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ANTHRAX
Among The Living
Island/Megaforce
It's a shame when talented
musicians like Anthrax pull this kind
of mockery on their fans and friends.
It's quite obvious that the title track
"Among The Living," is a complete
Metallica rip-off, as is half the Lp.
Why? Did Anthrax decide they
weren't good enough and that they
had to play for popularity? I guess the
success of S.O.D. shows in this Lp.
The word is a few of these tracks are
SO.D. numbers, but gossip is gossip.
But is this Anthrax? It's fast, heavy.
well-produced, has all the right
elements, and most of you will love
it, since it works really well. But An-
thrax and Metallica are two different
bands that we respect for the unique
sounds they make, not for how one
steals riffs from the other. MH
D.R.I.
Crossover
Restless/Death
This is the third offering from this
so-called "fastest band alive," a title
that no longer fits. Much slower and
somewhat metallic, D.R.I. doesn't
explore much new territory since the
last effort Dealing With It, and so
there isn't much to get excited over.
A very high-pitched, tinny sound that
needs to be much thicker pervades
this drum-produced slab that
features mostly snare drum whacks.
The drummer will have tennis elbow
soon. They call it Crossover, but a
crossover from what? Kurt's vocals
are still loud and brash in a hardcore
formula, but the musical part sounds
a bit too confused about which direc-
tion they are going. So the over-all
knock 'em down punch isn't there.
I wish they would play D.R.I.'s music
instead of playing for the crowd and
cult following. Maybe next time. MH
THE MEAT PUPPETS
Mirage
SST
Y'all been listening to Jerry Gar-
cia lately or something? The lovely
and talented Phoenix trio, known as
the Meat Puppets, seem to have
gone Dead mellow on their fourth
album. Smart alecks everywhere
were already comparing their last two
albums to the infamous Grateful
Dead, and since those same
wiseacres will probably only listen to
Mirage superficially, they'll have tons
of fun with the comparisons on this
one. My theory is that when a band's
sound grows up (as befits guys-
fathers-in their late 20's) and
becomes more complex, it becomes
more interesting. However, certain
people dismiss all non-slash-and-
burn-type music as wimpy. When, in
fact, the Puppets are now more
interesting than ever. No, they don't
sound much like the Dead. That
comparison is only a critical cop-out
for a description of a vaguely coun
try sound. Mirage is a complex and
likeable (even sweet) record and Curt
G
RS
Kirkwood's many talents seem to
be
at their peak. Do yourself a favor by
slipping this one on the 1-table some
hot 'n lazy Sunday afternoon and
float away. JH
BLAST!
It's In My Blood
SST, LP
Santa Cruz's Blast! spread their
message of social warning and con-
cern with all the subtlety of a Sher-
man tank. From the opening groove
of "SSSHHH," the explosion of aural
detonation that defined their Power
of Expression Lp is back at ten times
the force. Blast! live up to their
moniker, delivering wave upon wave
of sheer, unrelenting musical ferocity.
Vocalist Cliff agonizes over the futility
of life in the face of imminent anni-
hilation, hinted at by bombast after
bombast of chunk-laden guitars and
brass knuckle rhythm. The title cut
remains most impressive as tempo
changes range dramatically, punc-
tuated by Cliff's hoarse, outraged
screams. It doesn't get harsher than
this. MG
THE STYLE COUNCIL
The Cost Of Loving
Polydor
The Style Council is soft, mellow,
refreshing, with a hint of jazz, a
splash of R&B and a soothing per-
suasion for relaxation. Underneath
this calm storm are intense, political
lyrics by Paul Weller. Not all songs
are political though; you can feel that
each composition is lyrically true to
the musical mood. A white funk ap-
proach is evident in these eight
songs, especially in "Right to Go,"
a rappin' tune promoting voter
registration. The Style Council eases
the road with a sound popularized in
the sixties that you could call
"moonlight lovers' music," very
dreamy and definitely not raw,
something that listeners of any genre
could simply enjoy. It works well,
even with the brass section. Nice,
smiling foot-tapping melodies as par
usual for The Style Council. JS
DAG NASTY
Wig Out at Denko's
Dischord, Lp
Put aside any Minor Threat com-
parisons as Washington DC's Dag
Nasty offers up their strongest outing
to date. While Can I Say burst forth,
touching upon hardcore's primal and
often one dimensional attack, Wig
Out at Denko's is a multi- faceted
effort, containing songs ranging from
the straight-out speedcore of "Sim-
ple Minds" to the Cult- inspired
"Exercise" to the acoustic "When I
Move." Though not as conventionally
talented as previous vocalist Dave
MG Mike Gier MH Mark Haiderman, JH Jon Hollar JB Judith Sampson, 85 Brian Schroeder
Smalley, Peter Cortner
makes More of an effort to
sing his vocalizations dripping
with personality and emotion.
Lyrically, he tends toward an in-
credibly introspective viewpoint, as
heard on "The Godfather" a treat-
ment of self-doubt and personal
expectations. Once again, Brian
Bakers's guitar work utterly soars,
never degenerating into predictable,
rapid soloing but always remaining
surprising and moody. With Wig Out,
the Dag crew sounds unique and
powerful. Dag good record! MG
GLORIOUS DIN
Closely Watched Trains
Insight
There is quiet, with a passion hum-
ming all around. Dark clouds gather p
before the storm. Relaxation washes
first rain drop melts across your face.
over you and lets you drift off as the
On their second Lp Glorious Din still
has that Joy Division feel, but they
have added a folk touch and slowed
down so that they're not as up-tempo
in a dance way. Moody sounds,
highlighted by a hard bass sound.
pace lightly with a crafty guitar and
light drumming. This is not anger ag-
gression but mellow music produc-
ed raw that works amazingly well for
this San Francisco outfit. Closely
Watched Trains is calm and delightful
with the imagination on infinity. BS
CRO-MAGS
We Gotta Know Video
Rock Hotel/Profile
One thing you'd never expect is
the Cro-Mags on MTV or any of the
other video programs, but it's hap-
pened. Even though the visuals
never go with the filled-in sound, this
is great. Both black and white and
color footage are used. Highlights f
include Dougie cruising up on a
skateboard, massive stage dives,
Harley mugging it up, and John flip-
ping into the crowd at the end. Who
knows if the world can handle this,
but I think Harley loves putting that
skate in the back of that limo. Eat it
up. Yummm! BS
THE CURE
Why Can't I Be You? 12" Remix
Elektra
This is brilliant. Dance pop from
The Cure in their classic tradition. It's
full of melodies, tight beats, deep,
haunting bass chords and even a
brass section that isn't overdone. The
effects on Robert's voice add an
eerie appeal as the vocals are inter-
spersed throughout the song.
Perhaps this will be The Cure's next
hit to bring them above cult popu
larity. Wilder than "Let's Go To Bed,"
it's snappy, jazzy, and makes your
body swing around the room. The
Cure has created total fun without
compromising their sound. A great
tease to their upcoming Lp Kiss Me,
Kiss Me, Kiss Me. Yeah! JS
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