earpollution - album reviews [page 1] - issue 3.Ø6, june 2ØØ1

ADNY - Selections '97-2000
The Applicators - What's Your Excuse
Bardo Pond - Dilate
Belfegore - The Kingdom of Glacial Palaces
Cathedral - Endtyme
DJ Mark Farina - Mushroom Jazz, Volume 3 Fred Everything - Under the Sun
Fog - Through the Eyes of Night Winged They Come
Frolic - To Dream, Perchance to Sleep
God Forbid - Determination
Gridlock - Trace
Hangnail - Clouds in the Head
Hate - Holy Dead Trinity
High Fidelity Dub Sessions - Roots Combination
Janet Jackson - All for You

Katatonia - Last Fair Deal Gone Down
The Ladybug Transistor - Argyle Heir
The Lies - Resigned
Living Sacrifice - The Hammering Process
Mammoth Volume - A Single Book of Songs
Mogwai - Rock Action
Operator Generator - Polar Fleet
Robert Rich - Somnium
Sepultura - Nation
Spirit Caravan - Elusive Truth
Sound Team - Sound Team
Tool - Lateralus
Various Artists - Hold the Vocals...
Various Artists - Low End Recon
Various Artists - Pushing Scandinavian Rock to the Man, Volume 2
Zao - Zao

ADNY Selections '97-2000 Fred Everything Under the Sun Turbo Records		This is like a friend stopping by with a couple of bottles of wine. You think you know something about the grape; you think you've got a handle on where the grape is good and where it is sparse. You look at the label--it rings no bells. "Come on," your friend says, knowing how scary it can be to try something that you've never seen before. "Come on, just try it." You pull the cork, pour a glass, sit down and take a sip. You let it roll around in your mouth for a while, savoring the warm, buttery taste. It suddenly seems like spring outside. You lose track of time and only come to your senses when you've gone through both bottles and find yourself getting into your car to drive over to the wine shop and clear out the rest of their stock from this label. You--jaded cynic who likes to think he's been around the world a couple of times--just got bit. This, essentially, was my introduction to Canada's Turbo Records. ADNY is one Alexi Delano and Selections '97-2000 is ten original tracks and two remixes of others' work, equaling a smooth hour of soulful house music. Working out of his quasi-native Sweden (born in Chile, raised in Sweden), the electronic community was introduced to Alexi through an early 12" on Loop Records and, since then, he's had work released on a number of labels (including Raw Elements, Plumphouse, Svek, Jericho, Strive, and Earthtones), making life hell for trainspotters, but definitely spreading the wealth around. Since his relocation to New York City in the early '90s, Alexi has been working on his ADNY moniker and Turbo Records smartly snapped up this record, giving the rest of us a map of Alexi's recent output in a generous hour long mix. It's a fantastic blend of techno, house and soul all puréed together with a distinct shot of the funk. Frederic Blais wouldn't be out of place on the same DJ billing as Alexi Delano and the former's Fred Everything project falls in the same vein as ADNY, though Fred's house is slightly more disco to ADNY's soul. His Under the Sun is equally compelling with its warm disco-tinged sound. Based in Montreal, Canada, Frederic has been engaged in the same sort of headache-for-trainspotters behavior, releasing material on a wide range of labels which include Vinyl Peace, Crash Records, DIY, Bosh, Earth, and 2020. After receiving a nod from DJ Magazine for his set at 1997's "In the City" festival in Glasgow, Blais set out to storm a number of the major house clubs across the world before coming back to Canada to release his first record on Turbo Records. I honestly couldn't tell you if the rest of the Turbo roster is as impressive, but I see that they've got Peter Benisch lined up for a release later this summer. Benisch's Waiting for Snow was (and still is) one of the highlights of the FAX label these last few years and I know I'm not the only one who has been wondering where he went. Now I know. And it sounds like Benisch has got his work cut out for him; Turbo has certainly set a high mark with ADNY's Selections '97-2000 and Fred Everything's Under the Sun. Drop them both in a CD changer and you've got the night's entertainment lined up. File these discs under: Things you should never lend, 'cause you'll never see them again. *-Mark Teppo* [ top of page ]
