
   ELD RICH PALMER zine                     
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   ޲            ޲     ߲     ޲ .zero99




                    Well,it's happened.

                    The  origin  of  this  webzine comes from the
              paper  fanzine  ELD RICH PALMER, that's been active
              around since 1991...
                    Me  (Zenial) and Krzysztof Sadza have decided
              to  choose  all  the  best  out  of  the  6th & 7th
              issues,mix  it up and add to it some new stuff,thus
              the 8th act's appeared.
                    The  contents  can be obtainable with the use
              of  almost  every  computer,which  has  got  simple
              txt-editor(PC/MAC/AMIGA/ATARI).It  has  very  small
              capacity  (a  3.5/1.25  disk is enought) and it can
              be  sent via net as well. Modest but effective!
                    We   would  like  the  9th  issue  to  appear
              soon,we'd  like  also  it  to  be open for all ! So
              everyone  is welcome,and asked for getting in touch
              with us immediately at:

                                Krzysztof Sadza
                                Napoleonska 25A
                                 06-500  Mlawa
                                    Poland

                                      or

                             Lukasz  Szalankiewicz
                               Ul.Aleje Wp.42/68
                                 38-500  Sanok
                                    Poland

                                    e-mail:
                               jantar@promail.pl
                               zenial@kki.net.pl


                    The  paper  issues  of ERP zine are available
              thru  Lukasz  (unless,it runs out), contact him via
              e-mail...


              ELD RICH PALMER' zine issue 8 (contents):

              Bulgarian new music scene raport
              Slovakia scene raport
              XV Parowek
              Big City Orchestra
              Cpinalonga
              Delphium,
              Dream into dust
              Jantar DC55
              Noxius Emotion
              Oberon
              Origami Replika
              Phyrl
              Rosengarden
              Szeki Kurva
              The 4th is eligor
              ZIDSIC rec./Mr.Zan
              Advertisments
              Reviews

              (erpzine8.zip)

              Editorial for the 8th issue :
                                  - Krzysztof Sadza (main editor)
                                   - Zenial (editor, net, spread)
                                  - Garfield, Zero (superb ascii)
                                               - Terway (reviews)
                                              - Primek (webmaker)
                                                 - & others (...)


               ARCHIVES:

               ELD RICH PALMER' zine issue 1:
               My   Dying   Bridge,  Nosferatu,  Dead  Infection,
               Neolithic, Immortal Fate & (...)
               NOT available!

               ELD RICH PALMER' zine issue 2:
               Rongwrong,    Obuh    rec.,   Schizo,   Mortified,
               Retribution & (...)
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               ELD RICH PALMER' zine issue 3 :
               Fetish   69,Inner  Thought,  Czech  scene  raport,
               Renaissance,   Gallows,   Vader,  Miscreant,  Love
               History,  Rosengarden  Funeral of Sores, Pentacle,
               Slovakia  scene raport (metal), Neolithic, Texton,
               reviews (...) NOT available !

               ELD RICH PALMER' zine issue 4 :
               Into   The   Abyss,  ARS  2,  Release,  Crack  up,
               Desultory,  Amor  Committed Suicide, DarkSide, Die
               Verbannten  Kinder  Eva's,  Slave  One,  Elbereth,
               General  Bomb  Machine, Metalmorphosis and tons of
               reviews (...) NOT available !

               ELD RICH PALMER' zine issue 5 :
               Tenebris,  Rain,  De Volanges, Omnivorous, Trauma,
               Attrition,  IF  Bwana, Oberon, Black Flames prod.,
               Requiem  prod., En Garde and tons of reviews (...)
               NOT available !

               ELD RICH PALMER' zine issue 6 :
               Trance/Charnel  Music,  Mussorgski, Eterne, Elend,
               Soundbuster   prod.,  Acting  Out,  Konca  Taniec,
               Atarxia,  Szeki  Kurva,  Greek underground raport,
               Turkey scene raport, poetry, zines/records reviews
               Get it for 2$ or trade.

