earpollution album reviews [page 1] - issue 1.12, december 1999

Aquabats - The Aquabats vs. The Floating Eye of Death
Arrogant Worms - Dirt!
Avulsed - Stabwound Orgasm
Blo-torch - Blo-Torch
D'Angelo - "Left and Right"
DJ Skribble - Traffic Jams 2000
Gooseflesh - Chemical Garden
Guitar Wolf - Jet Generation
Kismet - North Atlantic Balkan Express
Kovenant - Animatronic
Kreator - Endorama
Man or Astro-man? - Eeviac

Method Man & Redman - Blackout!
Misfits - Famous Monsters
Mos Def - Black on Both Sides
My Life with the Thrill Kill Kult - Dirty Little Secrets
Nebula - To the Center
November 17 - Defy Everything
Phylr - Halflife
platEAU - spacEcakE
Proem - Burn Plate No. 1
Shivaree - I Oughtta Give You a Shot in the Head...
Varathane - Ruddy Brown Primer

The Aquabats The Aquabats vs. The Floating Eye of Death Goldenvoice/Time Bomb Links: The Aquabats		Orange County, CA has produced many of Ska/Punk's current 10-penny nails, including The Offspring, Save Ferris, No Doubt, and the sorely missed Sublime. None of the county's offerings, however, is as strange or cartoonish as the Aquabats. The Aquabats vs. The Floating Eye of Death, their third full-length since beginning their slapstick quest in 1995, is a daring series of musical adventures. The Aquabats employ surfer-punk power pop with ska sensibilities. Accompanying this melodic ride is a devotion to fantasy, science fiction, Saturday morning cartoon glory, and a penchant for dressing as superheroes and fighting supervillians. Their live shows embody this formula, but that's another story. The new album not only builds on the momentum of 1997's anthem and radio hit "Super Rad," it also charts new waters lyrically and musically. Episode 3 begins urgently with "Sequence Erase." A Devo-ish '80s power strike, "Sequence Erase" is equipped with static, warning, and a pick-grind along the bass string of Maestro Kyu's Viking guitar that seems like a parody of the same technique used by Adam Jones of Tool on the 1992 dirge "Prison Sex." "Knife in the back, I stagger to the phone / Who can I call?" asks the Bat Commander (Christian Richards Jacobs), who makes it clear from the outset that this album will not be an easy swallow like the two previous. Not that The Fury of... (1995) and The Return of... (1997) are free of social commentary, but neither are as deliberate or effectual as The Floating Eye. Another example of this change is the seemingly innocent "Chemical Bomb," an island guitar-inspired lounge tune, wherein Jacobs croons like Andy Williams singing, "Chemical bomb, chemical bomb / eyes melt skin explodes everybody dead. It won't be long, it won't be long / People gonna be running around losing their heads." Not exactly your father's Aquabats. But instead of pulling out of the muck, Jacobs continues down the spiral a bit: "Then I had another vision / in the crowded grocery store / I saw the palerider on his horse / decapitating people in the parking lot. And all the shoppers were beasts / what could I do to hide? / In this world of human kind / I think we've already lost our minds." All of this is a real surprise to anyone who's indulged in the Aquabats in years past. No longer are we dealing with a seemingly fatuous cartoon touching on surface emotions of heroism and campy humor. The crux of the song, under this sentiment, is the closing lines of the chorus: "A river of blood / who's gonna live? / The Earth is tired of human kind/ and I think this world is going to wash up in hell...," fading into a sweet-voiced bimbo singing a "la la la la..." sickness that leaves you second-guessing for hope. The years of rugged touring and struggling for success in the Pacific Southwest have pounded some dark sarcasm into the mix...an uneasy message delivered on the up-beat, much in the same vein as one would expect from the Offspring, and especially from Sublime. Of course, the Offspring reference is a lot easier to swing around seeing as how Dexter Holland co-penned track 13, "Amino Man," the clever double entendre-titled punk-march that caps on America's obsession with changing one's image by virtue of pumping up. "But he got so big / he ran out of skin to strain / he popped his brain / where are his eyes? / something's got to give." Interesting backlash considering the self-pleasuring movement of many of our fit and fickle fellow patriots. The music is characteristic of Holland and the Offspring, but just as much so of the 