Reviews
The Fags
No Fleas Lunch Money and Gold Teeth
Recorded by Pistol Stamen. Mixed by The Fags, Pistol and Joe Egan at Tones Studioand Eclispe Studio.
Released in 1996 on Living Style Records
By Arthur Fufkin
The Fags are 1000% Punk rock, er rawk. At least, that’s what their t-shirts claim. That’s one more zero than one hundred, for those of you who aren’t so good at math. That’s a lot -1000%. But then so is 100%. 1000% is ten times more than 100%. So are they, like, more than punk? Or is the 1000% bit just a little good-natured satire? DO real punks even call themselves punk? Do real punks have a sense of humor? Regardless, those are some questions to ponder some other time. Actually, none of it really matters. I’m just restless.
So, pointless percentage aside, The Fags’ new CD, No Flease Lunch Money and Gold Teeth rocks like old school punk rocks. And, they don’t sound like Green Day. Though they probably want to prevaricate this impending comparison, they do sound a little like The Clash and, at times, the Sex Pistols. (Okay, that’s out of the way). But The Fags’ music is all their own, particularly in a time and a town where no one else is doing what they are. Their songs are simplistic and repetitious in the true punk fashion, but are played passionately to the max and packed with genuine emotion, something a lot of punk is devoid of, particularly today. The songs on No Fleas are hard-driving and aggressive but also, and most importantly real real catchy -yet another quality too often missing from present-day punk. The Fags know how to blend in-you-face rockers with listener-friendly, sing-slong melodies that stick with you beyond the thrashings of the mosh pit.
What’s more, It’s believable. You’d be hard-pressed to find someone who wasn’t convinced that these guys know exactly what they’re doing. They can whip tines off with relative ease, never giving a shit or a second thought -another admirable quality a mid a world of punk rock where too many bands come across as contrived, ridiculous, and just plain laughable.
A big reason The Fags avoid this is the depth, energy, and charisma that singer/guitarist Eugene Nikoleav brings to the project. With ample amounts of both energy and style, his driving guitar lines provide the perfect backbone for his Ukrainian-accented growls. Together with Jason Cooley’s steady yet creative bass lines and fine drumming by Dana Shephard the music on No Fleas manages to flirt with chaos (including elements of folk, reggae, ska, and metal) and still pull together as an independent cohesive unit. No Fleas is highlighted by the accordion work of Dan Mazur which lends a twisted, almost cajun festival feel and helps make “Jung and Crazee” and better yet, “Seventeen: the best (and catchiest) songs on the album. Other highlights include “Social Status Play” and “Blues For Albert Camus.” So, whether or not the whole 1000% punk rawk thing is a joke, it make no difference, No Fleas Lunch Money and Gold Teeth is a confident, conceptual bunch of songs from an innovative local trio tat’s shown punk rock, er rawk, can be done the way it should and still be original.
Arthur Fufkin finally lost his job with Polymer Records last Spring after repeated instances of promotional incompetence. He now sells candles and gives Tarot readings.
DysFunkShun
Home on the Range
Produced by Dysfunkshun, Recorded at Eclipse Studios,
Hinesburg, VT.
Released in 1996 on Good Citizen Records
By Son of White Shadow
On Home On The Range, a seven-song album dedicated to (among others) “all the girls that laid us,” Dysfunkshun mixes funky bass lines, heavy rock guitar, and the rap-like non-singing of their lead vocalist. The influence that the Red Hot Chili Peppers have on this band is evident right down to the picture on the album insert of a bare chested, tattooed band member, Not sharing the Pepper’s sense of melody however Dysfunkshun sounds more like the band 311. How much you like those other bands will give you a good idea of whether this disc is for you.
