v SS » = ae joe eee 12 Sa Sie Press Alice ln Chains Alice ln Cains Columbia Dark. Sinister. Disturbing. Apt terminology indeed when attempting to describe the black-hearted sound produced by seminal Seattle greats Alice In Chains. Part of the original foursome, including Nirvana, Soundgarden, and Pearl Jam, who pioneered and then popularized the Sub-Pop, grunge-metal sound of Seattle garage- bands, Alice In Chains have emerged as an element unto themselves and as a band with something to prove, and more importantly, with something to say. Combining the stripped-down and reconstructed monolith that was Sabbath with a buzzing psychedelic groove, Gothic-metal riffs and their own deeply-ingrained punk sensibilities, band members Layne Staley (vocals, guitar), Jerry Cantrell (guitars, vocals), Mike Inez (bass —used to play for Ozzy Osbourne), and Sean Kinney (drums) have put together an impressive selection of songs in this, their fifth release, which showcases the best elements of their past efforts along with a few new twists and turns. Stark, yet atmospheric and dream-like, Alice In Chains takes the listener on a trip into the mindscapes of main songwriters Staley and Cantrell; a hazy, hungover, yet disturbingly inviting world which always leaves a lasting impression on unwary visitors. Opening track ‘Grind’ immediately promises to become a classic, drawing the listener in with Cantrell’s trademark crunching grooves laid down over an instantly catchy melody, all the time surrounded by Staley’s tortured, borderline psychotic vocals, setting the stage for the album’s overall theme of alienation and disillusionment. Other favorites include ‘Head Creeps,’ a turgid, sluggish grind highlighted by Kinney’s frantic, almost tribal drumming beneath a sparse, low-end, bottom sound and haunting lyrics, and ‘Again,’ a bass- driven, chaotic headbanger that is bound to become a favourite in mosh-pit circles. Alice In Chains have always been one of the more haunting and emotive exports from Seattle, and here, as on previous releases, they continue to grow and expand upon explored territory, this time preserving their original “groove ‘n grind” formula perfected on the Facelift and Dirt albums, while also adding some of the more melodic elements explored on EP’s Sap and Jar of Flies, which serve effectively in complimenting their free-form, cerebral song structures and stark, strangely compelling lyrics. Overall, an interesting and impressive release from a talented band who never seem to be at a loss for new ideas and musical inspiration. Oh yeah, cool cover art too, of a three-legged-dog which is apparently based on drummer Kinney’s experiences as a young boy delivering papers being, and being chased by another three-legged dog called Tripod. Must have been pretty traumatizing, but then again, this is a pretty traumatized band, which disturbs its listeners and makes them thankful for it later. So, if you’re one of those people, check it out! by Giaran Meeks Rushy Fluhe Goadboy When I had heard the Toronto band Rusty’s self-titled, five song EP I was quite interested in what a full length recording would be like from them. I wondered if they could keep up the same momentum and energy that made such a big impression.on me when I first listened to the EP. Well, if you’re considering buying F/uke and you happen to see the EP, buy the EP instead (assuming that it is cheaper than Fluke.) Not to knock the band, who have a fantastic live reputation, but the other five tracks on Fluke just aren’t as strong as the five that were on the EP. Songs like ‘Tar Water’ and ‘California’ just bring F/uke down with their mediocrity. Hopefully these songs have more vitality live than they do on the album. The only song that really stuck out in my mind was ‘Groovy Dead,’ a great song which, had it replaced ‘Billy Boy,’ could have made the EP that much more powerful. The strongest track by far is the first single ‘Wake Me,’ which has received extensive air play on Canadian Radio and Much Music. Other tracks that stand out are ‘k.d. lang,’ and ‘Punk,’ both from the EP. The current single ‘Misogyny’ has its moments, but it is nowhere near as infectious, or inspired as ‘Wake Me.’ However, none of these tracks warrant going out and buying Fluke, it just doesn’t have the strength to support itself as a strong first effort. Just go see them live and hope for the best next time around. by Brxrun sicdmann Vhe Apa Pacer YAD What would you do if your twin sister and bandmate were struggling with a heroin addiction and thus delaying the progress of your band and you have the urge to put out new music and have a label willing to release anything you record and you have a dedicated fanbase desperate for new material? Well, you would probably do what Kim Deal and anyone else in this situation would do: Start a new band! The Amps are Breeders Jim MacPherson and Kim Deal’s new side project while they wait for Kelley Deal to get over her problems. However, this is no I-have-weird-creative-urges-and- must-satisfy-them-somehow-but-can’t-record-them-with-my- regular-band-because-it-might-alienate-my-mainstream-fans kind of side project. The Amps sound almost exactly like The Breeders. This can of course be attributed to the fact that Kim Deal writes all the songs in both bands, and she has her own distinctive writing style. If you like The Breeders or just quirky guitar pop in general, there’s no reason why you wouldn’t like this album. In fact, if you’re a Breeder’s fan, you might as well buy this CD because there’s no guarantee that this isn’t the closest to a follow- up to Last Splash that you’ ll ever find. The Breeders may be a thing of the past, never again to be seen on the stage. Pacer seems too close to previous Breeders material for Deal to justify its existence as a simple side project. It’s the same vocals, the same guitar, the same drumming, and the same production. The latter could be improved, but all in all Pacer stands up pretty well. If only we could get Kelley and Breeders’ bassist Jo Wiggs to join The Amps, all would be alright in the world again. bs Samuel baralmc-Remis November 28, 1995 Eat Sietic Abhuction Attic! Mammoth Bad name, lame album and the same tired techno/ambient music that was made obsolete by Alex Patterson (Orb) in 1991. Perhaps Eat Static has been around for a while, perhaps they were even the same people who created the typical-sounding dancey, ambient music that I’ve been hearing for the last five years. However, even this isn’t a good excuse — ever heard of growth and development? There’s a reason that I keep turning back to Patterson and Brian Eno: because they keep pushing their boundaries. Eat Static’s music is simply static; nothing distinguishes it from the other run- of-the-mill “technologists.” Hopefully thesse guys will break out creatively, but until that time, don’t waste your money. bs Bryrun siedmann Faith Evans faith Arista Records Faith, do I have any in this CD? Well, maybe. The CD starts out pretty good with ‘No Other Love’ and ‘Fallin’ in Love’ but by the fourth song Evans’ music is just boring. It’s a CD good for a few songs but that’s about it. Stylistically she sounds like Mary J. Blige, TLC and other divas of the 90’s. This is a problem; it’s all been done before, the same rhythms, the same driving bass and the same vocal style. As for vocals, Faith has mastered that. The only acoustic instruments used are a piano in the ‘Thank You Lord Interlude’ and a muted trumpet, which adds a jazzy flavour to ‘Give It To Me.’ This music is great for kicking back, not much for dance music. The most upbeat songs are even slow, good music for a rainy day. If you’re a huge fan of Mary J. Blige or TLC this CD is for you, if you aren’t pass it by. bs Andrex Garrell What's Inside BMG tae y. Chapman with a lower, breathier voice. The CD starts out with a slow jazz ballad, which Armatrading’s voice is suited for, but progresses to almost every style imaginable. From folk, pop, rock, country, to the blues —she sings it all. Her West Indian roots come out in ‘Shapes and Sizes’ and the use of the Kronos Quartet is a nice touch too. Armatrading knows how to write songs — unfortunately the vocals lack the power to communicate her message to the listener. I thought the lyrics were beautiful, warm and personal. They are soulful, elegantly orchestrated and well produced but no song really sticks out as a number one hit on any chart. She is not a true commercial artist — she says that she writes “because I love it.” She is also a pretty good guitar player and the mucicianship here is great. The instumentation reminds me of Bruce Cockburn with lots of acoustic guitar, drums and some keyboards to spice the music up. by Andrex Garrell