of even more important issues
like how the Pale Saints foolishly could have believed they could go
on without Ian or why they had to make the liner notes to this ep so
infuriatingly difficult to decipher.
Tompot Blenny
Green Is The Best Colour CD-EP
Shinkansen. shinkansen 5cd.
by Keith McLachlan.
December 10, 1996.
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A newie from the new Shinkansen label, this cd compiles both of the
Tompot Blenny seven inchers. In fact I am listening to the cd now so
that I might give a better review, hmmmm...I like it a lot, sounds a
bit like the Orchids or maybe similar to the early Harvest Minister
singles and I think I hear some East River Pipe and maybe the
Sugargliders in here too, I don't know which is most accurate but it
is very beautiful and sad and pretty much on target for what we have
come to expect from Sarah/Shinkansen.
Zumpano
Goin' Through Changes CD
Sub Pop. SP 372.
by Keith McLachlan.
December 10, 1996.
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I am not much interested in anything SubPop as a rule, with a few
exceptions like Eric Matthews. Zumpano however are Canadian and not a
part of that whole SubPop scene that is just so creepy to my ears.
Instead they like things like melody, harmony and sing along choruses.
This record is not that great but it is an enjoyable listen if you are
looking to whistle your way along on your daily commute. Wholly
unpretentious, they have some splashes of the Bird Nest Roys in them
especially on the sing along anthem "Here's the Plan." For SubPop,
this record is monumental, but for the rest of the world it is only
pleasantly uplifting.
the Boo Radleys
C'Mon Kids CD
Creation.
by Keith McLachlan.
December 10, 1996.
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Out of Stock.
If you think Oasis are "da bomb" well then you probably have no use
for the Boo Radleys, but if you are like myself and you find Noel
Gallagher's rehash of the Beatles to be rather tepid and uninspiring
well then the Boos are salvation. Opening with one of their most
overtly rock songs ever, "C'mon Kids," this album is a rollercoaster
ride of thrills, chills and headspinning excitement. None of the
songs end where they started, only a couple have fewer than four or
five segments and the way that musical genres are visited in the span
of one song is mindnumbing. Take "Four Saints": in the span of
approximately 4 minutes (I have the vinyl, sorry, I don't know the
exact time) the Boos go from sunny melodic pop, to outright skree, to
a pseudo trip-hop leaning, back to melodic pop and finally conclude
with an aching outro bound to leave you all choked up. Then comes
"New Brighton Promenade" and you realize this carnival is loaded with
delights. Amazingly, most of the songs bear little resemblance to
others on the album and yet the record is neither disjointed or
confused. I am still in awe and it has been a couple of months. Write
your favorite British music mag and beg them to shoot Oasis and start
backing a winning horse, because in twenty years people will be
wondering why all the kids were so in love with "Wonderwall" when they
could have been listening to "C'mon Kids."