Wednesday, February 12, 1997
Critters Buggin "Host" (LooseGroove) Every so often a band comes
along and just blows your mind right out into space. This time, the
band happens to be Critters Buggin with their amazing piece of
enlightened tapestry entitled "Host." Critters Buggin is comprised
of drummer/ percussionist Matt Chamberlain, bassist Brad House and
sax/ piano player Bubba Rabozo.
These guys recorded what is essentially an improvisation album
over the course of a few days last December. The stuff, and I mean
the really, really great stuff, on "Host" is a blend of eastern,
African, industrial, and jazz beats set to an ambient backdrop with
bass-line elements of funk. Take all that and add some genuinely
thought provoking lyrical samples and effects and you’ll have all
the ingredients for a serious Critters Buggin jam session. The
beats will last a long time in your head so be wary when you first
put it on.
People always talk about Phish and how they are such a great
improvisational band. Once Critters Buggin gets some much deserved
and needed attention, all the talk of brilliance will be passed to
them. It would be a shame for anyone not to listen to this disc
because the worlds it conjures up are truly mesmerizing. The really
cool part of the set up is the fact that no vocalist (except on the
samples) distracts from the earnestly honest musical expressions.
Even when the samples are used, they get drowned out after you’ve
heard them once because the music wins out.
Tracks like "Red Eyed Wonder" actually relax your soul into
submission while the guitar builds an upward spiraling air of
spaceyness. The experimental stuff is plentiful  it’s
refreshing to see a band that has no restrictions on what is an
acceptable song structure. If you try to listen to "Host" with any
sort of preconceptions, you will most likely be mystified as to
what’s going on.
As Obi Wan Kanobi said to young Skywalker, "You must let go of
yourself, and let the force guide you," and his words fit when
listening to "Host." The percussion work by Chamberlain hits a high
point on "Sheets," which flows from one ambient part to the next.
The sax playing is laid-back and comfortable yet always a step
ahead. As a unit, Critters Buggin will get into your skin and
hopefully never get out, a definite must buy. Michael Nazarinia
A+
The Offspring "Ixnay on the Hombre" (Columbia) Punk rock has
been around for at least 20 years, but in the ’90s, bands like
Nirvana and Green Day became the bread and butter of big-time
record labels.
In 1994, the Offspring put out their third album which was
appropriately titled "Smash," because it went on to sell eight
million copies on Epitath, an independent label based here in
Southern California. Now they’re on Columbia Records, an arm of the
big Sony Corporation, and have put out "Ixnay on the Hombre," which
promises to get as much attention on the airwaves as its
predecessor.
The question remains however: Will the music buying public
embrace the punk sound as it did in the early ’90s, or will "Ixnay
on the Hombre" follow the pattern that has been set by follow-up
albums from other oversaturated groups like Green Day and Hootie
& the Blowfish? "Ixnay on the Hombre" represents standard issue
Offspring, which, much like Bad Religion, brings intelligence as
well as seemingly perfect melodies to the forefront.
Singer and songwriter Dexter Holland has the savvy and street
smarts few can match in the rock world and the sensibility to make
it work without seeming overbearing and heavy. From "The Meaning of
Life" to "Change the World," Holland uses often funny and
insightful lyrics to go along with the intense beats of bassist
Greg K and drummer Ron Welty. Guitarist Noodles adds the mandatory
power guitar chops that add the element of ferocity to punk songs
that would otherwise be good, but not great.
Some songs like the infinitely likeable "Me & My Old Lady"
and "I Choose" show off the Jane’s Addiction influence that has
permeated the Offspring, who have coincidentally tapped the efforts
of Jane’s producer Dave Jerden. ("I Choose" sounds much like Jane’s
"Mountain Song.")
Other tracks like the current radio favorite "All I Want" seems
nothing at all like the usual Offspring but rather a song
influenced heavily by other ’80s KROQ favorites. The good thing
about "All I Want" (if it truly is a good thing) is that it
delivers probably the catchiest hook of them all and could be a
radio staple for years to come.
Most new listeners will rush to buy the album for this song
alone and effectively suck the life out of it. The bottom line:
"Ixnay on the Hombre" takes a few moderately sized steps in the
right direction while maintaining the honesty that the Offspring
have kept in their music. Michael Nazarinia A-
Redd Kross "Show World" (Mercury) Like a sweet and sour
lollipop, Redd Kross satisfies one’s craving for tangy sugar. And,
true to its candied counter part, Red Kross can be enjoyed best
when sampled in small, savory intervals. Reminiscent of cheery
tunes emanating throughout "That Thing You Do," this group of boy
scouts fling out one snappy song after the next.
"Don’t make me laugh, I won’t kiss your ass, I will not do it,"
quips the spunky lead singer in a perky voice. "Enough!" you say,
at last making your stand against irritatingly enthusiastic male
youths. Where’s the delusionment with an unrealized idealism?
Where’s the hollow search for depth in an inevitably meaningless
existence?
Sadly, these kids still sing like Sparky 5, the hamster. But,
maybe we need Sparky 5 to live. Maybe we need to believe he’ll
never be buried in the backyard. Maybe we’ll find true love along
the way and win the lottery. Once in a while, it’s OK to dream
 too often and you end up like Crackhead Bob. Vanessa
VanderZanden B
Aphex Twin "The Richard D. James Album" (Sire Records) The
emergence of dance/techno music as the new savior of the music
industry has led to a ground swell of bands that rely more on the
synthesizer than the guitar. Aphex Twin a.k.a. Richard James, is no
exception. With his latest disc, "The Richard D. James Album," he
mixes loops with repetitious drum samples.
Touted as the prodigy of rave music, the success of Twin’s
current effort rests exclusively with his ability to mix music
since his songs contain no lyrics. Unfortunately, James does not
live up to his hype with this album. Imagine the video game music
for "Super Mario Bros." sped up with percussion and ambient loops
and that is the noise comprising the disc.
The record moves without purpose and theme. James’ usage of the
synthesizer leaves no room for mood or emotion. Instead the tracks
sound mechanical lacking spontaneity. Drum samples are the
foundation for this album. Every track has some form of drum
sample, with a stuttering, repetitious drum beat as the principle
beat. The redundant drum beat gets tedious on the ears two tracks
into the record.
There are moments of musical ingenuity and pleasantness on the
disc. On the first track on the album, the sample sounds are used
like instruments, each performing a specific role creating a three
and a half minute sanctuary of danceable music. It’s too bad the
rest of the album is a collection of noise passed off as music.
Trinh Bui C-
Soundbites run Mondays and Wednesdays.
CRITTERS BUGGIN
"Host"