ANIKA
PARIS - On Gardner Street Anika Paris's projects a positive
survivor attitude, yet does not lack trepidation or a reflection on the realities
and hardships of life. Anika’s new country, pop/acoustic rock style, lends
itself to much criticism, mainly because of it lacking that little extra spark
of individuality to set it apart from the flood of other artists. Sure, she is
vocally competent and can drift from up-tempo tracks to slower, almost touching
ballads, but that’s just not enough. It’s a little too middle of the road (not
denying that millions of people like it like that). With unflattering cover photography
and no real kick, Anika Paris doesn’t exactly stand out in any way, as
I’m sure, she could. - PB 3 / C PAULA
COLE BAND - Amen With the optimism of the opening track, I Believe
In Love, the listener is set up for quite a positive experience. It's orchestrated
backing and chourus lends it a near epic atmosphere. The new country feel of the
title track is as much a cry for unity as it is for acceptance of one another
as she mentions everyone from Marilyn Manson and Saddam Hussein
to O.J. and Clinton. La Tonya is a cold, innocence-lost lament
that could depress those who actually listen to the lyrics. But there is redemption
in the strong will reflected and belief in God. The subjects seem to be heavy
on this album. Pearl is also a personal, emotional confrontation of fear
within a relationship of significance. It's all stuff we live every day, but don't
always want to confront. The issue-ridden, conscientiousness of the themes actually
didn't repulse me as I thought it might. It does however veer past basic angst.
The lust for freedom from painful emotions, unjust situations and striving for
more is a universal phenomenon all can identify with. Paula's constant
reference to God hardly makes it a conventional gospel album and if you didn't
consider that possibility, you would never have thought. - PB 4 /
B PEGAZUS
(Nuclear Blast) With so many retro-metal acts sprouting all over the place,
I think they should slow down a bit before flooding it into oblivion. This Aussie
effort has all the Manowar & Maiden elements, doing it exactly as
they would have. Those classics of a decade past still exist and I'd rather listen
to the originals in stead of getting an immitation. The production quality is
better in some respects to many of the older greats and the songs are very listenable,
I just feel that it shouldn't become a trend that will destroy itself and sink
an already ostracised genre. It deserves better. - PB 3 / B BILLIE
PIPER - Walk Of Life In the wake of the whole Britney /
Chrisitna wave, one would expect many a young hopeful to be given the big label
treatment if there’s anything remotely pretty about her. Sure, she needs a voice,
but mainly she has to appeal to the largest statistical cut of the record buying
public - namely men with fat libidos and just a big enough bulge in their wallet
to fork out for a CD like this. The formula is well in tact, and anyone could’ve
laid their voices over the generic music. Billie even does those little
Britney grunts & moans that certainly rouses irritation in my blood, more
so than anything else. The cover version of Blondie’s The Tide Is High
is as unnecessary as most of these attempts usually are. On opening the CD sleeve,
you’re faced with a wall of vacant lyrics that you wouldn’t want to face even
on a good day. Billie is very positive, jolly & excitable and I won’t knock
that aspect, it’s just the way that a new, fresh or interesting route is never
even a consideration. The Lolita factor is also quite disturbing as it
is with most of these lasses, but it seems to be globally accepted. What is this
world coming to? And your mother warned you about Kiss, for goodness sakes!
But, hey, if this moves you in more places than a real woman who writes real songs
(like Tori Amos), then it’s your prerogative. - PB 1 / C PLACEBO
- Black Market Music Since many Placebo fans thought they blew
Garbage away on their SA stop-over, their next effort had been quite an
anticipated affair. Well, it’s here, but with some changes. For one, the overpowering,
gritty super-angst ridden feel seems toned down - even less aggressive. The production
is slicker and less abrasive, which doesn’t convey their subversive nature as
well as before. Their subject matter still teeters on the edge (or smack bang
in the middle) of excess, be it sex, drugs or travelling to the psychological
brink. Brian Molko’s unmistakable voice hasn’t changed much and their 80’s “alternative”-tinged
riffs still work well with his effeminate sound, melodies & provocative word constructions.
The track Spite & Malice has an interesting rap-thing going with the cool
chorus of “dope, guns, fucking in the streets - revolution…” bound to freak out
a few parents. But in the same breath their well publicized attitude of advocating
a life of excess to a certain extent does take a bit of a turn - whether it’s
because of perhaps losing friends (Commercial For Levi), coming close to
self-destruction (Haemoglobin) or growing up a little through life experience
(Black-Eyed). Quite honestly, the only flaws the album really has is the
fact that it sounds too cleaned up, both in production and their rock & roll lifestyle.
