Wednesday, 5/21/97 Soundbites
Foo Fighters "The Colour and the Shape" (Roswell/Capitol) If
you’re looking for a few old-fashioned hard-core punk hits on the
new Foo Fighters album, you’ll probably be disappointed. If you’re
looking for an experience, though, it doesn’t get much better than
this. Following the whirlwind release and tour of their first
album, the Foo Fighters have returned with one of the best albums
of the year thus far. After a somber opening, "Doll," Dave Grohl
and friends rip into "Monkey Wrench," the first single and most
radio-friendly song on the new album. Continuing with the dynamic
"Hey, Johnny Park!" and "My Poor Brain," it is obvious that the Foo
Fighters haven’t lost their touch in delivering aggressive,
sometimes purely angry rock without losing their sense of melody.
"The Colour and the Shape" makes a gradual shift in attitude. Songs
like "Up in Arms" and "My Hero" show a much more optimistic side of
the Foo Fighters that didn’t come through on their first album. The
catchy pop tune "See You" begins a set of slower, more thoughtful
tracks that round out the end of the album. It concludes with "New
Way Home," a more upbeat track that returns to the style that began
the album but without the sense of torment. By the time you finish
"The Colour and the Shape," it’s hard to even remember how the
first few songs on the album sounded, because the Foo Fighters take
you on such a dynamic journey of emotion and musical style. The
album clearly reflects Grohl’s personal experiences more than the
first album, and will definitely bring him and the Foo Fighters
from the status of "side project" to a major rock contender. Brian
Remick A Bis "The New Transistor Heroes" (Grand Royal) It’s easy to
see why Bis is such a detested band in Britain right now. The
Scottish trio of 18- to 20-year-old musicians came out of nowhere
to land a hit single on the UK charts, appearing everywhere from
the cover of popular British magazines Melody Maker and New Musical
Express to being the first unsigned band ever to perform on the
television show "Top of the Pops." Their style can be extremely
grating. They are brash and interminably young, singing about
adolescent matters such as secret vampire societies and "teen-c"
revolutions. Worst of all, Bis comes off as pretentious with their
anti-Britpop attitude, having the gall to criticize bands like
Oasis and Ocean Colour Scene. An Alanis Morissette-type backlash
was only natural. Having instilled intense hatred overseas, Bis
finally comes to American shores with their debut full-length
album, "The New Transistor Heroes." The surprisingly well-made
album serves as a vast improvement over their one-dimensional EPs
"The Secret Vampire Soundtrack" and "This is Teen-C Power." Songs
such as the catchy "Tell it to the Kids" and the equally addictive
"Sweet Shop Avengerz" carry Bis’ traditional pubescent rantings
(This is an advertisement/ Hey! Make way for the sweet shop
avengerz). Bis even shows a new found maturity. Songs like "Rebel
Soul" and "Lie Detector Test" take a stab at dealing with teenage
rebellion and alienation. Though the members of Bis will never be
confused with great lyricists, they more than make up for it with a
youthful exuberance that will keep listeners bouncing up and down.