               ELD RICH PALMER' zine issue 7 :
               Cpinalonga, Oberon, Origami Replika, Zaraza, Lahka
               Muza,  Miasto  Nie  spalo,  Phyrl,  Slovakia scene
               raport,  Dream  into  dust,  Nostromo  and  record
               reviews.
               NOT available !

               NEVER USE THE FANZINE NAME ON THE ENVELOPES !!!
               Hidden cash !



                               
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                        ELD RICH PALMER zine   

                       BULGARIAN NEW MUSIC SCENE RAPORT
                              By Ivailo Tonchev


                    Hello friends, this short article will try to
              introduce  you  to  the  new music, coming from the
              small  country  Of Bulgaria. As you know, we were a
              socialist  country  for over 45 years and all sorts
              of  rock  music. Appeared here in the middle of 60s
              and  saw  it's  rise with INTERNATIONAL YOUTH FEST,
              our  answer  To  the  imperialist Summer of Love...
              What  you  can find in the 60s is mostly some great
              garage tunes and lots and lost of shitty propaganda
              pop. Up to 76-77 it was the same thing nothing that
              interesting  happened. The end of 70s brought a big
              change.  With  the  punk  uprising in the West, the
              whole  scene  got  its  motivation  and started its
              development.  However,  there  are no documents for
              the  scene  from  that  period.  SIMO  LAZAROV  was
              probably  the  person  who  started the development
              of  electronic  music.  He released a lot of record
              and  Cds,  his  early stuff is quite good but later
              he  got  more and more into the space thing and the
              faded  Away  quickly.  However,  try  to  find  his
              records,  although  it  is  almost impossible these
              days.  He  was  the  only representative of the new
              music  in  those  obscure  early  80s. There wasn't
              anything else that can keep anybody's attention. In
              1984-1985,  when  the  first  punk/new  wave groups
              appeared,   that   gave  the  start  to  the  whole
              underground  movement.  Let we talk about the years
              85-90  first.  The beginning of the BG new wave was
              set  up  by  TANGRA  and  their LP "2", released in
              1986.  It may seem naive but these songs had a huge
              following  and  introduced  a  lot of people to new
              wave.  TANGRA  sounded  a  bit like post punk, good
              lyrics  and  interested music. This LP is extremely
              rare  now!  KALE  appeared  in  1985 and they had a
              great  influence  on  the  whole scene, as later in
              1987   the  members  formed  NEW  GENERATION.  KALE
              existed until 1988, but they lived and played under
              the  strict  laws  of communism. The music was some
              sort  of  a  minimalist  sounding  wave/punk. Their
              lyrics  were  written  by DIMITER VOEV, the man who
              stood  behind  so many projects. KALE never got the
              appropriate   attention,   as  most  of  his  other
              projects:  WOZZEC  I  CHUNGRA  (over 9 demos, weird
              improvisational/experimental   music),   ABSOLIUTNO
              NACHINAESTI  (dark wave/punk  2 demos), LAKSHMI OF
              NAPISCHIM  (2  demos    improvisations)  and  many
              others.  The  band  of his life was NEW GENERATION,
              and  it  was  his  biggest success, that also had a
              huge  following. They described their style as cold
              wave  and they really sounded cold and really dark.
              They  have  one  LP (split with CONTROL), countless
              tape  releases  and  one  CD out. They influenced a
              whole  wave  of similar bands, but that happened in
              the  early 90s. DIMITER VOEV died in 1993, that was
              a  sad  moment  for the whole scene. NEW GENERATION
              continued  but  not successfully as ART GENERATION,
              released   one   tape   and   faded  away.  Another
              interesting  band that formed around the end of the
              80s was VIOLETOV GENERAL, the dark legend of the BG
              underground.  Always  on  the dark side, their punk
              industrial  music  shocked  the  more  conventional
              fans.  Their  leader is EMIL VULEV, one of the most
              interesting  contemporary  painters  here. VIOLETOV
              GENERAL released countless tapes and their last was
              also  pressed on a CD. They split up in 1994, after
              having  a  HUGE influence on the whole music scene.
              Around   1993-1994   they  turned  completely  into
              electronic/improvisational  music.  EMIL  VULEV has
              released  a  lot  of new tapes, featuring his sound
              experiments.  All  material  is highly recommended.
              Now  he  works with ALIEN INDUSTRY, a metal type of
              industrial,  not that interesting for me... Another
              interesting  band  that  worked  at  that  time was