'Bat's, and proves to be a satisfying collaboration. Despite all this commentary, the songs still achieve the desired Rocky and Bullwinkle-style dramatics, each song serving up as a chapter in a grand animated superhero adventure. Also of note is the increased presence of synth and keyboard work, which enhances the cartoon quality of their shtick. The 'Bats have not lost their touch, they've merely made a much stronger statement within the context of their unique brand of showmanship. Is all of it worthwhile? That depends on your willingness to let yourself go, and how far back into the episodes of the original Batman TV series you are willing to venture. Highly accessible, and more diverse than a standard ska album, The Aquabats vs. The Floating Eye of Death is a worthwhile step in a new direction. Though it does ring a more resonant bell thematically, it also retains much of the zany lightheartedness that made the earlier albums such a delight. *-Al Cordray* [ top of page ]
The Arrogant Worms Dirt! Links: Arrogant Worms		An album whose first lyrics are, "Baby I wanna tell you all my hopes and dreams and fears / but I'm watching television, could you get me another beer," should not be taken too seriously. Otherwise, you might mistakenly call the opening song misogynistic rather than the couch potato-poking fun it is. Or you might conclude from "Steel Drivin' Man" that guitarist Mike McCormick really is the antithesis of John Henry, and he would "take long breaks and say his back was hurt / then he'd have a drink to ease the pain." Mike also, according to the credits, "Spends his days yodelling and kicking a lawn mower." The Arrogant Worms don't really want to be taken seriously, though--at least no more than it takes to get paid at the end of a show. They're silly, bizarre, Canadian, and incredibly clever. It takes a twisted mind to create a country song with a refrain of, "I love you so much I need the Heimlich maneuver / your love sticks like a turkey bone in my throat." More importantly, it takes well-honed skills to make it sound fresh after dozens of listens, and a curious brilliance to make that refrain stick in your brain. It's not difficult to make fun of someone like Celine Dion ("She'll sing a song in English, and she'll sing en français / Both the songs will suck, but I love her anyway") but to cradle it in a light-rock song that causes you to spontaneously sing the chorus of, "Oh Celine Dion, you soft-rock my world," is downright insidious. The true test of musical comedy, though, is when it strikes close to home; sure, you can laugh at others, but can you also laugh at yourself? As a self-professed geek, I was leery of Dirt! containing two geek-related songs. But I was won over. The first, "Great to Be a Nerd," is a joyous description of anyone for whom the phrase, "We once met a redshirt who was phasered by a Borg," holds meaning. And "Log In to You" is a smart techspeak power ballad loaded with double entendre ("I gotta open up your motherboard / put my Pentium inside"). In between, they celebrate the high points of being Canadian in "Rocks and Trees" ("We've got rocks and trees / and trees and rocks / and water"), the "beauty" of the Gaelic language, and proffer an appropriately "reverent" homage to bovines ("I am Cow!"--a suitably carnivorous complement to "Carrot Juice is Murder," their 1995 Dr. Demento #1 hit). To top it all off, they end the album with a six-and-a-half minute Cheech and Chong-inspired ad lib tribute to that roadway giant, the Winnebago. With an inspired blend of subjects and musical styles, this is definitely the Worms' best studio album yet. *-Paul Goracke* [ top of page ]
Avulsed Stabwound Orgasm Repulse Links: Avulsed		The supreme Spanish brutal death band knocks the crap out of the competition with Stabwound Orgasm. Stabwound Orgasm won't be winning awards for tasteful cover art, but they can annihilate the musical competition with this release. Crunching guitars, growling basses and lethal drums lead this release on a brutal metal journey that is filled with tempo changes, wild variety, industrial flourishes and scorching vocals. From the second you hit the play button you are cruising in high and heading straight for hell. This baby is intense and sick, but the brutality is controlled and balanced. Quite honestly, I thought Cannibal Corpse's newest Bloodthirst was going to be the best death metal disc this year until I heard