Wednesday, October 30, 1996
SOUNDBITESCounting Crows "Recovering the Satellites" (Geffen)
This sophomore effort by the Counting Crows is a predictable
follow-up to their hugely successful first album. That album had a
permeating theme of uncertainty with one’s identity through songs
like "Round Here," "Perfect Blue Buildings," "Anna Begins" and the
hit single "Mr. Jones." This album also has a permeating theme, as
many of the songs focus on a sense of restlessness that lead singer
and primary songwriter Adam Duritz seem to have been going through.
Many songs develop and echo this theme throughout the album’s 14
tracks. While the intricate, poetic lyrical style from the first
album is readily apparent, the music contains noticeably fewer
ballads, songs which tend to be the band’s strong points. Unlike
the first album, "Recovering the Satellites" does not contain a
song that has the potential to be a humongous hit like "Mr. Jones."
However, for the fans brought into the Crows’ camp by their first
disc, this album will be a satisfying follow-up and will keep
people eagerly awaiting future work by this very talented group.
Jeff Hilger Grade: B+
Various Artists "Pure Sweet Hell" (Mammoth) If you had checked
out a show at seminal coffeehouse Jabberjaw a few years ago, you
might have seen Beck or Sonic Youth play in front of 30 people in a
room vastly smaller than any Sunset Boulevard club. That is still
the scenario today where Jabberjaw books some of the best
up-and-coming noise, trash, surf, garage, punk and folk artists.
And as a benefit to raise money for a new and safer location, the
coffeehouse has released a second album compilation of bands who
truly mirror the nightly noise and sweet ambience heard and felt
from within the walls of Jabberjaw. Don’t expect any over-produced,
simplified radio hits from the eclectic group of artists. The music
is an effectual transgression from the norm, not too deviant,
although tracks from Godheadsilo, Steel Pole Bathtub and Laughing
Hyenas are anything but normal. The Hi-fives and the Coctails add
fun, lounge garage rock while Fitz of Depression and Clickitat
Ikatowi deliver fuzzy hardcore. Jabberjaw has always been known to
find the diamond in the rough, a band who transcends well beyond
"good." It is worth picking up this album solely to hear
Jawbreaker’s wonderful "Sister," probably the best and last
recording from this recently defunct punk outfit and easily the
high point of the compilation. To see these bands live at Jabberjaw
is a great experience, but to hear it on album is a close second.
Brendon Vandergast Grade: B+
Various Artists "Altered Beats: Assassin Knowledge’s of the
Remanipulated" (Axiom/ Island) The first release from Axiom defies
existing musical categories. Not a rap album, but not a standard DJ
mix tape, this album is rather a collection of musical compositions
by various inventive DJs. The DJs responsible for these
instrumental collages include DJ Rob Swift of the X-Men, DXT,
Prince Paul, DJ Krush and the four-membered Invisible Scratch
Pickles.
The artists featured on this album are DJs who masterfully
create new musical compositions using only vinyl records, a mixer
and a pair of the ubiquitous Technics 1200 turntables. Some of
these artists refer to themselves as "turntablists" Â
musicians whose instrument is the turntable. "We’re turntable
musicians. We play turntables like guitars," explains Invisible
Scratch Pickle DJ Mixmaster Mike. Listening to "Invasion of the
Octopus People" by the Invisible Scratch Pickles reveals that the
group has taken scratching to another level, often inventing
scratches that sound like guitar strums.
"Altered Beats" offers a glimpse into the future by cutting and
splicing records of the past. Is it for everyone? No, this album
may be a little too abstract for some. But any real hip-hop head
can appreciate the talent it takes to weave these musical
tapestries. Nelson Saldua Grade: B+
Jesse Cook "Gravity" (Narada) New Age flamenco plucker Jesse
Cook has concocted a pleasant set of tracks for his second release.
Cook’s style closely follows the groundwork that others like Ottmar
Liebert have laid in the genre and is well implemented, but at
times severely repetitive. Many tracks suffer somewhat from an
overuse of typical chording and rapid-fire arpeggios that, while
beautifully played, we’ve all heard before. This is not to say
there aren’t highlights: "Gravity" is a poppy tune with intimate
mixing that carries Cook out of traditional flamenco and into a
style all his own. Similarly, "Brio" commands attention with
brilliant playing and imaginative structure. Of note is the
presence of bass master Tony Levin on most tracks, an addition that
significantly bolsters the album’s tightness and feeling of
completion. Cook’s playing gets through the door, but fails to grab
hold. Luckily, Levin’s bass and the accompanying flute and
percussion carry the tracks to mild success. Great for discerning
flamenco listeners and behind dinner conversations, Cook’s work
still has a distance to go before we want to hear it in the
foreground for 70 minutes. Damon Seeley Grade: B
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