Reviews of new releases from Fugazi and Sky Cries Mary.   Sky Cries Mary Until the Grinders Cease (World Domination) Jeff Greinke/Anisa Romero Hana (First World) Of related interest: Delerium, Cocteau Twins Sky Cries Mary, Sweet 75, Hana, Sunshine Cake Crystal Ballroom 1332 W Burnside St., 778-5625 9 pm Wednesday, July 14 $10 A bizarre blend of funky space rock, flowery New Age and flittering electronic goth, Sky Cries Mary has always been a difficult band to love unconditionally. Even the Seattle troupe's dedicated fans felt a bit betrayed by Moonbathing on Sleeping Leaves, the disappointing Warner Bros. debut that zigged into blindingly bright hippie pastures when it should have zagged back to the denser sonic forests of previous records. As if to atone for this misstep--or perhaps to remind us of how far he's come--founder Roderick Romero has re-released the first SCM recording, Until the Grinders Cease. It's a noteworthy album for three reasons: The occasional hammering percussion is harsher than anything today's rainbow-minded Romero would concoct; there is none of future partner Anisa Romero's elegant singing; and Roderick's backing band consists of Posies pop-tarts Ken Stringfellow and Jonathan Auer. Unfortunately, his dynamic songwriting smarts hadn't yet evolved, and songs often drift without direction. File under "interesting historical document" and move on. However, if you're a Sky Cries fan who lusts for Anisa's ravishing vocals--and not just her exotic looks, you sick puppies--then her Hana project will have you panting with excitement. With the exception of the drippy "Wash Me By" and her vibrato-out-of-control twittering on "Sweet Sorrow," Hana is a perfectly realized coupling of Anisa's abstract, angelic soprano and ambient sound-sculptor Jeff Greinke's enveloping web of ethereal electronics. An ideal soundtrack to both cheery summer afternoons and dreary winter gloom, this is one release devotees of that gauzy and gorgeous "4AD sound" should lap up immediately. John Graham     Fugazi Instrument CD and video (Dischord) Of related interest: Minor Threat, Rites of Spring, James Schneider's Make-Up movie, Blue Is Beautiful A decade ago, the bracing chords of Fugazi's "Waiting Room" split the punk-rock atom. Lots of underground bands had messed around with jazz, reggae and straight-up rock. It took a quartet including Minor Threat blarer Ian MacKaye and ultra-emotive Rites of Spring frontman Guy Picciotto to unite them all in a musical Manhattan Project, clearing a vast artistic Ground Zero. Indie hipsters, emo thrift-store raiders, riot grrl renegades, math-rock professors--all you punks, meet the godfathers. On one hand, longevity has allowed the band to explore sonic back alleys only hinted at early on. On the other, the music just isn't as thrilling anymore. While Fugazi albums once issued visceral calls to arms, now they're more like dicey intellectual challenges. Interesting, yes. Essential, no. Instrument, lo-fi director Jem Cohen's Fugazi biopic, captures this transformation better than either the band or the filmmaker had probably intended. Cohen's footage of the band's wrenching live shows is brilliant, and his collage of 8mm, 16mm and high-res video has great texture. At 115 minutes, though, it's a trial to watch. Like the band itself these days, Instrument alternates between vital excitement and wandering self-importance--there's a cool rock film in here somewhere, but it would take a cold-blooded editor to coax it out. Likewise, the accompanying soundtrack, a collection of demos and tossed-off experiments, is the kind of thing that only bands that've been around forever can get away with. Both serve as a reminder of Fugazi's place in history without adding much to the legacy. Zach Dundas - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Willamette Week | originally published July 14, 1999