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image (even while under the
guidance of Dave Edmunds).
But now this rock-a-billy
sound has become so much
more. Brian Setzer has created
the ultimate huge big band
sound — ala Harry Connick Jr.
— without the cheese. (“Man,
your band is truly outrageous" —
“Hey. Louis Prima.”)
I can't remember the last
time I listened to a CD without
skipping to the next song. Trum
pets blazing, guitar razor-sharp
ripping through 12 tracks, leav
ing you breathless muscle
cramp from tapping your foot fin
ger snapping sweaty rock-a-billy
big band sound.
“Rumor had it now this cat had
it all/ He was loud/ He was wild/
And he sure rocked" — "Johnny
Kool." Believe it. daddy-o.
A. Colombo
KISS MY JAZZ
Heavenhotel Presents... /
Heavenhotel/ Knitting Factory
Records
This eight-member en
semble has stretched the
boundaries of normalcy in the
jazz-rock-fusion genre. File this
one under Dark Twisted Noise.
Kiss My Jazz will make the per
fect soundtrack for the paranoid
psychotic in your neighborhood.
There are many highlights to this
23-track symphony of freaks.
“Burn in Hell" and "Livina's Love
Theme" could almost be mis
taken for jazz standards until
they break from the mold and fly
from groovy improvs to distin
guishable mayhem and back to
standard time. Things get weird
on the Trent Reznor-ish “Nails,"
complete with grinding guitars
and scary vocals by all eight
members. It goes into the next
track, "Fingers," with more
ghoulish vocals over the eerie
sounds of wineglasses being
rubbed around the rims. This
group of John Zorn disciples
love their 4-track machine dearly
and play plastic toys, ukuleles,
xylophones, and as already
mentioned, wineglasses. Kiss
My Jazz explores Dark Jazz and
black holes. They create space
in their songs that allows each
player to take the space they
need beyond what could be
considered noise, or propels
them to float around on
minimalistic notes. All the while,
this band remains a cohesive,
tight unit very focused on the
piece of music at hand. My fa
vorite track is called "Bodybag,"
which “starts out as a cheap
Chet Baker tribute," and ends up
as a film noir mortuary song. Oh
yes. somewhere Mr. Zappa is
smiling. (Heavenhotel/ Knitting
Factory Records, 74 Leonard St.,
New York, NY 10013)
Paul Raia
SERVOTRON
Meet Your Mechanical
Masters / Sympathy For the
Machines
Perhaps I have fallen under
the spell of the Servotron Mind
Manipulation System, out I have
to say this is one fine slab of wax.
"People Mover" is a sort of Shel-
lac-meets-the-Surfaris experi
ment, and "Slave to the Metal
Horde" is just plain Devc-esque.
My one complaint about this 7-
inch is that — ERROR! SYSTEM
OVERLOAD! — Wait, there's
something wrong with the —
SERIOUS DISK FAILURE! — Oh
no, the Metal Horde is here and
they have my mind in a — END
COMMUNICATION. (Sympathy
For the Machines, 4450 Califor
nia Race #303, Long Beach, CA
90807)
Marc Pilvinsky
MOE
Loaf / Fatboy Records
If you can for a moment set
your eyes due north, past
Chapel Hill, past D.C. and far
above Manhattan, you will begin
to see a place that is unknown
to most. A place that is spawn
ing a scene, creating a vibe,
pushing the boundaries, still
getting a lot of snow. The place:
Upstate New York. The band:
Moe.
On their self-produced eight-
song CD Loaf, the band has suc
cessfully highlighted the imme
diacy of their music and the inti
macy of their live shows. Re
corded over two sold-out nights
at the Wetlands in N.Y.C., Loaf
should prove to be Moe's finest
hour. Musically, the band is an
eclectic and rollicking group of
troubadors, following in the tra
ditions of many road-driven trav
elers.
Rob Derhak is a masterful
bassist who can move the whole
ship with his thumping funk
grooves, or create a canvas of
harmonics for his bandmates to
play on. Drummer Mike Strazza
gives the music the power of two
drummers and the finesse of a
jazzy percussionist, complete
with well-timed woodblock hits
and feathered cymbals. Chuck
Garvey and Al are the rhythm,
melody and harmony of Moe.
Their precise dual guitar work
covers the musical spectrum of
reggae, funk-metal, blues-slide
and space improv. The songs
are fun and lyrically catchy, with
simple hooks just when you
need them.
A trip to upstate New York
this spring and a good dose of
Moe would be quite refreshing.
(Fatboy Records. 64 Fulton St..
Weehawken, NJ 07087)
Paul Raia
BOYRACER
In Full Colour/Zero Hour
Records
I'm starting to love Zero Hour.
Everything I've seen and heard
by them lately has blown me
away. Boyracer is right on track.
The Leeds, England, band fash
ion buzzy, jangly Brit guitar rock,
drawing off unusual American in
fluences.
More than a smattering of
Grifters/Polvo noise inundates
the 20 tracks on In Full Colour.
This sure as hell ain't Bush, and
they would never invite Oasis to
the cocktail party they detail on
the cover and in the liner notes.
Loud and excessively up tempo
guitars grind out catchy pop
songs that ooze indie rock. A few
songs, like “W.H.R.,” for ex
ample, are disco flavored, key
board explosions that temper
fuzzy, psychedelic snarls like
"Foam" and “Deviant."
From the second you hit
play, this album throws out en
ergy and one challenging song
after another. Boyracer will kick
your ass, and you'll thank them
for it. The only problem is that
their brilliant songs a'l burn out
two minutes after they start:
Boyracer will definitely keep you
wanting to hear more than the 20
tracks on In Full Colour.
Neil Swanson
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543-9071
Across from UGA Arch on E. Broad St,
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