9-- The Michigan Daily - Tuesday, October 6, 1998 Jake unleashes stellar fury on 'Rockview' 'INTRODUCING' CHARM Two long years have passed since Less Than Jake released its last mag- num opus, "Losing Streak." Ever since then, scads of fans have been screaming for more. With the release of the band's latest effort, "Hello Rockview," the screaming hordes will be silenced, if only for a few short moments. After that, they'll crank the * stereo up to 10 and play this new Less Than Jake record to death. Hello Rockylew It's the band's certain flair for captol Records silliness coupled Reviewed by with hard rock- Daily Arts Writer ing ska/punk that Gabe Fajuri has made LTJ's name. "Hello Rockview" carries on that tradition. This record doesn't mark a stylistic change for LTJ at all. The band sticks to what it knows best: mixing punk rock guitars, a powerful horn section and the occasional ska beat into an unending sonic frenzy. The results are simply wonderful. Coupled with incredibly catchy choruses and the obvious influence of '80s rock (tracks like "Help Save t Youth of America From Exploding" include fingertapping that would make Eddie Van Halen proud), "Hello Rockview" grabs ahold of your head from first listen and doesn't let go. From the momentlead singer/guitarist Chris bellows "I know/I know/I know/I know just who I am" on the opening track "Last one out of Liberty City" t1's no escaping the record. It sucks yMin, and begs for a further listen. Lyrically, "Hello Rockview" seems a tad more mature than past LTJ releases. While song titles like "Scott Farcas Takes it on the Chin," "All my Best Friends are Metalheads" and "Theme Song from H Street" might not seem like pon- derous offerings, there is a marked difference in the actually lyrical con- tent of the music. In the past, the b has focused their attention on C6 s ("Jen Doesn't Like Me Anymore") and convenience stores ("Liquor Store"), but the subject mat- ter on this album seems more con- centrated on life decisions and wast- What a way to make an entrance. Marking a return to the shake, rattle and soul days of '60s-era girls-in-the- garage combos, Portland's Cadallaca is kicking up dirt with tales of crushes, break-ups and bruised egos on its debut album. "Introducing Cadallaca" announces the feisty trio, which joins forces of two great Northwest **** bands. The Lookers' Sarah Cadallaca Dougher works Ini'educing the Farfisa organ cadallaea and STS stakes K Records out drums, while Reviewed Sleater-Kinney's for the Daily by Corin Tucker Jimmy Draper takes on guitar duties. Their col- lective sound may be 30 years past its heyday, but it is a refreshing knock in the chops to the hordes of musicians peddling electronica as the wave of the future. Like Sleater-Kinney's interwoven lines, Dougher and Tucker effectively trade off and overlap vocals - the equivalent of picking a fight while knowing your best friend has got your back. This brass-knuckled camaraderie adds a sassy, confident attitude on songs like "Your One Wish" where Dougher taunts, "I'm your one wish that you'll never get!" You believe her. Or, at least, you dare not question her. With vocals front and center, most of Cadallaca's fun comes in Dougher's and Tucker's dramatic style and deliv- ery. Their voices perfectly compliment each other as they plan to exact revenge on an adversary in "Fire Trap." Dougher dares the listener to "Stealmy fire? Ha! No way!" Each song is a les- son in '60s girl-group street smarts, sass and passion. On "Night Vandals," Tucker wails, "I could cost you every- thing!" A threat or a promise? You decide. If a trademarked brand of make-out music is not on the market already, then Cadallaca can bottle its sound and sell it to the disbelievers. The songs rely mainly on the Farfisa to give the album its buoyant edge. Even at its most serious, the music is light enough for tapping toes and swiveling hips, without falling into the trap of campiness. Hilarious spoken interludes recall oldies like "Leader of the pack, but the music ranges from the disco-a-go-go instru- mental "Cadallaca Theme" to the catty snarls on "O Chenilla" ("I see you around the mall/I know you out- slut them all"). The best songs, however, come when the band lets down its defense on ing precious time ("History of A Boring Town" and "Big Crash"). That's not to say that the album isn't without it's silly moments. Sound bytes abound on this record. The band sings a hilarious tribute to its self-invented holiday, "Cinco De Mustache," as a prelude to "Scott Farcas Takes it on the Chin." "Cinco De Mustache" is a holiday on which kids across the land should thrown down their razors, and let their mus- taches grow. All kidding aside, as the album progresses, the hooks dig deeper, refusing to let go their stranglehold on your ears. Songs like "Nervous in the Alley," "Five State Drive" and "Danny Says" draw in listeners with horn licks that have become staples of LTJ's music. Since its last record, the band has added a trombone play- er, giving the three-man horn section additional power. In addition to a knock-you-on- your-ass horn section, "Hello Rockview," as LTJ's other albums have, showcases some excellent gui- tar work. There's no brilliant techni- cal work for the Stevie Ray Vaughn nuts out there, just a perfect example of how three basic chords can make an amazing record. The final ingredient in this melodi- ous masterpiece is something that most bands can't translate to record: energy. It comes across in every lyric and downbeat. There's a little bit of fury bottled up with each copy of this