====================================================[February 6, 1995]= __ | __ _ _ ___ | || ___ | __ __ (__ | | | \/ | ____) |___ || |___) |__ (__) | | ___) |___| | | | |___| |___) || |____ Editor: Bob Gajarsky Internet: gajarsky@pilot.njin.net Sr. Contributors: Jeremy Ashcroft, Martin Bate, Al Crawford, Dan Enright, Tim Kennedy, Reto Koradi, David Landgren, Tim Mohr, Joe Silva, John Walker Other Contributors: Kelley Crowley, Tim Hulsizer, Melissa Pellegrin, P. Nina Ramos, Michelle Richmond, Linda Scott, Ali Sinclair, Jon Steltenpohl, Jorge Velez, Scott Williams Technical Staff: Chris Candreva, Dave Pirmann, Damir Tiljak, Jason Williams Address all comments, subscription requests, etc. to gajarsky@pilot.njin.net ======================================================================= All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form other than within this document must be obtained from the editor. ======================================================================= .------------. | Contents |-. `------------' | `------------' Words from the Editor REVIEW: Portishead, _Dummy_ (Go! Discs / London) by Joe Silva REVIEW: Martin Page, _In The House of Stone and Light_ (Mercury) by Bob Gajarsky REVIEW: Various, _Flashback Favorites_ (Vol 5 & 6) (Oglio) by Bob Gajarsky REVIEW: Lisa Germano in Concert by Tim Mohr REVIEW: Randy Newman in Concert by Reto Koradi REVIEW: Planet 10, _There You Are_ (MetroPark) by John Walker REVIEW: Shirk Circus, _Words To Say_ (Bar/None) by Dan Enright REVIEW: Electrifixion in Concert by Jeremy Ashcroft REVIEW: Axiom Ambient, _Lost in the Translation_ (Island) by Al Crawford REVIEW: Gary Tanin, _Sublime Nation_ (Multi Musica) by Joe Silva NEWS: dada Cancels North American Tour NEWS/TOURS: Sheryl Crow, Del Amitri, Arnold McCuller TOUR DATES: Dave Matthews Band, From Good Homes, Lords of Acid, Low Pop Suicide, Sarah McLachlan, Mighty Mighty Bosstones, Rake's Progress NEWS: New World Wide Web site selling laserdiscs Back Issues of Consumable --- Words from the Editor Hello again from Consumable. You may have noticed some major changes at the top of the masthead. Scott Williams has decided to step down from his editorship position to concentrate on other responsiblities. He'll still be continuing to write for us from time to time, so you'll continue to see his name appear online. With that, however, we've switched things around. I'm now the new editor, but with the same old format, and same old goals: get you, the readers, information on the bands you care about. We'll still give you the comparisons you need to make an educated purchase on music (whether or not you've heard of the bands) and continue to provide you timely news, tour dates and interviews. Also, we've got more writers on board. Thanks to everyone responsbile for putting Consumable Online to the forefront of the Internet music community. - Bob Gajarsky --- REVIEW: Portishead - _Dummy_ (Go! Discs/London) - Joe Silva Whereas the small UK town of Portishead didn't even warrant a speck of geographic recognition in my hefty atlas, the band of the same monicker has gone beyond being a blip on the MTV musical map. Their near-dub drenched, cafe noir soundscapes have garnered the much coveted Buzz Bin status, meaning millions of kids are now wolfing down their after school cookies, milk and Green Day with a Portishead chaser. Which is disturbing considering that I can't see anyone reaching for _Dummy_ until sometime just before midnight, when they've come home stoked on java and looking for something to subdue the shakes. What 22 year old sound man/bedroom techno-whiz Geoff Barrow and his somewhat enigmatic chanteuse Beth Gibbons have etched out together are dark little fugues, laced with hip hop rhythms and haunting vocals. On something like "Strangers", Portishead show that they can jump vibes from subversive, thumping bass movements, to subtle jazz guitar licks that sound like they were lifted from a scratchy 78, and back again effortlessly, all in one track. "Sour Times" has gotten all the attention so far with its muted bass line rumbling underneath, the chilling vocal hook in the chorus and a thin twangy guitar line strung around the