8 - The Michigan Daily - Tuesday, April 14, 1998 0. 11 ppW MH E N *N S(IJNL Cantrell rides solo in 'Boggy' debut Some music lovers knew all along, but record companies just didn't get it. After Alanis Morissette, most fans thought twice about it. But Sarah convinced us all. And now U.S. labels are finally getting the idea: Canadian bands, even with their funny accents, are a great source for quality songs, many times outshining our own music makers. One.of these promising bands is Vancouver's Pure. In its latest release, "Feverish," Pure represents its native land fair- ly well. Pure's primary strength on "Feverish" is its blend of fair- ly normal rock songs with wild electronic hooks. The first single off of the album, "Chocolate Bar," is virtually untamed. Layers of techno beats, distorted guitars, clever lyrics and short synthesized masterpieces make "Chocolate Bar" a successful experiment, revealing Pure's electronic- rock genius. Not every track on "Feverish" is techno flavored. Pure masters a concept many bands can't even fathom: variety. Pure manages to take the tempo back to normal and even further back to "Hammock" mode, the track that kk* made Pure's last album "Generation Six Pack" famous in Canada. On "Feverish," songs like "Trucks, Feverish Campers & Trees" and "My Mammoth Surfboard and My Dog" are hanging out song. Describing the nature and Reviewed by the essence of doing nothing, Pure is Daily Arts Writer an old pro at these borderline drone- Jewel Gopwani rock songs, adding a few necessary hooks to keep fans awake. Adding to the variety on the album, Pure explores a new world of weird, fun songs. Tracks like, "Sunshine and Happy Hour," "March of the Loonies" and "New Wave Cowboy," are if nothing else, odd. Just try to imagine twangy, synthe- sized rock, backed up by strong guitars and clever lyrics. One unforgettable aspect of Pure is its vocals. Jordy Birch has a unique soothing, almost sultry voice, that is icing on the cake of every song, especially the title track, "Feverish,". Birch's deep voice, those playful lyrics and Todd Simko's Some of the most well-recognized artists from the early '90s are breaking away from their bands to try to estab- lish themselves as solo performers and to stay in the spotlight. Scott Weiland made his debut apart from Stone Temple Pilots this past week, Chris Cornell, former Soundgarden vocalist, has a solo project that's been in the works for several months now, and most recently, Jerry Cantrell, the talent- ed guitarist/songwriter/singer for Alice In Chains, came out with his own release "Boggy Depot." Alice In Chains fans will not be dis- appointed with his guitar playing and certainly not with the lyrics. He contin- ues to write about personal issues in his life such as hope, lost love and troubled friends. His singing isn't radically dif- ferent than what fans may be used to in past albums, with the exception of the country-tinged ballad "Between," where Cantrell flirts with a Southern accent. There is also a noticeably mel- low tone on songs like "Satisfy," "Hurt A Long Time" and "Settling Down," slide guitars could melt hearts. But Pure is not free from the vice that keeps many good albums from being great. Lulls in the middle or at the end of any record makes the album just a bunch of five-minute songs, rather than what it could be - an entity in and of itself. In Pure's case, about 10 out of the songs on Feverish are mesmerizing, impressive and addictive. But songs like "Palm Springs" and "Four Cups of Joe" are decent, and that's about it. These are songs that keep garage bands in garages and off of the stage. But the mediocrity on this album is limited, because there are plenty more above-average songs to make an inconspic- uous cover up. Pure also manages to give its fans more that expected, since the CD for your CD player is also a CD for your CD-ROM. Providing photos and videos of the band, in addition to song lyrics and internet links, Pure is a band for the fans. So, at your next visit to the record store, check out this talented, experimental outfit from across the border. Jerry Cantrell Boggy Depot Columbia Reviewed by Daily Arts Writer Alex Khachaturian the latter two of which were shelved by Alice In Chains. He also consid- erably tones the grunge influence down in "Boggy Depot." The majority of the songs are