              REVIEW. Fast and dark wave/punk with female vocals.
              It  contained  NEW  GENERATION and KALE members and
              the  vocalist  was MILENA SLAVOVA. They have one LP
              out,  a tape released in 1995 and now they exist as
              AFRICA,  a  post  punk  band. CLASS and ATLAS had a
              split  LP  together,  interesting new wave they got
              watered   down   after  this  release  and  do  not
              deserve  thata  much of attention. BUDA 3000 were a
              mysterious  dark  and  post  punk  band that gave a
              birth to one of the most interesting bands  HEARTS
              OF  TIBET.  Imagine a fusion of jazz, LAIBACH, DEAD
              CAN  DANCE, punk... you will probably get some idea
              for  the  early  HEARTS  OF TIBET stuff. Later they
              released  a limited tape EP (100 copies), that gave
              birth  to  their  more electronic style. Later they
              disappeared   and  returned  as  one  of  the  best
              electronic  acts,  sadly  they have turned too much
              into  the  commercial  music. I saw them live a few
              weeks  ago,  high  speed  techno  music,  I have no
              words  to  describe  it, I felt there was something
              missing  although  they  are one of the most famous
              acts these days...
                    They very beginning of the 90s brought a huge
              wave  of  bands,  influenced by the above mentioned
              80s  bands.  A lot of words can be mentioned, a lot
              of  bands  too...  sadly  not  that  many  of  them
              released anything. It wasn't a funtime, people were
              starving, there wasnt any time for art. Some names
              that   deserve   to  the  mentioned  are  MEPHISTO,
              PARANOIA,     BELI     SENKI,     MURTVI     POETI,
              BEZNADEZNOST...  the  list can go on forever... The
              end  of  the 80s had a huge wave of electronic/free
              jazz  music. There are two names that deserve to be
              mentioned  when  it comes to jazz. YILDIZ IBRAHMOWA
              released  her  brillant  album "Illusory Eternity".
              Musically  it  is close to stuff like MEREDITH MONK
              or  DIAMANDA  GALAS,  but  she  put  a  strong folk
              influence  and  this  album  set a new path for the
              jazz  music  here.  Later  she moved to Turkey. She
              released a couple more albums into more traditional
              vein,  but  still  good.  THEODOSII  SPASOV did his
              great  "Sand Girl" album, one interesting fusion of
              folk  and  free  jazz.  His  other albums are worth
              checking   too,  although  slightly  watered  down.
              SERGEI DJAKOV did some quite successful albums with
              electronic  music.  THE  SLAV formation has already
              released  several  great albums of experimental and
              sometimes  jazzy  electronics. OM ART FORMATION can
              be  compared  to  DEAD  CAN  DANCE with strong folk
              influence.  They  are  one  of the most interesting
              bands  these days. They are working on more ambient
              sound  in  their  last  album  "Ritual Places". DVE
              KUPETA  released 3 albums and they sound a lot like
              TUXEDOMOON.  They  split  up  and now they are call
              BAND  FOR MAD WOMEN, they sound more like some sort
              of  excentric  new  wave.  69. Did four albums with
              great  dark and evil gothic rock. ARACHNOFILIA have
              a  few tapes out, interesting industrial/dark wave.
              ANTISAPIENS  were in the gothic rock vein, slightly
              more  melodic,  yet powerful album. NEMI EZERA play
              into the THROBBING GRISTLE vein, quite interesting.
              RWF  played cold wave, with a strong NEW GENERATION
              feeling.   Something  worth  checking  are  first 2
              albums of NOVA IOTOVA, that created a BG version of
              COCTEAU  TWINS, mixed with a steady folk influence.
              ZLATKO  did  one  tape, a strange mixture of gothic
              and the 70s PINK FLOYD, quite good. Another one man
              band  is  CLOACA,  that  did  2 demos full of noise
              experiments. Almost in the same vein is the tape by
              MITKO IGNATOV.
                    Well,  this  is  just  a short look at the BG
              scene,  its  past  and future, the way it is now. I
              may have mixed or mistaken something, hey nobody is
              perfect... Let me now introduce myself: I am Ivailo
              from  A.O.N.distro, aged 26, earning my living as a
              school  teacher.  If  you need any more info an all
              these  names, just contact me and I will always get
              you  my  latest  lists... My catalogue is available
              for  1 USD (well hidden) or just a friendly letter.
              I   love  to  trade,  so  that  may  be  a  healthy
              alternative  to  money...  if you want to check out
              the  BG punk scene, you can write me too, I stock a
              huge pile of punk/HC releases from here.