whole package. _Dummy_ is all thick, smoky atmospherics and lush life sonics with a few DJ flourishes that will still probably wind up marking a lot of time in club and cafe land. Geoff mentioned that they weren't much interested in touring, but he might have to retract that comment if the hoopla goes on much longer. That is, unless someone slips David Lynch a copy of the disc soon and snatches them up first. --- REVIEW: Martin Page, _In The House of Stone and Light_ (Mercury) - Bob Gajarsky Back in 1983, Sting was working with the Police on their multi million selling album, _Synchronicity_. Peter Gabriel was releasing his _Plays Live_ album and still providing the experimental music for which he was known. And, out of England, Martin Page was helping write and play in the band Q-Feel, which had a classic alternative underground hit, "Dancing in Heaven". As the years passed and Q-Feel ceased to exist, Page put those writing talents to work for other artists, helping to pen such tunes as Robbie Robertson's "Fallen Angel", Go West's "King of Wishful Thinking", Heart's "These Dreams" and Starship's "We Built This City". But now, more than 10 years later, Martin Page has released his own debut album, _In The House of Stone and Light_. The title track of the album evokes immediate comparisons to the aforementioned Sting and Gabriel while bringing in Robertson and Neil Taylor (Tears For Fears) to help out on guitar. Other guests include Phil Collins (whose drumming is instantly noticable on "I Was Made For You"), Tears For Fears' drummer Jimmy Copley and The Blue Nile's Paul Joseph Moore. Muscially and lyrically introspective, Page masterfully tackles difficult subjects such as spousal abuse ("In My Room") and escaping Jews from a Holocaust concentration camp ("The Door") while"Monkey in My Dreams" evokes musical traces of Gabriel's "Shock the Monkey". Page's debut album is a prime choice for the intelligent discerning music afficionado; if you like bands such as Crowded House, or the most recent Sting material, Martin Page's _In The House of Stone and Light_ is for you. --- REVIEW: Various Artists, _Flashback Favorites (5&6)_ (Oglio) - Bob Gajarsky Those folks at Oglio are back again with two more volumes of their reissue material known as Flashback Favorites. KROQ disc jockey Richard Blade has also returned and provided liner notes for some of the songs which helped launch the "modern rock" craze so prevalent in American radio. Volume 5 and 6, however, are almost as different as night and day from previous volumes. The pop side of the 80's is reflected in Volume 5, with the Bangles, Men At Work, Psychedelic Furs and Tommy Tutone all duly represented. Even Real Life, who had more success after the decade was nearly over, appear with their biggest hit, "Send Me An Angel". Boz Boorer appears with the Polecats, well before Morrissey ever took an interest in him, on the club version of "Make A Circuit With Me", while Wide Boy Awake (The Ants, minus Adam) appear with their offbeat and wacky "Chicken Outlaw". Volume 6 takes a much more underground approach than anything else Oglio has produced. Of the twelve tracks, only Nick Lowe's "Cruel To Be Kind" has achieved any kind of success. The Suburbs "Music For Boys" and Mi Sex' "Computer Games" are both tracks which have received plenty of play at clubs in the mid 80's, but couldn't break through to a more conservative environment. The rest of the album includes five more extended / dance versions of tracks which are unlikely to be found anywhere else, ever. Both albums, as is almost anything that Oglio produces, are well researched and compiled. However, if you need to purchase a CD for a friend whose only knowledge of "80's radio" consists of "Too Shy", stick to Volume 5. If you're a fan of more obscure material, Volume 6 could be an answer to a long-lost prayer. And, if you're just a fan of good music, pick up both volumes. If not available at a local record shop, these discs can be purchased directly from Oglio at 1-800-COOL-CDS. Track listing: Volume 5 - Real Life - Send Me An Angel (Extended); Pete Shelley - Telephone Operator; Tommy Tutone - 867-5309/Jenny; Men At Work - Overkill; Bangles - Hero Takes A Fall; Psychedelic Furs - The Ghost In You; Bill Nelson - Acceleration (Remix); Plimsouls - A Million Miles Away; Polecats - Make A Circuit With Me (Club Mix); JoBoxers - Just Got Lucky; Bad Manners - Samson and Delilah (Biblical Version); Wide Boy Awake - Chicken Outlaw Track listing: Volume 6 - The Suburbs - Music For Boys (Remix); 3D - X Ray Eyes; Mi Sex - Computer Games (Extended Mix); Nina Hagen - Universal Radio (Universal Dance Mix); Bollock Brothers - Harley David (Son Of A Bitch); Chameleons - In Shreds; Romeos - Seriously Affected; Nick Lowe - Cruel To Be Kind; Payolas - Eyes of A Stranger (Full Length Version); Stranglers - All Roads Lead To Rome; I Am Siam - Talk To Me (Extended Dance Mix); Shriekback - Nemesis (Extended Mix) --- Concert Review: Lisa Germano, Knaack Club, Berlin, Jan. 21. - Tim Mohr There are precious few rock vocalists who actually sound better live than on record. Lisa Germano utterly transcended her recorded moments during this show in support of her latest album, _Geek the Girl_. Despite a cold, her voice permeated the club - rich, earthy, full and completely enthralling. Not since Concrete Blonde's Johnette Napolitano have I seen a singer whose live voice could make her studio renditions sound so like fleshless skeletons by comparison. Lisa Germano (vocals, electric and acoustic guitar, occasional piano) was joined by only one other musician, who accompanied her on bass and guitar. The sparse settings, leaving out all traces of violin and percussion from her two albums, allowed her warm vocals to create a transfixing atmosphere in the sold out club. She seemed genuinely pleased with both the turnout and the response to her performance, and made mildly disparaging comments about problematic American audiences. Covering material from both of her records, she also made frequent reference to her next album, though she admitted it would probably not be out before the end of the year. The next album will apparently be a loosely thematic piece based on lying or liars, though Henry Rollins is not slated for a guest appearance. The three or four new songs from the as-yet- untitled record melded well with material from _Happiness_ and _Geek the Girl_. The new and old songs lyrically sketched a grim, depressing world of antagonism, self-loathing, doubt, and justified distrust. At one point Lisa Germano explained that "People always say I hate men. [bemused sigh] Actually, I think *everybody* is confused and manipulated." The gentle eloquence and often sardonic humor of her lyrics kept the program from descending to melodramatic bathos. As the concert progressed an increasing degree of spontaneity animated the two musicians. For the second encore, demanded after the lights had already come on, the two had to test chords together before striking into a song. They discussed how to close the night with the audience, opting in the end for "Cowboy" from _Happiness_. The only question raised by such a simple yet powerful concert is Why doesn't she record like this? She is so vocally winsome that it is difficult to see why Lisa Germano bothers to tart up her albums with filler like the Italian folk tune that periodically pops up during _Geek the Girl_. --- CONCERT REVIEW: Randy Newman (Winterthur, Switzerland) - Reto Koradi These days, we get flooded with music. You can see videos on dozens of TV channels, there are more new records than anyone could ever handle and huge festivals take place almost every week. But the more possibilites there are, the more difficult it gets to find the REAL music experience. Does it happen on MTV? Certainly not. Or in stadiums? If you like to pay for seeing your stars on a video wall. No, I think that the real music happens in small clubs. But unfortunately it's a rare occurence to catch a "big one" in a small venue. I had the luck to see Randy Newman together with not much more than 100 people, the smallest concert he's been playing in 16 years. The stage is hardly big enough to hold his piano, and only a few inches higher than floor level. So artist and audience are really close, in fact he will later tell somebody to "take your fuckin' foot off the