record, waiting to be unleashed by your CD player. Be forewarned - once you unleash the beast that is "Hello Rockview" you won't be able to stop it. "Pocket Games" and "Winter Storm foals in love. '98.' Here the trio drops its guard and A rowdy romp and stomp of an wonders where its lives are heading. album, "Introducing Cadallaca" will They have got the fighter exterior undoubtedly charm the bobby socks down pat, but thankfully they are still off listeners. Gomez bnns on the pretentious ME- England's Gomez works in the crowded excavation quarry among many other english groups who have mined the sounds of the '60s and '70s. While groups like Supergrass and Oasishave worked under similar circum- stances, they still managed to * stamp a firm slab of identity to Gomez its musical outcome. Gomez on the other hand has chosen to Bring It On plod through its music without a Virgin Records face but with plenty of dull America tunes across its 12-track debut Reviewed by release, "Bring it On." Daily Arts Writer Throughout the album, the Adlin Rosh group gives the appearance that it wishes to be perceived as clever and hip. It wants to be an important band with profound songs about life alluded to ina deep fashion. Even the art work for "Bring it On" was done using the sort of paintings you would find in only the most hip of coffee houses. Consisting of a group of early 20-somethings who cite Beck to Slayer as influences, Gomez would seem to be able to back itself up as a hip and smart group with profound songs. Instead, it tends to portray itself as contrived and pretentious. On the album opener, "Get Miles" and on "Make No Sound," for instance, the group tries very hard to get the sound of old folk and blues songs through its songs, trying so hard in fact that it does not get anything else across except sounding like a folk and blues cover band. The group's own identity was thus lost. Track after track on "Bring it On'" the band offers more dull interpretations of the sound of folk and blues with precious little variety or identity to go with it. What almost saves the record was the uneasy balance achieved between a catchy folk song and some strange quirky background noises on "Whippin' Picadilly." Sadly, moments like it never resurface on the rest of the record. When the group does not attempt to be a band with deep important songs, like on "Whippin' Picadilly," the group actually manages to have something that justifies its pretentious appearance. With Gomez's debut release "Bring it On," the revival of sounds from the '60s and '70s in England has been brought to a new point in its existence. The scene that has been supporting the likes of Supergrass, Oasis and Embrace now has Gomez to thank for allowing it to reach its saturation point. 'Smitten' canies With a perfect release date that scathed the end of anoth- er summer, Buffalo Tom's new album. "Smitten," is out just in time to warm some ears in this nippy weather. Buffalo Tom kicks off its sixth effort with the lead vocal debut of bassist Chris Colboumn on "Rachael?' Offering a} soft youthful twist, Colboum's vocals keeps this expen- enced band fresh and compelling. *t Buffalo Tom enforces Bill Janovitz's coarse voice on the rest of the album. The first single features Janovitz and Colbourn's near perfect balance singing "Wiser" together. Although Buffalo Tom is no stranger to the use of keyboards, on Buffalo Tom "Smitten" the band consistently and widely utilizes keyboards. With the Recording this album a while after 1995's "Sleepy- smitten help of this technology, Buffalo Tom Eyed," the members of Buffalo Tom had considerable time Polydor Records explores a different direction on "Knot for side projects. During the hiatus, they worked on solo Reviewed by In It." The song rides a solid guitar efforts and theatrical scores. With everything that has Daily Ars Writ loop, which is the foundation for a happened in the past few years, the guys came back to Jewel Gopwani subtle electronic sound. Adding the Buffalo Tom a little too mature. "Smitten" lacks the juve- layers of Janovitz's gritty, emotional nile feedback and playful guitar work that has filled previ- voice, Tom Maginnis' soft, but power- ous Buffalo Tom albums. ful drumming and a chilling high-pitched guitar solo, "Knot "Smitten" only calls for a few more jumpy rock tunes In It," is another way Buffalo Tom spices up "Smitten." like the last track, "Walking Wounded." Sounding Buffalo Tom's ballads have always been especially potent. almost live, "Walking Wounded" features guitars to Unfortunately "Knot In It" and "Postcard," are the only deep match Janovitz's raspy voice. If Buffalo Tom ditched a tearjerkers that grace "Smitten" Although other songs like little thoughtfulness (without losing any sincerity) and "The Bible" and "Rachael," are mellow, none are as moving rocked a little more, "Smitten" would be an even better as the album's deeper ballads. set of songs. Sproduction sucks life out of 'Weel' Twista whirls into near disaster What do Thug Life, FaceMob, Junior Mafia and The Clique all have in common? These all are rap groups full of lesser-known rappers who lean on the presence of their established frontmen (Tupac, Scarface, Biggie and E-40 respec- tively). The latest to tey this is Chicago speedster Twists, who brings his crew the Speedknot Mobstaz to join him on the album "Mobstability." The main problem is that Twista's two compatriots have no real identi- ty of their own. They both sound ** alike on songs TlW&te such as the cookie-cutter Speodknot "Mob Up" and MobtaZ the sappy " D r