The Applicators What's Your Excuse Cornerstone/RAS Links: The Applicators		The Applicators are a fairly recently formed (1999) all girl punk band originally from Austin TX, who have certainly embraced a rockin' and classic LA punk sound. They are in fact endorsed and produced by Greg Hetson, the legendary LA punk scenester and guitarist from the Circle Jerks and Bad Religion. What's Your Excuse finds us in a musical time-warp, one that transports us to a raw early eighties punk sound--something that somehow stylistically predates some of the more recent and well-known all-girl punk bands, such as LA's L7, or Seattle's 7 Year Bitch. I could picture these gals from the Applicators hangin' with the Go-Go's, insofar as partaking in some of their more insane legendary hardcore antics but with a harder and nastier edge. The Applicators' music is fresh, raw, and driving, and certainly cannot be classified as girly-wimpy at all. There is no love-lust sappiness to The Applicators debut album; it is good honest simple punk. That is where it's at--these chicks are bad ass. Moreover, the recording and production on the album was done in a very simple and raw way that sounds almost live. I actually think the lack of polish in What's Your Excuse lends well to the music and feel of The Applicators. I am sure these gals would be an absolute blast to see live, and hope they tour in the Northwest soon. If you like punk, and wanna hear a new up and coming rockin' girl punk band, you won't be disappointed with The Applicators' What's Your Excuse. *-Jennifer Johnson* [ top of page ]
Bardo Pond Dilate Matador Links: Bardo Pond		On Bardo Pond's fifth album, Dilate, the sounds are so expansive and boil at such a beautifully slow pace that, to enjoy the album in its fullest, you have to step away from it. That is, it can't be at the forefront of your attention or all the shimmering sounds on the periphery will be lost in the up close focus of the music. Once again using a drug reference as an album title, the music on Dilate becomes more a vehicle for opening up one's consciousness than it does a reference for drug use. Isobel Sollenberger's voice and violin float across the music, echoing off each other like disembodied ghosts over the drum playing and the sullen guitar sounds of brothers John and Michael Gibbons. The result is like standing on the edge of a bluff--perhaps somewhere in southern Utah's Canyonlands, for those who've ever been--overlooking the great expanse of desert, watching a storm slowly build on the far horizon; dark clouds boiling and rolling towards you in giant splendor. It takes miles of separation to appreciate its majesty, even though the heart of the storm is where its intensity hides. While parts Bardo Pond's psychedelic improvisations recall some of Sonic Youth's similar themes of musical exploration, their approach and their outcome is entirely different. Where much of Sonic Youth's improvisational noise-laments leaves one feeling suffocated, the result of Bardo Pond's music is an uplifting--an out-lifting--from your own body to better see and perceive the world around you. Turn on, tune in, and let go. *-Craig Young* [ top of page ]
Belfegore The Kingdom of Glacial Palaces World War III Fog Through the Eyes of Night Winged They Come World War III		WW3 is a fledgling label that's jumping big time into the black/death metal scene. Whereas Hate is a tremendous band, both Fog and Belfegore, while having excellent attributes that will make them interesting in the future are not as Polish-ed (a little Polish pun) and as original as Hate. Belfegore is lightning fast and very technical, but their brand of black metal is pretty generic and overmined at the moment. I am waiting to see what elements they will eventually bring to differentiate themselves from the pack. I'm sure that they will eventually develop beyond this American debut. The Kingdom of Glacial Palaces sports very appealing artwork and a band logo that is unreadable. Glacial Palaces contains twelve tracks that vary from speedy gothic black metal to speedy black metal. There is no doubting the talent and abilities, just the originality. Fog is a new American black metal band--a couple of years ago that statement alone was enough to send reviewers running. Recently there has been a mild upswing in American black metal. Fog sports tremendous guitar leads and riffs backed up by some cold, grim black metal that is highly influenced by the Scandinavian scenes. Very mystical in lyric and concept, the mythological accents (even musically) in Through the Eyes of Night just enhance the total black metal band's talents. Fog needs to develop more of a presence to break away further from the pack. However, they are doing better than their above-average-labelmates, Belfegore, and this may be the start of something wicked. *-Sabrina Haines* [ top of page ]