stage!". I had only seen Randy on old photos, and the first thought when he gets on stage is: he looks old! But considering that he's been recording since end of the 60s, this is not really a surprise. He must be 50, and that's exactly how he looks. There's no need to color the gray hair, this man has nothing to hide. He starts with "Birmingham", and his voice sounds exactly like on the records, only much better. It's not an angel's voice, but that wouldn't fit anyhow. His skills on the piano are much more audible, and I find that the songs work much better if he does them solo than with background musicians and produced by Mark Knopfler. His big hit "Short People" comes early on in the set and it looks like he has an ambivalent relation to it. When the audience starts to clap in the rhythm, he stops them immediately by a minor break. Only later does he let us sing "Rider In The Rain" with him. It's sort of understandable that he doesn't have more success. This man is cynical beyond the pain level of most people. "Short People" is not even the most extreme example: my favorite is "Political Science", where he sings: "They don't respect us, so let's surprise them, we'll drop the big one". People are almost rolling on the floor, but it must hurt if you're American. Unless you think he's serious, which actually seems to happen to him sometimes. He talks a lot, but not only between songs, also during songs. Most notably in "I Want You To Hurt Like I Do", which he wrote after seeing the video of "We Are The World", and where he explains the imaginary video ("Celebrities holding hands and swinging them back and forth"). Hilarious! He also talks a lot about his musical project "My Faust", which sounds highly promising, and would be worth an article of its own (Elton John plays an angel!). Randy Newman is still good for a highly enjoyable evening, with great music and a tremendous amount of fun, at least if you have a sarcastic sense of humor. --- REVIEW: Planet 10, _There You Are_ (Metropark) - John Walker In this era of macho posturing in rock, with chest-beating grungers and badass rappers vying to see who can boast of the biggest organ (no, not the brain), engaging in that genre known as "power pop" is a risky proposition. Actual melodies don't do much for the machismo quotient and may indicate a state of geekdom or dweebishness that puts one's self-image as a musician or as a listener in a state of peril. There is actually an element of truth to this: if you've ever heard the execrable Barenaked Ladies, you'll know what I mean. Pop, however, like any other genre of music, runs from the ridiculous (see aforementioned band) to the sublime (i.e. the Zombies _Odyssey and Oracle_ the first record I ever bought and still a personal desert island disc). At its best, pop music is as potent a musical form as any other, perhaps even more so--where would the Beatles have been without pop? Stuck playing r&b covers in Hamburg nightclubs. As Sophie B. Hawkins recently put it, "Good pop fucking changes the world--it makes people large than life, and people _deserve_ to be larger than life." Couldn't have said it better myself. While not yet larger than life, Planet 10 is on the trail of great pop in the tradition of the Zombies, the Beatles, Big Star, and lesser known but still wonderful bands like the Shoes and the Records. _There You Are_ has been kicking around the scene for awhile already, and certainly merits a listen by anyone interested in this line of music. Songs like "A Thousand Ways To Dream" and "Baby's Losing Her Mind," which lead off the album with sprightly harmonics and chiming guitars, are "Pure pop for now people", as Nick Lowe once remarked. The lyrics here are passable, but don't really matter: the medium is the message here, as the band strives for and achieves that sound that tickles those vital pleasure centres of the brain. Aural sex? Only occasionally does _There You Are_ veer too close Barenaked Ladiedom, where pop somehow picks up an extra "o" and becomes poop. "Mr. Universe" is perhaps a bit _too_ cutesy; it's too hard here to shut out the sappy tale of thwarted romance and concentrate on the still-potent melody