e a m s . " Rigewedba Twists's speed- eiyArtsewed of-light flow is the only saving grace of songs like the annoy- ing "Front Porch," and listeners groove such as "Legit Ballers" and "Smoke with you" for every wack beat like the silly "Party Hoes" and the pointless "Loyalty." "Mobstability" is good for those who feel nostalgic over the classic NWA song it remakes, and the fes- tive "Rock Y'all Spot" is fun to listen to in spite of the corny beat, bad singing, and subpar flow by Twists. The highlight of the album is the Bone-crushing "Crook County." It features underground heroes Psycho- Drama, and features Twista single- handedly tearing Bone Thugs-n- Harmony to shreds. Unfortunately, his verse is last on the song. The useless interludes are the final nail in this album's coffin. There are no-doubt worse albums out in record stores now, but I'm sure there are a number of better things to invest your money in than the latest album by Twista & two losers who weren't good enough to get their own album. In other words: never buy ... only dub ... and only dub a few songs. often find themselves simply wait- ing for Twists's verse, and going to the next song after they've heard him. Twista should have known he was the driving force behind the album, but sometimes even he fails to deliver on songs like on the bor- ing "Motive 4 Murder." It would be unfair to say the album was all the way bad. The pro- duction by Traxter is decent, with him making a smooth cruising It's usually not a good thing if you notice a record's production processes. V n done right, it can turn a modest band into something special, while at the same time remaining unintrusive. But when done poorly, production can suck the energy out of an other- wise , talented band, such as the Strng Ce over-glossy job Iiiewent done on the new SO Fidelity album from Records Colorado quintet Reviewed by String Cheese ally Arts Writer Incident. Rob Mitchum While the band's unique combination of bluegrass and jazz influences is not the most in-your-face sound in music, the group has built up a loyal following around the country based on its intense live performances (the band plays the M higan Theater Oct. 10) and consid- erable skill. But, as so often happens with great live bands, at the worst points on "Round the Wheel," producer Jon 0' Leary succeeds in neutering SCI's live energy under a healthy dollop of studio polish. This effect is not immediately appar- ent, as the album starts strongly with the samba-inflected "Come As You Are." An exhilarating mid-song duel between keyboardist Kyle Hollingsworth and electric mandolin picker Michael Kang hints at the elec- tricity that the band taps into in its live performances. The second song, "Restless Wind," shows off String Cheese's bluegrass side, with a catchy tune and strong violin from Kang. But, beginning with the cheesy (no pun intended) rock licks of "On the Road," the album suffers under the weight of its sterile production. The Muzak saxophone lines of the instru- mental "Road Home" and the painfully bad faux-gospel vocals on "Got What Soul releases bear of an album How does one describe the strangeness that is Soul Coughing? More importantly, how does one describe one of its records? It's a tough job, and the band's latest effort, "El Oso" is nearly impossible to put a handle on. Breaking down the sonic walls that typically confine young white males, Soul Coughing has once again deliv- ered a record full of delicious samples, acoustic bass lines, rap, keyboard snippets and the often-overused electric guitar. Since its formation in New York five years ago, Soul Coughing has been anything but your typical band. "El Oso" (The Bear) is the band's Soul Coughing third record for Warner Bros., and follows its tradition of creativity to the letter. The band's last record, 1996s "Irresistible Bliss," was an Reviewed by album that brought Soul Coughing a Daly Arts Writer small amount of well-deserved star- Gabe Fajuri dom. The first single on "El Oso," "Circles," if picked up by commer- cial radio stations, will, without a doubt, catapult the band into superstardom. Lead singer Michael Doughty's continued chant of "I/don't/need/to/walk around in circles" may not read like a song infused with an infectious groove, but truly, it is. He Wanted" induce far more wincing than toe-tapping. Periodically breaking through the elevator music sound, however, is the strong playing of Hollingsworth. His Chick Corea-esque instrumental "MLT" is the lone high point of the album's second half, and his piano solo on the title track is one of the few moments that stand out from the mix. The songwriting and musical perfor- mances on "Round the Wheel" are very strong, beneath the smooth-jazz pro- duction unfairly unleashed upon them. But sadly, String Cheese Incident becomes just the latest talented live band to release a disappointing and compromised studio album. "Circles" is the album's catchiest track, if not its best. Other highlights include "Blame," "Monster Man" and "Miss the Girl." Nonsensical lyrics, toy instruments, techno jungle drumbeats and an acoustic guitar round out the sounds on this record. Soul Coughing once again has refused to be classi- fied, and at the same time has achieved interesting, if not marvelous, results. Some people label Soul Coughing as an art-rock band. Others see it as beatnik poetry set to music. On "El Oso," Doughty's singing (yes, singing as opposed to the spoken word/rap style he's known for) may be reminis- cent of the Dave Matthews Band, but the music is still uniquely Soul Coughing.