From the bass rift that opens the album on “Homegrown,” the group’s foundation is well-laid by Ben Dunham and soon joined by a scratchy guitar that gets the groove going. The song then takes off with Richard Bailey’s heavy guitar riffing creating a powerful combination of noise and movement. Much of the CD follows a similar form, jumping between thick bass/percussion breaks and fuzzed-out guitar rock crunch. The one song that switched things up a bit is “Get Out of Babylon.” It is an admirable reggae-tinged hard rock song a la Bad Brains, though it lacks that band’s speed or intensity. Aside from a short instrumental, “North Street (3 AM)”, all the songs feature the vocals of Marc Daniels, which are the kind of white-boy rapping that has brought Anthony Kiedis fame and fortune. Daniels’s voice works well within the sound of the band, though the repeated tough-guy posturing – “Violence is all in a day’s work” –and marijuana referenced grow tired. The real story here , as it should be with ny and that includes the work Funk in its name, is the rhythm. Ben Dunham plays fat bass which grounds the workings of everyone else. The grooves that he lays down throughout the album are thick enough to bring a smile to Bootsy Collins’s lips. Troy Pudvah displays good timing, though his drums seem like they were recorded too far forward in the mix and sound a little brittle, like he used a drum pad instead of a kit. It’s evident from Home on the range that Dysfunkshun can rock and probably quite on quite a live show. For anyone who likes to mosh in the privacy of his or her own home, this album is a safe bet.
Son of White Shadow years for the days when funk was still a bad word.
Editor’s Note
Well-aware that this magazine is still very much a fledgling operation, I think I can speak for the rest of the editorial staff in saying that we welcome and are open to input ideas from any and all that wish to contribute. This is certainly true with this review section. In fact, I am in need of critically-minded people who feel comfortable and confident writing about music. If you would like to review something to simply know of something you would like to see reviewed in the next issue, don’t hesitate to get in touch. In addition, if you have nay input as to how this section could be improved or done differently, let me know. Feedback really is an important element of projects like this.
-Matt Taylor
Gordon Stone
Touch and Go
Produced by Gordon Stone and Charles Eller at
Charles Eller Studios, Charlotte, VT.
Released in 1995 on Alcazar Productions.
By Matthew Taylor
For all the new bands and all the new raves that always seem to be popping up around town, there’s a few musicians who just seem to maintain a steady, solid, musical prowess, if at times away from the spotlight. A lot of them seem to have popped up on this album. Gordon Stone is a banjo mutant and it’s therefore fitting that the cover of his new CD Touch and Go sports a somethat space-age shot of Gordon, silhouetted with banjo in hand, staring at the moon. Let me clarify that last statement: the term “mutant” is somewhat akin to phrase “out of this world” -at least in my jaded vocabulary. In other words, Gordon Stone is a very good banjo player. And he’s put together an album with a lot of other very good players, including Stacey Starkweather, Jamie Masefield, Dave Gripper, and Mike Gordon (courtesy of Elektra, of course), to name a few. You might say the whole crowd is here, The Burlington jazz masters. The old school Sneakers scene. Breakaway. The Jazz Mandolin Project. The list goes on.
What’s so impressive about this album, which was produced by Stine and Chuck Eller at Chuck Eller Studios in Charlotte, is it’s overall coherence and lack of pretension. Touch and Go features seven songs performed by a handful of technically advanced musicians who know they’re good but don’t need to flaunt it. What’s more, it just plain seems like they’re having a good time. While a collection of instruments set the swing, it’s Stone’s rapidly melodic banjo picking that swoops and flails around the pulsing rhythm. It;s not so often you hear banjo music that makes you want to get up and dance.
Come to think of it, banjo isn’t exactly the instrument that comes to mind when you think of jazz and that right there is the genius of this album. It hits you with a barrage of vibrant and harmonious, undulatory sounds that delicately prance the obscure line between jazz and bluegrass. The success of it all is found in the fact that that line is not a barrier. Gordon Stone and his platers have the ability to interact the two worlds masterfully and elevate the collaboration to new heights of harmonious chaos. You might call it space-age, hypnotic, alien-jazz grass banjo music.
Highlights include “Monkey Wrench,” the kinda cajun-esque “Happy Landing,” and better yet, “Touch & Go,” a thirteen minute banjo-waltz balland wallowing somewhere amid a murky realm between old Buster Keaton film scores and “The Rainbow COnnection.” In all, seven strong and varied instrumentals from one of the finest pluckers around.
Jalapeno Brothers
Growing
Recorded live and at Ducktape Studios, So. Burlington, VT.