and overall sound of the song. "Magic Moment" boasts a great chorus (the magic moment?) and little else aside from some clumsy calypso noodling. That being said, neither of these is enough to make you hit the eject button; Planet 10 retains listenability even when they're annoying. Any transgressions committed by the band can be easily forgiven, however, for the likes of "Round House," driven by a great guitar line courtesy of Rich Webster which veers into psychedelia, and some fine harmonizing by the boys. The album's clincher, however, is "Natural Apple Delight," which forgoes the generally sunny feel of the album for an ominous bassline and troubling lyrical considerations of the place of the male in an increasingly constricted, PC world ("If I swoon I will offend . . . cliche, we are friends), preparing for "an eternity of eternal restlessness." In this song, it all comes together for Planet 10, and the "There You Are" concludes on a high note. --- REVIEW: Shirk Circus, _Words To Say_ (Bar/None) - Dan Enright I like this disc, but it sounds sorta... familiar - like a lot of the stuff I hear on the local college radio stations, but much better than the local commercial crap. This is the band's first full length album, although their press release claims they have a six song demo - a tribute cassette to Gene Wilder (_Miasma, Beamed to Wilder_), and a four song 7" on M.Y. Nation Records (_Because of You, I Missed the Guess Who Concert_). They appear to be smart-asses. The album reminds me, in an overpowering way, of early Crazy Horse with Elvis Costello singing, especially the cuts "Fine Line" and "Basement". Basement has that country feedback sound that Neil and the Horse love so much. The rest of the album is distorted guitars and pop melodies tempered with atonal chord changes. The usual suspects of teenage angst and alienation seem to be the content of the lyrics. Pretty much mainstream rock and roll at this point. The album was recorded live with producer Ray Ketchum in an hour and captures the sound of a live show with a quality sound mix. The band consists of Josh Silverman (vocals, guitar, songwriter), Dan Shafer (bass, vocals), and Frank Lieberum (drums, vocals). The band encourages fan mail and can be reached by sending a SASE to Shirk Circus, 85 Povershon Rd., Nutley, NJ 07110 --- CONCERT REVIEW: Electrifixion, (Tivoli in Buckley, North Wales: November 16, 1994) - Jeremy Ashcroft I got a chance to see Electrifixion, featuring Ian McCulloch (ex of Echo and the Bunnymen), live in concert. Though McCulloch is far from shy, there seemed to be a slight lack of confidence from the band. A couple of songs had too much reverb on the vocals - maybe he thought it made him sound better - and the songs all ended abruptly like they were unsure how the audience would react to them. It was also far too loud. Despite a lot of requests, there were no Bunnymen songs. The single "Zephyr" (available as an E.P. in the U.S.) was excellent - much heavier than the stuff you'd expect from an ex-Bunnymen - as was another song I recognized from hearing on the radio. The other new material was good, but didn't really have an immediate impact. Will Sargeant (at least I *think* it was him - he was wearing a full-face helmet of hair) is a master of the effect pedal! He got some brilliant noises out of his guitar, the (very good) rhythm guitar coming from McCulloch. In conclusion? A decent show by McCulloch and his new band as they try to ascend back up rock's mountain, but still flawed and far from perfect. --- REVIEW: Axiom Ambient, _Lost In The Translation_ (Island) - Al Crawford I've never been much of a fan of what's currently known as ambient. While I've always appreciated the *real* ambient work of people like Brian Eno and Bill Nelson, and have a definite soft spot for ambient industrial, I've found it impossible to really get into the particular brand of ambient that has risen from the rave/dance boom of the last few years. This is due to a number of factors - the production line mentality that sees certain prolific individuals release vast amounts of low quality material, the redefinition of Eno's original ambient concept to include