                                                   MY ADDRESS IS:
                                                   IVAILO TONCHEV
                                                STARA ZAGORA 6010
                                           KV KAZANSKI 16-G-115
                                                         BULGARIA

                                               TEL:00359-42/27080
                                       E-MAIL:IVAILOT@MALCITY.COM




                               
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                        ELD RICH PALMER zine   

                            SLOVAKIA SCENE RAPORT!
                                   By Ryby


                    Where   are   these   times   when  clubs  in
              Bratislava  were  "Shaking"  under  the  rhytms  of
              Slovak electro pioneers "THE DARK". Their gigs were
              the  best  what  could  Slovak  electro  scene even
              offer.  They became very popular and while stepping
              higher  and  higher  interest  of  media increased.
              Unfortunately,boys didn't manage this publicity and
              disappeared  as  quickly  as they came. However, it
              was  long  time  ago  and  things has charged since
              then. Successively,here has come some new promising
              bands,so  I would like to tell something about them
              now. And because I'm from Bratislava I begin in our
              capital city. Probably nobody who touched this kind
              of  music  at  that  time  would not forget 4 funny
              teenagers  named  NOTORIOUS  BOYS.  Band was formed
              after  the  fall  of  totalitarian  regime  in  our
              country  and  it  was  basis  of  later established
              MORBID  FANCY  which  is not necessary to introduce
              especially.  Guys  performed  nice  number of gigs,
              released  3  demo  tapes  and,  in particular, last
              one     touched    the    wider    dimensions    of
              electro-industrial    music    and   proved   their
              position  in  our scene. Unfortunately, it's traqic
              that  I  don't  know  any  other  electro band from
              Bratislava.  However, I'm not taking into account a
              lot  of  materials  produced in Czech Prague by one
              Slovak  musician ana I think he wouldn't contest if
              he    is    classed    as    member    of    Slovak
              electro-industrial    scene.   Everybody   who   is
              interested   in  electro  probably  knows  who  I'm
              talking about. Yes, you're right, it's Ergo, former
              member  of  Crewzine  commando. His projects GAPING
              CHASM   and   ANIMA   MUNDI   became  very  quickly
              well-known, some of his musical creations are still
              shocking    me.   At   this   time   Roman   (ERGO)
              concentrates                 more                on
              dark-electro-ambient-industrial    project    ANIMA
              MUNDI,  its  last release is really delicious piece
              of  work.  I just can hope it's not last thing from
              Roman.

