45 Grave - "Pick Your Poison"

Well, you know, it's been 25 years since there was a legitimate 45 Grave release. All of the members that made "Sleep In Safety" unforgettable and culturally significant have passed on or moved on, save the intoxicating banshee, Dinah Cancer. There were only brief moments since 1989 that 45 Grave were at rest... but sometimes the dead refuse to stay in the ground. Since the early '90s, Dinah has made efforts to return to the rightful throne of punk's Scream Queen. The deplorable and unwelcomed "Debasement Tapes" from Cleopatra Records offered very little to someone unfamiliar with 45 Grave's legacy, and only annoyance to long-time fans. Dinah again began to make resounding waves with Penis Flytrap, and ironically that bone-shattering wail was such a comfort to hear. In a few short years to follow, 45 Grave began touring the U.S. and Europe with assurances of a new album. We've waited with baited breath for nearly a decade for it to come to fruition, and this August (earlier for mp3) we are presented with, "Pick Your Poison".

Of course there's expectations, 45 Grave is my love-child. You immediately recognize some titles, "Akira", "Sorceress", and the teaser from the past couple of years, "Night Of The Demons". No, right from the start, this is not "Sleep In Safety II". Dinah has been exposed to countless musical influences in 25 years, is no longer addled by addictions, and she's the sole remaining member. Not to mention, it would sound frighteningly dated if she even tried to record "Sleep In Safety II". I am guilty however of thinking maybe something along Penis Flytrap might emerge, but that too is more than a decade ago. So, what do we have??

"Pick Your Poison" is appropriately titled to be honest. One can look at it as a tip of the hat to musical influences, or you can break it down to the simple fact that this is dirty, scary, campy, bar rock album. Like Bordello Of Blood's house band. No disrespect at all is intended by those comments. Dinah's voice is still strong, and her presence is inescapable, but if you are looking for "Partytime" wails, then you will be a sad, sad deathrocker. There are elements of hard rock, post punk, dare I say, an effort at cowpunk, no, no - can't be, and a measure of rockabilly and ska. "Johnny" definitely comes from left field, which is apparently a dusty, bar with a jukebox containing only early country & western. Hey, it's fine! This is a drinking album, seriously. No beer - straight whisky my friend.

"Sorceress" is goth/death rock, and it's the skeleton from the 45 Grave wardrobe of horrors. It will appeal to hardcore fans, with it's polished vocals, a driving rhythm, and seedy guitar. It's a warm and bloody bath of familiar phantoms. It would easily be my favorite track from the disc, but I actually am impressed most with "Child Of Fear". It has a bit of fairytale horror to it, similar to early Switchblade Symphony, but with more complex guitar progressions, and I love the layered vocal effects. This is actually quite familiar to me, but damn if I can place it. Doesn't really matter, 45 Grave put forth a solid track that would make Alice Cooper take notice.

"A Desert Dream" is unexpected, a piano-driven instrumental that is a child's music box left behind after The Dust Bowl. It could easily fall into a post-rock category, but the guitar aspect is reminiscent of the 70's. It's an interesting mix that works well, and if there has to be a ballad - I'm glad we decided to be original with it.

"Winds Of Change" is the closer, and it's got horns, it's got rhythm, and yes, I want to dance, thank you for asking. It's another oddity from the curio cabinet that is "Pick Your Poison", but hell, maybe Dinah is an Oingo Boingo fan like me? It works, it's wonderful, it belongs.

Yes, "Pick Your Poison" does suffer a bit from a scattering effect of influences. It's binding element is the macabre, creep-campiness of the lyrics. You are making a mistake if you want to take this seriously and choose to accept this in any other way than a band that had a blast recording an album that is amazing to drink to. It's been 25 years, and to expect something different is unfair. Honestly, it would be unbelievable and regrettable. Elements of the part are present, a healthy enough does to know that the film projector running 80's horror movies in Dinah's heart is still a well-oiled machine, and she is still the ultimate deathrock party girl that we all love. It's enough and I thank 45 Grave for bringing the party to me.

"Everything"

This track has been on heavy rotation. I found this album at a time when my world was crumbling. Even though it's a powerful album for empowering women; I find it to be evocative and thought provoking, and I certainly made an emotional connection to it. You throw some cello into a track, and you have my attention... a total sucker for it. "Man", ironically titled given the message throughout the disc, was Neneh's third full-length, though it's domestic U.S. release either never happened, or was years delayed. She had already been written off in The States. Ridiculous timing, because as her light faded, her production team and her home town were about to strike hard at the throats of the American music scene and set it on it's ear. Go!Discs unleasehed fellow peers Portishead and Tricky, and dumped introduced trip hop to the masses. A scene that had already taken hold in the U.K., many of the acts emerging from the bleak, industrial wasteland of the town of Portishead. It was a melange of the youthful disenchantment that was the Seattle/X-Gen scene, and the underbelly of an acid generation that preferred glowsticks to plaid. It unleashed a new wave of brit-pop influence, and the acid/psychedelic culture evolved with many sounds, trip hop certainly included amongst them. It also began to shape the NY hip-hop scene, bringing in samples other than jazz.. alumni such as Beastie Boys and Moby certainly took notice and ran with it.

