earpollution album reviews [page 1] - issue 2.Ų4, april 2ŲŲŲ

Alabama Thunder Pussy - Constellation
Amel Larrieux - Infinite Possibilities
Califone - Califone
Dark Angel - We Have Arrived
Defleshed - Fast Forward
D.I.T.C. - D.I.T.C.
Flash Mofo - 2.0
Fognode - Urban Passer
Grave Digger - Excalibur
High on Fire - The Art of Self Defense
Jessie Turner - All the Sweet Things
Melvins - The Crybaby
Metal Church - Live

Mudhoney - March to Fuzz
Return of the Grievous Angel (A tribute to Gram Parsons)
Steel Prophet - Messiah
Stratovarius - Inifinite
The The - NakedSelf
Therion - Deggial
Thine Eyes - My Knobs Taste Funny
Third Eye Foundation - Little Lost Soul
Tied + Tickled Trio - EA1 EA2
Town and Country - Decoration Day
Transport League - Satanic Panic

Alabama Thunder Pussy Constellation Man's Ruin		Alabama Thunder Pussy let you know their roots of origin even though they're from Richmond, VA, mixing that good ol' Southern-fried pounding rock with the bass work of Geezer Butler. I don't know where or how they decided to toss in the Elton John piano work on the song "Ambitions" only to come back at you full throttle, driving a crushing blow to your kidney and a smack in the face like being hit with a basketball. I thought this was just going to be a Nashville Pussy rip off, but I was wrong. These guys put the thunder in the Pussy Galore and slap it silly. This is like if Lynyrd Skynyrd and Molly Hatchet could play thumping-style Black Sabbath. Alabama Thunder Pussy take you on a trip back to the rock days of the '70s but put their own twist and mark on the thundering of chunky rock n' roll. Traveling through the windowpane of their acid-stretched reality is a whirling driving clap of metal crushing your skull. Alabama Thunder Pussy are not afraid to change it up; to slow it down only to unleash the behemoth of a tank in overdrive. They cause you to relax and take a sip of beer only to choke and spit it back into your lap, but that won't keep you from wearing those soaked pants out to see them in the bar. What the hell...they are only going to get worse from all the dancing in the pit that night. *-Steve Weatherholt* [ top of page ]
Amel Larrieux Infinite Possibilities Epic/550 music Links: Amel Larrieux		It's a beautiful Sunday afternoon. The sun breaks through the clouds again and again like a child playing peek-a-boo. A half-empty glass of Paradise iced tea sits beside my computer screen, my attention is elsewhere. Vince Carter of the Toronto Raptors in front of his first national audience is busy throwing down 51 on the unsuspecting Phoenix Suns. In the background music plays gently; the day is perfect, much like Amel Larrieux's debut solo album, Infinite Possibilities. Some of you may no doubt remember Amel as lead singer of the R&B group Groove Theory. She, along with former bandmate Bryce Wilson, had a Top Ten hit with the single "Tell Me." Their self-titled debut album that followed would go on to be a solid gold success. But that was 1995, and apparently the future for Mrs. Larrieux is a solo one. This past February, Amel released Infinite Possibilities, a deeply personal and surprisingly solid body of work. Written and produced entirely by her and husband Laru Larrieux, the music on the CD represents a rainbow of influences--everything from jazz, gospel and R&B, to Middle Eastern standards. The first single off the CD entitled "Get Up" is an anthem for the working and exploited. A determined bass line bounces through the four minutes of song as if it had somewhere to go; whimsical keyboard work reminds one of an early morning sunrise. Vocally, Amel decides to pepper the chorus with scat-like accents to give the track a perfect busy, busy feel. "Searching for My Soul" and "INI" both feature beat work that is funky yet distinctive and are sure to catch the attention of urban heads on both coasts. The gospel-flavored ballad "Even If" and the heavily jazz-influenced "Down" are prime examples of the diversity found on this album. Packaged in an all-blue jewel case (the homeopathic color for healing) with blue background colored liner notes, Infinite Possibilities may be just what the doctor ordered for your ailing R&B diet. *-Cecil Beatty-Yasutake* [ top of page ]
Califone Califone Road Cone		I just recently learned that Califone was a name of a turntable maker. They apparently used to make bulky resilient machines that came with speakers and all. Tim Rutili's brainchild is, I suppose, in some sense related. His muffled vocals may remind you of the lo-fi mono sound of an old Califone, and presumably the distorted beats suggest an overdriven amplifier forced to belt out songs without regard for clarity. Rutili's space-age scrap heap folk may have once been inspired by a vision of red plastic record players barely visible under piles of trash. But the sweet twang of country during "St. Martha Let It Fold" or "Don't Let Me Die Nervous" must seem alien to Seventies record makers. Rutili's lone guitar and nasal vocals stand alone with a rare dignity, while the musical instinct to craft the flawless "Electric Fences" is foreign even to most skilled musicians. This five-song EP may be nothing remarkably new for fans of Red Red Meat, but for the makers of Califone record players, well, this is redemption of sorts. *-Edgar Ortega* [ top of page ]