music that possesses a whomping bass beat capable of cracking concrete, and the whole eco-friendly, new-age flotation tank mentality that permeates the scene. When I first read the liner notes of this CD my heart sank. Not that it had been particularly high beforehand - any CD that includes "Ambient" anywhere in the title or group name automatically sets off alarm bells. However, when I read "An unbounded musical intelligence weaves the Ambient fabric, for like the true world itself its entire atmospheric essence is just one incident springing forth out of a larger, limitless reality" and spotted references to "new aeon rituals", "cyber-psychick [sic] mythologies" and "empowering experiences" I began to get *really* depressed. However, never being the sort to write off an album before I've actually listened to it, I tossed another dolphin on the blazing tropical hardwood fire and settled down to listen to _Lost In The Translation_. My first impressions seemed to confirm my feelings of dread and foreboding. "Aaaargh," thought I, "it's another bloody babbling brook". Gritting my teeth and preparing myself for an onslaught of rainforest noises, I plowed on determinedly, praying to whichever deity looks after music reviewers that I wouldn't be subjected to any gratuitous whalesong in the process. Someone up there (or down - it depends on your opinion of reviewers) must have heard me, since _Lost In The Translation_ turns out to be one of the most interesting ambient albums I've heard in a while. It's certainly in possession of its fair share of ambient cliches but the variety of people working on it drags it out of the ambient quagmire, giving it rather more character and range than the typical ambient release. Many of those involved are familiar names (Bill Laswell, The Orb) but a number of the contributors are unassociated or only peripherally related to the ambient scene, such as Ginger Baker, Jah Wobble and a wide assortment of Funkadelic/P-Funk related individuals (George Clinton, Bootsy Collins, Bernie Worrell, Eddie Hazel). The end result is often surprisingly full and rich in sound - far removed from the ethereal noodling that characterizes so much of the genre. This, according to the press release, is the general idea - that the listener should be involved not as a passive spectator but as a direct participant. It's certainly true that much of this music is difficult to ignore and downright meaty, but isn't the whole *point* of ambient that it's supposed to be passive, to be listenable or ignorable at will? Oh well... The two discs contain a total of eight lengthy tracks with the only common factor being Bill Laswell. This comes as something of a surprise, since the album as a whole flows together quite nicely, with themes emerging, disappearing and re-emerging. This is particularly true of the distinctly Eastern tinged "Aum", which has a strong Indian flavor (hardly surprising considering the musicians involved on the track) that re-emerges on "Dharmapala", the first track of the second disc which involves...none of the guest musicians who played on "Aum". My main complaints with this disc are the tendency for what was previously a restrained, genuinely ambient track to suddenly sprout a rock guitar solo straight out of the worst excesses of the 70s progressive scene. On those tracks where this doesn't happen, something similar occurs involving the violent mugging of the track by a heavy dance beat. In fact, only two of the eight tracks don't feature one of the above and both are on the dull side. So, all in all, a mixed effort. Too solid and meaty to be ambient, but too repetitive and occasionally dull to be anything other than background music. I've found myself developing a definite tendency to fall asleep while listening to this one. In some ways this is good - it's relaxing stuff - but those pleasant snoozes were regularly interrupted by sudden bursts of WHOMPWHOMPWHOMPWHOMP or squealing guitars. Fans of the current ambient mainstream, or of Laswell's other efforts, might find this worth a listen. --- REVIEW: Gary Tanin - _Sublime Nation_ (MultiMusica) - Joe Silva There's not a lot roaming the racks that bears much