Engineered by Martin Guigui
Released in 1996
By Matthew Taylor
What do the N-Zones, Haddie B. and the Christmas Cowboys, Plan B, the Dog Catchers, the Limit, and the Jalapeno Brothers all have in common? Give up? Well, in December of 1990 these local bands were among many who leant their time and effort to recording Homes for the Holidays, a compilation of local musicians intended to benefit Burlinton’s homeless. The project was overseen by Mike Luoma at the former Jet Sound Recording and the finished product was sold state-wide. Okay, next question: So where are they now? Answer: MIA, That is, except for one.
Let’s face it, in a town where new bands seem to appear and then drop quicker than the mercury on a February night, endurance is something to be proud of. The Jalapeno Brothers have done just that, endored, for over nine years, very possibly making them the longest running band Burlington has known (besides Phish). And they’ve done it is style too, racking up quite a hefty little press packet of praise, while at the same time remaining quietly humble and somewhat behind the scenes. They’re no strangers to the stage though -or to the road for that matter. Over the past decade, the Jalapeno Brothers have shared performance space with, among others, Taj Mahal, Hot Tune, Lynyrd Skynard, and Dave Mason. They’ve also toured in Europe, the Caribbean Islands, and popped up all over publications ranging from Relix Magazine to the St.Croix Daily News.
Though the jalapeno’s exact lineup has changed around a bit over the years, the core has remained the same, anchored by the guitar-picking of the band’s founder, singer/songwriter Glen Schwietzer. With Thom Carvey on bass, Tim Renehan on drums, and the more recent addition of Chuc Setzer on keys, the Jalapeno Brothers hace, at long last, released their second album, a full length CD entitled Growing.
The songs in Growing live up to their bios proclamation of “an uplifting blend of tasty, American roots music, blues and rocking originals.” Fans of the Allman Brothers won’t be disappointed. Schweitzer’s guitar playing is superb, if at times predictable, and lays the framework for the rest to follow. Likewise, Carvey’s stead bass helps to ground and lend substance to tines that might otherwise lack some depth. The album’s saving grace is its diversity, mixing epic, folky guitar love ballads with amped-up bluegrass numbers that more than make up for the occasionally cliched subject matter.
The Jalapeno Brothers are better acquainted with the stage than the studio and it’s no surprise that the album reaches its apex on a handful of live songs recorded at, where else, but Nectar’s. This is good, down home, jamming folk music from some of the hardest-working musicians in town. While they may never grace the screens of MTV, the Jalapeno Brothers continue to do what they do, and what they’ve been doing for almost a decade, very well.
Lindy Pear
On Decisionmaking
Recorded at Low Tech by Gix and Lindy Pear
135 North Willard Street,
Burlington VT 05401
Released in 1995
By John Patrick Bowles
Lindy Pear’s debut EP, On Decisionmaking, is a remarkable effort. Their mission appears to be to challenge the gloominess and angst that pervades a lot of the local music scene, and they succeed admirably. It’s not that there’s anything wrong with dark, brooding music, it;s just that there is a dearth of good, solid, pop-rock bands in this town. Lindy Pear is the antidote -I’ve been listening to this tape for weeks. The group has been around for about a year and includes bassist Glen Cole, drummer Dan Allen, and guitars and vocals from Craig Gurwich and Bob Higgins. Higgins was the guitarist for Hover, which explains why they were the first band that came to mind when I was trying to figure out who might have influenced these guys. After giving this tape a listen, you might also be reminded of Murmer-era REM, XTC, or Bob Mould (more specifically, sugar circa Copper Blue).
Lindy Pear stirs these sounds with a healthy dose of originality into an irresistible, catchy-as-hell smorgasbord of pure pop. The jangly guitars and ethereal vocals take one away to a place devoid of dark grudge sensibilities.Simply put, Lindy Pear grabs one’s jaded, hard-edged ear and softens it up a bit to appreciate the simple intricacies of good pop. Both the band and the people at Low-Tech did a great job putting the EP together, giving it a just-rough-enough feel that compliments the sweetness of the group’s songwriting. So, If you're looking for something that’s a little lighter than your average local fare, check these guys out: in fact the cur “Already Betty” alone is worth the price of the tape. Remember, all Junt and no Lindy Pear makes Johnny a dull boy… Couldn’t resist that.
John Patrick Bowles’ friend Pam thinks he’s a big dork.
