ROCK AND SCIENCE FICTION by Dave Merrill For the last few decades, Science fiction and rock music have been inexorably linked at the fringes. There is much evidence of this link, from the categories that divide the fields, to the artists that create the work. Like rock music, which divides into hard, mainstream, punk and new wave (alternative or "new" music), science fiction divides into hard, mainstream, new wave, and most recently cyber punk. Just as the New Wave of rock broke away from the conventions of established rock music in the late seventies, the Science Fiction New Wave of the sixties, written by people like Samuel R. Delany, Michael Moorcock, J. G. Ballard, Harlan Ellison and Thom Disch, brought innovation in writing style and a branching away from the Hard Science Fiction of the fifties written by Isaac Asimov and Arthur C. Clarke. In each case, the New Wave changed our ideas of what each field could contain. A later pseudo movement, Cyber Punk, rocked the Science Fiction world in the mid- eighties. William Gibson, with his novel "Neuromancer" (written on a manual typewriter), and Bruce Sterling. with his anthology, "Mirrorshades," were the major voices in the early days of Cyber Punk. In his introduction for Eyeball Books re-issue of John Shirley's "City Come A Walkin'," Gibson cites "City" as a major influence for his novel "Neuromancer," naming it a precursor of Cyber Punk. "City Come A Walkin' " is a novel of future San Francisco. Lead singer, Catz Wailen, and club owner, Stuart Cole, meet the city itself, manifested in various forms. The novel is steeped in rock and roll, recalling Harlan Ellison's rock, and gang influenced work from the sixties, "Web of the City," "Spider Kiss," "The Deadly Streets" and "Memos from Purgatory." Shirley mentions "Blue Oyster Cult" as the precursor to the occultist band genre in the novel. This month I have the privilege of reviewing two of the major links between Science Fiction and Rock music, John Shirley's band, "The Panther Moderns," and "Blue Oyster Cult's" new album, "Heaven Forbid." "Blue Oyster Cult's" songs are influenced by the fantastic, from fantasy to horror and Science Fiction. Fantasy writer, Michael Moorcock contributed quite a few songs to their repertoire over the years. Now, writer John Shirley does the same, co-writing most of the songs on "Heaven Forbid." Two of his other contributions to "BOC" are re-printed in the Eyeball Books collection, "The Exploded Heart."

Artist:	Blue Oyster Cult
Title:	"Heaven Forbid"
Label:	CMC International
Reviewed By:	Dave Merrill
Rating:

"Blue Oyster Cult" was born of the New York club scene in the early seventies. The remaining core members today are Eric Bloom, Donald "Buck Dharma" Roeser and Allen Lanier. Each of them contributed solid songs over the years, but it was Roeser's song "Don't Fear The Reaper" that really put them on the map. The song still gets good radio air play today. Joined by bass player Danny Miranda, and drummer Bobby Rondinelli, "Blue Oyster Cult" continues their musical journey into the nineties. Though their last studio album came out ten years ago, a couple of compilation albums have sold well during that time. Now "Blue Oyster Cult's" new album, "Heaven Forbid," is here. The album has a good feel to it, and the cover is certainly eye catching. With a scarred and deformed man in the foreground, and cowering woman in the background, "BOC" maintains its horror roots. The first single, "See You in Black," is co-written by Shirley, Bloom and Roeser. It appears on both the new "BOC" and on Shirley's "Panther Moderns." The two bands' interpretations are vastly different. Speed metal guitar opens the "Blue Oyster Cult" version. Bloom's voice overlays the cacophony. The instrumentation is heavy and unforgiving, and it's a real headbanger. This is a new aspect for "Blue Oyster