Spirit Caravan Elusive Truth Tolotta Cathedral Endtyme Earache Hangnail Clouds in the Head Music Cartel Links: Spirit Caravan Cathedral Cathedral Hangnail		How much doom can one survive? A lot especially if it's as good as these glorious doom releases. Cathedral's Endtyme is a return to their early roots. They've not had a disc this insufferably heavy since Forest of Equilibrium and that was not as hook-filled as Endtyme. Cathedral fans can place Endtyme in the ranks of releases like Forest of Equilibrium and Ethereal Mirror. I'm disappointed that Earache let Cathedral go after this release. According to Dorrian, they didn't want to pay the huge advance for the next disc. He understands as a label owner. It may be interesting to see where Cathedral lands in label land. Until they land, you may enjoy the aptly-named Endtyme. Spirit Caravan is a heavy experience for me because Wino is almost scary for me. Every time I hear a band with Wino in it (Obsessed, St. Vitus and now Spirit Caravan), it is almost as like dèja vu, not because they all sound alike, but because every note and every lyric strikes so deep within my psyche that it's almost as if I wrote the song. It's eerie to listen to Wino, but I understand every word from his mouth. Spirit Caravan can move my heart and soul in otherworldly directions with ease. Elusive Truth is a lock for "Best Of" honors at the end of the year. If you love doom or enjoyed Jug Fulla Sun, you have got to get Elusive Truth. This is righteous doom that rips into your soul and steals your heart. Hangnail plays some incredibly technical, well-produced and riveting doomrock. Clouds in the Head is a keeper from head to tail and a strong prospect for the end of the year tops list. it just depends how ingrained "Slowhead" gets into my brain. Hangnail sound a little bit like Firebird, but a touch heavier and with better melodies and riffs. Clouds has a '70s feel rather than that hard edged Sabbathy doom. Rarely can you ever praise a bassist for their brilliance, but Paul Elphick is a killer bassist--straight out of that Leo Smee (Cathedral) mold. Harry Armstrong's vocals hit the mark each time--not too high-pitched, no growling, no screeching, just gutsy, manly singing--it's a pleasant change from the norm. Check out "Slowhead," "Third Time Around," "Into the Ether," "Gone," and "The Watcher" for some prime doom. However, I could have done without the ballad, "Martyr Youthair," but it's okay, I can just hit skip and the bad song goes away and it's back to blissful doom. If you love doom, you need all three of these fine releases. *-Sabrina Haines* [ top of page ]
DJ Mark Farina Mushroom Jazz, Volume 3 Om Records Links: DJ Mark Farina		Mushroom Jazz, Volume 3 by San Francisco DJ Mark Farina is hip, funky and fresh. Farina blends disco vocal samples with house, jazz, and trip-hop rhythms to make a down tempo electric lounge atmosphere that is irresistible. Farina's ability to create a seemingly simple yet complex musical sauce, much like a French chef's, is innate. To the non-DJ his transition from groove to breakbeat and back sounds too effortless to require true skill. But, to the trained ear of a DJ such as myself, his transitions are works of art. Every needle scratch a masterful brush stroke...every rhythm selection a well chosen color from a seemingly dizzying palette of options. With masterful intent and manipulation, Farina's Mushroom Jazz takes us on a journey that is sensual, stylish, hypnotic and yet head-noddingly funky. And whether you're hearing it for the first time in a crowded coffee shop or a packed club it leaves an impression--one that's positive, and dares the listner to explore further. I promise you once you pick up this album you'll go back, sooner than later, for the rest of the Mushroom Jazz series. *-Cecil Beatty-Yasutake* [ top of page ]