                    Other  interesting  act  coming from Slovakia
              (Trnara)   is   K.I.F.O.T.   We  could  hear  their
              production  first  on  electro  industrial  fest in
              Malacky  where  they have impressed not only me but
              also    a    lot    of    electro    freaks    from
              Slovakia.K.I.F.O.T  H.  caused  little sensation in
              our  scene  and  became one of most wanted bands at
              the   moment.   After  second  demo"  E-bola"  they
              signed  Holger's  VUZ Rec. so their CD debut should
              be  out in few months. It will be named "Ebola" and
              it  will include remastered tracks from demo + some
              extra  bonus  tracks.  And because guys are full of
              energy  they realized few side projects. It's worth
              to  mention  MINDSCAPE which debuted live with it's
              chaotic electro-industrial on electrofest in Trnava
              (January'97).  Another  interesting  formation from
              Slovakia  producing totally different kind of music
              is  EINLEITUNGSZEIT  from Malacky. Concept of their
              live  performances on scene evoking real apocalypse
              offers very exciting and unforgetable show alluring
              still  more  and  more  machine-heads.  Their noise
              industrial   testing   your   nervous   system   is
              interesting  not only for natives, first success is
              vinyl  release  for German ART KONKRET. At the time
              guys  re  working  on absolutly new material, so we
              can  look forward to it. Another band, same musical
              inclination  -  that's  CYBORG. In July 1995 they'z
              eleased   first   demo   and  titled  it  "Immortal
              Solution",  following  "Capital  Punishment" (March
              1996)  brings  already more agressive and developed
              sound. After some problems one of two brothers left
              the  band  giving  the place for self-expression to
              remaining  brother Robert. Of course, Robert didn't
              sleep  and  already  in  August  1997 came with hot
              noise  -  experimental  industrial  named  "Hall Of
              Mirrors",  NEURAL  PARALITIC is the name of electro
              newcomer  from  Vrbove.  Their debut demo "Cerebral
              Frequency"  we can shortly describe as experimental
              EBM.  Some time ago we were supplied by classic EBM
              of  THE  TRIBE CONPS from Sulov. However, it's part
              of  history  now. Boys changed the name of the band
              and  started  to produce another kind of music Yes,
              I'm  talking  about  ABUSE  which  offers  not only
              typical  EBM or industrial but preset electro music
              in  its  entirety.  That's  why  you  can  feel the
              influences  of  various  styles  in  it.  Music  of
              TERMINAL  STATE  from  Presov in eastern Slovakia's
              another  cup  of  tea.  Their harsh and dynamic EBM
              occupied  foremost  positions in local radio chart.
              One of the most successful bands is LAHKA MUZA from
              Nitrianske  Sucany  producing music so different of
              all  mentioned  formations.  Dark industrial blocks
              with  original  voice expression of female vocalist
              Hilda   was   enough   interesting  also  for  some
              labels,so it resulted in two CD's releases (they ve
              3rd  CD out now -ed). By the way, band is active at
              this  time  as we can infer from their last concert
              activities  and what's the most important for their
              fans  next  CD  should be out very soon. So, that's
              all  I  can  provide  from  my  informations  about
              electro activities in Slovakia. I supposed there is
              more  bands  which  would  like  to  present  their
              production  so  that's  the  opportunity  for me to
              appeal to these bands. Don't hesitate and write,and
              send  your materials to ALIEN! We are here just for
              you.  And on the end I would like to call attention
              to   first   Slovak  noise-electro-industrial  tape
              compilation  named  "Collection Of Biologic Waste".
              If  you want to try the taste of Slovak electro you
              are welcome. Let your head be infected of this!

                                                 Executed by Ryby
                                   Contact him at: ALIEN MAGAZINE
                                  Peter Rybar nam.Hraniciarov 6/a
                                       851 03 Bratislava SLOVAKIA


                               
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                        ELD RICH PALMER zine   

