Monday, 6/2/97 Soundbites
Misfits "American Psycho" (Geffen) Though Glenn Danzig left the
vocal regions of this seemingly ageless band years ago, Misfits
still shriek out power-riffed lines of hauntingly gothic lyrics
with all the intensity of a band stretching its legs for the first
time. Though he drives through metal-punk chords like banshees on
their way to Hell, juiced up lead singer Michale Graves belts out
lines coherently with the diction of a New England gentleman. At
times sounding like a coked-up Elvis and at others like a
PCP-nourished Peter Gabriel, Graves produces an endearingly
strident set of lyrics. And what a set of lyrics they are. Who can
say why words like, "The sweet asphyxiation and dismemberment/ sex
puts me in the mood to make you die/ obsessive hands gently grab
your neck/ Look into sick eyes … I hate people," from the track
"American Psycho" provide such oodles of entertainment. Perhaps it
stems from the fact that nowadays, too many bands take themselves
seriously to the point of sheer ridiculousness. However, while it
may seem impolite to chuckle at Alanis Morrisette’s emotional
catharses or Eddie Vedder’s pained reflections, it feels more than
appropriate to laugh out loud at Graves’ proclamation that "We are
the kindred Hell’s/ ancient descendants slaves." Still, it must be
noted that quality music is at its best when expressing those
feelings which so often stay hidden under layers of socially
acceptable smiles and friendly hand shakes. In light of this,
Misfits will never join the ranks of exquisitely mastered musical
geniuses, unless of course you are one of the people out there who
secretly covets a desire to "Hate the Living Love the Dead/
smashing embryos, cut off heads." In this case, the Misfits’
"American Psycho" will speak to your inner being and feed the
emotional child within. If not, this album will at least prove an
entertaining romp through a cheeseball world of horror-flick fun.
And, as the pictures on the album’s back cover include shots of
every leather-clad member – from guitarist Doyle Wolfgang von
Frankenstein and bassist Jerry Only to drummer Dr. Chud – it would
seem that the Misfits’ shows would prove the ultimate highlight in
any fun-seeker’s quirky existence. After all, all of the members
sport black strips of chin-length bangs that meander down the front
of their faces in a skunk-like stripe. Just to better understand
this hair-follicle fashion phenomenon would be enough to merit the
purchasing of a concert ticket. And, even though the album’s 17
roadrunner-paced tracks end up sounding suspiciously similar after
a while, the Misfits’ "American Psycho" still deserves a healthy
sing-a-long session about once a month just to invigorate the old
larynx box. Vanessa VanderZanden B Bob Brozman and Ledward Kaapana
"Kika Kila Meets Ki ho’alu" (Dancing Cat) This is one of four
recent releases from Dancing Cat Records, which specializes in
Hawaiian slack key guitar (ki ho’alu). Ledward Kaapana is a master
of this technique, which involves loosening the guitar strings to a
lower tuning (usually a chord sequence like D-G-D-G-B-D, for you
guitar players) and picking them. The thumb is used to play a bass
line. Slack key guitar is the less-popular predecessor to Hawaiian
acoustic steel guitar (kika kila), the idyllic trademark sound of
Hawaiian music of which Bob Brozman is a master. Brozman’s acoustic
steel and Kaapana’s slack key guitar combine to create an
instrumental collection of romantic, tropical tunes that recall an
island paradise void of the freeways and pollution that have now
invaded even the smaller Hawaiian islands. The songs are
deliberately in the traditional style of the early twentieth
century, lacking any of the jazz-influenced or more wild sounds
that infiltrated later slack key and acoustic steel artists. But in
their simplicity lies a beauty and tranquility you don’t find in
more technically complex pieces. This choice of style is made more
evident when you consider that Brozman and Kaapana are masters of
their respective fields and are often called upon for more
experimental, intricate projects. This simplicity makes the album
somewhat repetitive (the fact that all of the songs are in similar
major keys doesn’t help, either), and the sliding glissandos of the
acoustic steel guitars almost lull you to sleep. But the album is
still a good introduction to both guitar styles, and it is more
diverse than other albums of this series that only feature the
slack key guitar. Equally informative are the extensive liner
notes, which give a history of Hawaiian music, the most popular
type in the United States during the first decades of this century.
There are also biographies of and quotes from Brozman and Ledward,
as well as song-by-song notes that tell the song’s origins and
interesting related anecdotes. Most of the songs are traditional
Hawaiian classics that date from the nineteenth and early twentieth
centuries. The slack key and acoustic steel tunings and playing
techniques are also explained for each song, which makes it easier
to understand and copy this unusual guitar playing style. Eager
musicians may find a new technique or be inspired by the unique
sound and mood of the slack key guitar. However, many may find it
too monotonous or traditional to slip into their CD players as
anything other than background music. Kristin Fiore B Marcy
Playground "Marcy Playground" (EMI) Comprised of only three
members, Marcy Playground produces a surprisingly textured sound.
Reminiscent of Nirvana, this sparsely populated group manages to
draw from a bass, drums, guitar, and vocals enough dark energy to
satisfyingly fill up three-quarters of an hour. Still, a tinny,
repetitive undertow exists in a good portion of the tunes, causing
you to ask, "Where’s the chunk?" For instance, the song "Saint Joe
on the School Bus" involves a steady melody which never quite goes
anywhere. But then again, maybe a song about being picked on every
day on the way to school should involve a sense of monotony. And,
the lyrics, though simple, do express the tiring torture
experienced by many a studious youth grappling with mean bullies.
"They said your mom/ she’s a whore/ They said it ’til you/ were raw
… Aunt Mary says they have/ the darkness there/ in their eyes,"
flatly croons the always calm, low-voiced lead singer.
Refreshingly, the song doesn’t involve any form of revenge for
Saint Joe; it’s just a passing view of one kid’s bummer existence.
Likewise, the second part of the album delves even more
half-heartedly into greater fields of tragedy, creating an even
more depressing slant on reality. The song "Opium," though based on
the cliched topic of yet one more poppy-derived drug, offers a
downer note that sets the pace for the album’s better part.
Culminating with "The Vampire of New York," the singer
unenthusiastically drones, "’Oh lord I think she’s dying’ I heard
somebody say / I think she’s dying," as though her death were
nothing more than a change of streetlights. At their best – when
they acoustically produce such eerily dispassionate sounds – Marcy
Playground proves their self-titled album is well worth a romp.
Vanessa VanderZanden B+ This is it, folks! Soundbites will return
on June 30 and run in the weekly Summer Bruin (distributed on
Mondays). MISFITS "American Psycho"