Dark Angel We Have Arrived Dark Realm Records Links: Dark Angel		Holy Moley! Shades of the late '80s underground thrash scene. Whoa! This is an absolutely essential release. This shows the power, grace and lightning speed of thrash. This is very reminiscent of Blessed Death. "We Have Arrived," "Welcome to the Slaughterhouse" and "Merciless Death" rock hard even by today's black and death metal standards. Yes, there is a bit of dating to the music, but this is such a gale force of power that it impresses immediately and you will find yourself grooving and headbanging endlessly. I know Dark Realm reissued Sadistic Intent a while ago, I hope that this is a long line of reissues coming from this great label that appears to hunt out the underutilized thrash bands of the '80s to permanently enshrine digitally in our hearts and ears. "Falling from the Sky" gives you faster-than-an-alien's-speed-demon-ufo drum and basslines that will leave you slack-jawed. Jackyl and Sodom will be jealous of the lovely use of a chainsaw in "Welcome to the Slaughterhouse." Metal fans must own this essential release. *-Sabrina Haines* [ top of page ]
Defleshed Fast Forward Pavement Links: Defleshed		Hold on to your hemorrhoid pillows cause Defleshed is coming through. Holey Moley this is one powerful blast of speed thrash (that's what they call it). This is as fast (almost) as Krisiun and Killengod and more devastating than an atomic bomb plummeting on Deicide. Lars just plucks those guitar strings so fast and furious you'd think he had an overdose of Zoloft. Gustaf's vocals are powerful, kind of deathy, but there is an inherent rhythm that verges on thrash/hardcore with just a touch of the traditional metallic roar. Gustaf brings tears to your eyes because he is so perfect with the blasting metal. Matte's drumming is absolutely unhinged. These guys were definitely in a zone when recording Fast Forward. This is pure adrenalin for the entire disc; definitely a masterpiece. Defleshed haven't just made a move for the throne of speed thrash, they've destroyed everything that came before and have left Fast Forward as their monument of destruction. All bow to the kings. *-Sabrina Haines* [ top of page ]
D.I.T.C. D.I.T.C. Tommy Boy Music Links: D.I.T.C.		What do you get when you combine Big L, Fat Joe, Show, Diamond, Buckwild, AG, OC, and Lord Finesse? You get the East Coast collective known as D(iggin') I(n) T(he) C(rates). Some of New York's finest from below ground have teamed up to take things World Trade above ground. Their self-titled release features the smash hit single "Thick" produced by who else? DJ Premier (someone please explain to me--I'm begging--how you hook up with a mega-hot hip-hop producer for a track or two and not the whole album, someone, anyone, explain this?). The joint is straight bangin' and so are Big L, OC, and AG who kick lyrical syllables like they tryin' to get mad paid yo. But wait, the fun doesn't end there. No, b-boys and girls, that one hit song stuff, it's not happening here. If you're having problems understanding your kids lately, then give Big L's Preemo-produced "Ebonics" a listen. It won't take long to see why many believe the Rap world lost another treasure the day Big L was killed. KRS-One trades some laser-guided shots with Fat Joe and AG on the aptly-titled "Drop It Heavy," suckers beware. And could it be someone out there is starting to listen to me, as DJ Premier is given a third opportunity to move asses and clown the whack masses with "Da Enemy." Trust me son, his three tracks alone make this an easy buyer's choice for even the most musically challenged of Rap music fans. If only his heart and creativity could have been infused into more of the album, we'd be looking at five mics and all that, peace. *-Cecil Beatty-Yasutake* [ top of page ]
Flash Mofo 2.0 Links: Flash Mofo		Flash Mofo is arguably Seattle's best example of self-made Downtempo. And when I say Downtempo I speak loosely. I should be saying Downtempo-Techno-Avant Jazz with vocals. And it's not just because of Scott Smith's savvy at the current crop of digital music software that has a nation of millions thinking that being a DJ/remixer is simple business. Much of Flash's sound and song is extremely well thought out and the developed structure obviously originates from an organic musician. As a veteran of Epiphany, Moonshine, Jack Quick's Holy Endorphins and Medicine Hat, Flash Mofo's approach to music has always had "the road less followed" attractiveness, and his 2.0 is no less steadfast. When is the last time you remember listening to banjo and a dissonant horn funk thang set to supersexy drum work? The elements are near and dear, but the composition is all 'bout nothing you know. Mr. Mofo comes across as the perfect boyfriend, intellectualized silliness. His first disc and MP3s are available at his website and are a must for the K&D, Roni Size, DJ Shadow set. You won't find this in the store, so log on and get it. The underground is moving as you stand. "Flash...Ah! Ah! He will save everyone of us!" *-Jeff Ashley* [ top of page ]