slow- paced tunes, lack- fact, the best songs on the album are the ones where he sings over a heavy gui- tar. Although these tracks aren't neces- sarily fast-paced, they hit listeners by making sudden shifts in tempo from slow to heavy and hard. The song "Breaks My Back," in which Fishbone's Norwood Fisher con- tributes bass, is the strongest on the album. The rhythm helps convey his deep-felt lyrics: "Restitution Day all I have I give away to be with you." On top of that, Cantrell intelligently uses voice distortion and adds a bit of Staley-esque gruffness. Although it doesn't have "radio hit" written all over it, Cantrell succeeds with this seven- plus minute track by writing a quality song with a considerably different sound. "Jesus Hands" and "My Song," both. solid tracks, distinctly resemble the Alice In Chains sound. They are good examples of classic Cantrell with his smooth yet intense vocals joined with cutting guitar riffs coming in at the refrain. None of the songs on the album are disastrous failures in music making, but "Boggy Depot" is shrouded in medioc-- rity, and Cantrell will fail to excite fans by writing too many songs that sound the same. Although the first half of the album includes some good tracks, "Boggy Depot" certainly is not a CD that you can pop in and listen to all the way through, By doing a solo project, Cantrell is aiming to create a name for himself apart from the band. As one of the most famous names in a modem band not to be a lead singer, Cantrell undoubtedlyA has the potential to sell records. Wha. this album highlights more than any- thing else, though, is his inconsistency and inability to make a collection of 12 tracks worth listening to. With the success he has achieved throughout his career in modern rock, Jerry Cantrell's talent is undeniable. Cantrell can write, play guitar and he can even sing to an extent, but he can- not do these things successfully when he is on his own. Apart from Alice In Chains, Cantrell's ability to write good music is jaded. He needs the support of the band that made him famous and most notably, he needs Staley in front of the microphone. Fans who have been waiting all this time for Alice In Chains to come out with something new, or to go on tour, will have to rely on Jerry Cantrell's "Boggy Depot" and his sum- mer tour with monsters of rock, Metallica Although Cantrell's album certainly does not establish him as a solo performer, "Boggy Depot" should keep fans at bay for awhile, although they won't truly be pleased until Alice In Chains decides to release a new album. ing a heavy guitar-based rhythm. Cantrell kept his overall style the same, but his experimentation with a mellow- er edge did not come across well. In Child destined for greatness de1,h1 4h1 s-ni Mix harmonious, versatile vocals, strong song writing and the end result is Destiny's Child debut CD "Destiny's Child." On their first effort, these four young ladies manage to breathe new life Destiny's Child Destiny's Child Columbia Reviewed by Daily Arts Writer Jessica Simmons into an ever- growing pool of female groups. Dubbed "The Y o u n g Supremes" for the band members sweet, smooth singing style, Destiny's Child shows and proves that this is not an honor to be taken light- ly. The first two singles from the album, "No, No, No Parts 1 and 2" exemplify the broad range of talent the group pos- sesses. "No, No, No Part 2" flashes face- paced vocals set to the rhythm of an up- tempo beat. "Part 1," however, is the exact opposite. Destiny's Child lays satiny smooth singing over a soft, laid- back beat to create this seductive num- ber. These two songs are only a taste of the vocal skills this group has to offer. "Birthday" is another impressive con- tribution from the album. A sequel to Tony!Toni!Ton6!'s "Anniversary," Punk Turks drop stellar new 'Bomb'- The New Bomb Turks are back, once again proving that four English majors from Ohio State actually can amount to something. "At Rope's End," their second release for indie giant Epitaph gives the Columbus, Ohio punk rock quartet an opportunity to further refine its sound. At the same time, this new album holds on to the scream-in-your-face punk rock sound for which the Turks are well-known. Like other Turks releases, this one kicks off with a bang. r "Scapegoat Soup" gets things cookin' early on with its fast