resemblence to Tanin's debut effort. _Sublime Nation_ is an independent shot with some major league collaborations (Jerry Harrison, Dixie Dregs-man T. Lavitz, and former Femme's drummer Victor De Lorenzo) that has clean, uptempo pop melodies swimming in a mix of bright guitars, neatly arranged synthesizers and harmonies. Tanin's voice approximates something that sounds like a spry Donald Fagen minus the cynacism as he goes through a roster of love songs that are unique in that they are so unabashedly straight faced in a time when vague lyrical allusions reign supremo. "Little Black Book" has an effective dash of horns and a revivalist emotion to it and the strolling bass rhythm and the pleasant overall feel of "When You Need Somebody" may get Tanin some attention in the end. The CD is available for $15 (US), postage paid from MultiMusica PO Box 10181, Milwaukee, WI 53210 USA. --- NEWS: dada has recently cancelled their North American tour in support of their second I.R.S. album, _American Highway Flower_. Lead guitarist Michael Gurley has recently been diagnosed with mild Carpal Tunnel syndrome in his wrists as well as compressed nerves in both elbows. Gurley will be undergoing surgery for these ailments in the very near future. dada's new song, "I Feel Nothing", will appear in the soon to be released soundtrack for the _Brady Bunch Movie_. --- NEWS: Arnold McCuller information: Arnold performed the National Anthem on February 3 at a Mighty Ducks hockey game in California. The second single from his album, is Soul Searchin' and features an appearance by Bonnie Raitt. McCuller is singing backup vocals on the Phil Collins tour. Some South American dates for the concert include Buenos Aires on April 21, Sao Paolo on April 27 and Rio de Janeiro on April 29. --- NEWS: Sheryl Crow's "All I Wanna Do" has attained silver status in the United Kingdom. Her latest single, "Strong Enough", has two parts; Part One includes the bonus tracks "No One Said It'd Be Easy" and "All I Wanna Do" (Live in Nashville), while Part Two includes "All By Myself", "All I Wanna Do" (Live in Borderline, London) and "Reach Around Jerk". The 31 year old Crow is recording the followup album and will be touring Japan, Australia and Southeast Asia later this year. --- NEWS: Del Amitri's first single from their forthcoming album, _Twisted_, is titled "Here And Now". The UK single has two parts: Part One includes extra tracks "Long Way Down", "Queen of False Alarms" and "Crashing Down". Part Two includes "Here And Now" plus live performances from Glasgow of "Stone Cold Sober", "Always The Last To Know" and "When I Want You". Tour dates in the U.K. are as follows: March 5 Sheffield, Octagon March 6 Warrington, Parr Hall March 7 Leeds, Town & Country Hall March 9 Bristol, Colston Hall March 10 Norwich, University of East Anglia March 12 Leicester, University March 13 London, Shepherds Bush Empire March 14 London, Shepherds Bush Empire March 15 Cambridge, Corn Exchange March 17 Wolverhampton, Civic Hall March 18 Newcastle, City Hall March 19 Glasgow, Barrowlands --- TOUR DATES: Dave Matthews Band (RCA) Feb. 7 Northampton, MA Smith College Feb. 8 Albany, NY Palace Theatre Feb. 10-11 Upper Darby, PA Tower Theatre Feb. 12 University Park, PA Recreation Hall Feb. 14 Richmond, VA Carpenter Center Feb. 17 New Orleans, LA House of Blues Feb. 20 Syracuse, NY Landmark Theatre Feb. 21 Manchester, NH New Hampshire College Feb. 23-24 New York, NY Roseland Feb. 25 Easton, PA Kirby Fieldhouse (Lafayette College) Feb. 26 Rochester, NY Rochester Auditorium From Good Homes (RCA) Feb. 7 Tuscaloosa, AL The Booth Feb. 8 Birmingham, AL Zydeco Feb. 9 Athens, GA 40 Watt Club Feb. 10 Atlanta, GA Chameleon Club Feb. 11 Charlotte, NC World Mardi Gras Feb. 16 Boston, MA Paradise Feb. 17 New York, NY Irving Plaza Feb. 18 Washington, DC Bayou Lords of Acid (American) Feb. 10 Knoxville, TN Mercury Theatre Feb. 11 Atlanta, GA The Masquerade Feb. 12 Tampa, FL The Ritz Theatre Feb. 14 Miami, FL Marz Bar Feb. 15 Orlando, FL The Edge Feb. 17 New Orleans, LA Rendon Inn Feb. 18 Houston, TX Numbers Feb. 19 Dallas, TX Lizard Lounge Feb. 21 Mesa, AZ Nile Theatre Feb. 22 Los Angeles, CA Roxy Theatre Feb. 