Cult." The song tells the tale of a woman beaten by her husband. Her friend wants to "See her in black," because that would mean the beating has stopped since her husband is dead. I heard my favorite song on the album, "Harvest Moon," at Toad's Place last year. It shows Roeser at his songwriting best, recalling "(Don't Fear) The Reaper." Roeser's vocal is smooth and untarnished by the intervening years. He sings "I see the days grow shorter/ I feel the nights grow cold/ Young people feelin' restless/ Old people feelin' old/ I sense the darkness clearer/ I feel a presence here/ A change in the weather/ I love this time of year. . ." Mortality has often been a subject for "Blue Oyster Cult," whether from the perspective of vampirism or the invitation of death in '(Don't Fear) The Reaper." But, in "Harvest Moon," Roeser shows a new perspective on it. Perhaps as his own mortality becomes more evident with the years, he's inspired to a different view. "Power Underneath Despair" is classic "BOC." Another Shirley/Bloom/ Roeser collaboration, the song is about a man who is framed by a man with a snake tattoo. As he rots in jail for eight years he dreams of revenge. Speed metal influences make it heavy rock. "X-Ray Eyes" shows Roeser and Shirley taking a more melodic approach. It's an awesome rocker that epitomizes the "Blue Oyster Cult" fascination with B movies. The man with the "X-ray Eyes" can see the future, but he can't change anything. With Roeser on vocals, the energy here is every bit as evident as on "BOC's" older albums, but with a nineties twist. "Hammer Back" brings us back to a heavier sound, with guitars full throttle on the intro. The shouted backing vocals, with Bloom's voice over them, make for a more manic feeling. Shirley, Bloom and Roeser describe a world where you have to pack a gun or end up dead. "Damaged" begins with raspy, low guitar and words spoken by Roeser. "Wish I was a better person/ With more control/ Turn the other cheek/ And when the punch comes, roll. . ." Bass, guitar, keyboards and drum converge on the intro soon after. The song refers to Dr. Moreau's half men in describing what he's really like. It's a confirmation of the choice for a life in rock music. The guitar intro for "Cold Gray Light of Dawn" is more classic "Blue Oyster Cult." Their fans will not be disappointed with this record. The song is about lying and being caught by "the cold gray light of dawn." A different sensibility marks the guitar on "Real World." It has a blues feel to it, but speeded up. Roeser's vocal lilts over the strumming. The writing shows much of the flair found on "Harvest Moon," full of portents and images. "Whispers from the desert stones/ Divinations in lizard bones/ Something beyond is reaching out to you. . ." Mortality is the subject again on "Live For Me," as an accident claims the life of the protagonist's brother. As he says good-bye, his brother tells him to live life to its fullest, "Live for me." It starts off running with all instruments, and a bass line that pulls you along. "Still Burnin'" is heavy metal all the way. The only song co-written with Jon Rogers, it sounds like something off "Mirrors," only faster and heavier. It's a simple song about being hooked on a gorgeous girl. The final song on the album is a live version of Allen Lanier's "In Thee," from their "Mirrors" LP. It's a good, mostly acoustic, version of a classic "BOC" song, showing they can still do their old material with pride. This was one of their bigger hits from the late seventies and one of my all time favorites. While I won't say that "Heaven Forbid" is one of "Blue Oyster Cult's" best, it is certainly a great effort after a ten year hiatus from the studio. Fans can buy it, confident they'll grow to like the new material, while those unfamiliar with the band may find reason to check out what came before.