                                  XV PAROWEK
                            by Bartlomiej Kalinka

               XV   Parowek   is  a  project,  as  also  it  is a
               home-taping label. But the label was created later
               than  the  project.  I started distributing my own
               tapes  with xerox-copied covers and couldn't think
               of a better name. The name means "fifteen hotdogs"
               and  was chosen accidentally. Some people believe,
               however, that accidents never happen. XVP has been
               started on September 18th 1992 on a school trip in
               Sucha Dolina. During first 2 years it was a "real"
               band. It was formed by 5 people. One idea was that
               we  can't  play  real music, but we do it anyway -
               something  like  punk  rock. But another thing was
               that we wanted to use non-standard instruments. We
               used guitar and drums, but also some handmade toys
               called   "bass  yoghurt",  prepared  piano,  large
               pieces of metal confronted with a hammer, etc. The
               idea  was taken from Einsturzende Neubauten, but I
               could  hardly understand their music at that time,
               except  for  their abnormality. In 1994 guitar has
               been  finally  abandoned. A recording session in a
               basement  took place and "Awruk" tape was created.
               That  tape  gave the climate for next "industrial"
               productions.  At  this  moment  we stopped being a
               band.  I  began  to  use  a computer as a tool and
               creating  sampled  music.  On  April 1994 "YY+MYY"
               tape   was  made,  then  "Caly  autobus  pomielony
               masmielszynka",  and  later "Uwaga! Cisza! Stop!",
               and  also a split with Sonic Disorder. All of this
               music  has  similar  feeling. There are structures
               made  of  sampled  sounds.  In general there is no
               melody,   but   the   structures  are  simple  and
               straightforward.  Something  like tekno grind-core
               made         with         special        equipment
               (psycho-industrial-noise?).  The  variety  of used
               sounds  may make those recordings interesting, but
               they   express  rather  naive  and  even  somewhat
               traditional  view  of  music. Obsession of "living
               vacuum-cleaners   and   refrigarators"   is   what
               expresses  the  mood  of that material. The tracks
               are  short,  and  there  are  many  of  them,  the
               movement  is  quick.  On  September  1995 "Cartoon
               Network"  was  recorded, and later it was included
               on  "Anomalous Silencer" #1 CD compilation. It was
               something  new  -  sounds and voices from cartoons
               were  used  intensely. The tracks were still noisy
               and  primitive,  but  they were saturated with new
               ingredient  - pop culture. In 1996 I have recorded
               "Rozowy  hiper-balonik",  an  ultimate  XV Parowek
               tape  up  to date. It also explored the pop world,
               but  included  some  softer  experimental touches,
               some  short  melodies  displaced  adequately, some
               "electronic"  pc-speaker sounds. The technology of
               production didn't change - it was all sampled. The
               tape  had hand-colored cover. XV Parowek is crappy
               and  sophisticated  at  the  same  time. I like to
               place  my  products  in something like home-taping
               movement. Distribution based mainly on trades with
               foreign  friends.  I  also  sell  several copies a
               month  in  Poland.  My tapes are recorded on lo-fi
               analog  home  equipment  (only  sampled  and mixed
               digital).  This  is the future of music - everyone
               can  do  that.  There are some side-projects on my
               label:  Kommissariat,  Historia  Much z Muchomora,
               Piknik   Gonzo   and  Pta.  There  are  some  live
               recordings, splits. There is some new recording by
               XV  Parowek,  which  hasn't  been issued yet. It's
               been  made  on  January 99. It's really different,
               maybe more mature, has full-length tracks. However
               it  was  recorded live and cannot be treated as XV
               Parowek  "mainstream",  so  if  you  want real new
               stuff,  you  still  have  to  wait...

                                              for Eld Rich Palmer
                                               Bartlomiej Kalinka
                            e-mail:  bk159144@zodiac.mimuw.edu.pl




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                        ELD RICH PALMER zine   

                              BIG CITY ORCHESTRA
                              by Krzysztof Sadza


  K;  What  exactly  is bco and how did it come to
  happen ?

                              ubkat;  the  most  recent  version of bco first
                              began   in   1979,   when  some  disenfrancised
                              musicians   and  a  defrocked  priest/scientist
                              started   experimenting  on  a  social  housing
                              scheme.  The  plan  was  to  have  a  group  of
                              'counterculture'  types  living  in  homes that
                              were all interconnected via social and economic
                              means.  At  it's peak the 'Big City' system had
                              incorporated  5 houses. Shared between them was
                              a monthly newsletter, shared technology and art
                              sources,   and   a  musical  outlet...big  city
                              orchestra!

  K; Who's the mastermind behind the group?

                              ubkat; Well dAS is the one most responsible for
                              getting the mail in and out and because of such
                              he  has  ordaned  himself the power to pick the
                              projects to be worked on.

  K;  Does  a  liquid line up help in the writting
  process and what would your writting process be?