Bis actually benefits from adopting the Britpop sound they so often
criticize. The album provides an eclectic mixture of disco and punk
with a heavy dose of pop. "Starbright Boy" and "Mr. Important" will
remind anyone of early Blur. More punk-driven tunes like "Popyura"
divulge an eerie resemblance to Huggy Bear. All three members of
Bis share vocal chores. The most noticeable is keyboardist Manda
Rin, whose piercing shouts and chants divert attention away from
her counterparts, brothers Sci-fi Steven and John Disco. Bis’
interesting sound is derived from the use of unconventional
instruments, including whistles, toy guitars and (in lieu of a real
drummer) a simple drum machine. With "The New Transistor Heroes,"
Bis deserves a second chance from all the band’s detractors. New
listeners will find an album which is distinctly cheerful and
unique. Tristan Thai B+ Blink 182 "Dude Ranch" (MCA/ Cargo) "Punk’s
not dead!" howled Eurothrashers the Exploited 17 years ago. Sure,
after the Sex Pistols self-destructed and the Clash rode the new
wave ashore, punk rock’s mainstream was all washed up. However, the
lifeline has never run flat over two decades; punk has always found
its way into every band’s list of influences and has had plenty of
spurts of commercial attention. Remember: grunge owes everything to
those DIY degenerates. To say the least, though, there hasn’t been
a definitive year that punk broke. (Insert classic punk outcry: no
sellouts!) Nevertheless, punk rock, be it hard-core, pop or ska,
has a stronghold in the "cool" indie scene. Thanks to the surf
video and the Warped Skateboard Tour, Blink 182 has gotten more
privileges than the other struggling three-chord guitar bands. And
why not? Anyone whose style is an uncanny mix of the popular NOFX,
Pennywise and Face to Face should garner the large, surfer/
skateboarder fan base. Setting the usual scene with speedy, melodic
punk about girlfriends, rock shows, girl problems, sex and
girlfriends, this trio isn’t revolutionizing, just re-iterating
what their fellow friends are doing. Tom Delonge’s nasal vocals are
slightly less annoying than Fat Mike’s (NOFX), and at least two
intros are lifted directly from Face to Face’s "Over It" EP.
Self-deprecating lyrics ("She’s so important, and I’m so retarded")
and goofy themes (a Princess Leia sexual fantasy in "A New Hope")
are nothing we haven’t heard already. As always, songs are blurred
at breakneck speeds and the limited repertoire is predictable.
"Untitled" daringly grooves with a moderate tempo, simple
bass-and-drum riff, and Delonge’s sing-along, pinched voice. But
not too soon does it routinely return to a hyper, moshing pace.
Blink 182 never lose their intensity and keep their chords tightly
wound. For once, producer Mark Trombino (Drive Like Jehu) knows how
to isolate the vocals and instrumentation, capturing a crisp, taut
sound. Along with bassist Mark Hoppus’ lower-toned voice, songs
like "Dammit," "Josie" and "I’m Sorry" are great punk songs. "Emo"
is the greatest stretch for Hoppus and Delonge – they actually sing
intertwining melodies with some sign of emotional fervor. The fact
is, there are a thousand crappy punk bands playing big shows
because high schoolers think they "rule" (check out your younger
brother’s CD collection) and because they keep kids beating up each
other in the dance pit. Credit Blink 182 for doing it better.
Brendon Vandergast B L7 "The Beauty Process: Triple Platinum"
(Reprise) The well-known name L7 sparks images of a world-famous
group of wailing banshee rock women. Yet, their newest offering,
"The Beauty Process: Triple Platinum" produces instead visions of a
few weather-beaten street chicks, fighting off construction-worker
stares with bitter snarls and toughened hisses. But don’t confuse
this rugged sound with failure. It merely proves that L7 has stayed
true to the unpolished indie style which got the band signed 10
long years ago. Though the group has since met with success from
the single "Pretend We’re Dead," its music has never quite managed
to sink its teeth into the mainstream market. Yet, L7’s stark,
almost flat pieces would make strange additions to the poppy,
melodic tunes of most alternative radio stations, whose fare now
dictates the norms of the commercial music industry. In short,
while "The Beauty Process" never quite takes off from the ground,
perhaps its goal was never to reach the sky. Simple guitar riffs
drive mercilessly around singers Donita Sparks’ and Suzi Gardner’s
brutish, sometimes detached, sometimes enraged vocals. And the
lyrics, though not all completely cliche, almost feel so when
uttered over the barren background instrumentals. For instance,
though the words "Her mouth is calling you/ His hands are empty/ My
brain is drying out/ It was so hungry," from the song "Must have
More" promise an intriguing intermingling of the self and society,
the dragging rhythm and sluggish beats give out under the
half-spoken vocals. None of the songs really inspire much more than
a tapping of toes and a slight nod of the head. Vanessa
VanderZanden C+ Paula Cole "This Fire" (Imago/Warner) Amidst the
wave of talented female artists breaking into alternative cock rock
comes Paula Cole. With "This Fire," Cole offers the world her
harmonious sincerity and insightful analysis on men and women with
style and class. Rather than taking a militant-feminist approach to
relationships, Cole voices her frustration regarding both the
insensitive men and the way women end up dealing with them. A few
standouts highlight this layered yet direct record. Her current hit
"Where Have All the Cowboys Gone?" is a passionate commentary on
gender roles and images past and present, where Cole’s dark vocals
contrast the chorus’s melodic earnestness ("Where is my John
Wayne?/ Where is my prairie son?/ Where is my happy ending?"). Her
knack for poetic brilliance, articulation and melody are further
showcased on the lighter "ME," an honest song of self-analysis. She
sings, "And it’s me who is my enemy/ Me who beats me up/ Me who
makes the monster/ Me who strips my confidence," at one point and
then cries out, "But I’m on to something better" at the climax.
