Papas Fritas
Papas Fritas CD
Minty Fresh.
by Gary Miller.
August 1, 1996.
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I think Chickfactor would call this a conflict-of-interests statement, but
I know the folks in Papas Fritas. I met Keith, their bassist, via the
internet. I hadn't heard their music when I invited them to come play in
Chapel Hill with my band Gumption. They drove from their house to mine in
one day (about a 10 hour trip) to play with us, and they blew me away.
Their show definately left me itching to hear a recording.
A few months later I saw the vinyl and flew out of my trousers, and their debut does not disappoint. Live their sound is a stripped-down bass, drums, guitar affair. But, their songwriting is so catchy and strong it sounds perfectly supported. However, on record they are even more lush, with interesting guitar and piano parts fading in and out.
Obvious influences like The Beatles are combined with less obvious references like The Cars to create a dancable and fun, yet musically challenging, album. It takes several listens to begin to take in all the textures and sounds in each song.
Favorite songs: "Passion Play," "Smash This World," and "Possibilities."
At this point, I'll recap my gushing over this album: it's fun; it's catchy; it's dancable; it's poppy; I love it -- go buy it.
Tim Elder
Fashionably Angry CD
Sublime Carnage.
by Scott Zimmerman.
August 1, 1996.
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The press kit that arrived with this CD is one of the most hysterical
things I have read in my life. It mocks the whole music business in so
many deserved ways. It is also rather self-abusive in the most amusing of
fashions. That a CD came with it at all seemed, at first, almost
irrelevant. I wanted to convert the press kit into a CD and listen to
that!
Tim Elder, being the sole producer/promoter of his music, put together the press kit himself, so that did bode well for the music. But unfortunately his wonderful skills with prose don't translate over to genious in songwriting. His lyrics, while occasionally clever, generally fail to impress and/or amuse me. But for me, lyrics, like poetry, seldom do. And I usually don't go out of my way to give them the attention they probably deserve. If they grab me, they grab me. If they don't, oh well.
Like a Jim Carroll, I'm sure this guy does have some outstanding punk songs in him somewhere, but I don't really find anything particularly amazing on this disc. The songs here are good, listenable, even moderately catchy, but still I don't think the disc and I have quite made the connection Tim has envisioned.
If nothing else, it would be wise to keep an eye on Tim, whether in music or other pursuits. Apparently he is also part of a comedy troupe. That might be an experience.
Godzuki
Trail Of The Lonesome Pine CD
March. MAR 020.
by Melanie Cardenas.
August 1, 1996.
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After a couple of singles, Detroit's Godzuki brought forth their first
full-length, Trail of the Lonesome Pine, which was recorded with
Dave Trumfio from Ashtray Boy and Warren Defever from His Name Is Alive.
This is an amazing album filled with yummy bubblegum pop tunes with
nice girl vocals that can sound soft in one song and not so soft (heh)
in another (it's really neat how the singer does that). Brilliant spacey
synth songs that makes me feel like hopping around while thinking about
sci-fi stuff. Really swank.
Lilyvolt
Five New Songs Cassette
Wordspeak Audio Productions.
by Scott Zimmerman.
August 1, 1996.
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The imagined mood conjured up by the name Lilyvolt seems to exist more on
this cassette than on their earlier CD release "Lilyvolt." That translates
to more crunching noise from the guitar, and less brightness from the
piano. This release is certainly much more rock. And that's good. But
having said that, the bulk of song four "Love & Hate" distuingishes
itself with a calm spooky appeal, and I like it the most of the five
songs. As is common with Lilyvolt, the lurking edginess on "Love &
Hate" finally does escape into more traditional guitar chaos and more
empowered singing, but that's almost irrelevant. What I'm drawing from the
song is that it's fun to hear Katharine Donnellon sing with her larger
than life voice, but when it's held in check, as on most of "Love &
Hate," is when it could be at its most appealing.
the Posies
Amazing Disgrace CD
Geffen.
by Elizabeth Herr.
August 1, 1996.