                              ubkat;  while  there  is  always some sort of a
                              core group that are called on over and over and
                              help  make  some  of  the  decisions, bco is an
                              orchestra  in the way that we take on a project
                              and flesh it out and then search for the talent
                              needed  to  complete  it.  The writting process
                              itself  takes  the  form of scores, scripts, or
                              sometimes  just  a  basic  theme,  movement  or
                              emotion.

  K; you often have well known persons like daevid
  allen  play  with  the  orchestra,  who else has
  become a part?

                              ubkat;  let  us just leave it at there are many
                              musicians  who  get within our vortex, and that
                              it  is  great  fun  to  find  out  that certain
                              musicians  that  you have admired from afar are
                              also really great people too.

  K;  I  have gotten the impression that bco is as
  sarcastic as the residents and as independent as
  Zappa, am I right?

                              ubkat; Those two are great influences on us and
                              'difficult'  music  in  general. I think we all
                              owe  Mr.  Zappa  a  great deal for teaching the
                              world that it was okay as a musician to be down
                              right  weird  but  also intellegent. Have never
                              thought  of the residents as sarcastic. dAS who
                              has  worked  for  Ralph  agreed  with  me  upon
                              asking.

  K;  Do  you take bco seriously? The titles amaze
  me.  What  should  a customer expect from 'Hi-fi
  stereo  test  record  for  pets'  or  'Salty sea
  shanties  for  young  pirates'? Is it all a ruse
  for the ignorant buyer?

                              ubkat;  Several  of  the  core  members are big
                              record  buyers  and  we  are  all  pretty media
                              savey,  so  the  titles  are a bit on the heavy
                              handed  side  but  as  Dr.  Hazer  says;  never
                              underestimate  the  power of overkill. The test
                              record  for  pets  IS  a  release  of tones for
                              effecting  your  pets, and the shanties cd is a
                              release  of  pirates  songs for kids. Both were
                              highly researched.

  K;  What are the ideas behind the 'Consumer' cd,
  and  'Replayer'?  Do  you  have a certain method
  when doing covers?

                              ubkat; the consumer cd is a collection of radio
                              and tv jingles from the last 40 years, we found
                              the  sheet  music  was available as well as the
                              copyrite  very cheaply. A lot of the folk music
                              we  grew up with. Replayer will be a collection
                              of   prog/art  rock  primarly  from  1968-1973.
                              again,  music that impressed us at some period.
                              The  process  here  conforms  to  how  we  work
                              sometimes,  in  true  mail art fashion, we have
                              receiving  two  or  more tracks from predecided
                              pieces of music. We then take them and add more
                              tracks  until  complete.  We  really  surpassed
                              ourselfs  with audacity with some of the people
                              we  got  involved,  several folks from prog/art
                              projects  we  admire,  of  course  no  one  was
                              allowed to be on their own original piece.

  K;  By your actions, you have gone far away from
  the   music  group  formula.  Publishing  books,
  magazines,  videos  and  even  a puppet show for
  cable tv. Is this why ubuibi was founded?

                              ubkat;  exactly,  well at least for the limited
                              hand  made  items like tryst, the odmc ub books
                              and  other  odd  packages. Everything else goes
                              out  to  all  the other labels. We really don't
                              want  to  take that road. Regarding puppets, we
                              love  the  little critters and will hide behind
                              them as much as possible. Our big show for last
                              year  consisted  of  the  bco puppet noise band
                              performing the works of Od McUb.

  K;  How  big  is bco's discography ? Does anyone
  keep  track  of  it?  How  have you succeeded in
  keeping up such a fast tempo of releases.

                              ubkat;  the  smartass  answere would be that we
                              are  noise sluts (and we are), but we have just
                              kept  up  a  steady pace for two decades. No on
                              keeps  track but asking dAS (since he keeps the
                              archives)  that  bco  has  put out at least 150
                              full  length  cassettes,  4 singles, 7or 8 cds,
                              and around 350 tracks for compilations.

  K;  What  were  the  main  musical events of the
  1990's  in your opinon? What do you have planned
  for 2000?

