Kevin Dunn—Music Reviews—Poetry, Horror Fiction, The Necromancer

KEVIN DUNN

Home • Blog • Fiction • Non-Fiction • Plays • Poetry • Pictures • Interviews • Reviews • Message Board • Links • About Me

Music Reviews

These reviews were originally printed in the QC Quad, the official student newspaper of Queens College, from April 12, 1993 to May 10, 1993. My editor, David Warshawski, was pretty cool and got a kick out of some of the stuff I submitted, so, for the most part, I had carte blanche to do what I wanted. Thanks, man!

Rating Key

***** Worth every penny!
****   Above average.
***     Good.
**       Below average.
*         Save your cash!

Van Morrison

The Best of Van Morrison, Volume II

Polygram Records, Inc.

****

This latest compilation may perhaps be more aptly titled "Prayers and Revelations of Religious Experience." There is a definite religious theme running through the whole of this album which can be seen by a glance at the song titles. With such titles as "When Will I Ever Learn to Live in God," "In the Garden," and "Enlightenment," I feel a little overwhelmed. Morrison's lyrics are sprinkled with religious, literary, and even occult references as in "Rave On John Donne": "Rave on Mr. Yeats, rave on down through the Holy Rosey Cross/Rave on down through theosophy, and the Golden Dawn." Spanning as far back as thirty years to the days when he was still with Them, it seems evident from these lyrics that Van Morrison has been on a soul-searching mystical trip.
            For the most part, Volume II is slow and mellow, the most energetic rock tune being "Real Real Gone." In "It's All Over Now Baby Blue,"—a song written by Bob Dylan—Morrison sounds like Mick Jagger; so much so in fact, that if this song was on a Rolling Stones LP I wouldn't be able to say that it wasn't the Stones.
            It took me a while to actually sink my teeth into this album since I wasn't sure that the vocals complimented the music well enough, but after listening to it a few times I was strongly impressed with just how well they sounded together. At times, Morrison seems to have a chameleon's voice, ranging from rock to an almost gospel sound, and during "Coney Island" his brogue is purposely prominent.
            This album may not be for everyone, but those familiar with Van Morrison's lighter music may wish to give this one the once-over.

—Kevin B. Dunn

Moth Macabre

Interscope Records

***

Not a bad debut. The music has punch, at times sounding like Nirvana or slightly like The Dead Kennedys while singer and lead guitarist, Daniel Presley (who also produced the album) sounds like Elvis Costello with female vocal accompaniment. He frequently ejects such ear-shattering screams from his vocal cords that I can't help but think that someone is torturing him in the most painful and disgusting manner possible. But this is good—the screaming I mean. And there's some good bass playing by Michelle Muldrow which is pleasingly prominent in such songs as "All Great Architects Are Dead," "Amazing," and "Two Days."
Unfortunately, so many of the songs sound the same that it's sometimes difficult to tell the difference between them. Not bad though. They probably won't get into the mainstream unless they follow Nirvana's lead, but I'm not sure they want to.

—Kevin B. Dunn

Upsidedown Cross

Evilution

Taang Records

I was, I admit, amply forewarned about reviewing this cassette. One look at the cover should have told me that the end product could only be 100% pure shit! But I was curious, and I didn't think it could be that bad. I was wrong; it was worse than bad. I was unfortunate enough to pop this trash into my walkman just before boarding a hot and crowded bus. The bus was so crowded, in fact, that I couldn't reach my walkman to turn it off no matter how desperate I became, and believe me, I became very desperate. The next twenty minutes were sheer Hell and when I finally removed my headset I was disoriented and felt my ears to see if they were bleeding.
Upsidedown Cross bares a slight resemblance to a poor copy of an old Hellhammer demo, but Tom Warrior is a much better vocalist and easier to understand. The singer sounds as if he has suffered a severe cerebrovascular accident and chewed his tongue to bits in the process.
In between the distortion, feedback, and incessant whining of the lunatic screamer, there is the one redeemable quality this monstrosity has to offer—dead silence. I wouldn't wish this noise on my worst enemy, but then I'm not that sadistic. However, if you wish to get something for that special someone at the top of your hit list and you are totally devoid of conscience, feel free to buy Evilution. It is sure to turn anyone's gray matter to oatmeal in a matter of minutes.

—Kevin B. Dunn

Crash Vegas^[1]

Stone

London Records USA

There are some half decent songs on this album, BUT that doesn't make up for the fact that this amounts to little more than tinny-bop tripe. I found it entirely mediocre and depressing. Singer, Michelle McAdorey sounds exactly like Belinda Carlisle and the music is reminiscent of the Go-Gos with an influence of country music, and I hate country music! It's all down hill after the first and only good song, "You & Me," and McAdorey's melancholy moaning really started getting on my nerves. So what can I say? If there are any Go-Gos fans left out there they might find this interesting, although this band doesn't have the energy that the Go-Gos had. In short, this band has skill, but they don't pay-off on the album because it lacks vitality, creativity, and originality.

—Kevin B. Dunn

Season to Risk

Columbia

Add this one to the smoldering dung heap which was that affront to society, Upsidedown Cross. How these guys managed to get on a label is beyond me; I've heard trash compactors with more resonance and rhythm than is presented on this rather unimpressive cassette. What happened to standards? What happened to music? It seems like anyone with a lobotomy and a guitar can get a record contract these days. There should be a law against sending this type of useless shit out for distribution to those unsuspecting poor saps who are foolhardy enough to buy it.
I urge everyone to heed this warning: Caveat Emptor, let the buyer beware and don't buy Season to Risk unless you have uncontrollable masochistic tendencies.

—Kevin B. Dunn

The God Machine

Fiction Records Ltd.

All the songs—if, in fact, such a fucking conglomeration of shit can be called such—originally appeared on The God Machine's debut album Scenes From the Second Storey. Since this is a sampler, I assume that these are the best three songs of their album, and yet I fail to discern any glimmer of promise on this cassette. How they got on a label is a mystery to me, but then look at the label they're on. It certainly is Fiction to imagine that such an obviously pedestrian attempt at making music could generate enough interest in the general or even underground public to make any money.
The songs drone on redundantly in a manner not unlike that which cult leaders such as Charles Manson and David Koresh have employed to brainwash their credulous followers into doing their bidding. If this was the intent of The God Machine—can someone please tell me what that name is supposed to mean?—they have failed miserably in my case. One listen to The God Machine is enough to make a die hard Satanist out of the most devout of Christians. So if you wish to keep your faith (as well as your sanity), don't buy this trash. Pass it by and pray that it returns to the abyss from whence it came.

—Kevin "Blasphemer" Dunn

1 ^[1]Written for, but to the best of my knowledge, not printed in the QC Quad.