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It's been 3 long years since the Seattle band The Posies last album. I've
been waiting with bated breath for a follow up to 1993's stunning Frosting
On the Beater. The wait is finally over...Amazing Disgrace has finally
come! Right now I am completely enthralled with this album; the first time
I popped it in my CD player, however, I was a bit shocked. After listening
to the album for the first time, I was taken aback by just how different
the album is from the band's previous three releases. I suppose I have
just always thought of The Posies as having a specific sound and style,
but they seem to have completely reinvented themselves on Amazing
Disgrace, and what they've done, in my eyes, is a success.
The Posies have always relied on the harmonizing between lead vocalists Ken Stringfellow and Jon Auer. Amazing Disgrace finds that harmonizing a little more subtle. It seems that more attention is being paid to each one on an individual vocalizing level, although the harmonies can still be found, and they are wonderful!
I find The Posies of 1996 to be a little bit louder, harder, and, if "Hate Song" and "Everybody is A Fucking Liar" (an apparent diatribe against the industry and the whole celebrity thing, where the title lyric is sung repeatedly throughout the song) any indication, a bit angrier. There are also moments of absolute beauty, like in "World", an elegant love song that is sung amazingly by Jon Auer. And, there are the fun rockers, "Ontario" and "Grant Hart". The whole album, which consists of 14 songs, is a treat to listen to. The more I listen to Amazing Disgrace, the more I fall in love with it.
On a little sidenote, the album comes with a Parental Advisory sticker for explicit language. I am guessing this is simply because of the band's decision to place the song title "Everybody is a Fucking Liar" on the CD cover (had REM written the true title of Star Me Kitten on their album cover, they, too, would probably have gotten an "explicit lyrics" sticker imposed upon them). Other than a couple stray obscenities and an entire song calling everyone a fucking liar, The Posies are one of the least explicit bands I know!
It is so exciting when a band I love successfully goes in a new direction and ventures into new territory. This is precisely what I feel The Posies have done with their 4th album Amazing Disgrace. If you are a fan of the band, this album will make a wonderful addition to your collection. If you are not familiar with The Posies or do not own any of their albums, let Amazing Disgrace be the starting point in your discovery of a truly wonderful band.
Velocity Girl
Gilded Stars And Zealous Hearts CD
Sub Pop. SP340.
by Scott Zimmerman.
April 30, 1996.
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New Velocity Girl album, woo hoo! What a day that was expected to be.
First such a tremendous surprise in the record store, then I would go
home and actually listen to that much anticipated followup to one of the
greatest pop albums so far this decade. Yes, I was mildly curious why
I had not yet heard that the Velocity Girl album was out, but that was
just a minor trouble on my mind.
Later I popped the CD in the player, and after what seemed like about 3 hours the album finally finished. What a disappointment! It was a rather messy and uninteresting affair, lacking the pop hooks of Simpatico!, or the creative noise of earlier recordings. Maybe this was why nobody had been talking about the record? I just hoped it would get better upon repeat listens.
However, I was not particularly eager to listen to this CD again in the near future, being so overcome with grief and all, so I put it away for awhile. I waited for a couple weeks, hoping to gear myself to look at the album from a new perspective. With a renewed (though subdued) anticipation, I finally pulled the CD out again.
So now the album is a little bit more enjoyable, but still not particularly recommendable. When I listen to a random song on Gilded Stars And Zealous Hearts I do often think "Hmm, this is decent. This is not as bad as I originally thought." But when it ends, I'll not remember much in the way of the melody, lyrics or anything. While its playing, I'll start composing alternate melodies in my head. So much for my attention span.
"Nothing," "Go Coastal," "Zealous Heart" and "Formula 1 Throwaway" do begin to lean in the direction of the pop anthems I was hoping for, but they do not really compare to the classic hum-alongs like "The All Consumer," "Tripping Wires," "Sorry Again" and all the rest that littered Simpatico! This new music is losing me. Unfortunately, I am yet unable to meld with this record. And I really, really wanted to. Sigh.