Wednesday, 4/23/97 Soundbites
Matthew Sweet "Blue Sky on Mars" (Zoo) If the title of Matthew
Sweet’s latest release carries any philosophical meaning behind it,
"Blue Sky on Mars" might prove to be the break that Sweet has been
waiting for. Following the surprisingly mediocre sales of his last
album, "100% Fun," Sweet slipped into the void of lost music
careers. "100% Fun" was supposed to be the album that delivered
Sweet into the hands of alternative music fanatics everywhere.
Unfortunately, it only delivered one hit single, "Sick of Myself,"
and then found itself miserably lost. "Blue Sky on Mars" is a
phenomenal second attempt. The first single, "Where You Get Love,"
is one of Sweet’s best performances to date and, unlike "Sick of
Myself," it’s not the only one. Fantastic pop tunes like "Back to
You" and "Behind the Smile" are equally impressive, drawing from
the gentler melodies reminiscent of the "Girlfriend" album to
achieve a more innocent feel. One of the best tracks on the album,
"Until You Break," is the only acoustic track from Sweet,
presenting a softer side of his vocals that is rarely heard. The
album picks up again with "Into Your Drug," the best track on the
album and a definite future single. With the strength of "Blue Sky
on Mars," Matthew Sweet might finally find his place in music.
Brian Remick A Hanson "Middle of Nowhere" (Mercury) OK, close your
eyes and imagine this: the sound of ’60s, ’70s and ’80s bubblegum
pop, mixed in with some adult alternative grooves. Throw in
occasional technical effects, synthesizers and fuzz boxes. Envision
blatantly cheesy yet amazingly irresistible rhythms and melodies.
Mix it all up using the hottest production team in music today.
And, here’s the kicker – give all the songwriting credit to three
brothers all under voting age. This is no joke. Hanson, MTV’s
newest darling, is leading the prepubescent music surge with its
album, "Middle of Nowhere." Hanson’s debut outing ought to make
Isaac, 16, Taylor, 13, and Thomas, 11, (no, these aren’t the kids
from "Home Improvement") the Spice Girls of alternative pop, as far
as its potential success and image goes. Looking a lot like
Silverchair and sounding a lot like the Jackson 5, Hanson has
created a 13-track debut that may embarrass you if played in
public, but, strangely enough, you can’t turn it off. It’s not the
most talent-driven bunch of pop songs you’ll ever hear, but the
Spin Doctors-meets-Michael Jackson sound is definitely infectious
ear candy that stations like KIIS, Star 98.7 and maybe even KROQ
will play incessantly. MTV has already beaten radio to it, giving
Hanson’s unbelievably fantastic sing-along "MMMBop" heavy rotation
status, giving us more than a glimpse of the band’s signature
feel-good guitars and bouncy synthesizers. It even throws in record
scratching. More than two-thirds of the album consists of songs
just as catchy and happy as "MMMBop," like the early
INXS-influenced "Where is the Love" and the funky "A Minute Without
You." Most of the happier tracks sound like Deep Blue Something
("Breakfast at Tiffany’s") with a hint of ’60s R&B. Black Grape
producer Stephen Lironi even shares his funk-pop expertise on the
lively "Speechless." The slower songs approach the cheese and gross
simplicity of ’80s love songs but never reach the lows that bands
like the Spice Girls and the Gin Blossoms hit. Songs such as "With
You in My Dreams" and "Weird" are actually bearable (and, dare we
say, tender). The thing to remember here, folks, is while the album
isn’t one of the greatest things released this year, or even this
month, Hanson is the youngest group in music today that has the
potential to be successful. That says a lot. It has enough buzz to
propel it into the top 10 singles and albums charts all over the
country. Hanson has producers like the Dust Brothers, who have put
their Midas touch on such masterpieces as the Beastie Boys’ "Paul’s
Boutique" and Beck’s "Odelay," to give the songs a multilayered,
electronically mixed flair. It has charm, personality and even a
bit of uniqueness. And the band also has the distinction of writing
and performing all of their songs itself. Wow. These young Oklahoma
boys can skip the neighborhood mall appearances and blow off any
crude New Kids on the Block comparisons. Their insanely happy
frolic-rock is ready for "the big time." Mike Prevatt B+ Kinnie
Star "Tidy" (Violet Inch) Kinnie Star strives to be in the league
of Ani DiFranco and P.J. Harvey, with her dissonant guitar riffs
and aggressive spoken-word style. (For some reason, there are
relatively few males who fuse avant garde, folk, funk, spartan
arrangements and biting vocals). Early songs like "Ophelia" and
"Stiff Sour Lemon Rind" are nothing but a duet between Star’s
fiercely rendered raps and rough guitar lines that seem almost
spontaneous. Those who feel at home among augmented fourths and
ninths may enjoy her raw chords and melodies; they certainly have
an appeal and power all their own. But they are usually used
sparingly for a reason – most people can’t handle them for too
long. Star’s dissonance at times walks the line between sounds that
grow on you and sounds that completely pass you by in a sea of
musical inscrutability. However, like P.J. Harvey, she usually
keeps to the better side. Eerie elements – feedback, tribal drums
and unidentifiable samples – fill in a few of the silences that
shake the room as easily as the sound. But the album’s middle songs
are harsher, full-blown versions of the earlier music, like a
grumbling volcano that finally erupts. "Rime Gone Rong" has the
pounding beat and emphatic chorus of a Rage Against the Machine
anthem – and some frank lyrics on oral sex: "It’s your lips and my
lips (and I don’t mean my mouth) / acquisition of knowledge
cultivation of fever in the south." Rage’s screeching, however, is
absent – and not missed. The following song, "Woven," is a blast of
distorted vocals and almost metal-like drums and guitars. "Month of
Trickery" shifts gears again, employing slow hip-hop beats and a
stream-of-consciousness rap that outlasts the music by half a
minute. The sounds may differ, but they share a raw attitude and
garage-poet quality that link the songs together. Star focuses on
themes of sex, love, individuality and spiritual connections.
Though her voice is strong and her words honest, positive and at
times poetic ("The leaves are turning generously/ into the colors
that reside in me," from "Loons"), they don’t strike any chords
that haven’t been struck before or with more originality. The album
has the feel of a chaotic poetry reading among old souls charting
higher spiritual planes, especially the last "official" song,
"Praise," which clocks in at six minutes. To many, this is a
welcome atmosphere, but it is one that rarely sparks true
inspiration. The album closes with a gripping a cappella rap/song
about women ("He looks at she; she looks away, okay, hips sway. Why
is every day a ‘boy day’?) and legalizing prostitution ("She’s got
a mother, a daughter and a lover. You tell me why she shouldn’t
have safe cover.") Star definitely follows her own muse and has
something to say, and her passion and stripped-down sound almost
guarantee a great live show. "Tidy" (a paradoxical title for such a
forceful, eclectic album) shows signs of talent and a unique voice
that may be fully realized on future albums. Kristin Fiore B
Soundbites runs Mondays and Wednesdays. MATTHEW SWEET "Blue Sky on
Mars"