pace, high-energy vocals and thick guitar sound. With "Snap Decision," the album continues to roll right along, giving lis- teners barely a second to catch their breath between tracks. By mid-disc, however, the Turks throw a change-up into their typically "guns blazing" punk sound. "Bolan's Crash," "Birthday" offers a slightly different look at the group's creative style. This laid-back number promises to be as pop- ular as its predecessor. With a fearsome debut album, Destiny's Child is off and running to a great start. I Lttle Caesarse P14 lIM The New Bomb Turks At Rope's End Epitaph Reviewed by Daily Arts Writer Gabe Fajuri could have come a ballad that discusses disappointment and unattainable goals, starts out with Eric Davidson, lead vocalist, crooning along to a guitar and piano duet, which is quickly complemented by Bill Randt's capable drumming. The follow up to "Bolan's Crash," "Raw Law" has a distinct gospel and blues feel, making it the highlight of the record. Healthy backing vocals in the chorus give the track the kickin the pants that it needs. Darchelle Williams straight out of a church choir, but some- releases like "Pissin' out the Poison" and "Scared Straight.' "Aspirin Aspirations" is a slower, harmonica-based track, while "Streamline" lacks the speed and energy characteristic of other tracks on this, not to mention other, New Bomb: Turks efforts. All in all, not a bad effort from these Buckeye boys. "At Rope's End" may not be a punk rock classic, but it'll cer- tainly rock you harder than anything on the radio will these days. The Turks may be at their "Rope's End," but they're far from kicking the bucket. (~> t~i$ 7U~'~ ~il N p 1 how she fits right in with the Turks' punk styling. It's on the final couple of tracks, "Aspirin Aspirations" and "Streamline yr Skull" where the record starts to go downhill. Not that either of the tracks are exceptionally hor- rible, but neither is up to the standard set by previous Turks /1 ~ N / ;~ ft 'After' highlights ska before Bosstones Every Wednesday Picture a concert featuring The Mighty Mighty Bosstones, The Suicide Machines, The Slackers, and Less Than Jake. While all these bands fall under the category of Third Wave Ska, they Ska After Ska After Ska Heartbeat Reviewed by Daily Arts Writer Curtis Zimmermann are all very diverse in nature, and come from numerous musi- cal backgrounds. Now picture a group of musi- cians just as var- ied 36 years ago in Jamaica, when Ska was in its infancy. "Ska back beat. Tracks like, "Thoroughfare" by The Skatalites than known as Don Drummond and The Skatalites, and "Storm Warning" by Lynn Taitt and his Comets showcase a Jamaican style of be-bop jazz. While tunes like "Get Your Feet Moving," and "Strong Man Sampson" by Eric "Monty" Morris resemble many late '50s R&B artists. Also evident on this compilation is the origins of reggae. "Its Real" by The Silvertones has a blend of organs, gui- tars and vocals that resemble early works by Bob Marley. While a proving, a musical history book of Ska, this compilation might be tough for fans of the hard-core and skater-punk sound to get into. This music sounds more like something one would hear on an oldies station, or the music your parents were listening too while on their Caribbean honeymoon as opposed anything on "Rock Alternative." r V .. ° ' After Ska After Ska," is a 21-song com- pilation that captures how the music, even in 1962 was just as eclectic, if not more so than it is today. The songs on this album display a powerful mix of Jazz, Gospel, Soul and rock 'n' roll, all blended with a calypso But this shouldn't discourage fans of the newer music from exploring it. roots. "Ska After Ska After Ska" i essential when looking at the music because it shows how in 1962 it appeared in extremely varied forms. Also as it acts as almost a constitution- for a musical revolution that is still being waged nearly four decades later. Guster shines. on 'Gold' Ad Guster is certainly on its way to the top of the music industry. Until recently, this trio out of Boston worked entirely on its own, but Guster has now released " rnirfl " whic h ha been available via would like to see more of in the future. Next is "Demons," a traditional Guster song with amazing lyrics, displaying a more refined harmony than the trio found on its earlier nroiect. " w 'I ' n . ,