Stabwound Orgasm. The musicianship is top notch, the songs are their best so far and the production is extraordinary. You only need to hear the song names to know if you are ready to perk up and piledrive your safe little eardrums with Avulsed. Standout songs are "Stabwound Orgasm," "Blessed by Gore," "Compulsive Hater," "Exorcismo-vaginal" (killer), "Anthro-pet-phagus," "Homeless Necropile" and "Nice Rotting Eyes." The lone instrumental "Amidst the Macabre" shows that Avulsed have restraint and chops as well. Their last release Cybergore mixed traditional Avulsed brutal death/goregrind with the techno world and thumbed its nose at the industrial world. Avulsed went above and beyond this time. So this is how a Stabwound Orgasm feels... *-Sabrina Wade-Haines* [ top of page ]
Blo-Torch Blo-Torch Wicked World		The debut disc is finally out and it is a scorcher. It is the same burning mix of black, thrash, industrial and death metals that I've grown to love on their demo tape. In fact my favorite song "King of Karnage" is here and also "March of the Worm" re-recorded from the demo along with some great new songs--"Spanish Sun," "Mount Ygman" and "Panzerstorm." These Dutch metallers are at the top of their game and this is the next step up the proverbial ladder. Lyrically this group covers ground from political "Spanish Sun" to serial "King of Karnage" to sexual "March of the Worm." I have no idea where they get their samples, but the one about sucking buttjuice is hilarious. Blo-Torch combines the ferocity of urban life with a passion for music into a self-titled scorcher that hopefully will lead to a brightly-burning future. Hopefully Blo-Torch will get to tour the U.S. real soon. *-Sabrina Wade-Haines* [ top of page ]
D'Angelo "Left and Right" b/w "Untitled (How Does It Feel)" Virgin Links: D'Angelo		Voodoo, the sophomore release from neo-soul prodigy D'Angelo, is so long-awaited that news of this latest postponement barely caused a blip on the music industry radar. Originally scheduled for release back in February of this year, Voodoo was finally expected to hit record store shelves November 23rd. Alas, it was not to be. My music gremlins at Mercer told me their buyer said it was being pushed back to January 2000! Such news might have been enough to send me over the edge had I not been holding his newly released single "Left & Right" in my hand. The single features two numbers: "Left and Right" (the title track) and "Untitled (How Does It Feel)." With the exception of the obligatory-feeling guest appearances made by Method Man and Redman on "Left and Right," this groove almost wiped away all my pain and suffering. At long last Voodoo was more than just a mere word, it was textures and hues, combined to make raw soulful music. "Untitled (How Does It Feel)" has purple finger prints all over it. I scanned the liner notes looking for some hint of the Artist's involvement and came up empty. This track takes over where "Lady" left off. Written by D'Angelo and Raphael Saadiq, I could almost feel the temperature rise in the room as the track played on. Voodoo still has a lot to live up to, to be worth the wait, but the early returns look good. *-Cecil Beatty-Yasutake* [ top of page ]
DJ Skribble Traffic Jams 2000 Warlock		Many of you know DJ Skribble as the turntable technician on MTV, and host of Global Groove, its lame excuse for a dance show. With the release of Traffic Jams 2000 it's apparent that his association with MTV, the Black Hole of Musical Talent, has sucked away his talents as well as his judgment, leaving behind an empty vessel of his former self. The production and turntablism skills that made his first release such a big hit (see my January 1999 review) are blatantly absent from this sophomore project. So much so that using the word jinx would hardly describe the travesty heard here. Skribb's effort on this joint is so lame he should have his hip-hop license revoked. That streetwise mix tape feel, gone; the turntable magic, gone; and the music selection is more tired than The Real World. To hell with column space, Christmas is just around the corner, so here is my present to you: save your money and buy something else! *-Cecil Beatty-Yasutake* [ top of page ]