Fognode Urban Passer Infrasound Collective Links: Fognode		The opening is like the beginning of a Jarmusch film (not that we're in the business of film reviews, but this fits well with the sublimely paced Ghost Dog), a wandering survey of urban landscapes. We are aerial passengers caught in an updraft over the head of a solitary wanderer. As the song breaks down into static discourse, we are confronted with the core tenet of the Infrasound Collective: "Infrasound represents the notions of joy, revelation, and participation in a polluted society." Thus fades out the opening strains of "Luckless Pedestrian." Operating under the moniker of Fognode, Brian Siskind crafts landscapes of distantly urban areas, abandoned fields and warehouse lots on the edges of civilization where the presence of man is seen but only distantly heard. This so reminds me of Jarmusch's visual work. "From the Dust Bowl" and "Flicker" are backdrops for Mystery Train, color and texture for the slow, sleepy street which binds that story together. There is a lot of ambient/instrumental work out there that claims to be the imaginary soundtracks to films yet undiscovered, but Urban Passer is the first that actually translates well to the oeuvre of an existing director. Accidental? It certainly adds a layer of resonance to the music. And yet, Fognode works well on its own, too. "This film is dedicated to anyone with a cause" the liner notes claim, and this soundtrack is personalized for a single wayfarer as he makes his own way across the world--driven onward by a solitary plan. There is a stark melancholy to "Ocellus" as our journeyperson finds themselves isolated. But a thread of rhythm starts to spark underneath the watery pedal steel guitar and we know the journey continues. Urban Passer is great company for when you're going solo. *-Mark Teppo* [ top of page ]
Grave Digger Excalibur Nuclear Blast America Links: Grave Digger		Grave Digger, let me see...I know I have an album of theirs somewhere. Ah yes, their infamous debut LP Heavy Metal Breakdown from 1984, a little tattered but still spins the heavy metal classic "Tyrant" to my ears' delight. With Heavy Metal Breakdown, Grave Digger helped establish the melodious heavy rock that came to be known as "Teutonic Metal." Now in 2000 Grave Digger has released their ninth LP. Excalibur is the final installment of the Medieval Trilogy that includes Tunes of War (1996) and Knights of the Cross (1998). Excalibur, "the story of King Arthur and the round table, a metal opus in 12 chapters," is a concept album that inspires the masses to bang their heads. Think of classic NWOBHM circa late '70s and early '80s. They sound like early Iron Maiden "Run to the Hills" but including way better drumming by Sir Stefan "Gawain" Arnold. A classic German heavy metal in the early '80s sound, Grave Digger rips chugga chugga riffs with squirrelly leads thrown over the top. Being a Medieval Trilogy, this album with its thundering metal splatter includes the use of bagpipes, whistles and keyboards for that Dark Ages feel that will have you drinking your brew from an iron goblet and raising your fists in defiance to those who pretend to be bad-ass. *-Steve Weatherholt* [ top of page ]
High on Fire The Art of Self Defense Man's Ruin		With the demise of Sleep, Matt Pike needed to fill the void with something. What could he, the legendary Sabbath-induced throbbing of intoxicating smoke-filled doom, do? Well, he came up with his new band High on Fire (or Sabbath On Fire,) reverberating slow-motion doom. Crumpling the ground that he treads on, pulverizing the unintended listener with blood-soaked carnage from the diesel-powered forklift that impaled them. If Sleep was slow and dirty, then High on Fire is even more so. This is what Sabbath would have sounded like if only they had continued down the Master of Reality path--plowing up the fresh earth with the ugliest tools possible and pausing only to gnaw at the bones they dig up. High on Fire keep pummeling the designated head into the ground; like being hit by a tank, completely flattening it out only to have it pop up again to continue the head bobbing. High on Fire are very seductive in the overpowering mind-numbing way that getting hit by a wrecking ball must feel like. I had missed seeing Sleep live, but I will not miss High on Fire when they come to town. *-Steve Weatherholt* [ top of page ]