Long Haired Boy
World Tree
Recorded and mixed at Ducktape Studios
South Burlington, VT.
Mastered at Charles Eller Studios, Charlotte, VT.
Released in 1996.
By Matthew Taylor
There was a time in Burlington when a groovy, acoustic, feel-good, folky duo who went by the name “Chad and Jeff” had the most rigorous touring schedule around, consisting chiefly of off-campus fraternal organizations. They quickly became favorites of the Greek crowd and did quite well pleasing the UVM masses with healthy doses of happy, up-beat, positive percussive vibrations. Then they seemed to vanish almost as quickly as they appeared, leaving an unprecedented legacy of lucrative local musical engagements. Well, the “Chad” portion of that duo has since graduated from the simple name to the basic description and is evidently now known as the Long-Haired Boy. The Long Haired Boy, who is apparently (inside album pictures) really into his long hair, plays the conga and other forms of percussion, sings, and has continued the earthy, positive vibe he once created with Jeff.
The Long Haired Boy’s real name is Chad Hollister and World tree is the name of the album. With Sean Harkness joining him on fretless bass, Hollister has found himself in another “sensitive pony tail guy” type of duo. The “grooves” consist predominantly, no make that entirely, of drum circle-esque conga pounding that would cause more than a few Phish fans to drop their tofu burgers and start noodling. Though Martin Guigui is credited as a band member, he actually only plays on the title track, delivering a minimalist rain-stick performance.
Let me say this before I go any further. Hollister, or the Long Haired Boy, is an excellent percussionist and there’s enough hand-slamming conga beats on this album to make anyone’s fingers start to ache. Likewise. Harkness’s bass playing is both solid and creative. Helping to give the otherwise primal rhythm a little bit of depth. Moreover, production-wise, the entire album is slick and professional right down to the earthy-aquatic cover graphics. Here’s sure I know what Hollister is trying to accomplish. I think, I should say I hope, I detect a certain degree of humor at work here. Take, for example, these lyrics from the third track: "I'm not afraid to cry and I never lie, I love the sunsets in July, quiet evenings by the fireside, I’m just a sensitive pony-tail guy” or “Am I here or am I there?, amidst a circle or a square, is it ‘cause I got long hair?” I’m beginning to think there may be some hidden magic in Hollister’s hair. I’m inclined to believe that the whole long hair thing is an album-long joke, but I’m a little nervous at the same time because it’s not completely clear just how serious Hollister is about his subject matter. For instance “Nantucket Song'' -a catchy, Caribbean-flavored island tune about getting away to a sun-baked paradise and “chillin’ chillin’ chillin’ the day, and jammin’ jammin’ the night,” Yet its tropical rhythms are not about the tropics, they’re about Nantucket -the white bread, college kid capital of New England sea coast. If this isn’t intended to be funny, Long Haired Boy may be in for a surprise.
Getting back to production for a second, this album is put together well and the whole package is indicative of many hours and laborious precision. Whether the Long Haired Boy will ever touch the legacy of Chad and Jeff remains to be seen , but at least one person really got a kick out of World Tree. I just wonder if I was supposed to.
Starlight Conspiracy
Starlight Conspiracy
Recorded at Eclipse Recording
Released in 1995.
By John Patrick Bowles
If I had to give one piece of advice to someone before they listened to Starlight Conspiracy’s premiere EP, it would be to play this tape VERY LOUD. It can’t be explained fully in any other way; they go to eleven, to use a Tufnelism. The group is comprised of seasonal veterans on the Burlington scene, with Brad Searles (ex-Hover, ex-Eef, ex-Snowplow) on drums, Jan Tofferi (ex-Hover) on vocals, Denny Donovans’ (ex-Slush, ex-Epitach, ex-Twelve X Over, ex-Peg Tasset and Proud of i) brilliant guitar work, and Shawn Flanigan’s (ex-Sleepcrash) bass and vocals.
