Listeners invariably use music to escape from reality, and criticsinvariably disapprove. In theory, music's supposed toheightenreality, not blot it out. In fact, though, all music is escapist,a symbolic/sensual refuge no matter how hard to take. The test isthe alternate reality it creates. Is it soggy like Michael Bolton's?Deceitful like Wilson-Phillips's? Or something more enlighteningfor returning voyagers? "Reality used to be a friend of mine," croon the Jersey-City brotherduo P.M. Dawn to give you a feel forOf the Heart,of the Soul and of theCross: The Utopian Experience(Gee Street). They're so fed up with the life they've been handedthat they will a rap without street smarts--or street attitude.Beyond De La Soul-style "daisy age," they're like suburban fanzinetypes holed up with their stereos, except the music the live foris prized less for rarity than for ecumenical reach--their firsthit,Set Adrift on Memory Bliss, built off a Spandau Balletsample. Their escape fuses the Beach Boys with Grandmaster Flash.It can teach if you can learn. My Bloody Valentine come out of the same poof-to-arty English dance-musicscene that gave the Eighties Spandau Ballet, and they've had itwith pop pseuds. Instead their trance-disco creates an aural worldin which the transport of new age and the ecstatic pain of postpunkguitar converge. TheTremolo EP (Sire/WarnerBros.) is a taste for the fainthearted, but theLovelessalbum is where they put it together. Fast Cuts: Digital Underground,Sons of the P (TommyBoy): how can P-Funk cease to exist when we still have our recordcollection? Pixies,Trompe le Monde (Elektra/4AD):Before the world fools you. Playboy, Feb. 1992
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