Jessie Turner All the Sweet Things Sol Siren Productions Links: Jessie Turner		Smoothly gliding back and forth between comparisons to Tori Amos and Bonnie Raitt, Jessie Turner shapes a niche of her own, blending tight four-piece grooves, trip-hop sensibilities, delicious harmonies, and sharp songwriting. She opens with her title track and you immediately know that this isn't the Jewel-style coffee hours songstress. Ms. Turner has some melancholy and some pain to float past us. "All the Sweet Things" reminds us of the good and bad elements of a relationship and how sometimes the bad can be forsaken in an effort to maintain the good. This sets the tone for the rest of the album as she mixes both the bleak and the beautiful into her music, weaving stories of confusion and elation, hope and hopelessness, despair and euphoria. Surrounding herself with crisp instrumentation, she gives lift to her lyrics, using her crisp voice to excellent effect. This was a lovely surprise, someone you might hear hear upon wandering into a smoky bar some night for just one drink. Well, that is what you tell yourself, but by the closing round you're still there, seduced by the voice and moved by the music of Jessie Turner. *-Mark Teppo* [ top of page ]
Melvins The Crybaby Ipecac Recordings Links: Melvins		With The Crybaby, the Melvins conclude their "career suicide" three-albums-in-six-months trilogy with a party, one in which they invite many friends and past touring buddies. The mix of talent is horrifying. Just look at the list of monsters mingling blood and shame with our heroes: Henry Bogdan (Helmet), David Yow (Jesus Lizard), Mike Patton (Faith No More), Kevin Sharp (Brutal Truth), Hank Williams III (the THIRD? The THIRD???), Tool, Foetus, Skeleton Key, Godzik Pink, Bliss Blood, and Leif Garrett...yes, the same Leif "Teen Idol" Garrett that you pined over back in the '70s. Horrified yet? Well, I wasn't either, until I threw this blood sausage of an album into the stereo and sat back with some hot chocolate. Beginning the album is Mr. VH1 himself, Leif Garrett, probably the ultimate teen idol of the '70s, singing vocals on a cover of what was probably the ultimate teen anthem of the '90s, Nirvana's "Smells Like Teen Spirit." The gall of the Melvins. Who else on the planet could have conceived it? It lends a bizarre ending to a decade with the same song that effectually started it. Appropriate in a way, considering that King Buzz actually took the first steps in tutoring Mr. Cobain on guitar. Continuing the freak show are screaming visions from a mindless David Yow, a Melvinized cover of Hank Williams, Sr.'s "Ramblin' Man" with his grandson on vocals, an impressive 14-minute power-carnage and drum duel number with Tool, and a track with the tempting Bliss Blood on vocals titled "The Man With the Laughing Hand is Dead." I wouldn't suggest listening to that last one after hours without a night-light. Not unless you want to revisit your inherent fear of being eaten alive, that is. The Crybaby is the kind of album that makes one ask, who let the cows out of the barn? And who ruinously dismembered them, torched them with a flamethrower, wrote in frenzied spray-painted letters across their bellies "Art is dead," and sent their twisted carcasses to the bottom of the swimming pool? This is what the Melvins evoke, my friends, and the collaborative efforts on this album put the exclamation point on what comes across loud and clear on many Melvins albums: This is for crybabies everywhere. *-Al Cordray* [ top of page ]
Metal Church Live Nuclear Blast America Links: Metal Church		Metal Church Live is documentation of the band's live performances going back to 1985. Kurdt Vanderhoof, guitarist, says he is only sure that two of the songs were from Dallas, Texas. The others were not labeled, so who knows where they were from. I remember a cover of the local music mag "The Rocket" from about 1983 that had David Wayne going toe to toe with Blaine Cook (Fartz/Accused). The battle of the hardcore metal versus the hardcore punks. This battle waged on for many years until some famous three-piece grunge band blew the doors off the vaults. This live release documents the energy and intensity of Metal Church's hardcore street-level metal assault--crunching twin guitars, snarling high vocals, denim vests over black leather jackets, sweaty bodies and many low-priced brews to go. Metal Church ruled the local back alleys like the sleazy metal merchants that they were, pummeling the local competition into the pavement with their big black boots leaving no one safe out after dark. The liner notes say that in order to not "fake" a live recording very little studio repairs were done, so what you get here is the way it was: feedback, dropped sticks, bad notes and the occasional screaming girl groupie. Metal Church lived the metal life and dream with unrelenting abandon and showed that you could live the bad-ass life plus still have a couple of cold ones at the end of the long night. *-Steve Weatherholt* [ top of page ]

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