Their sound defies any classification, really -the best I can up with is a combination of Smashing Pumpkins and Shudder to Think with a dash of Dick Dale on a lot of acod, and a smidgen of Wide Wail on Meth. So, like I said, you’ve gotta hear it to really understand. All four songs are almost perfectly crafted, which is a true testament to the talent and experience of the musicians. A lot of time and expertise was obviously spent on this tape, and it shows in the exquisite dissonance and power of “Silver Holler,” “Calgon,” and “Starlight,” and especially in the brilliant “Anchored,” which is really the highlight of the EP. Denny Donocan’s riffing is nothing short of masterful on this track in particular. There is a problem, however, and that is Jan Toffieri’s vocals. The only track they work on is “Anchored,” where they fit well and are an integral component. On the other three tracks, however, they seem alien. I loved her work with Hover but her ethereal style just seems chilly and out of place with the very emotional attack of this band.
If Starlight Conspiracy does anything, they make you feel. The songs are so…so dramatic. The interesting thing is, they don’t really create or define one particular emotion as such; instead, they provide a perfect framework for whatever the listener is feeling. This is music that really gets to you. And they’re even more powerful live, so don’t miss these guys on stage.
John Patrick Bowles looks pretty damn hot in a dress, but you all will never know just how hot.
Swank
Gutless Crap for Drunk Teens
Curve of the Earth Records
Released in 1995
By Matthew Taylor
The liner notes of this five song release from Boston’s grunge-girl trio Swank boast ‘The best part of it all is, it’s a record you’ll want to play over and over. And you hardly ever get that kind any more these days.” Hmmm. Well, if this is meant as a proclamation of individuality or originality, it’s slightly off the mark. While the material on “Gutless Crap” is well-produced and aptly delivered, there’s really nothing new here. Or should I say I’ve heard it all before? On the other hand, whose to say you won’t want to listen to it over and over again” The five songs fly by fast enough that you almost have to just to avoid missing it the first time.
Pardon the cliche, but you should really put your money where your mouth is. And Swank almost does. The musicianship is capable enough with driving guitar and rhythm tracks, able drumming, and screaming angry vocals. Though the songs on “Gutless Crap” beg for a depth and endurance that never seems to come. Live, I imagine these guys are a lot of fun, particularly if you’re a drunk teen, or at the very least drunk. They seem like a good band to slam around to, with repeated loud dissonant drools of “Who gives a shit?” comprising the bunk of one song. This is good in-your-face music to mosh out your agressions to get real sweaty and tired in the process. As far as some listening comparisons go though, how about an uninspired Babes in toyland or a minor league L7 without much creativity or urge to experiment?
Twilight Idols
Twilight Idols
Recorded at Low Tech Studios, Burlington, VT.
Engineered by Gus Zeising
Released in 1995
By Scotia Jordan
One of the best things about the Burlington music scene is the way local musicians move in and out of individual projects while still working with their core bands. It appears to be a growing trend for musicians to expand and develop different styles and play with some of the other talents in the area. Guitaris Matt Vachon is one such example. Formerly of The Limit and currently with Parks’ Department, Vachon has put together an interesting solo project -a band called Twilight idols. Though the line-up has changed since the release of this four song tape (guitarist Scott Evens and bassist Chris Burrage have been replaced by Dennis Bedard of Joker’s Wild fame and bassist Bruno Choiniere of Parks’ Dept.), Vachon, drummer Cory Many, and the rest of the band maintain the attitude that good material will preserve the band’s unique feel. And the music speaks for itself.
What’s cool about this band (aside from their name), is that, while Burlington has its share of great funkin’-groovin-dead-punk-blues bands, the Idols can’t be pigeon-holed into any one style. Their sound is alternative enough, but a crafted hook-heaviness sets them apart from the crowd. Refreshingly free of pretension, their straight-ahead, no-frills rock-n-roll comes across joyously focused in an out-of-focus way. Twilight Idols always sound one step away from teetering over a mid-60’s timewarp cliff, but just when you think they’ll leap, the music turns and brings them back to the chaotic present. Vachon’s wry perceptions and somewhat irreverent lyrics tend to lend to that vibe, particularly in “Loneliness Pure.” Co-written with Dan Parks, this some sums up the angst and somewhat vacant emotions seemingly ever-present today, seen specifically in biting little likes like “this ain’t about love baby, I’m doing this for my health.” “Pure” is all about the confusion and oscillation of relationships. It’s also about as close to commercial rock as these guys get -and they do it well. Perhaps the strongest cut on the tape is the opening “Prayer.” The song’s guitars and fine rhythm section lend themselves nicely to the sarcastic lyrics. With lines like “may your ego always adore your,” sung by Vachon in a gritty Jim Morrison ala Eddie Vedder style, “Prayer” has all the right stuff and leaves you hoping there’s more where it came from . The dichotomy of these two songs results in a sound that’s strangely circus-like, slightly eclectic and always spirited. This becomes more than apparent with “Hey Madonna” -a punkish, rockabilly number that, while a great raucous bar song, seems almost too flippant and out of place among the tape’s heavier material. Side A’s “Mescalito” works in the sense of its off-beat sound but, like “Madonna,” doesn’t quite live up to the ragged glory that ear-marks the fuzzed-out Niel Young-Doors style of the other two tracks.