"Man" is a severing of expectation and being a slave to the music industry. Thrown to the wolves, and unfairly criticised on a professional and personal level, Neneh chose a measure of seclusion to focus on her family. And emerged with renewed strength, angst, and self-worth. She speaks so eloquently about love and hurt; about passion and betrayal; and eqaully about the type of love that's important to one's happiness and sanity. You can't help but fall in lust with her as she describes masturbating to her own reflection, but there's nothing narcississtic about it - it's empowering. That confidence is infectious and intoxicating. At the same time, you fall in love with her because she sings so sincerely about love of family, and love of self. How easily she could be bitter and hateful, but she teaches healing and taken care of yourself... a powerful message I am attempting to embrace...



Everything, anything I see
Anything, everything I feel
Everyday anytime I know
Anything everyone has to go
Champagne lingers in my glass
The party's over
I see my reflection, sipping
And it reminds me
I'd like to see you
Having more fun
If you can
I look at you
But it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
It's everything and everyone around me that I see
Everything is real
Everything I feel
In my mirror
I see myself
In that mirror
Inside myself
Sometimes I feel it coming to me
Thinking of you when I'm looking at my body
I can touch myself with my own understanding
My resolution to be broken
That I see now
And it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I know
Everything is real
Everything I feel
No real solutions
In clipping from the past
I see my reflection at last
Books full of pictures
Remembering the blasts
Times consequences
Makes me go fast
And it's me I see
And It's everywhere I go
It's me I see
It's everything I see ( it's me I see )
And it's everywhere I go Yeah ( it's me I see )
It's everything I feel ( it's me I see )
And it's everywhere I go ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I love
Everything is real
Everything I feel

Dark Shadows?

On a whim, I checked Colonial Promenade 6 for a showing of Dark Shadows, and was quite delighted to see that my hunch was spot on. I immediately texted Stephanie and demanded she make good on our Dark Shadows rain check. "Demanded", pleaded... you know... I needed some distraction and to be away from reminders. It was her last night of freedom, so she was onboard. She was also late in typical Stephanie fashion. We made it inside about 5 minutes into the film.

I was completely taken by the movie from the onset. Michelle Pfeifer was amazing, and I was delighted to see Jackie Earle Haley continuing in the basking of his revival. I thought briefly how ironic the casting was, in a movie about returning from the grave, that he should be cast. "Let Me In"'s Chloe Grace Moretz played the role of the daughter, and her rebellious attitude counter-balanced by a free-spirited hippie culture was a bit off but somehow worked. Maybe it's something about the 70's I missed? But then, in walked whore-orange-headed Helena Bonham Carter sporting a lob...and geez - just breathtaking. Sans accent, but nonetheless a little dirty; a little trainwreck like; a whole lot of hot. Johnny Depp's character's nemesis is played by Eva Green (Kingdom Of Heaven, Golden Compass), whom I never found that stunning, but as a long-haired, blonde in this role, she is the epitome of sex appeal and utterly salacious. The movie moves along quite quickly, but there's undeveloped aspects that I wish had been better explored. Christopher Lee's role for instance... it required more depth and background. The back story of the Collins Family losing their gasp on the town and it's industry, though throughly discussed - Burton films have cut-aways and I think we deserved on. Help me buy into this fairytale, please!

As the Collins Family begin to rebuild the tatters of their reputation, the story unravels into predictability and for lack of better word, silliness. This is completely unlike a Tim Burton film, and I can't to begin to imagine what happened? The characters become 2-dimensional, and though effort is made to explore personal flaws and weaknessed, it's so superficial and carnal, that it really serves no support to the story, it does however mire it in a swamp of disinterest, disappointment, and if the director gave up - as an audience member, I give up to. Right up to the anti-climactic ending that pulls every card out of the hat of tricks (maybe it was supposed to be absurd and a jab at current movie trends)... but it was lifeless and tracing paper for what's already been done.

Okay to watch, even enjoyable to a mid-point, but if I buy this or copy this, it's too fill a Helena Bonham Carter as a redhead fix... not much else.

