Updated 4th September 1998.
This is a regular column of music and gig reviews. Anything that gets our juices flowing will have a review posted here. Your submissions are encouraged.
Hellbilly Deluxe - Rob Zombie - 4th September 1998
Mezzanine - Massive Attack - 3rd July 1998
WWW.PITCHSHIFTER.COM - Pitchshifter - 19th June 1998 Sounds Like Glasgow - Various Artists - 21st May 1998
Clawfinger - Clawfinger - 5th June 1998
Given the crossover sucess of 'Supersexy Swingin' Sounds' the next White Zombie effort has been one of the most eagerly anticipated rock albums of 1998. However, Rob Zombie has dumped his fellow musicians(!?) from White Zombie (including ex-girlfriend Sean Yseult) and begun a career as a solo artist. Backed by such luminaries as Tommy Lee (yes, that Tommy Lee) Mr Zombie has, in essence, produced that album himself. Is it good? Does it compare well with previous efforts? Ooh yes, you will sell your soul for this one...
Once you get past the cover (see above Rob Zombie looking remarkably like Billy Connolly in drag!) and get the CD playing, you realise that you are on familiar ground. 'Dragula', 'Spookshow Baby' and 'Living Dead Girl' sound like catchy, neck-snapping White Zombie circa 'Astro Creep 2000'. I can already see Beavis and Butthead digging these tracks. The album is moulded around that thrashy, riffy, tight sound with those mad samples and schizoid lyrics you either love or hate. There are a couple of dud tracks too e.g. 'Demonoid Phenomenon' is totally pants, 'Resurrection Joe' is a weird choice, but otherwise this is a first class hard rock album which builds on the established White Zombie sound. Expect the Cathouse to be rocking to 'Dragula' very soon.
Now if only Rob Zombie worked with musicians who had the guts to face up to his ego then world domination wouldn't be too far behind. Until then we'll have to settle for very good instead of totally mindblowing. I'm off to the Necropolis in the East End to give the undead a taste of the good life. Wanna join me?...
Mad Pierre, 4th September 1998
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Mezzanine - Massive Attack Released 12th May 1998 Track Listing
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Now that the hype has died down the latest offering from Massive Attack can be listened to objectively. Those expecting the mellow sounds of 'Blue Lines' and 'No Protection', or the glossy sheen of 'Protection' will be most surprised by this album. It blends the harsher sound of the original 'Protection' with guitars(!), very dark lyrics and a warped mindset. Cocteau Twins singer Liz Fraser also fills the female vocal position previously occupied by Shara Nelson and Tracey Thorn. Her unique voice adds an ethereal ambient quality to the tracks on which she appears. The result is a twisted sound, as might be produced by a chilled out Goth on a late night downer.
The material is up to the high standard set by previous albums, although the first hit single 'Risingson' still sounds like East 17 on bad acid. The call-response rapping feel of the 'Blue Lines' is evident in many of the tracks, uniquely on the standout track 'Group Four', a tour-de-force duet featurng the aforementioned Ms. Fraser and 3D. 'Black Milk' is from more familiar territory, a bass-oriented hip-hop track with Fraser providing ethereal counterpoint vocals. The next hit single from this album will be 'Angel', a Gothic-romantic hip-hop number. The music on this album sounds like next generation Pink Floyd, unique chilling tunes fused to great beats, but devoid of Floyd's hippy pretensions.
As suggested by Daddy G and 3D, the album does indeed reflect that pre-dawn wasted feeling when too many spliffs can bring on paranioa. Essentially 'Mezzanine' and the recent 'Portishead' offering both come from the same headspace; out on the edge. Like previous Massive Attack offerings this album requires a lot of listening to fully appreciate but the rewards are worth it. Massive Attack have done it again. Let's hope that their rumoured break-up is simply a rumour, the UK scene needs more music of this vision and quality.