Having played out with the previous line-up. Vachon Plans to bring the new Twilight Idols out to play some more original music. The rough and tumble sound of this band together with the strengths of new members and songs will hopefully win these guys some exposure. Enter the Twilight Zone and check this band out, They are certain to get the following they deserve.
Scotia Jordan is a local music freak who listens to a bit too much Bob Dylan these days. She can usually be found at the various coffee shops slugging down her 6000 cups a day of quality caffeine.
Guppyboy
York/Wendy/Affection
3 song seven inch
Recorded and engineered by Pistol Stamen and Guppyboy
Tup Keewah Records, Burlington, VT.
By Matthew Taylor
Not too long after Guppylove -the now famous local tribute to Burlington’s then-departed Guppies- was released in the summer of 1993, I had a conversation with guitarist/bassist/singer Zach Ward. We were talking about the tribute album. Zach, who was visiting Burlington, having split town -with the fellow bandmates- for Chicago, was a little confused. He expressed a good-natured perplexity at the fact that how, when -as he said- Guppy bot was living and playing nobody ever came to their shows. “So we left,” Ward lamented, “and all of the sudden everybody loved us.”
Indeed, as Guppyboy’s cult status continued to grow in their absence, so too did an urge on their parts to return and reap the benefits. (After all, the Velvet Underground were never very popular when they were around either.) And now that they’re back, Burlington’s resident kind of doleful lo-fi slop rock have also returned to the studio (Zach’s house).
Having abandoned some of the cut-and-paste basement tape style of 1992’s underrated four track masterpiece Aloha, Guppyboy’s latest release is a slick, three song vinyl recording that melodiously oozes from your speakers like hot maple syrup onto snow. Filled with maudlin harmonies that plaintively weave their way into the tearfully sentimental core of your soul, the songs tap a nostalgia not unlike, say, reading an old journal after a bit too much red wine.
Though singing duties and instruments are shared, it’s the wandering, unstable vocals of Ward and guitarist/keyboardist Chris Ziter that penetrate the symphonic drone of the music, exquisitely falling in and out of harmonies as if the whole thing could cave in around them at any moment. It doesn’t though, and the result is magnificent -a weeping ethereal blend og somehow accordant dissonance that makes you wonder why everyone hasn’t heard these guys. Try the intellect of Pavement crossed with the graceful despair of the Palace Brothers and maybe just a hint of, say, distorted Uncle Tupelo. Jeff Baron also plays guitar and Mike Barett drums on this exceptional EP by a band that is hopefully back to stay for good.
Matthew Taylor will someday track Toystore Bob down, find him, and…, and…, and…hug him because, darnit -I loved that guy.
Rocketsled
‘7 | Nova
Recorded and engineered at Eclipse Studio by Joe Egan
Mastered at Le Studio Morin Heights, Canada.
Released in 1995
By Toystore Bob
The boys from Rocketsled would have you believe that they’re really into the Satan thing -the front cover of the new CD ‘7 | Nova slyly states “Issue 6 Vol. 66” and the inside jacket carries “Satan’s stamp of approval.” Not to mention the fact that cover art credits go to one Lex Lucifer. Yet, it’s all just in good old-fashioned Slayer-esque hard-core metal fun (I hope for the sake of my own rapport with the Beast Master) and this group of five young local lads really want nothing more than to be your friends. ‘7 | Nova, recorded down at Le Studio Morin Heights in Montreal, packs six in-you-face slamming tunes that are masterfully orchestrated and down right Heavy -no lack of precision here. These guys know their instruments well and know how to play them loud-studio excellence no doubt contributed greatly to the album’s vigorous and stalwart presence. Both the subject matter and the cover art are apocalyptic to a tee, boasting lyrics like “the screams of the unwanted become the softest chamber music; the struggles of the daunted only parlor games to me,” and “Bite, tear, rip, rend! FIght, claw, twist, bend” -the latter of which alone comprise the majority of “Main Man.”