Broken Therapy

A weekend that de-evolved into heartbreak and a Black Heart Procession soundtrack. I decided that the day-off I planned in my head was going to be solitary and filled with the only therapy I know how to manage. Thrifting. I don't buy clothes, I buy used cds. I picked up one for someone that doesn't want anything to do with me right now, and the rest I am listing below:

Revenge Of The Flying Luttenbachers

Seriously, what in the hell is this? A 3-piece band from Chicago (I guess), and one member is pictured with football make-up and hair greased into a pair of antennae. The disc is a pentagram a la Motley Crue's, "Shout At The Devil". Of course I have to buy this freakish disc. It's dated 1996... so I wasn't sure what to expect, the Chicago music scene I knew was long dead at that point. Musically, it's a trainwreck. The opening track, Storm Of Shit is a melange of guitar, kazoos, horns, drums, and sampled sounds. Frankly, four-and-a-half minutes of it is four-and-a-half minutes too much, because Mike Patton already mastered this insanity. It does not get any better. There are no vocals apparently... I have to assume because I began skimming after the second track. Imagine my amazement to discover this band has several releases. Once again, the one disc I purchased on a whim that certainly wouldn't disappoint - is every bit a disappointment and so much more. Steer clear!

Rachmaninov: Symphony No. 2
You really can't make a mistake with this. Someone donated their entire BBC Classical Music series, and I may go back for the rest when I have the money. I am particularly drawn to Rachmaninov; of course because he is a Russian composer of whom I have an affinity, but also because of his struggles. Critically panned in his own country; his Symphony No. 1 was an utter failure, and he was forced to flee Russia during the Bolshevik Revolution and he to begin a career anew. He eventually found himself in America where he found acclaim and respect. And who wouldn't be in love with a composer who was interred in Valhalla? Seriously! This recording is conducted by Edward Downes with the BBC Philharmonic Orchestra. Appropriate mood music today.

Zero Zero: A.M. Gold

This is pretty fucking upbeat, poppy, and doesn't match my mood today. I definitely can enjoy this, though it's commercial, slick feel probably means it won't find much rotation in my collection. The electronics are danceable, and never venture into any hard beats. Vocals are gentle, fuzzy and warm. This is summer day, car trip to the lake music. And it would help to not have a care in the world, including what you were listening to. If The Faint were forced into therapy, the hospital approved sound would be Zero Zero. My favorite track is, Pink And Green - it's a little funky, and makes me want to dance with the cat and go buy some rum.

Eric Hutchinson: Sounds Like This

I like Lenny Kravitz and Jamirquai too! But seriously, this is an upbeat, body swaying disc, it just isn't my thing right now. I can see this being played in my near future. I actually know someone who would likely really love this disc, and that's contributing to a lot of my sad feelings right now. This is palletable and radio-friendly (if it isn't already), and if you like Kravitz and Jamiriquai - pick this up or borrow it from me.

Sixty-Eight Pennies: Race-Car
If I had to guess, this is likely Alternative Christian Rock. Not sure where they hail from, but if today was 1999, when this recording was released, then it would already sound dated. It's light alternative rock with elements of Live and Soul Asylum.

Boiled In Lead: Silver

Uh - had no idea what to expect. But what it is is heavy doses of world folk. Upbeat, fun, and much too safe and friendly to really enjoy on any kind of level. I'd expect to find their cds at Epcot. I found the dark, seething bass lines of The Sunset enjoyable, but there's too much fodder and friendliness throughout to keep me intrigued. Another bust...

Imogen Heap: Speak For Yourself

I honestly couldn't remember if I liked Imogen Heap or not. I took the leap because the album title spoke to me. I probably don't need to describe it; this seems like the kind of thing you either are a devoted fan of or you hate it. Definitely something I think Tori fans would enjoy. I am not at all put off by it, and I can imagine finding a niche in my moods where this would be appropriate. There's elements of Tori, Fiona Apple, Eurythmics, and Bjork (musically), and it does tend to slip into a commercial, polished mainstream, but there's enough indie element to keep it genuine and sincere. And yes, this is speaking to my depression today.

The Wrens: The Meadowlands

This was a nice find. I am always in the mood for some lo-fi mellowness. I hadn't heard this particular album, but it's watch you expect from The Wrens. Quiet drums, subdued vocals, and gentle resonance. Slo-core a la Low, but at times strives for post-rock a la Mono. It's a welcome blend. Where this album breaks free from a Wrens mold are mid-tempo changes, and vocals that become border on a pained soul. This and the Imogen Heap are likely to get a lot of plays as I try to move forward.

I also picked up a promo disc of Bob Dylan Live at Carnegie Hall 1963. I know why I picked this up, and it's not because I am a Bob Dylan fan. Along with the other disc, my immediate thought was a gift. So, I will just hang on to it for now. I also found a dvd of High Fidelity. I am in no mood to laugh right now, so I will shelf that for a lighter day.