Most of the material on "This Fire" is heavily influenced by other
female artists. There are hints of Tori Amos’ signature piano and
orchestration in such songs as "Tiger" and "Throwing Stones" ("Call
me a bitch in heat/ Call you a motherfucker/ And we’ll throw stones
until we’re dead"). "Nietzche’s Eyes" and "Feelin’ Love" sound a
lot like Sarah McLachlan, and the aggressive "Road to Dead" borrows
the thundering beats and bold vocals of Suzanne Vega and Annie
Lennox. There are a couple of awkward moments on "This Fire,"
ranging from the dissonant chorus of "Mississippi" to the lyrical
ambiguity of "Carmen." However, the record is far from tarnished.
Paula Cole knows how to channel her feelings perfectly, even if it
sometimes it doesn’t exactly match the flow or rhythm of the music.
"This Fire" is a multipurpose affair, whether relaxing to Cole’s
voice, relishing her in-depth lyrics or studying alongside a mostly
easygoing and unabrasive sound. After a few spins the record
coalesces well, but not after she has you sitting upright with your
full attention in her clutches. Mike Prevatt B Polara "C’est La
Vie" (Interscope) It’s been a while since we heard any Jesus and
the Mary Chain poseurs. Polara, the newest Interscope Records media
darling, recreates that cool buzzing guitar sound but manages to
slow it down several notches to make for a pretty boring album. The
opener, "Transformation," is gritty sonic noise that needs both a
change in tempo and in lyrical style ("Got a plan/ Shook down the
man/ Got a fistful of light/ Not a problem in sight"). Other songs
like "Quebecois" and "Sort it Out" have the soft-core dream pop
feel to it, with some decent musicianship. "Incoming" is more of an
enjoyable, easy-going pop ditty than drawn out feedback buzz. And
"Light the Fuse and Run" is just like some of those British
modern-rock bands (Mansun, Electrofixion) minus the attitude ("It
could work out this time/ I’ll light the fuse and run"). The rest
of the album is nothing special. "So Sue Me" has no chord range
whatsoever, yet isn’t all lost thanks to some swirling keyboards
and nifty buzzing effects. Singer Ed Ackerson does hit it right on
the money lyrically, though, when he sings, "Never have a lot to
say." "Elasticity," "Make It Easy" and "Idle Hands" all have
promising starts but lose momentum fast, and usually the culprit is
a monotonous chorus. The guitars are kind of cool. They can mix
loops and sound effects pretty well. But, when the melody moves
about as fast as any given vehicle on the 405 at 5 p.m., the clever
musicianship isn’t fully appreciated. While some aspects of their
songs are cleverly put together, most of it sounds like early ’90s
Scottish rock (Teenage Fanclub, Jesus and Mary Chain) minus the
addictive, distortion-laden harmonies. Polara’s young still, and
they have potential. It just looks like their next big
thing-touting record label will have to patiently wait. Mike
Prevatt B- Soundbites runs Mondays and Wednesdays. FOO FIGHTERS
"The Colour and the Shape" Related Links: Foofighters Web Site
Related Links: Paula Cole Tour Dates