Wednesday, November 11, 1998
Soundbites
Placebo, "Without You I’m Nothing" (Virgin)
Attention all fans of the rock world: we’ve found a band that
finally breaks away from the curse of the one-hit wonders. With
pure talent, the UK-trio Placebo releases their second album
"Without You I’m Nothing."
Since their debut in 1996, Placebo has matured into a band
worthy of much praise and airtime as an alternative band capable of
real driving melodies and quirky beats.
Their first single, "Pure Morning," already surpasses
expectations. Gaining success and experience every year, including
certified-gold UK sales with their first self-titled album and some
opening dates on U2’s Popmart tour, Placebo continues to grow
musically.
The unusual lyrics of "Pure Morning" characterize the new sound
of Placebo. More dark and provocative than the first album, the
song embodies haunting words that match the more sinister melodies.
("A friend in need’s a friend indeed/ A friend who bleeds is
better.")
The album remains a compilation of creative picks, ranging from
soft contemplative mixes to upbeat, compelling tunes such as "Brick
Shithouse."
"Brick Shithouse," destined to be the album’s next single, also
uses Placebo’s recurring dark theme. Vocalist Brian Molko describes
it as "a ghost story, about somebody watching their lover make love
to the person who killed them."
Every song is unique and the album breaks free of the monotonous
tendencies alternative music often employs. The tunes carry the
listener over moving lines and gripping rhythms using just the
right amount of mixing to complement the sound, not kill it.
Placebo’s best songs include "Every You Every Me" and "Summer’s
Gone," but the whole album remains a perfect choice to kick back
and enjoy a real band creating some serious music.
Michelle Zubiate
Adamski, "Adamski’s Thing" (ZTT Records)
It is no surprise that Adam Tinley’s fourth release as a solo
artist comes out just in time to ride the back wave of the current
electronica craze. Better known for his 1990 No. 1 single "Killer,"
featuring Seal on vocals, the keyboardist and producer has just
recently come out of hiding with an eclectic mix of danceable space
pop.
With song names like "Memories of the Future," "Climbing Up" and
a cover photograph of the artist sporting astronaut gear, one can’t
help but think that the listener is about to embark on a journey
through space.
Like any journey, this one has its ups and downs. Songs range
from immediately likeable to severely danceable to downright
annoying. The opening track, "Memories of the Future," begins with
a synth-based rhythm, which could easily be mistaken for something
by the Prodigy.
The album’s most obvious single will be "Intravenous Venus," a
repetitive club tune dedicated to the addictiveness of sex and the
withdraw that follows.
Songs like "One of the People" might stir up images of a strange
cross of Leftfield and Fine Young Cannibals, with a hint of more
modern acts as Jamiroquai. At the opposite pole of "One of the
People" is "Piccadilly Circus," a short instrumental in the veins
of Moby or Orbital.
Among catchy, beat heavy pop ditties, maudlin orchestral
compositions, and deep space electronica explorations, the
recurring theme of alienation and loneliness develops throughout,
and Adamski paints a picture of an artist without a home.
"Thing" offers the public an escape from today’s standard
cut-and-paste alternarock trends  that is, if acid house or
experimental electronica is your thing. If it’s not, Adamski makes
it worth giving a chance.
Cyrus McNally
Mighty Mighty Bosstones, "Live From the Middle East" (Big Rig/
Mercury)
"The Middle East" refers to a Cambridge club, not to a section
of Eurasia. You learn something new everyday. Just like how many
people have finally figured out that the Mighty Mighty Bosstones
aren’t just a ska band, they’re a skacore band.
The Bosstones alternate between angry heavy metalish core and
fast, reggae-style ska instrumentals  sometimes in the same
song. Sometimes at the same time.
There’s been some argument that Dicky Barret’s voice isn’t what
it used to be, but this album should put that rumor to rest.
It’s still the same as it ever was, which really isn’t saying
much. What he lacks in tonality, though, he more than makes up for
in volume. He does ask the audience whether he should do it "the
old way or the new way" before the song, "Dr.D."