Gooseflesh Chemical Garden Digital Dimension Links: Gooseflesh		This is pure Swedish Death Metal and it is good. Just a dab of melody tossed in to take the edge off the heavy death sounds. Kristian Lampila's vocals are just a step above a Death growl tempered with just enough smoothness to make one think of suave, Swedish Lemmy. Gooseflesh isn't slightly heavy power metal like Primal Fear or nearly as light as In Flames; perhaps a smoother Entombed or similar to Guidance of Sin. There is a catchiness that is equalled by the heaviness of the music. Everything is well-balanced and runs like clockwork. Favorite cuts are "Wraith," "Burning Soul" and "Thin Skinned Jesus." Tommy Scalisi Svensson and Lampila tandem nicely on guitar. It was a sweet touch that bassist Robert Hakemo dedicated his excellent work on the disc to his late father, Assar Hakemo. The whole disc rocks and is easily enjoyable, but does it grab you and thrash you about the house? I listened to it and enjoyed it, but there were only a few songs that really rocked my world. Of course, my world enjoyed it enough that I would recommend this disc. For those wishing there was a band heavier than In Flames and the Gothenburg sound, but not wanting the brutality of Cannibal Corpse or the blackness of Emperor. *-Sabrina Wade-Haines* [ top of page ]
Guitar Wolf Jet Generation Matador Links: Guitar Wolf		What is Guitar Wolf? Well, it is Japan's best new band as claimed by some media people over there. Guitar Wolf is: Seiji (guitar), Billy (bass) and Toru (drums). The chaotic frenzy that is created by these guys is like the raw unabashedness of Link Wray, the dirty sloppiness of the early Stooges, the staying power of the Ramones, and a lot of James Dean for coolness. Day or night you'll never catch these guys without their shades; in the shower, sleeping, or any other moment of their lives. On Jet Generation, the Wolf cover a sweat-soaked version of Capemart and Cochran's "Summertime Blues." Call them garage with Teddy boy toughness, and packs of smokes rolled up in their white T-shirt sleeves. Think about the days when you went to those multiple kegger parties at the local party pad. You had passed out in some part of the house. Upon waking, you get ready to leave and take a survey of the damage, you find people littered around in various places. Check the keg to see if it was floated (well at least I did, maybe there was more?). The bucket under the keg spout has cigarette butts floating in it. The kitchen floor is as sticky as fly paper. Garbage is everywhere. What a fucking mess, well your head is kinda pounding and your equilibrium is a bit off. Out of the basement you hear this racket and wander down to check it out. Low and behold it's Guitar Wolf still playing even though everyone else gave up hours ago. These guys will always be there until the party is really over. *-Steve Weatherholt* [ top of page ]
Kismet North Atlantic Balkan Express Tone Casualties Links: Kismet		Blending darkwave industrial and electronic experimentation with more "traditional" Balkan rhythms and instrumentation, Kismet sounds like Peter Steele of Type O Negative lost in a gypsy encampment. Weaving around the sepulchral voice of Gorazd Capovski are the exotic sounds of string and reed instruments that sport names like "zuria," "tambura," and "kaval." It's all otherworldly enough to simultaneously suck you in and spit you out. This is what happens when the world gets smaller. You bump into the fact that your musical and cultural heritage is a woefully thin slice of the larger musical pie. It starts with a train whistle and the pulse of an old engine as we pull up the hill and enter a dark cave--traveling through the impassable mountains to another realm, where our world has left its touch on this world, infusing the music with hints of familiarity that make you feel comfortably at home. (And then there is over-familiarity, as in the guitar riff in "Red Zurla" that has got to be the lost echo to the Young Gods' "Strangel.") Sandwiched among references to bologna suits and aware roadkill and whole choruses filled with words that start with the letter "z" are covers to Pink Floyd's "Main Theme" and Joy Division's "Love Will Tear Us Apart." North Atlantic Balkan Express is the musical equivalent of Mendel's experimentation with pea plants. It's not tall and it's not short; it's a strain of the two mixed, strong and healthy and ready for the next century of musical expression. *-Mark Teppo* [ top of page ]