- PB 4 / B THE
PRETENDERS - Greatest Hits The legendary Chrissie Hynde and her band
is as unforgettable as most of their legendary tracks. The fragile arrogance and
damaged passion of the Pretenders has had a staying power all its own.
That said, they still never tried to be anything more or less than pop, albeit
with a bit of a 50’s rock flavour and screw-you attitude. From Brass In Pocket
and Stop Your Sobbing, all the way through to (the UB40 collaborated
cover of) I Got You Babe and I’ll Stand By You, The Pretenders
have made their mark in pop history. Now if only the marketing people can earn
their inflated salaries and come up with more innovative titles like “Best Of”
or “Greatest Hits”… - PB 4 / A PRIMAL
FEAR (Nuclear Blast) As it is now apparent, traditional metal is rising up
and here you'll find it in its purest sense. The old school is on the comeback
trail with a vengeance. Primal Fear's Judas Priest resemblance isn't
just damn uncanny, it's downright identical ! Which is cool. They don't deny it
either. Ralf Hanson, former Gamma Ray vocalist applied for the coveted
Judas Priest vocal position after Rob Halford parted ways with these Metal
Gods to pursue his ill-fated Fight. Managing to make the top 3 candidates,
Ralf wasn't the lucky one. In stead he started a Priest cover band called
Just Priest. Primal Fear is barely a year old, but the experience
of these Metal veterans (2 of them from Sinner), made writing a breeze,
producing 12 tracks of 100% pure Metal-Rock with a superb driving beat, great
vocals (though, like Priest the lyrics are sometimes cheesy), chopping
guitars with melodic leadbreaks. The song titles kind of speak for themselves
like Chainbreaker, Tears of Rage, Speedking etc. Formula
One is a speed track through and through, in every sense of the word. Slow,
chugging numbers like Dollars are just as effective as as the throbbing
near-ballad style of Tears of Rage. Those of you who love Judas Priest
and don't like their new vocalist or merely miss ol' Rob should pick this one
up - satisfaction is guarenteed. I don't know if this has ever been done, but
a friend of ours, Leon Muller, died on his motorcycle Sunday 15 February 1998.
I know he would've loved this CD, so I dedicate this review to him and everyone
who misses him. - PB 3 / A THE
PRODIGY - The Prodigy Experience (Gresham Records) This classic Prodigy
release is now available locally and it still kicks big time. The Prodigy
almost singlehandedly created a whole new genre for the dance generation. And
I don't mean that in the silly disco sense. They've lifted it to a plain where
everyone can appreciate it, not just Ravey Daveys. Hard edged dance tracks which
is also extremely listenable fill this CD from start to finish. Most of the Prodigy
elements we've grown to know and love so much are woven into these energetic tunes.
This is before Keith's reversed multi coloured mohawk, piecings and tattoos, and
precedes his Firestarter & Breathe vocal bits; his job description
restricted to that of dancer. Kingpin Liam mentioning that besides his one-man
song writing and creation, the other guys are essential for the live performances.
Sure they've become more hardcore, but even these early songs have those traces
with similar beats and samples, because of their (electronic) punk outlook. You
can't help but be influenced by the wall to wall infectious tunes on this disc.
This is a modernday classic you can't afford not to have in your collection.
- PB 5 / A PRIDE
'99 There are many celebrations. There are, however, few as colourful and
vibey as the Pride marches, be it in Pretoria or San Francisco. This 20 track,
locally compiled CD celebrates Pride in all its glory, be you gay, lesbian, bi-sexual,
a-sexual, whatever. And it doesn't mean you can't join in if you're straight,
as in the end it's a celebration of humanity, a humanity with so many different
colours, flavours and preferences and not enough tollerance. This CD celebrated
this year's Pride month of September in all its glory, hooking up with
everything from Exit magazine to club Therapy. The songs also have
a wide appeal without being labelled strictly queer. You have Sister Sledge,
Village People, Annie Lennox & Aretha Franklin, Naked, Johannes Kerkorrel, Erasure,
Judy Garland, Meredith Brooks, Jimmy Sommerville, Gloria Gaynor, Noa Tylo, Abbacadabra,
k.d. lang, R.P.O. and Right Said Fred amoungst others. The disc also
features a Pride '99 song especially written by Kaolin of Naked,
featuring the talents of the rest of her band, Wendy Oldfield, Lionel Bastos,
Chris Chameleon, Levannah and more. The song also gets the Chromagene
remix treatment. You don't need to be queer to enjoy good music, and hating what's
different to you doesn't make you normal. It all boils down to love, people, and
fuck knows, we need far more of it than is currently going around in our day and
age. - PB 4 / B PRINCE
- The Vault Who would’ve thought at the release of Prince’s
“1999” we would actually live to see the day? And who would’ve thought that its
vertically challenged creator (who makes up for what he lacks in height, with
sheer ego, kingsize confidence and overt sexual obsession) would grow in stature
(meaning fame & fortune) and entertain past his prophetic party tune? Be it solo,
with The Revolution or The New Power Generation, this chap has left
one hell of a fingerprint in rock history. Not only musically, but also visually
with his glammy pop/rock amalgamation, his re-invention of his image (and name)
as well as music videos and film (which include such cinematic musical classics
like Purple Rain and feature embarrassments like Under A Cherry Moon).