Frolic To Dream, Perchance to Sleep Projekt Links: Frolic		The cover picture is of a moss-covered rock just under the water's surface and the opening two tracks--"The Tides of March" and "Wept I"--speak of drifting sorrow as one stands at the riverbank. We've arrived too late and you can almost hear the water rushing over Ophelia's head as she sinks beneath the surface. Very much at home with the ethereal darkwave sound of the Projekt label, Frolic takes a classic line from Shakespeare's Hamlet and twists it gently, and the result is an album that dreams of wakefulness. Crafted of drones and atmospheres over which are layered Kelly O'Brien's siren voice, To Dream, Perchance to Sleep is a drifting journey across the indistinct line between day and night-waking and sleeping. Equal parts Loveliescrushing (though without the tumultuous saturation that so packed bloweyelashwish), Dead Can Dance, and Celtic and Irish traditional vocal arrangements, Frolic doesn't actually frolic so much as slip into your subconscious and pull you towards lucid dreaming states. "Breathing in My Soul" briefly takes you into the dark vacuum as if you had just hopped on Steve Roach's back as he catapulted into space. You kick off and fall back with other meteors, burning and sparking in the atmosphere and, as you pass through the layers of fleecy clouds, you start to hear the voices of angels. You see what I mean about lucid dream states? Marred only in a few spots (in very much the same way that Dead Can Dance records were horribly skewed by the sudden presence of Brendan Perry's voice, if you know what I mean), Frolic's To Dream, Perchance to Sleep is a beautifully blissful release that is equally restful and invigorating. Too often our dreams are fraught with all the tired and oppressive materials that we've subsumed during the week. If you find yourself wrestling with the pillow at night, drop this disc in your CD player. Guaranteed to flatten out those nocturnal mental spikes, Frolic will remind you how to dream and, consequently, how to it can be to sleep like an innocent baby once again. *-Mark Teppo* [ top of page ]
Sepultura Nation Roadrunner Records God Forbid Determination Century Media Links: Sepultura God Forbid		Sepultura is a band at odds with the missing link. They are still trying to replace Max Cavalera's image and memory (Nation is the second disc without the charismatic Cavalera). Derrick Green's vocals and presence are more than strong enough to supplant Max. Green has a bit more hardcore in his soul than metal, so the metal hardness has been replaced by more of a hardcore crossover sound. Alas, that is not what is missing on Nation. So, what's missing? The second guitar that filled out Andreas Kisser's bombastic leads. Sepultura misses the fullness in sound that was on the earlier discs. Nation has more of a tribal feel to it than Against following the trail originally set by Max on Roots. Nation pummels you from beginning to end with Igor Cavalera's superior drum patterns. But, it just sounds more like a tribal hardcore band flirting with metal than a metal band with a hardcor-ish vocalist. It's funny, after the split it seems both bands (Sepultura and Soulfly) are heading in more tribal/ethnic areas (Nation was recorded in Brazil). Nation isn't Roots by any means or anything close to Soulfly's releases (much harder than the wussy sophomore release Primitive from Soulfly). But, it definitely has a martial, tribal pounding that will cause the little hairs on your arms to stand on end; however, headbanging won't be as ferocious as in the past. On the other hand, you have a band forged in the mold of early Sepultura...God Forbid. I've seen this phenomenon up close and with a little seasoning, God Forbid will make you forget that you miss the old Sepultura. God Forbid's Determination will bemuse you with it's brilliance, but there is no bull-shitting this band. These hard-edged New Jersey boys will rock your world for many reasons. First off, they are technical gods, ferocious on stage, friendly off stage and lastly, they flat out mother-fucking rock. God Forbid does tour ceaselessly therefore they are always razor-sharp technically. Corey Pierce plays drums with a tenacity and voracity that is unmatched. Pierce is one of my favorite rising sons of the snares. For all their hardcore hooks, metallic riffs and blazing drum patterns, God Forbid never forgets the melody or the power. Byron Davis' vocals are magnificent--he's got a big bellowing set of lungs just ready to rip his own vocal cords out for spite. He is not as imposing as Derrick Green from Sepultura, but he has stage charisma that oozes throughout Determination and sparkles at shows. This is definitely the future of metal--a hybrid that has the fluidity and technicality of jazz, the energy of hardcore, the power of thrash, melodic nature of pop and the swagger of death metal. Definitely Determined...to succeed. *-Sabrina Haines* [ top of page ]