But the real story of RocketSled is not their tendency towards the dark, revelatory, cryptic prose (which has become sort of a tired cliche with heavier bands); rather it’s their exceptional feel for music and notable ability both as songwriters and purveyors that earn them respect. They get a lot of noise from two guitars, bass, and drums, laing a firm blanket of chaos over which lead vocalist Casey aptly and angrily screams. Though the six track blend together as one big ugly-headed metal monster, “Requiem” and “‘7 | Nova” rock a little harder than the rest. And the whole Satan thing is pretty amusing, but they'll have to do a little better of a job convincing us should they really decide to embrace the Lord of Darkness.
Toystore Bob is a handsome, albeit mysterious man who works at the highest level of the Counter-intelligence, special forces faction of the CIA. Though you’ll never really know him, he may visit your town and seemingly work his way into a run-of-thef-mill routine. Don’t get too close though, for when his mission is complete, he will vanish and you will never see him again.
Science Fixion
Sting of the Star Spider
Recorded at Dan Archer Studios, Colchester, VT.
Released in 1995
By Benj Newman
Sting of the Star Spider is as unique and joyous an album as can be found anywhere. The beautiful and colorful, yet strange, computer-generated artwork on the cover behind to tell the tale that is completed by the wild sounds that are found throughout the album. The six members of Science Fixion have billed themselves as “The Best Band in the Universe,” and while the statement may be tongue-in–cheek, like much of the music and lyrics of Sting, it’s hard to think of a band that plays so many instruments in so many styles with as much inspiration. The first thing that hits you on this album, the band’s second, is the joy that emanates from every song. What a nice thing it is in this time of post-grunge darkness to find an album so full of fun. Exemplary of this is the song “Star Spider” which begins with an aria sung in the language “Xoapoot” (this is all explained in the liner notes), then swings into a malleted segment that sound like the soundtrack to a Saturday morning cartoon chase, and finishes with the smooth guitar playing of Steve Blair. Much of the fun comes from Chamms Mortier’s lead vocals which give the warm feeling of a crazy, but loving grandfather. Throughout tunes that give strange, yet important advice, such as “Kill the Buddha '' and “Never Abandon Hope,” Mortier sounds like Wolfman Jack would have had he had any soul. But the warmth exists throughout the album, even in its instrumentals. Sting is a team effort. All the band members share in the song writing and there are no weak spots in the playing, helping to make this wildly eclectic album work cohesively. There is little to compare this music to, not just in the sludge and angst-filled town of Burlington, but in all the world of music. After all, how often does one hear the soloing of both an electric guitar and a cello in the same song? Only the free-wheeling, anything goes music of the lake Frank Zappa comes close. Science Fixion’s influences come from all over the place, like in the romp of “Good ol Terra Firma,” which could have been recorded in a sweaty back room in New Orleans or the ska-laced “Dear God I’m Crazy.” Other songs find Steve Blair igniting a rock guitar solo or Marcus Copening generating lively Latin percussion breaks. But the album is not just different for the sake of being different. Throughout the songs, all of which are finely crafted, the musicians display their virtuosity and I dare say love of their instruments. They all sound like they want to show off their wonderful toys. The playing is consistently a tightly-knot tradeoff of soloing and teamwork and is so free, it’s hard to picture it being recorded in a studio. Science Fixion has created a jazz album for people who love, hate, or are indifferent to jaz. Though there are some more traditional jazz-like moments such as the piano-saxophone tradeoffs on “Drifters in the Void,” and the ever-present feel of improvisation (including the singing), the music can be limited to no –or maybe all–categories. But, above all else, Sting of the Star Sider is definitely all fun, all lovely, and all joy from beginning to end.
Benj Newman is part of the growing Bad Turkey movement, Watch for multimedia events in your town soon.