Infinite Loops, BOSurfers, NZ, ``Not This,'' Dolby, T-Bone, Meatmen

[Bob Krajewski <lmi-angel!rpk>]

It's amazing how synths and studio-ness have become such a straw man in
little ``discussion.''  Let's just say that it's easy for arty types to
approve when they hear certain trappings (synths, cut-ups, heavy echo) just
as grungy guitars and sneered vocals seem to insure approval for the
righteous types who are defending us from the anything learned after 1978.
Of course, people do all kinds of things and somehow good can come of it, thank
goodness.  Nuff said, OK ?  Let's do some real networking !

* Butthole Surfers: For my money, the most exciting band at the moment.  Texan
Art Damage (in the Good sense of the phrase) that shakes, rattles, and rolls
yr bod and yr mind.  The tunes are catchy and varied even as they threaten
to fall apart.  And they aren't afraid to use the studio, either.  (Then
again, I thought Throbbing Gristle were kinda pop, too.)

* New Zealand: Well, now the underground tastemakers are rap- umm,
concentrating their cool-rays on this region.  I've been hearing various
pieces of this stuff on 'MBR, mostly from the Flying Nun label.  This is
probably a little off the mark, but the Velvet Underground is to NZ as the
Stooges are to Oz.  The sound tends to be more textured (one song I heard had
added to sitar (?) to the aural rush) and less ``thick'' than what's coming
out of continental Down Under (children of Radio Birdman, like the Exploding
White Mice).  Burning Question: Are Split Enz cool now ?

* The Way Heavy Metal Ought to Be: Go see the Meatmen.  You might be
offended, but you won't be bored (or disappointed, if you've got even the
tiniest sense of humour).

* T-Bone Burnett: I mentioned him a few Love-Hounds ago.  Credits include
albums by Elvis the Costello, Los Lobos, and the Bodeans (the last is his
best effort as a producer qua producer, in my opinion).  Along with Mitchell
Froom, Mr. Burnett works with groups identified with the ``roots'' movement
and then -- gasp -- actually makes good records with them.  The records
sound natural and smooth without overt slickness.  He's not afraid of a
little studio manipulation, like emphasising drums in a heavy percussion
break in the Bodeans' ``Fadeaway.''  Both Burnett and Froom try to give each
song a different character, and to try to escape or transcend the major
pitfall with so many r&r-revival records: textural and rhythmic similarity.

* ``Not This Time'': Well, it's certainly B-side material.  There's a good
song in there trying to get out, but the arrangement is pretty naff.

* Thomas Dolby: After collaborations with Prefab Sprout, Joni Mitchell,
Ryuichi Sakamoto, and George Clinton, and then finishing his new studio
(ThinkTank), he went off to do the soundtrack to ``Howard the Duck,'' a
Lucasfilm.  So, you might see an album from him in 1987...