Zeitgeist Reviews -MONSTER MAGNET, PROBOT, GINI DODDS, FRAN GRAY

CD OF THE WEEK

MONSTER MAGNET - Monolithic Baby

Monster Magnet in the house, baby! It's been a long three-year wait for new Monster Magnet music. There were record company moves, line up changes, personal issues - all to be dealt with before their return.

The last studio release, "God Says No", disappointed (others, not me), and the band need to re-woo some of their hardcore audience. This makes this an important release for MM, if they are to regroup and move forward.

First things first. "Monolithic Baby" rocks big time. It's a step back from the introspection of "God Says No" beyond the poptastic "Powertrip" and back into the golden period for fans - "Dopes For Infinity". It does retain the more melodic elements but recovers some of their sludgier, stoner roots.

From the opener "Slut Machine" onwards, MM take you on a hyperdelical classic rock ride which serves as a salutary reminder of all that is great about rawk and / or roll. The title-ish track takes full marks for its Black Sabbath on speed approach and despite the Guardian condemning "On The Verge" as blasphemous, it actually gives some perspective to the troubles of the last 2000 years. Note to Guardian reviewers - if you are going to quote a lyric as an example of po-faced blasphemy, then please quote the actual lyrics, not what you are hearing in your head. The chorus is not "Take me Jesus, take me harder, rape me in your womb", as a cursory glance at the lyrics would have told you. Bastards.

"Monolithic Baby" is no great leap forward but, frankly, I didn't want one. Monster Magnet didn't become the best rock band of the nineties by chopping, changing and performing jazz odyssey. They did it by subtle sonic manoeuvres, a methodology continued here.

After such a long gap, the band are making up for lost time, by entering the studio later this month to record 4 or 5 old forgotten demo tunes which will feature as extra tracks on re-issues of both the "Spine Of God" and "Tab" albums later this year. Tim Cronin will be doing lead vocals on one of the songs. On top of all that a heavier version of the song "King Of Mars" from the Dopes album has been recorded recently.

Let the final word go to Dave Wyndorf;

'"Monolithic Baby!" was born from the irony and absurdity of life in the ongoing and truly hypnotic 21st century! A combination of social commentary, ego stroking, paranoia and glee! This is Monster Magnet right now! Not yesterday, not tomorrow, right now! Sex and war! Disinformation! Terror! Narcissism! Denial! Drugs! Awwww I could go on AND ON! But I won't. Let me just say that "Monolithic Baby" I hope professes a determination to rise above a paralysed pop culture which offers little more than superficial, knee jerk stroking or vague , incomplete concepts that pose as art! But shucks, don't let my ramblings confuse you. Don't let my hyperbolic bulljive cloud the main mission of this music: Rock and Roll! Of and for the moment! "Monolithic Baby!" doesn't preach, it celebrates! Life is too short for anything less! Bring on the future! Bring it on with force, humour and dedication to the rock! Thank you and good day. Dave'
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MONSTER MAGNET

Monster Magnet

PROBOT

GINI DODDS

FRAN GRAY

PROBOT - Probot

Now, I disliked Nirvana and hate the Foo Fighters. However, when Dave Grohl started letting slip the details of the Probot project, I did perk up and pay attention.

One of the benefits of having oodles of cash is a vanity project, and by reeling in the likes of Lemmy, Cronos and Eric Wagner to provide vocals and lyrics, Mr Grohl tapped his address book to good effect.

Unfortunately, the resulting album is nothing more than a glorified eighties mix tape. The Cronos track sounds like mid period Venom, the Eric Wagner track sounds like mid perios Trouble, the Lemmy track sounds like Motorhead, the Snake track sounds lie Voivod. Are you spotting a trend here? The problem is that despite being a very good drummer, Dave
Grohl appears to have no personality of his own, so subservient is he to the sounds of others. This may be deliberate, but what would be the point.

You'd be better off buying release by the artists in question, and if this release boosts some back catalogue it would serve its purpose. So hopefully, COC, DRI, Celtic Frost and Cathedral will see some sales returns. However, as a stand alone release it is largely pointless.

Oh, and don't forget the bonus track, a forgettable and unfunny "I Am The Warlock" piece from Jack Black.

GINI DODDS & THE DAHLIAS - Good Medicine

We loved "Mellowdrama" round our way. We said "This is, at times, quite extraordinary. Possessed of a remarkable voice and the ability to write songs of a personal, yet universal dynamic."

And now here's the follow up. Things have changed round Ginis way. This is less traditional folk singer/songwriter material, moving more over into (the unfortunately titled) Americana genre, bordering on country rock. There are also shades of Britop (early 60s variety) and a degree of whimsy.

The title track heads back into the days of the New Riders of the Purple Sage and the Ozark Mountain Daredevils. The addition of a band has toughened up a lot of the sound, especially the keyboards. "Until" is a beautiful ballad, and "Cry" is Rolling Stones "Exile..." period. If you're looking for rock then point yourself towards "I Deserve Myself" or the 60s influenced "A Million Like Me".

Lyrically, there is a global approach to the modern world taking in US politics, corporate scandals, terrorism and all the usual post September 11 conceits. Fortunately, Gini Dodds is still looking internally to provide divinations of spirituality. Special props to the seasoned team of musicians who provide such high quality backing.

FRAN GRAY - Eclectic Encounter

From the first few bars of the appropriately entitled ‘Alive’ you know you’re in for something special from Portland’s Fran Gray, ably assisted by multi-instrumentalist Jess Ruggles on the opener and by a host of other musicians on the rest of the record.
‘Back to You’ has a beginning worthy of Carole King’s epic ‘Tapestry’ track and merely confirms what was already apparent on ‘Alive’- that a new talent has joined a fine line of American women singer/ songwriters.

‘In Your Room’ is perhaps the ‘pick of the crop’ with Fran hitting the ‘high registers’ Joni Mitchell style.

As I said before Fran is well served by her bands and Jon Lindahl adds some nice Claptonesque nylon string guitar touches on ‘Back to You’ and a feisty little electric guitar line on the uptempo ‘Moonblade’, a track that reminded me of Suzanne Vega’s challenging approach to music. Fran’s voice is perhaps at its most beautiful on ‘What about You’ and, all in all, there is much to admire on this haunting and evocative album. Recommended.

(Heart Spring Music HSM 1007)

(Reviewed by Phil Jackson for Zeitgeist)