Kovenant Animatronic Nuclear Blast		This is a mutant blend of black metal, symphonic, industrial and rock'n'fukinroll. Just step back because this may rock harder than you're expecting. If you take Rob Zombie (with or without White Zombie) and liberally add black metal and just a dash of symphonic metal, you will be cultivating the sound of Kovenant. Early works were considerably more black metal (of course they spelled it Covenant then), but the black aspect has been toned down (momentarily) for Animatronic. Animatronic is shockingly mainstream for these lads--most have served in black metal bands like Dimmu Borgir, Cradle of Filth and Mayhem. Nagash from Dimmu Borgir redubbed Lex Icon roars admirably on vocals and bass. Hellhammer, the legendary drummer for Mayhem, pounds the skins here as Von Blomberg. The background vocals are very symphonic sopranos that help enhance the songs. Animatronic is a great release and is immediately likeable, the only drawback is that everything does sound a lot alike before you get to the end of the disc. It would be great next time if they added a little more variety to the Zombie-esque pattern of the songs. The melodies are catchy, the musicianship is top notch and the production is fantastic. After a few listens you are just convinced that you've heard this all somewhere before, but that it is still very good. Standout tracks are "Mirror's Garden," "New World Order," "The Human Abstract," "Prophecies of Fire" and "Jihad." "Mannequin" reminds me a lot of Marilyn Manson. If you love White Zombie, Rob Zombie or Marilyn Manson, this is gonna grab you by the head and force you to love it...and you'll learn to love it. *-Sabrina Wade-Haines* [ top of page ]
Kreator Endorama Pavement Music		The elder statesmen of demonic thrash pop out another disc, Endorama, for your entertainment. Kreator seems to have slowed down just a bit and perhaps aged quite gracefully since the last time I've heard them. The music is definitely heavier and slower than old Kreator, but it's also catchy, well-crafted and mesmerizing. Mille Petrozza's vocals are deathishly clean; meaning he has a bit of a growl, but you can make out the words and he occasionally sings a lyric or two. The lyrics on Endorama are extremely literary (especially for the genre) and seem to be well-focused on the end of the world (will the milennium crap never end?). The songs suck you in and there is no release from Kreator's grip. "Golden Age," "Tyranny" and "The Chosen Few" are the best of Endorama's heavy, perfectly melodic and compelling songs. "The Chosen Few" is so catchy that I would catch people humming it after leaving my office. "Endorama," "Pandemonium" and "Future Ring" are good tracks just a notch under the previous three songs. "Shadowland" is the only song that revs it up a bit for a slab of speedy thrash that brings to mind the young Kreator. Kreator can still kick it into high gear when they need the boost, but they also have the brains and the chops to back up their speed and to add the spice and melody. I hope they can keep this going till the end(orama). *-Sabrina Wade-Haines* [ top of page ]
Man or Astro-man? Eeviac Touch and Go Links: Man or Astro-man?		My only exposure to this band came during the "Garage Shock" festival in May of '99. [click here to read earpollution's exclusive live coverage of garage shock '99 --ed.] I was blown away by their high-speed surf/garage with a bit of a Devo-esque performance. With their release of Eeviac, we get a very strange combination of fast quirky Ventures/Link Wray, Instro's, D-grade sci-fi, and Kraftwerk computerness. This is pure science, no new-wave trendiness here. No techno or house shit either. These guys are definitely from Mars, but Man or Astro-man? creates a very uniquely stimulating form of music. Interspersed on this are some instrumentals, sci-fi movie dialogue and computer-generated vocals along with the standard instruments. You may be asking yourself, "What the Hell is Man or Astro-man?" Well, this writer has run out of words for this, other than it is old yet new yet eclectic yet from deep space nine yet very interesting and enjoyable yet computed from a mathematical error yet somewhere near but out there yet if you're really into that retro thing is worth checking out yet even digging up these un-earthlings past yet some very well written songs considering the mix they have in the blender yet an intergalactic overload of some damn fine music!! *-Steve Weatherholt* [ top of page ]

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