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TAKE
IT
THE CULT
Electric
Sire/Beggars Banquet
The Cult (previously Southern
Death Cult) are having an identity
crisis. After dropping the Southern
and then dropping the Death, this,
their third Lp as The Cult, has the
listener totally confused with yet
another sound change. Imagine find-
ing a beautifully rendered cover that
is reminiscent of something from the
late sixties, only to play the vinyl and
discover stolen riffs from early seven-
ties popular bands. You've got
AC/DC and Led Zeppelin written all
over this hip electric Lp. The song
"Love Removal Machine," which
they're trying to push as a hit-is this
the Rolling Stone's "Start Me Up" or
what? C'mon. I guess The Cult went
for 50% originality and 50% some-
one else's stuff. These eleven songs
drag on to bore me, even after listen-
ing a few times to give it a chance.
The sorry part is, this will be a hit for
the new hippie generation who never
experienced the first wave of this type
of sound. Trendy bandwagon confu-
sion equals primo dollars. JS
THE DESCENDENTS
All
SST
With new members Karl Alvarez
and Stephan Egerton on bass and
guitar respectively. The Descendents
are moving toward a physically
harder, freer form of impetus. While
not satisfying the pop standards set
by Enjoy, All is a more structurally
self-assured and powerful product.
Bill Stevenson provides a metro-
nomic beat, freeing singer Milo to
RS
The Cult
more fully explore his vocal
capabilities, which, between the
melodic "Cameage" and the eclec
tic and humorous "All-o-Gistics," he
proves to be quite wide-ranging.
Lyrically. The Descendents no longer
tread water in the world of the adoles
cent daydreams. "Clean Sheets"
drives home the brutal reality of trust
in relationships, while on the upbeat
lead track, "Coolidge," Milo exclaims
"I'm not a cool guy anymore." Yet
another sign that this bunch has
grown up. MG
E-Z-O
E-Z-O
Geffen Records
Hard and heavy, E-Z-O will make
you jump out of your seat only to kick
your feet out from under you on the
way back down. That's the kind of
rush that builds E-Z-O's momentum.
Fresh out of Japan, E-Z-O's ap-
proach mixes a definite KISS/Sweet
rockin' influence with a vocalist who
sounds much like German metal
screamers, Klaus and Udo (Scor-
pions and Accept). Masaki's voice,
though, expands far beyond these in-
fluences. Plus, production by Gene
Simmons and Val Garay adds a total
arena sound to this already power-
ful band. Look out, this band
dominates. One of the hottest hard-
rockin, metal-lickin' outfits in ages,
especially on such tracks as "Kiss
of Fire," "House of 1,000 Pleasures,"
"Desiree" and "Flashback Heart At-
tack." The four-piece E-Z-O, com-
plete with facial designs and a driv-
ing sound, do what the first two KISS
albums did, and on this debut Lp, it's
a killer charge. BS
THE COCTEAU TWINS
Love's Easy Tears
4AD/Relativity, Ep
HAROLD BUDD, ELISABETH
FRASER, ROBIN GUTHRIE,
SIMON RAYMONDE
The Moon and the Melodies
4AD/Relativity, Lp
As Gramps used to say about a
guy named Lombardo, "This is the
sweetest music this side of heaven."
Ask him if you don't believe me. The
Cocteau Twins (a trio, as word might
have leaked to you by now) make
swooningly purty and airy music that
alternately reminds you of cotton
candy and whipped cream (in their
meatier moments.) Thanks to
Relativity all us Anglophiles can now
buy relatively cheap domestic
releases of these previously expen-
sive imports. Their critics say The
Cocteau Twins are nothing more than
hip elevator music for haircut people.
This description is funny but not ac-
curate. The tendency is there:
undecipherable lyrics and a singer |
who, through her languageless
vocals (which rely more on texture
than meaning) comes out sounding
more like one of many instruments
than a girl singing a song. Combine
this with lots of goopy, romantic,
Musak-like sounds, then, yeah, it's
sorta like elevator music. If this hasn't
deterred you-and it sure wasn't
meant to-you'll find some compell-
ingly haunting and unusual music.
As far as the records themselves go.
(The Moon and the Melodies is The
Twins plus former Eno cohort Harold
Budd) it's not as though you can pick
a track and say "Wow, what a great
song!" Nothing's really distinguish-
able except for "Sigh's Sweet Smell
of Farewell" on the Ep. But then it's a
not as though dozens of garage
bands will rush out to cover Cocteau
Twins' songs. It's just lovely and un-
copyable music to soothe and
refresh. God knows, we all need a
little beauty in our lives. JH
SPEAR OF DESTINY
Outlands
Virgin
Personally, I was surprised at how
good this Spear of Destiny Lp sound-
ed especially compared to Theatre
of Hate, which was vocalist Kirk
Brandon's last band-a unit I didn't
care for that much. What we have
here is a good, moody disc of strum-
ming rhythms that are emphasized
by Kirk's bold vocals. It has a real
British pop feel to it with a dark eerie
side, and is crafty enough to build the
same kind of energy that say, the
Simple Minds have. It is unique and
fun, not too overpowering and not too
fast and works with sharp harmonies
that build up to an exciting conclu-
sion. Soft and hard guitar strum-
mings add the right touches at the
right moments, whether on the
ballads or the poppy pick-me-ups.
Spear of Destiny have a bright poten-
tial, especially for a band with an
underground following. MH
MG Mike Gitter MH Mark Halderman, JH Joni Hollar, JS Judith Sampson, BS Brian Schroeder
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