Reviews of new releases from the Sweet Trip, Cavemanish Boys, and The Rootsman.   The Rootsman Versions of the Unseen EP (BSI) Of related interest: Systemwide, Dr. Israel In their continuing campaign to create a worldwide dub collective, the boys at Portland's BSI Records have hooked up with UK pioneer The Rootsman for an EP of remixes and reinterpretations, his first US release. Despite the heavy hand of studio wizards like San Francisco's Landau and France's metal god Ras Boras, all six tracks sound like they've flowed from the same fountain, while still displaying amazing variety. "Al Andalus (Dub #2)" is sparse and haunting, while "Imitator (Landau Remake)" is cacophonous, with beats crashing into each other and piling up like wrecked cars on the I-5. The two versions of "Beyond the Hills" have easy rhythms and textured, idyllic melodies, while the original "Al Andalus" energizes the disc with hip-hop beats and the flow of MC Johnny Lone. Clocking in at just over 30 minutes, Versions of the Unseen EP delivers more satisfying music than most full-lengths, and Portland should be proud of BSI's bid to move to the forefront of progressive music. Don't let this music go unheard. Jamie S. Rich   Cavemanish Boys Get a Load of... Blood Red Vinyl Of related interest: The Miracle Workers, The Cynics, Voxx Records Cavemanish Boys, Foggy Notion Satyricon 125 NW 6th Ave., 243-2380 10 pm Friday, Nov. 26 Cover Contrary to what one might think, garage rock does not have to sound like uniformly uninspired, emphatically intoxicated rehashings of the first three Pebbles comps. Case in point: the Miracle Workers. This mid-'80s Portland band created a distinct brand of fuzz and longing that stood above the rampant mid-'60's revival scene of their day. More than anything else, singer Gerry Mohr's gravely, tightly drawn snarls gave the band an unmistakable sound. Which brings us to our second case in point: Gerry Mohr's new Portland band, the Cavemanish Boys. Well, "new" may not be quite right--the Cavemanish Boys, fronted by Mohr and flanked by local stalwarts with connections to acts like Svelt and the Maroons, have been popping up around town for a couple of years. With their first full-length, the band makes good on a great reputation. The record is a blast, an indignant, spite-ridden rocker that falls right in line with the tradition of the Miracle Workers. Though not always right on target, the occasional psych-folk flavorings and traipses into silly pop prove the Cavemanish Boys unwilling to mire themselves in a tired, formulaic garage approach. Wisely, and successfully, they opt to cut loose as a fully realized rock-and-roll band steeped in the punk traditions of the '60s, not beholden to them. And Gerry Mohr is still Gerry Mohr. Welcome back, and well done. Sam Soule Sweet Trip Alura Darla Records Of related interest: Autechre, Takako Minekawa, Cocteau Twins It's strange that more electronic artists don't explore classically orchestrated computer music. MIDIs can mimic a cornucopia of oboes, flutes and pizzicato strings. It's not a Stravinskian concept, yet composers in the traditional sense are hard to find in the techno conservatory. Fortunately, the Bay Area artists of Sweet Trip are just that: electronica prodigies who have honed orchestration to a science. This hourlong, four-song EP is a seamless intellectual opus. Hot, smooth jazzy numbers and ethereal aural candies are backed by a cavalcade of serious breakbeats, watery white noise and typical trance chords. Alura is filled with the sort of music you might hear on the soundtracks to Nova or an Omnimax film. Sweet Trip embodies a perpetually underrated school of electro-symphonics, bridging the gap between what's danceable and what's listenable. Julianne Shephard - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Willamette Week | originally published November 23, 1999