23 San Francisco, CA Trocadero Transfer Feb. 25 Salt Lake City, UT DV8 Feb. 26 Denver, CO Ogden Theatre Feb. 28 Minneapolis, MN First Avenue March 2 Detroit, MI St. Andrews Hall March 3 Chicago, IL Cabaret Metro March 4 Cleveland, OH The Odeon March 5 Grand Rapids, MI Orbit Room March 6 Pittsburgh, PA Metropol March 8 Boston, MA Axis March 9 Philadelphia, PA Trocadero March 10 Washington, DC 9:30 Club March 11 New York, NY Limelight Low Pop Suicide is on tour opening for Chris Connelly Feb. 10 Grand Rapids, MI Reptile House Feb. 11 St. Louis, MO Other World Feb. 12 Milwaukee, WI Shank Hall Feb. 13 Minneapolis, MN First Avenue Feb. 15 Ames, IA (TBA) Feb. 17 Denver, CO Mercury Cafe Feb. 18 Salt Lake City, UT (TBA) Feb. 19 Sacramento, CA (TBA) Feb. 20 Berkeley, CA Berkeley Lounge Feb. 21 San Francisco, CA DNA Lounge Feb. 22 Santa Barbara, CA (TBA) Feb. 23 San Diego, CA (TBA) Feb. 24 Los Angeles, CA Troubadour Feb. 25 Phoenix, AZ Nile Theatre Feb. 26 Tucson, AZ Club Congress Feb. 27 El Paso, TX Club 101 March 1 Bryan, TX 3rd Floor Cantina March 2 Austin, TX Liberty Lunch March 3 Dallas, TX Trees March 4 Houston, TX Fitzgerald's or Abyss March 6 Atlanta, GA Masquerade March 8 Hampton, VA Nsect Club March 9 Washington, DC 9:30 Club March 10 Philadelphia, PA Trocadero March 11 Boston, MA Mama Kin March 12 Montreal, QUE (TBA) March 13 Toronto, ONT Opera House March 14 New York City, NY Limelight March 15 Cleveland, OH Peabody's March 16 Toledo, OH Underground March 17 Detroit, MI St. Andrews Hall March 18 Chicago, IL Metro Sarah McLachlan (Arista/Nettwerk) - opening act, Paula Cole March 2 San Francisco, CA Orpheum March 3 Los Angeles, CA Universal March 4 Phoenix, AZ Hayden Square March 5 San Diego, CA Spreckles (Sold Out) March 7 Denver, CO Paramount March 8 Denver, CO Paramount (Sold Out) March 10 Austin, TX Music Hall March 11 Dallas, TX Fair Park March 12 Houston, TX Music Hall March 13 New Orleans, LA Saenger March 15 Indianapolis, IN Egyptian Room (Sold Out) March 16 Ann Arbor, MI Hill Auditorium March 17 Philadelphia, PA Tower March 18 New York City, NY Radio City Music Hall March 20 Portland, ME State Theater March 21 Boston, MA Orpheum March 22 Washington , DCWarner Theater (Sold Out) March 24 Atlanta, GA Fox (Sold Out) March 25 St. Louis, MO American March 27 Buffalo, NY Sheas March 29 Chicago, IL Chicago Theater March 30 Minneapolis, MN Northrup April 1 Salt Lake City, UT Salt Air April 3 Seattle, WA Fifth Avenue April 4 Portland, OR Civic Center April 5 Bellingham, WA Mt. Baker Theater Mighty Mighty Bosstones (Mercury) Feb. 15 Toronto, ON Phoenix Concert Hall Feb. 16 Buffalo, NY Network Feb. 17 Pittsburgh, PA Metropol Feb. 18 Washington, DC WUST Hall Feb. 19 Philadelphia, PA Trocadero Feb. 21 Richmond, VA Flood Zone Feb. 22 Virginia Beach, VA The Abyss Feb. 23 Winston-Salem, NC Ziggy's Feb. 25 Atlanta, GA Masquerade Feb. 27 St. Petersburg, FL Janus Landing Feb. 28 Jacksonville, FL The Edge March 2 Ft. Lauderdale, FL The Edge March 3 Orlando, FL The Edge March 4 Pensacola, FL Nite Owl March 6 Athens, GA 40 Watt Club March 7 Birmingham, AL Five Points Music Hall March 10 Columbus, OH Newport Music Hall March 11 Cleveland, OH Agora Theater March 12 Los Angeles, CA The Palladium Rake's Progress (AlMo) As stated in a previous edition of Consumable, New York based Rake's Progress will be playing for their hometown crowd at Irving Plaza on February 22 at 10 pm. The show will be recorded live. In addition, the band will be playing the following shows, with more dates to be added in anticipation of their forthcoming record on Almo Sounds: Feb. 17 Providence, RI Lupo's Feb. 18 Port Chester, NY 7 Willow Street Feb. 19 Boston, MA TT The Bear's --- NEWS: Web Intertainment, a new site specializing in laserdiscs, CD ROM's, etc. has opened up on the net. They can be reached via the World Wide Web at http://funstuff.com --- To get back issues of Consumable, check out: FTP: eetsg22.bd.psu.edu in the directory /pub/Consumable ftp.etext.org in the directory /pub/Zines/Consumable 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 (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. 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