Gridlock Trace Unit Links: Gridlock		I have two confessions to make: 1) while I may pretend to have a knowledge of Gridlock, it is all stolen from Jeff Ashley's previous reviews and enthusiastic recommendations at eP meetings, and 2) probably the most succinct description of Trace here is contained in the last two sentences lifted from their bio at the Gridlock site. Let's just get those out of the way now: "The more flexible the listener, the greater the affect. The heavier the beat, the more beautiful the ambience, the greater the contrast." So why am I cribbing the notes of others and riding the coat-tails of someone else's recommendation? Because I want to get in on the enthusiasm for Gridlock; because I want to stand with the others and say that if you've ever loved industrial music or ambient music or IDM, you have got to get this record. Trace begins with "Fix," and, for my post-Autechre Confield-state, it most certainly is, opening with a melodic sweep that curves behind a grumbling rhythm and spotted percussion. A haze of static covers the squelchy beats and everything builds like a tower of metal shavings until it suddenly reaches too high and fragments, collapsing back to earth. As the pieces strike the ground and radiate out, the scattered sounds are the fractured beginnings of "Front." The pieces, like the mercury-inspired movement of Terminator 2's T-1000, run back together, forming a new construct of beat and melody. There has been a lot of talk and even more comparisons in this style of music to machines--to the cold construction of soulless beasts driven by pulses of electricity and diesel fuel--and how the music is the soundtrack for their artificial existences. But, at some point, at some convergence, it is believed that the soulless mechanoids will achieve sentience; their own ability to think and feel. That time has come with Trace. Melding melodies and drones that would not be out of place with Brian Eno's or Vidna Obmana's work with the crunchy rhythms of Autechre and the industrial noise of the Hands or Ant-Zen labels, Gridlock has found color, texture--life, even--in the cold and metallic. Some of the most punishing beats yet on the record come with "uh4.17," and yet the drifting ambience behind the pummeling rhythms is so gentle, so uplifting, that I am transfixed by a state of intense expansiveness. I want to trance out while simultaneously bruising myself in a frenzied dervish state. "Voiceless" is drawn by a weeping synth melody, rising and surging over the clatter of technoid beats, and both collide in a grander sequence that is an anthemic hymn that most modern soundtrack composers would be willing to chop off a finger in order to get a hand on this file. Trace is a sublime album and serious contender for the top spot of 2001. Buy it for "397:ALD" alone, a majestic experience of hinted vocals, sweeping ambient soundscapes, spattered beats, and the carefully arranged howl of wind across the top. Gridlock understands the emotional rapture of ambient soundscape music, the pervasive needs of our bodies for rhythm, and the caustic reality of our post-industrial world. All of these elements are combined, encapsulated and centrifuged, into an hour that will make all of the appliances in your house dance and weep. *-Mark Teppo* [ top of page ]
Hate Holy Dead Trinity World War III		Hate is ungodly demonic death metal that lies somewhere between early Morbid Angel, Blasphemer and Destroyer 666. WW3 must have a Polish scout since this is the young label's second band from Poland (the other is Belfegor). It sure has brought them a streamlined, super-ultra-brutal death metal, skin-destroying killing machine this time. Comparable to a steamroller of music, Hate just barely clings to a shred of humanity while tearing through your speakers. The music is ungodly intense and maintains a sense of technicality while riffs and leads are bouncing everywhere. It gives a sense of near-chaos in music as well as lyrically. Songs like "No Life After Death," "God Overslept," "Share Your Blood With Daemon," "Lord is Avenger," and the anthemic closer "Satan's Horde" are not going to expand the appeal of this incredibly technical brutal death metal band beyond those with an ear for danger. But fans of the satanic and brutal will welcome them with open arms. The vocals are more stylized than the run-of-the-mill brutal death band and they definitely set them apart from the other satanic hordes. This is a little slab of evil that will eat up your gas on the highway and let that gleam sneak out of your evil eye. Highly recommended. *-Sabrina Haines* [ top of page ]