With The Vault, the guy who used to be called Prince (but is now
referred to as “unisex-symbol-with-squigley-thingie”), has reverted back to his
original title. Reason being, these songs were written between early ’85 and mid
’94, when he was still predominantly known as Prince. These were never
released or intended for release, as they were personal songs, most of which were
given to close friends and loved ones as gifts. The songs are more basic than
his usual style of rock-pop fare with a jazzy/funky touch, utilising brass and
piano in many parts. The songs are not over produced and projects a more organic
feeling. It’s all about places he’d been, people he’d met and things he’d done
and will appeal to hardcore fans more than others. Prince, King,
Queen, who cares, in the end it’s all music. - PB 4 / C
PUNK-O-RAMA
4 - Straight Outta The Pit (Sony) Are you a punk? Have you ever met
one? Have you ever heard punk music? Well, sonny, then here is where you can get
started. Epitaph has risen to becoming one of the biggest punk labels on
the planet. This compilation of some of their best bands shred through the likes
of Millencolin, Rancid, NOFX, Pennywise, New Bomb Turks, Voodoo Glow Skulls,
Gas Huffer, H2O, (take a breath), Zeke, Refused, Union 13, All, Ten Foot
Pole, The Bouncing Souls, Straight Faced, Agnostic Front and a shitload more.
25 in all to be exact. Not too damn shabby. Be it fast, conscientious, anarchic,
ska-tinged or just plain raucous, punk is represented here in full swing. (But,
now, we can have the debate on what exactly “real” punk is supposed to be - just
remember, punk from the UK and USA differ quite radically and then you still get
more new/old school, mellow & mild or more hardcore streams within these two areas
- this, however is very American, not that there’s anything wrong with it, no
siree). That some tracks could hint at sniffing the dogs commercial bollocks,
it’s by no means enough to make anyone lick. The sore finger on this disc (not
because it sucks, but because it’s so damn unconventional), is that of veteran
cool guy, Tom Waits - yes, no missprint. One great added bonus is the downloadable
data that’ll light up your PC with band biogs & pics, all while the songs play
as you peruse. An essential punkin’ extravaganza. - PB 5 / A PYOGENESIS
- Unpop (Nuclear Blast) Pyogenesis is a cult act in their own
right and have been around for ages and with each release seems to be an exploration
of the times and what's happening around them. When I saw them in London they
had a Grungy feel to them. The predominant focus on this release is the influence
and shortcomings of rave culture and the late 90's. Unpop is a great description
of what this CD is all about. It's not too serious although the tone at times
seem to reach towards the contrary like the simple, effectice structure of Blue
Smiley's Plan with melancholy organ parts. In stead of lyrics in the sleeve
you'll find descriptions of what the songs are about and where they came from.
Some of the inspiration came from a friend who went into a coma after a bad E
experience; their bassist who was born with one hand (how the hell does he play?);
egotistical assholes; girls who get dressed up for parties or gigs etc. It's their
environment that is most apparent to them and they reflect that. Get Up
sounds like a hard version of those nu-pop rock tracks you find during the credits
for those disfunctional American teenager drama serials. It's rough edge sets
it apart from those at least half a light year. The female chourus is also an
inviting surprize. Their punk roots still show inbetween the deliberate pop-tinged
songs which sticks in your head like a nail. The great incorporation of modern
electronic sounds on Love Nation Sugarhead illustrates their outlook. The
mellow pace picks up just in time on Funkie on a Cloud for those who expected
just that. Their love for music is illustarted in the German sung Ton-Recycling.
Another German track is a cover version originally by Purple Shulz called
Sehnsucht - it's a damn passionate closing track and if you wait for the
hidden track you'll no doubt be left startled. With most of the tracks about 2
and a half minutes long it doesn't just fly by. The incorporation of flute piano
and strings are subliminal enough in order not to be a pretentious addition merely
for the sake of it. Lower All Your High Standars kicks hard. The Pyogenesis
sound seems at first listen to be hard to get into, but after a single listen
some of the songs will stick in your head and draw you back again and again.
- PB 4 / A |