Thursday, February 18, 1999
Sound Bites
MUSIC
Sugar Ray, "14:59" (Lava/Atlantic)
One-hit wonders no more, this band proves it can be done. With a
laugh, some hope and a lot of great songwriting, Sugar Ray breaks
against the odds, shouting in your face, "Ha!" and gets it
done.
Graduating from the overly aggressive punk edge of its previous
album, "Floored," and the dance hall rhythms of the overplayed
single, "Fly," Sugar Ray released "14:59" with its fingers crossed.
No luck was necessary in this case, however.
The new overplayed single, "Every Morning," saturated the
airwaves months before the album’s release. Now on its third
single, "Someday," the album shows that a well-balanced collection
of infectious tunes and that old metal punk sound proves the ideal
recipe for success.
If you like the "Fly" side of Sugar Ray, it’s got you fully
covered. Songs such as "Falls Apart" and "Even Though" hold those
oh-so-catchy melodies that will stick in your head for the rest of
the day or maybe even the week.
But those loyal fans of the old Sugar Ray, resistant to change,
will not be disappointed either. "Aim For Me" and "Burning Dog"
scream and grind through the same style "R.P.M" left us in the last
album.
A decent cover of Steve Miller’s "Abracadabra" also shows that
the band has discovered a new confidence after its humble
beginnings. The world might finally be taking the band
seriously.
In a recent Details article, frontman Mark McGrath described the
band’s music in terms of "multiple-personality disorder." It
describes the inconsistency of the band’s style perfectly. In this
case, however, change is good, and it is showing all the signs of a
band destined to go somewhere.
Michelle Zubiate
Rating : 9
Fun Lovin’ Criminals, "100% Colombian" (Virgin)
Seventies soul, ’90s rap and a touch of the blues all find their
way on to "100% Colombian," the second release from New York trio,
Fun Lovin’ Criminals. Yes, the boys responsible for "Scooby Snacks"
are back, with a more subtle and laid-back touch.
The title refers to high quality music, among other things. The
album lives up to this bold title, offering 14 tracks of low-key
grooves. The tunes are not gripping, rather, they creep up slowly
to take effect. Huey’s voice, quietly muffled, hangs in the
background as the band does most of the work. This is the vein in
which the album begins, with the horn-rich "Up on the Hill."
Not all the songs are of the slow-cruise variety. "Korean
Bodega" is directly lifted from classic rhythm and blues, melding
the Bo Diddley beat with stinging guitar for an energetic tale of
convenience stores. Perhaps it’s not the most timeless of subjects,
but it does have a catchy melody.
When the Criminals go down to soulsville, however, they really
shine. They are a far cry from Barry White, whom they pay tribute
to in "Love Unlimited," but the music sounds genuine.
Best evidenced on "We Are All Very Worried About You," they add
in orchestral horns to bluesy keyboards and a slightly off-tempo
rhythm guitar that combines for a stabbingly real tune. The aching
guitar solo – paired with an eerie, muted trumpet – is a perfect
combination, conveying the emotional desperation that the lyrics
are sketching at the same time.
They don’t always hit the mark, unfortunately. "Big Night Out,"
which samples Tom Petty’s "American Girl," is well intentioned, but
falls flat. This is the case on several tracks – good music is
marred by sub-par lyrics.
"100% Colombian" is not a perfect album. The gangster-schtick
can wear thin, but the well-written music rises above it to save
the day.
Brent Hopkins
Rating: 7
Kent, "Isola" (RCA)
Sad?
Kent will mourn with you. This Swedish import specializes in
dark, melancholy moods accompanied by a streak of melody.
Having achieved success in Sweden, Kent arrives to the United
States with big hopes and big guitars. Joakim Berg and company do
their best impression of Radiohead on "Lifesavers" and
"Unprofessional." Berg does a dead-on Thom Yorke drawl while ending
his lyrics.
The guitar work on "Isola" sounds tight, precise and impeccable.
Technically pleasing, the hooks land in the right places; Kent
knows how to milk the power chords.
"If You Were Here," soars with Berg’s vocals. The soundscape
hits with harrowing desperation as the guitars wheeze with
angst.
For all of Kent’s genuine moody posturing, it can not rival the
groups it emulates. My Bloody Valentine and Radiohead play it
better and with more determination to leave a scar on the
heart.
Don’t fret though, Kent is not a washout, it just needs more
time to put a shine on its gloom.
Trinh Bui
Rating: 6
Muzzle, "Actual Size" (Reprise)
As exciting as deer testicles and gay mountain lions, Muzzle is
not. But as a background for strange conversations concerning
frisky wildlife, one could do worse.
Guitars flounder in a gentle storm of feedback, tangled in a
dense underbrush of moody vocals. A chipped apart beat propels the
snappy tunes, which seep through the subconscious like a
moss-strewn brook. Sometimes, though, the pace could use a few
faster flowing currents.
Beyond the stagnant instrumentals and overall drone of liquid
sound, the lyrics manage only to regurgitate standby rock star
croonings. For instance, the song "Know" provides the
oh-so-original rhetoric, "I know that you’ll be there/ With flowers
in your hair." Meanwhile, the lead singer will be at the bar,
shooting tequila until he feels like coming home for a greasy lay,
no doubt. But hey, it’s great that his girl will stay soft and
virginal for him, the bastard.
Screw them. Muzzle’s music ain’t worth the emotional turmoil.
And frankly, we could all use something a little bit more
refreshing than "It’s hard to find the words… / I don’t know what
I’m doing here at all," from "(A Song for) Superclones of the
Future."
Here’s a thought: maybe he should shut up, go home, and think
about what he wants to do and say instead of wasting our time with
his wishy-washy drivel. And he could devise some catchier melodies
while he’s at it.
Vanessa VanderZanden
Rating : 5
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