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BEEFEATER
House Burning Down
Dischord
On their third and final outing.
Beefeater moves toward a more
guitar oriented, increasingly complex
delivery, maintaining the sheer musi-
cianship that defined their previous
discs. Dug remains the strongest
bass player to come out of the
Dischord generation while vocal
mojo Tomas Squip warbles far more
intensely, taking his 'Rotes of Spring'
influences to heart. "With You
Always" proves to be the album's
highlight with its tremendous varia-
tion, focusing on Fred Smith's ex-
ceeding guitar histrionics. A wide
variety of back-up and guest musi
cians, including lan and Alec
MacKaye and other notables in and
around the Washington, DC, music
scene, add a further dimension of
heart and soul to a multi-dimensional
outfit that called it quits long before
its time.MG
BAD BEACH
Cornucopia
Manic Ears Records
With a name that's just asking for
abuse, Bad Beach provides a finely-
tuned mixture of hardcore and heavy
rock. This is one of the strongest non-
thrash, non-gothic releases to come
out of England lately. An insane
crooner with a strong voice pushes
a deep, harmonious sound com-
parable to that of Glenn Danzig or
Chi-Pig. In fact, this entire Lp is
similar to S.N.FU. Sixteen tracks
show variety, creativity and a
, challenging approach to what could
have been typical. It has that raw bite
along with decent compositions. Bad
Beach could go places. Strange
cover. BS
WHITE FLAG
Wild Kingdom
Positive Force
The antithesis of punk rock, White
Flag is back to make the lives of com-
munists/fascists miserable once
again. Replacing ex-vocalist Al
"Ozzy" Bum, lead machine Pat Fear
fronts an aggressive melodicism as
the Flag moves toward a hard rock
direction, having little to do with the
punk rock scene they actively reject
in any shape or form. "Suicide King"
punches directly straight-on while the
likes of "Stone Alone," "Demolotion
Girl" and "Jungle" gloriously wallow
in the excesses of Kiss, Cheap Trick
and Blue Oyster Cult. Lyrically, White
Flag moves beyond their "make fun
of punks" origins toward a "positive"
message that has nothing to do with
"the scene." Real cool and certainly
Surprising. MG
THE THOUGHT
The Dream Is Me
Polydor/SOM
Another unique find. It's amazing
how good The Thought really is.
Each time I listen to this Lp, com-
parisons run through my mind. It's
sort of as if the Mission crossed over
with Crowded House, but The
Thought's own musical direction
leads them past those two. And
sometimes the vocalist is so Peter
Murphy-ish it's uncanny. Despite
those similarities. The Thought pro-
duces a unique, tuneful yet quiet
sound that mixes guitars, keyboards
and sometimes a cello or violin for
a beautiful result. The melodies
haunt with such a glorious vigor, I'm
surprised that more ears have not
heard this band. Lost in obscurity, I
guess. Still, these ten crafty tracks
are an easy listen, and each one is
good in its own right. This is by far
much better than some of the
obscure bands that have gone
stardom way. JS
ARTICLES OF FAITH
In This Life
Lone Wolf Records
Chicago's long-disbanded Articles
of Faith were brutally ahead of their
time and this, their final recording of
two years ago, can only attest to that.
Raw, hard-edged and amazingly
subtle, AOF's second album puts
them miles in front of current pack-
leaders, as they shift gears from
socio-political topics to a more
uniquely personal impetus. Vic
Bondi's lyricism (now teaching at
Boston U he knows what he's
talkin' about), though emerging as an
integral part of the package, stands
up as poetry in its own right. Not sur
prisingly, producer Bob Mould
unleashes a fury similar to that which
defined his early Husker's bombast,
combining power with a tasteful dose
of melody. Recorded in 1985, few
have emerged to challenge AOF in
terms of intelligence and fierce,
energetic delivery. MG
DOGGY STYLE
The Last Laugh
National Trust
Brian Baker takes a three-month
vacation to sunny California, teams
with ex-Descendents bass-meister
Doug Corrion and somehow
manages to involve Doggy Stylers
Brad and Lou. The results are varied
and have moments of both ridicu-
lousness and brilliance. Dubbing the
outfit Doggy Rock (now known as
Double Freak), the straight-edge
foresaken for a Chili Peppers inspired
hardcore of early Doggy Style is
rap which alternately scores and
misses. Only when Baker and Car-
rion focus on the fierce pop they cur-
rently belt out in Dag Nasty does the
disc succeed. Featuring Carrion on
vocals, "Sweater" plays so perfect-
ly it ain't funny. As usual, Baker's axe-
Me Get MH Man Haldeman JH Joni Hollar JS Judi Sampson, 05 Dan Schroeder
manship cuts through
the din with razor sharp
precision. However flawed, this
one's got more that its share of good
points. MG
WIRE
The Ideal Copy CD
Mute/Enigma Records
Wire's back after a long absence
and many solo projects. Well, they've
managed to rekindle their fire by in-
corporating some of the ideas on
those solo projects into this Lp. It has
that fabulous, mystical Wire sound
from Chairs Missing and 154, along
with a few new sounds that make it
a bit scary and also wonderfully fan-
tastic. Track two, "Ahead," is a bit
more up-tempo than the rest, mak-
ing for a good dance piece, but that
is just the tip of the strength that this
disc possesses. Newman's vocals
just sear at the right tempo on the fif-
teen tracks presented here, including
the "Snakedrill 12" and three live
tracks. Wire has a charisma that you
either like or hate. I hope Wire con-
tinues onward, since I'm a true fan
and love every minute of this whirling
gem. MH
THE CURE
Kiss Me, Kiss Me, Kiss Me
Elektra
Big red lips! While the last Lp (The
Head on the Door) was dreamy and
drenched in pop, this double disc
isn't. Even though you might be ex-
pecting over 70 minutes of "Why
Can't I Be You," the Cure will con-
fuse you here; there are so many dif-
ferent effects and styles on this Lp.
It reminds me of their third Lp, Seven-
teen Seconds, yet it's not as dark.
This music, especially all the great
guitar work and, of course, Robert's
enchanting vocals, caught me so off-
guard that I play the record con-
stantly just to savor each moment. It's
unusual though not entirely off the
beaten path, tight, well-produced,
crafty, creative and very enjoyable.
When I thought they'd sell out for the
charts, they didn't. Simply great. JS
THE STINGRAYS
Behind the Beyond Ep
Kaleidoscope
New-60s Brit rock (not to be con-
fused with the Yankee band of the
same name)-unfortunately, they
broke up just after this Ep and an at-
tendant album were released. Pro-
duced by ex-Horslips drummer
Eamon Carr, this Ep mixes two cur-
rently modish 60s forms, first a
dreamy psychedelia as exemplified
by "Behind the Beyond" with it's
Floydian title. The other 60s mode,
what you might call a Yardbirds rave-
up, makes the ragin" "Save the
Tiger" really "rock out."
Good luck, guys. Here's hoping
guitarist/songwriter Alec Palao finds
happiness with Slaughter or
whomever or whatever he affiliates
himself with next. JH
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