High Fidelity Dub Sessions Roots Combination Guidance Recordings		Dub describes a musical genre consisting predominantly of instrumental re-mixes of existing recordings. By using sound effects these re-mixes can radically manipulate and reshape the existing recorded music. The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio tricks become integral and unique aspects of the music. The roots of dub can be traced back to Jamaica in the late 1960s, where Osbourne Ruddock (a.k.a. King Tubby) pioneered the style; turning the mixing board into an instrument, with the deejay or mixer playing the role of the impromptu artist or performer. In fact, dub has been a very prominent influence in electronic dance and modern pop music. The High Fidelity Dub Sessions Roots Combination is a compilation of music by artists from the New York based artist collective called the Roots Combination, produced by Victor Axelrod (a.k.a., Ticklah). Ticklah's influences predominate in the styles of British two-tone, ska and Jamaican dub, which certainly come through in this CD. This CD is a rich, clean, polished and well-produced remixed dub CD that features a number of fine musicians from the collective. This is not a classic reggae CD, but definitely is enriched with the true essence of dub. I can honestly say that this CD, although not typically what I would listen to on a given day, as I have just been recently introduced to dub music. However, this CD, has certainly grown on me and I have come to enjoy its perfection, style and mood. *-Jennifer Johnson* [ top of page ]
Janet Jackson All for You Virgin Records Links: Janet Jackson		I'm sure if you checked the violent crime statistics for the state of California you'd see that over the past year the numbers have been declining, especially where they pertain to men. The reason is, Janet Jackson, MTV's recently crowned Icon, is single again after ending her 13 year personal relationship and eight-year marriage to Renee Elizondo Jr. And after four long years she's back with a new album--a cheerful, for the most part, outlook on life and love and apparently it's All for You. Much like Madonna, one of the most anticipated parts of a Janet album release is the unveiling of her new image/look. This time around Janet has gone straight Barbie, or Jane Fonda in Barbarella, I can't decide which. Her hair is big and plush like Barbarella, facially she looks like a chocolate Barbie doll, with features and makeup almost too perfect to be real. Ah, but one listen to the album and you quickly realize not only is she real, but she might be too real for those of the PG-13 persuasion. On All For You the now 35-year-old Janet sings about nice packages and riding them ("All for You"), kissing, sucking and tasting her lover ("Would You Mind"), and when her mood turns dark and bitter ("Son of a Gun") she joins forces with Carly Simon to sing about "greedy motherfuckers." Does this latest coming of age work, well...work? Like a charm, clubs are sure to be bouncing all year long to Janet whether it be to the current single "All for You" with its summertime-like infectious melody and cheerful party-like bounce. Or "You Ain't Right," a slightly dark, electronic, and futuristic rave delight. Personally though, the jam that I think will turn serious heads is the angry and bitter "Son of a Gun (I Betcha Think This Song Is about You)" duet with Carly Simon. Congas play gently in the background as Carly reads poetry--the interlude before the storm. An upright bass injects attitude, its furious strumming warns of trouble ahead; drums kicks remind you of "These Boots Are Made for Walking"; and just when things start to feel like they're getting a little too serious, the chorus kicks in taunting, teasing, "I betcha you think this song is about you." Trust me, I can see the Mark Romaneck video now, and it's hot! And if I'm wrong there's always the very pretty and yet funky "Someone to Call My Lover" which will win the hearts of Brittney & N'Sync fans the world over. The album All for You proves that MTV made the right call when they made Ms. Jackson their first Icon. With dynamic duo producers Jimmy Jam and Terry Lewis weaving some of their best production work to date, with timely assistance from newcomer Rockwilder of F-5 productions, Inc., Janet is back where she belongs on top the pop charts. *-Cecil Beatty-Yasutake* [ top of page ]

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