Artist:	The Panther Moderns
Title:	"Red Star"
Label:	Weathered Leather Records
Reviewed By:	Dave Merrill
Rating:

"The Panther Moderns" are John Shirley on vocals and lyrics, John Karr on guitar, keyboards and sonic treatments, and Mike Deery on bass and vocals. Shirley is no newcomer to rock music. Over the years he's been the lead singer in punk bands like "Sado Nation," and now for "The Panther Moderns." His Science Fiction and Horror stories and novels are much influenced by his music background, often describing wasted landscapes and burnt out cities. He's mostly lived on the edge, the fringes of society, so he speaks from experience, where others just invent. Shirley is also known for his movie scripts, most notably "The Crow," adapted from the J. O'Barr comic book. "You're the Reason" opens with edgy percussion. Distorted guitar on the order of "PIL," screams along with a tight bass line. Shirley's voice reminds me most of Zappa, but it's higher and more melodic. It's manic and uncomfortable, but at the same time engaging. "Hope There's A Hell" has more rhythm to it. Shirley's voice carries a lot of energy, winding its way through Karr's and Deery's rhythms. Wishes for the suffering of a woman who spurned him drive the song. It's over six minutes of angst and anger, which isn't to say it's bad. It's actually quite good. On "Red Star," the sound resembles Iggy Pop most. The song begins with Shirley's voice, influenced by Rocky Horror, and a laid back guitar line. He speaks of broken dreams leading to nothing day jobs. "I had a destiny at one time/ I had my own red star. . ." The opening to "Not Who I Am," is city street noises, crying babies, horns, sirens, screams, ending in the creak of a door shutting, footsteps, and a television in the background. Funky guitar lines weave into the noises with Shirley's spoken voice. The story unfolds of Jimmy, who's sick of his life. The guitar line is remarkable, chaotic and surprising, reflecting the attitude of the protagonist. "Not Who I Am" is over eight minutes long, but doesn't get boring. "Look But Don't Touch" begins with plunky sounding drum beats and a blending bass line. Shirley's vocal joins first, barely singing. The beat is intense as guitar comes in, reminding me of things from the eighties that I can't even remember, maybe "Duran Duran" in some off sort of way, or "Ultravox." It's an awesome song. Female vocals jump in for the refrain "She jumps/ Jumps to touch/ Kicks out/ Your crutch, your crutch/ She's got a great/ Look but don't touch. . ." It's about a girl who teases with her look. A wild guitar solo picks up toward the end of the song, leading into the final refrain repetitions and close. Screaming guitar a la Van Halen joins a crisp bass line for "Panther Pit." Even Shirley's vocals resemble David Lee Roth's. He pulls it off fairly well with a bit of echo. The subject matter fits the style, about bad girls. "The really twisted and neurotic girls/ Man, they're the happenin' kinda girls. . ." Bass guitar sets the tone for "200,000 Homeless Children." Percussion follows with electric guitar on its heels. The song examines the plight of homeless children in America, and our ability to close our eyes to the problem. Back to back with an airhead song like "Panther Pit," it has even more impact with its social message. "Dominant Impulse" sounds like a movie soundtrack, at first beginning with noise and an answering machine beep. Eerie ringing keyboards and bells accompany a message left for the sister of a murdered girl. The messenger was a witness, and confesses how the whole thing happened. The story meanders along with the music. Finally the caller realizes what he's recorded and says he's made the whole thing up. The effect is haunting, leaving the listener with a sick feeling. "Mountain of Skullz" has a strong blend of chaotic drumming and guitars. It's overwhelming in its intensity, causing an unbalanced feeling. Shirley's voice is distorted appropriately. As I mentioned in my "Blue Oyster Cult review," "See You In Black" is much different in Shirley's rendition. "BOC's" version is speed metal with seventies overtones, while "The Panther Moderns' " sounds more like eighties alternative music, with its synthesizer line and wild guitar work. I think this version suits the song better. It's loud and obnoxious, like the protagonist in the song. Both versions are good headbangers, but you could pogo to "The Panther Moderns." "Still Walking Around" has a similar beat to that of "Mountain of Skullz." The vocal is, again, spoken. The opening line pulls you in. "They say a man's hair and nails continue to grow long after he's dead/ Long after he's dead." This reminds me a lot of the spoken word poetry on "Unsound Methods" by "Recoil." (AMZ January 1998) I was unsure what to expect from this album, which as it turns out, is the best way to approach it. The songs on the second half of the album are much more avante garde, becoming more imaginative and dangerous as the album progresses. This album is not for top forty listeners or their cousins. Expect the unexpected from "The Panther Moderns" and you'll have one hell of a ride.