Monday, November 16, 1998
Soundbites
MUSIC:
Paul Oakenfold, "Tranceport"
When veteran DJ Paul Oakenfold jumped into the dance scene years
ago, he did it strictly for the love. How far he has come since
those days.
Oakenfold, long regarded as the premiere trance dj, introduces
his latest batch of trance and progressive house mixes.
"Tranceport," a compilation of tunes geared to thoroughly mesmerize
with high frequency beats, splices together pulsing foundation
beats and throws some synth keyboards over the top making for some
discotheque appropriate music.
Track listings merely identify different sections in a long,
continuous DJ session. There are no specific songs on "Tranceport."
"Three Drives on a Vinyl" transitions into "Tilt vs. Paul Van Dyk"
effortlessly.
"Tranceport" delivers a wispy, vacuous sound. Oakenfold decided
to spin strictly happy, uplifting trance. It is light fare and
offers a refreshing break from deep, dark jungle and drum and bass
electronica.
Warning: "Tranceport" should only dwell in the CD player for
parties. It thrives to make people dance.
And to all the brave souls who listen to Oakenfold’s manic
creation while sitting in one place: The beats will drip, drip on
the brain like Chinese water torture.
Trinh Bui
Rusted Root, "Rusted Root"
Hippie outfit Rusted Root has been churning out fun folk rock
for years now. Unlike other jam bands with which the group is also
often associated, however, Rusted Root chooses on its new
self-titled release to maintain the same sound as found on its
previous albums. Gone are the attempts for experimentation on the
new releases from other jazzy rock bands such as Dave Matthews Band
and Phish.
While Rusted Root’s new album includes an engaging collection of
12 songs, it doesn’t really push the range of the band past the
boundaries it already crossed years ago.
Rusted Root first came to national attention with its debut
album, "When I Woke," still the best compilation of songs in the
band’s catalog. Pieces such as "Send Me on My Way" got the band
booked on the touring HORDE Festival in 1996, where it played with
like-minded bands Dave Matthews and Blues Traveler.
There, as well as on its next release, "Remember," Rusted Root
showed a tremendous gift for incorporating world music (especially
that of India and Africa) into traditional American rock ‘n’ roll.
The result was a collection of fresh-sounding music that still
resonates with American crowds reared on classic rock.
On "Rusted Root," the band continues this trend well, especially
on tracks such as "She Roll Me Up" and "Live a Long Time." The
latter’s mix of poppy harmony with a strong beat ranks it among the
band’s most soulful tunes.
The real highlight of the disc, however, turns out to be perhaps
the most conventional. The band covers the Rolling Stones’ classic
rock anthem, "You Can’t Always Get What You Want," with an
exuberance and intensity rarely found on Rusted Root CDs and hints
at a possible new direction for the band to explore in future
recordings.
For now, lead singer-songwriter Mike Glabicki and company seem
content to produce slightly off-kilter folk rock to please a
generation of young hippies who may have missed the Grateful Dead
but still love a good live-band.
Lonnie Harris
Sloan, "Navy Blues"
In their native land of Canada, Sloan members are superstars,
and rightfully so. Their first three albums overflow with pop
hooks, tight three-part harmonies, and smart, tongue in cheek
lyrics. "Navy Blues" is their most accomplished work yet, and it
may even win them the American following that has eluded the band
thus far.
The blatant ’60s worship in 1996’s "One Chord to Another" has
been replaced by a beefier, more swaggering ’70s vibe. "She Says
What She Means," "Iggy and Angus" and "Money City Maniacs" feature
the kind of big choruses and dual guitar lines that could be found
on an old Thin Lizzy album without forsaking the band’s trademark
melodic punch.
Piano-based songs such as "Thank You" and "C’mon C’mon (We’re
Gonna Get It Started") tread familiar Beatle-ish territory but have
enough sonic decoration and enthusiasm to push them beyond mere
retro status.
"Sinking Ships" and "Suppose They Close the Door" display the
appeal of Sloan’s sound. Both songs use rapid tempo shifts and
ominous-sounding guitar work to add to the vengeance and paranoia
expressed in the lyrics. But no matter how despairing the lyrics
may be, there is always an instantly hummable chorus that emanates
optimism.
Sloan is a rarity in rock in that all four members write and
sing. The spirit and the togetherness of the playing on "Navy
Blues" show that Sloan is a band in the truest sense of the term.
As the album cover displays, four heads are better than one.
Adam Tolbert
Andrea Martin, "The Best of Me"
There are currently several schools of hip-hop that represent a
shift toward themes of greed and sex. Puff Daddy and Missy Elliot
seem to be behind every hit song that invariably contains a
variation of these two themes.
