Film Reviews


Before we dip into the treasure chest of sound this month, let me tell you to go see the Fastbacks. Simply one of the best bands ever to emerge from the Pacific Northwest (that means Seattle). That's at Boston's on Tuesday, with Jeff Dahl. And, on the home front, Idols of Perversity (useta be Tao Overstreet, remember?) are throwing down the Fender gauntlet. The Idols will give a brand-new Stratocaster--I think that means it was made in Japan--to the person who can play a one-minute guitar solo better than the band's own lead ax-slinger. The first ten badasses to sign up get to try their luck, and the winner will be judged by applause. That's Saturday at the Mason Jar; be there at 9 p.m.

And now, on with the bloodshed.
I'll admit it. I was a little scared when I put on Crown of Thorns' tape Loneliness Is Black. The first cut, "My Love Is Pain," begins with an ominous wash of guitar noodling; I could almost smell the fog wafting out of the dry-ice machine. Then the thing kicks in like a sonofabitch. This is good ol' head-bangin' metal played by four guys who speak the language quite well, thank you. My only gripe is that vocalist Patrick R. Flannery sounds like he's doing a David Lee Roth impersonation, right down to the Ethel Mermanesque vibrato at the end of each line. But, hey, it's a damn fine David Lee Roth impersonation! C.O.T.'s material, while not breaking any ground in the originality department, packs a mighty wallop, and should make for excellent ear-bludgeoning live. Call 423-9891.

Box of Cherries' latest project, Stuff, is carved from the rarely used genre of novelty bubblegum pop. I can't tell you what the songs are called, 'cause the titles aren't on the tape, but there's more than one song about life from a dog's point of view. And one tune begins with a guitar intro followed by a burp. But let me say this: The Cherries can write a hook, play in the grand tradition of the Rubinoos and the Records, and their harmonies aren't too shabby, either. My only question is: What's with the goofy lyrics? Call 360-7625. I've got to hand it to Clock People; this band really knows how to put together a promo package. I received a lovely, orange cardboard box with "My School Things" written on the side, and a sticker that read "Property of Bobby." And this is what it contained: a pocket calculator, cassettes of Billy Joel, the Eagles, the Beatles, the Beach Boys and Disco Super Hits, a tampon, two crayons, a nail, a penny, a pink highlighter and a tube of Polysporin. Oh, and Eddie's Space Time Continuum, the People's new four-song tape. Is that bitchin' or what? All Serene Dominic gets are threatening phone calls! So, about the music: The People womp out a pretty decent batch of catchy brood-pop, sort of in the realm of Smithereens or the Connells. No, I'm not gonna say R.E.M. The song "17" stands out to my ears, with a chorus that rock critics who use trite, hackneyed adjectives would call infectious. Sometimes, the vocals turn a little self-consciously stern, particularly on "My Head," but I'm sure a few beers would solve that problem. For the singer, not me. I hate to admit it, but the cassette box, which I assume had a phone number on it, melted in my car and I threw it out. If the Clocks call me, I'll print it next week. Sorry.

Is there cause to tout the Uncommon? This Phoenix quartet's slick-sounding tape is reminiscent of bygone corporate rockers like Hootie and the Blowfish. So it's not surprising that singer-songwriter Michael Alossi's tunes are a little too common and generic for comfort. Unimaginative song titles like "Never Give Up," "Life Goes On" and "She's Got a Way" pretty much reveal the paucity of ideas at work here. Plus, using already-used-up titles only draws unfair comparisons to beloved rock classics--in this case, "Time" and "Mother." Unlike Lennon's bitter song of the same name, Mike Alossi's "Mother" is about how his mom did the best she could for him. Since it's poor form to say anything bad about one's mama, we'll skip over to "Time," which doesn't have any groovy clocks at the beginning and is about Mike deciding it's "time for me to be a man." Why not just call the song "To Be a Man" or "'Cause (It's Time)," for Chrissakes? "Does Anybody Know" has nice harmonies, but also has a guitar so heavily drenched in chorus effects that it makes the whole song sound out of tune. The tape's insert has a cheeky reminder for listeners: "Support local music--especially us!" A worthy sentiment, to be sure. But although there's nothing to outright hate about the Uncommon, for now, there's also too little to support, either. (No number.)