By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
By Steve Weinstein
By Araceli Cruz
Elastica's The Menacearrives with all the keenly calibrated market savvy of a search engine guaranteed to double the Net speed of every 286 computer processor you own. U.K.-released in April, it doesn't come out here until next month; alt-rock's DGC Records stronghold having bitten the dust, the absurdly belated follow-up to the gold-certified 1995 Elasticawas picked up by Atlantic, which has seen no need to rush. After five long years, what's a few months? It's a new century. Even theoretically, Blur plus Wire doesn't equal pop anymore.
Since I'd always believed Justine Frischmann's excellent, spiky, ungenerous, limited song band was daring us to throw them away, I snickered callously as their second album deliquesced into heroin rumors and breakup tales. Only morbid curiosity prompted me to check out an import I'd stopped expecting at all. But to my amazement, this wasn't some lazy payday or patched-together triumph of the will. After years of dicking around with perfectionism, paranoia, drugs, and her boyfriend from Blur, Frischmann had reengaged her muse with something like heedless abandon. Bearing down on the fast-hard yet also spacing out here and there, she transformed a constricted, stuck-on-itself punk formalism into an expression of history-be-damned courage and conviction. In a year when so many artistically ambitious rock records have come off confused or out of it, The Menace's cheek was a major up. Reports that Damon Albarn wrote Elastica's good parts had always had the air of sexist hooey. With Frischmann's music undiminished well after she tossed the guy, it became clear these stories were patent lies.
The Menacecomprises 13 worked-over songs representing every phase of Elastica's hiatusfrom old material by departed guitarist Donna Matthews and a 1998 Mark E. Smith collaboration up to electronic atmospherica, a "Da Da Da" throwaway, and a Frischmann poem supposedly unintended for release. But although half the tracks had already been unveiled in earlier EP versions, almost every one was rerecorded quickly by a new lineup late last year, yielding an album that sounds like one entity for 38 quick-changing minutes, a real-life fusion of the raw and the cooked untouched by studio glaze or lo-fi schmutz. This is a far less controlled and controlling piece of postpunk aesthetics than Elastica, emotional and pretty as well as tight and discordant. Fashion being fashion, it's gotten mixed reviews in England, where it somehow failed to debut at No. 1 the way Elasticadid; as one arbiter lamented: "Once they were fabulous; now they're just another band." It will be better received here, where the artists arouse fewer resentments even if they were bigger than Blur. But fashion being fashion, I doubt many will understand that, whereas Elasticawas a good little album that came at precisely the right time, The Menaceis a better one at a moment when it could end up having no impact whatsoever.
It was to pin down this particular permutation of that time-tested quandary that I decided to see Elastica live, a need I'd never felt back when Frischmann was vying with Courtney Love, Polly Jean Harvey, Kim Deal, Kathleen Hanna, Alanis Morissette, and the matched leaders of Veruca Salt. Crass or idealistic, dull or brilliant, all these heroines were more fully energized by the inchoate promise of Nirvana-mania than was the cool, well-educated, avowedly shallow Frischmann. Most had responded with spirit to the promise's break- down, too. But now Frischmann certainly belonged in their company, and I wanted a sense of how she was seen and how she saw herself, something records alone rarely provide. I hoped to catch a club gig while visiting London, only to learn that my sole shot would require considerably more effort. So June 24, driving on the left and dragging my jet-lagged wife and daughter along, I wended my way past Stonehenge and Polly Jean Harvey's hometown to the 21st Glastonbury Festival, and got a different story than I was expecting.
I spent only eight hours at Glastonbury, including the two it took us to find our car. And since the weather was chilly but rainless, I missed the archetypal Glastonbury experience, which involves filthy tents, filthier latrines, and mud up to your knees. Still, as a veteran of two Woodstocks who's glad he took a pass on the third, I was impressed. Every year, 100,000 ticket buyers plus uncounted gate-crashers and nearly 1000 migrating merchants gather for three days of music and other "contemporary performing arts" (Churchill's granddaughter programs those) in a vast celebration of alt-rock resistance, rave Ecstasy-tripping, hippie nostalgia, New Age blather, and promotional self- service that sends half a million pounds to Oxfam, Greenpeace, and other thorns in capital's side. It wasn't an idyll898 tent thefts, 105 robberies, and 27 assaults were reported, and there were moments on dark outer roads that got our antennae up. But for all its blokeish fucking about, the collective inebriation seemed more than a party, almost provisionally communalcross-generational and friendly on principle, with a thick layer of the "crusties" or "travelers" who've been making bohemian homelessness a skint, nomadic pastorale since Thatcher refinanced 10 Downing Street.
Although Glastonbury is a hallowed Brit-biz tradition and Elastica are credibly reported to have jump-started themselves with an incandescent Reading Festival set last year, I had a hard time envisioning the band in this environment. They were too London, too neat. Nothing for it but to wait and see, though, and having determined that the Dance Tent's strobe 'n' thrum weren't family friendly, we elected to pass on Rinôçérôse and claim turf in front of the Other Stage for a band I'd never heard of called Feeder. Elastica were scheduled for the same space an hour later.