The crowd wants it the old way, and he does, and they love it.
Other than Barret’s rasping, the Bosstones are in top condition:
Nate Albert’s guitar is fast and furious, Dennis Brockenborough’s
trombone is free and easy, and Tim Burton’s powerful sax work
carries it all along.
The Bosstones are as loud as ever, but this sort of music isn’t
about understanding what they’re saying. Unless you really need to
know that there aren’t any hidden obscenities, then "Hope I Never
Lose My Wallet" contains most of the CD’s discernable lyrics.
Unfortunately, the CD also includes the overexposed, "The
Impression That I Get," one of those songs that catch on and just
won’t go away.
The CD is also full of nonsensical band yells about being on a
three day swerve.
"How does it feel? It feels good!! Scream for me!"
You gotta be sweating your tweed. Dicky gives some kid something
that he wore with Aerosmith, which is the nicest thing he’s done
since he made two drunks apologize to each other at the 9:30 Club
in DC.
The Bosstones still rule  as the kids nowadays are so fond
of saying.
Michael Rosen
Tavin Singh "O.K," (Island Records)
Combining the mystic elements of his Indian history with the
technological of the West, Tavin Singh mixes an album that takes a
worldly look at electronic music.
Stuck between two worlds that reject his culture and race,
Singh’s music lies in-between of English sensibility and Indian
culture. The music from his dilemma is sweet and enchanting.
Singh’s opening track "Traveller" laces together earthy,
forestry ambience and leads into a breathtaking orchestral
epiphany. A testament to Singh’s wanderlust, "Traveller" captures
his exploration of the musical landscape of the world.
Still keeping a the definitive drum ‘n’ bass sound, dark echoy
bass drums, Singh adds a touch of India, a very popular country for
musicians lately, to each track. A whiz kid with the tabla drums,
Singh bangs away at any chance he gets on those drums and it
usually sounds in-line with his ethereal samples.
"O.K." takes into its many arms, the sitar, flutes and pipes
kneading together an electronic disc for the natural lover and
inward thinker in all of us. And that might be the biggest problem
with "O.K."
It’s hard to dance to and trying to keep a funky beat throughout
a complete track is near to impossible. Singh meanders through a
song like "Light" putting what he is thinking straight to tape.
A lot of transition from dance to trance, the mellow atmosphere
makes for an experience strictly for the lounge chair dancer.
Trinh Bui
The Brooklyn Funk Essentials, "In The BuzzBag," (Shanachie)
Liquor and chainsaws. Oil and water. Peanut butter and hotdogs.
Funk and Turkish music. These all sound like they shouldn’t go
together, but surprisingly enough, the final pair compliments one
another nicely. On "In The BuzzBag,"
The Brooklyn Funk Essentials, a New York based
funk-improv-poetry group, aided by Laço Tayfa, a group of
Turkish-Romanian gypsies, come up with some offbeat musical
offerings that are surprisingly good. Neither strictly funk or
Turkish music, the album genre hops through 10 tracks that
encompass far more than New York and the Middle East.
When attempting funk, on "Magick Carpet Ride" and "Selling Out,"
BFE comes across as a jazzier version of James Brown, with extended
horn solos, rock-steady rhythm, and loping bass. The Turkish touch
is always there, however, whether instrumentally in the form of
ouds, baglamas, and darbukas, or vocally, in the entrancing vocals
of Ipek Senot.
This distinctive addition adds new flavor to BFE’s music,
allowing it to avoid monotony. The album is not limited to
Stax-like funk, it also delves into electronica on "Bye and Bye,"
reggae on "Istanbul Twilight," and whirling dervish ska on "Ska
Ka-Bop."
The tunes found on "In The BuzzBag" aren’t likely to turn up in
too many other places, which is a shame. There may not be much of a
Turkish Funk niche out there, but until there is one, BFE and
Laço Tayfa fill it nicely.
Brent Hopkins
Comments, feedback, problems?
© 1998 ASUCLA Communications Board[Home]