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Wednesday, October 30, 1996

SOUNDBITESCounting Crows "Recovering the Satellites" (Geffen) This sophomore effort by the Counting Crows is a predictable follow-up to their hugely successful first album. That album had a permeating theme of uncertainty with one's identity through songs like "Round Here," "Perfect Blue Buildings," "Anna Begins" and the hit single "Mr. Jones." This album also has a permeating theme, as many of the songs focus on a sense of restlessness that lead singer and primary songwriter Adam Duritz seem to have been going through. Many songs develop and echo this theme throughout the album's 14 tracks. While the intricate, poetic lyrical style from the first album is readily apparent, the music contains noticeably fewer ballads, songs which tend to be the band's strong points. Unlike the first album, "Recovering the Satellites" does not contain a song that has the potential to be a humongous hit like "Mr. Jones." However, for the fans brought into the Crows' camp by their first disc, this album will be a satisfying follow-up and will keep people eagerly awaiting future work by this very talented group. Jeff Hilger Grade: B+

Various Artists "Pure Sweet Hell" (Mammoth) If you had checked out a show at seminal coffeehouse Jabberjaw a few years ago, you might have seen Beck or Sonic Youth play in front of 30 people in a room vastly smaller than any Sunset Boulevard club. That is still the scenario today where Jabberjaw books some of the best up-and-coming noise, trash, surf, garage, punk and folk artists. And as a benefit to raise money for a new and safer location, the coffeehouse has released a second album compilation of bands who truly mirror the nightly noise and sweet ambience heard and felt from within the walls of Jabberjaw. Don't expect any over-produced, simplified radio hits from the eclectic group of artists. The music is an effectual transgression from the norm, not too deviant, although tracks from Godheadsilo, Steel Pole Bathtub and Laughing Hyenas are anything but normal. The Hi-fives and the Coctails add fun, lounge garage rock while Fitz of Depression and Clickitat Ikatowi deliver fuzzy hardcore. Jabberjaw has always been known to find the diamond in the rough, a band who transcends well beyond "good." It is worth picking up this album solely to hear Jawbreaker's wonderful "Sister," probably the best and last recording from this recently defunct punk outfit and easily the high point of the compilation. To see these bands live at Jabberjaw is a great experience, but to hear it on album is a close second. Brendon Vandergast Grade: B+

Various Artists "Altered Beats: Assassin Knowledge's of the Remanipulated" (Axiom/ Island) The first release from Axiom defies existing musical categories. Not a rap album, but not a standard DJ mix tape, this album is rather a collection of musical compositions by various inventive DJs. The DJs responsible for these instrumental collages include DJ Rob Swift of the X-Men, DXT, Prince Paul, DJ Krush and the four-membered Invisible Scratch Pickles.

The artists featured on this album are DJs who masterfully create new musical compositions using only vinyl records, a mixer and a pair of the ubiquitous Technics 1200 turntables. Some of these artists refer to themselves as "turntablists" ­ musicians whose instrument is the turntable. "We're turntable musicians. We play turntables like guitars," explains Invisible Scratch Pickle DJ Mixmaster Mike. Listening to "Invasion of the Octopus People" by the Invisible Scratch Pickles reveals that the group has taken scratching to another level, often inventing scratches that sound like guitar strums.

"Altered Beats" offers a glimpse into the future by cutting and splicing records of the past. Is it for everyone? No, this album may be a little too abstract for some. But any real hip-hop head can appreciate the talent it takes to weave these musical tapestries. Nelson Saldua Grade: B+

Jesse Cook "Gravity" (Narada) New Age flamenco plucker Jesse Cook has concocted a pleasant set of tracks for his second release. Cook's style closely follows the groundwork that others like Ottmar Liebert have laid in the genre and is well implemented, but at times severely repetitive. Many tracks suffer somewhat from an overuse of typical chording and rapid-fire arpeggios that, while beautifully played, we've all heard before. This is not to say there aren't highlights: "Gravity" is a poppy tune with intimate mixing that carries Cook out of traditional flamenco and into a style all his own. Similarly, "Brio" commands attention with brilliant playing and imaginative structure. Of note is the presence of bass master Tony Levin on most tracks, an addition that significantly bolsters the album's tightness and feeling of completion. Cook's playing gets through the door, but fails to grab hold. Luckily, Levin's bass and the accompanying flute and percussion carry the tracks to mild success. Great for discerning flamenco listeners and behind dinner conversations, Cook's work still has a distance to go before we want to hear it in the foreground for 70 minutes. Damon Seeley Grade: B

Soundbites runs Mondays and Wednesdays.

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