Apart from this lies the school of the Fugees, where rap,
R&B and hip-hop are relatively clean and sweet. This is where
Andrea Martin’s new album should be placed.
Not only does she have the harsh, street-wise elegance of Lauryn
Hill, but Martin also collaborates with Hill on the final track,
"The Best of You."
Martin, who has written hit songs for En Vogue, Toni Braxton and
SWV, makes a good effort on the mic. Writing most of the songs on
her debut album as well, she proves her potential as an R&B
star.
The songs are not ground-breaking, however. Rather, they mostly
rely on pre-established pop standards.
The songs are extremely radio-friendly and bound to be hits.
Hill’s bubble gum pop sound definitely comes through. Occasionally,
Martin breaks out into Jamaican reggae, which adds vitality to the
album.
The first track, "Let Me Return the Favor," sets the mood of the
album with its insistent beat and uplifting vocals. "Steppin" is a
slow jam reminiscent of Whitney Houston. In the title track, there
are hints of Mariah Carey’s infamous shriek. "Dear Lord" brings out
Martin’s gospel soul.
The best parts of this album are the collaborations with artists
such as Hill, Wyclef Jean, Tracy Chapman and Queen Latifah.
Like the Boys II Men album, "Evolution," Martin’s debut will not
change the face of hip-hop and R&B. But for those who
appreciate something clean in a genre of increasing vulgarity,
Martin is definitely a winner.
Howard Ho
Various Artists, "In Their Eyes: ’90s Teen Artists vs. ’80s Teen
Movies"
You remember those moments: John Cusak stands outside his love’s
window, holding a stereo above his head, playing Peter Gabriel’s
"In Your Eyes."
Most of the hit brat-pack movies of the ’80s hold a special song
in our hearts. Unfortunately, someone’s out to kill those
memories.
Looking at the play list you’re bound to gasp and squeal. Songs
covered include favorites from movies such as "Pretty in Pink,"
"The Breakfast Club" and "Ferris Bueller’s Day Off."
Unfortunately, the covers remain as warped interpretations by
’90s punk bands who choose to destroy each song with untalented,
annoying vocals and unamusing tempo changes.
For instance, "In Your Eyes" drags along endlessly with The
Stinky Puffs draining all the love and emotion out of the
original.
The only noteworthy exception goes to Marigold’s take on "If You
Leave." It sounds very similar to the version first introduced by
Orchestral Manouevres In The Dark (OMD) but adds some guitar quirks
that actually work.
Change can be either good or bad. Unfortunately, those who truly
love ’80s music love it for the cheesy qualities and don’t want it
forced to fit a ’90s punk formula.
Michelle Zubiate
Einstuerzende Neubauten, "Ende Neu"
Einstuerzende Neubauten reminds one of nothing so much as
"Sprockets," that old Saturday Night Live skit starring Mike Myers
as pretentious German artist Dieter. Since its 1980 formation in
Berlin, this avant garde industrial group has won praise for its
daring innovations in instrumental accompaniment and experimental
subject matter. Using a wide variety of objects as instruments,
including metal plates, phytagorean bells and motors hitting
amplified wires, Einstuerzende Neubauten’s works evoke images of a
futuristic mechanized nightmare society.
One may have high expectations for this album after hearing the
first track, "Was ist ist" (What is is). The song has a zany,
absurdist quality much like Frankfurt comedy duo Badesalz.
Unfortunately, the next eight tracks never fulfill this early
promise.
Those who understand German know that the German portions of the
album make only slightly more sense that the English parts. "Die
Explosion im Festspielhaus," literally translated the "Explosion in
the Playhouse," is mostly Blixa Bargeld whispering the song’s title
over and over.
"Nnnaaammm" is an extended piece that speaks on our obsession
with technology. It sounds like 10 minutes of the original message,
"New No New Age Advanced Ambient Motor Music Machine." Try saying
that five times fast.
"Der Schacht Von Babel" is a moody, mysterious song about the
drab, pointless existence of miners forced to dig the subterranean
"Tunnel of Babel." "Stella Maris" tells the story of two lovers who
dream each other into existence.
On one hand, it’s all a bold experiment, defying musical
convention and commenting on the Kafkaesque futility of human
existence. On the other hand, it’s not a pleasant listening
experience.
Most of it sounds like something one’s little sister would bang
out on a fisherprice piano and call "The Scary House Song."
It’s nearly impossible to figure out if the songs really have
any meaning just by listening to them, but they’ve helpfully
included a book of translated lyrics and song interpretations to
remedy the situation.
Ignore the CD and just read the book; otherwise, you might miss
some great lines about "milky way cum shots" and "electro-smog
therapy." Meanwhile, "You’ll find me if you want me in the Garden
unless it’s pouring down with rain." In a word, duh.
Michael Rosen
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