Triptastic, 3rd July 1998
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www.pitchshifter.com - Pitchshifter Track Listing
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Pitchshifter return with a new tour and a new album. Their early industrial sound now seems to have matured to encompass thrash, industrial, breakbeat and serious noise. Vocals are heavily distorted. Sampled guitars are digitally amplified to the limit. Speaker-bursting white noise provides a backbeat. And it all works beautifully. The result is snarling, danceable music that leaps from the speakers to assault your eardrums. The single 'Genius' is just that and its originality is maintained throughout the album. This is music which cannot be pigeonholed. Go to their web site (http://www.pitchshifter.com) hear some samples and find out what all the fuss is about.
Mad Pierre, 19th June 1998
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Clawfinger - Clawfinger Released September 29th 1997 Track Listing
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The third, self-titled album from Clawfinger is something of a revelation, successfully marrying intelligent lyrics and pumping, agressive music. Given the quality of the songs on this CD it is easy to see why the recent Clawfinger gig at The Cathouse went down a storm. Common Clawfinger themes such as personal philosphy, social injustice and intolerance comprise much of the lyrical content. Musicallly, however, there is more than basic thrash going on in this album. Aside from being a sideswipe at religious dogma, 'Two Sides' makes use of Middle Eastern elements and clever rhythms (c.f. 'Temple of Love' by Sisters of Mercy) to build an excellent track. Cello and horns make an appearance on a few tracks, although unsuccessfully on 'Dont wake me up', the weakest track on the album. Tracks such as 'Hold your head up' and 'I'm your life and religion' are from the school of clever, full-on thrash which Metallica and Slayer wish they could still produce; tight, uplifting, should be played at maximum volume. The closing track is a personal requiem for a suicide and is so mellow that it comes as a shock after the ferocity of all the other tracks. The album is essentially a melting pot of thrash and industrial and the whole is much greater than the sum of the parts, a refreshing tonic for that bluesy feeling. You'll love it, the neighbours will hate it.
Check out the Clawfinger web site - http://www.clawfinger.se/
In the UK there is a limited edition release with an additional CD containing remixes of a cross-section of tracks from all three Clawfinger albums. Remixers include Die Krupps on 'Pin Me Down' and Pitchshifter/MC Stinky on 'Biggest and The Best'. The remixes of early tracks such as 'The Truth', 'Warfair' and 'Do What I Say' successfully fuse thrash and hip-hop to produce indcredibly tight tracks ideal for jumping around to. This extra CD does for Clawfinger what 'Supersexy Swingin Sounds' did for White Zombie. Get it while you can.
Mad Pierre, 5th June 1998
Sounds Like Glasgow - Various Artists
PAN 1002 CD
Released December 1997
Track Listing
This compilation is part of PAN Productions' Sounds Like...' series. It takes on the challenge of a "quality representation of contemporary dance music from Glasgow with its roots embedded in soul". The Glasgow dance scene is an eclectic, funky and fast moving one, and Stevie Middleton's choice of music reflects this. He has compiled an impressive selection of DJs and musicians who may not be known outside the M8 corridor but who are deeply influential within the Central Belt. More specifically, his choice is heavily influenced by that magic square mile of Glasgow that conceals legendary venues such as The Sub Club and The Arches.
Techno gods Slam (sadly no longer resident at the seminal Friday night at The Arches) are here, alongside chillmeister Gypsy, both obvious choices but welcome nonetheless. Dominic Capello and Harri from The Sub Club masquerade as URB'n'RI and H Foundation, delivering jazzy house beats on CD as good as they deliver them live. Keith ('Twitch') from Pure makes a superfunky appearance as Mount Florida. Alongside these heavyweights are examples from Glasgow labels Solemusic, Soma (Slam's own label) and Music Tropique, and two tracks from Fresh and Low, more often heard on the Guidance label out of Chicago.
As a showcase of the jazzy, funky, laid-back side of Glasgow dance, this album works exceptionally well. It is ideal for that 4 AM post-clubbing chill session when the sweat and heat have dissipated, leaving the simple desire to hang out, listen to good beats and talk about life until the sun comes up. This is the sound of a funky Glasgow summer night when everything goes right. The album stands comparisons with the early trance output of Rumour Records, 23rd Precinct and Hook. It's a shame that there aren't more compilations of this quality.
Triptastic, 21st May 1998