                              ubkat;  The  90's  had  a lot of changes in the
                              commeral  world,  consolidations has killed off
                              all  the  medium  sized labels and left us with
                              huge  congolmerates  and the truly independent.
                              Good this is a furtile breeding ground. Also we
                              saw  the  change  in techology that enables the
                              home  musician to release the principle formats
                              in  the marketplace..cd burners/internet/better
                              multitracks.   Regarding   the  coming  future,
                              2000ad  is another day, very anticlimatic, flip
                              the  calendar  it's  gone...just  more projects
                              about things we find interesting.

  K;  Some  musicians  have  said  that everything
  musical  has been acheived in the 30's and 40's,
  and  everything  today  is  a variation of those
  years.  Do  you  think there is anything left to
  explore?

                              ubkat;  One  of  the  primary uses for music is
                              communication,  we  can  always  use  more. And
                              speaking  for  a mammal with opposing thumbs...
                              it's  nice to have something to do that doesn't
                              help  screw  up  our  nest.  All  the  arts are
                              contingent  on  the  past,  weither you write a
                              song about todays newscast or the remergence of
                              interest in swing. We are always just drawing a
                              mustage  on  the  mona  lisa.  We  are what our
                              influences  are,  but  the fun part is that the
                              art goes thru our own personnal filter.


                                                    end of interview (so far)

                                                   ok now your turn again....

                                                           in warm noise milk
                                                                          dAS
                                                       e-mail: ubuibi@jps.net
                                   ubuibi@jps.netgeocities.com/soho/loft/5503
                                             members.tripod/~bigcityorchestra
                                    freeyellow.com/members2/bigcityorchestra/



                               
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                        ELD RICH PALMER zine   

                                  CPINALONGA
                              by.Krzysztof Sadza

               The  case  of  Mr.H.Martis is another example that
               the  artist  of  20th  century is the workcoholic,
               who's  constantly  involved  in  many  projects at
               once.However,   the   serial  productions  of  his
               records  seem  to  not influence negatively on the
               quality,if  I was wrong, how could one explain the
               phenomena   of   his   latest  "Spinalonga"  album
               then??!!I   haven't  heard  for  a  long  time  so
               wonderfully   pulsating  electronica  mixing  with
               acoustic  sounds(real  percussions!)  and Juggling
               with   emotions  and  moods.Real  ELECTROCHEMISTRY
               delicious and recommended!!


                                          

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 ed.   :  The  CPINALONGA's  info  sheet  is  very
 laconic,so   I'd   like  to  ask  you  about  the
 beginnings  now  would you characterise the music
 and cultural surrounding, you as a band have been
 growing up in? What records have you listened to,
 who's begun the whole thing in Greece".

                              I  grew  up musically amidst the punk and dark/
                              wave   tide  of  the  late  seventies  -  early
                              eighties.I  believe  that things in Creece were
                              no   different   to  any  other  place  on  the
                              Continent back then.Up until 1984-85 many bands
                              were   being  formed  and  split  up,copying,of
                              course,the  current dark-semi-electronic trends
                              but  no-one  in  my  opinion,ever  came up with
                              anything  worth amention today.I used to listen
                              to  a  lot  of  the truly Teutonic experimental
                              stuff, be it Kraut Rock or Wave.

 ed.   :  Was  formula  "melodic  semiexperimental
 electro-chemistry"  created only to describe your
 latest   work   "Spinalonga",or  to  define  your
 current style that you gust develope?

                              The  characterisations  you've just reffered to
                              have  been  thought  by  Glafx  (i.e.the person
                              behind Capp Records) in order to provide with a
                              better  description  of this particular work of
                              mine.I   reckon,it  could  be  taken  as  valid
                              definition of my current style.

 ed. : By the way,how has music been changing over
 the  years ? Where there "turning points/records"
 that  were  fundamental  for your development,and
 why?

                              Yes  music along with all the other sciences,is
                              bound  to  continually  evalve.  Yet,I  tend to
                              believe  that we are just about to experience a
                              potential  breakdown  of all musical/genre-wise
                              boundaries  via all forms of the current techno
                              cyber-industrial-trance     directions.Here's a
                              list  of  some  the  most important records I'd
                              think  of  concerning  my  overall  evolution :
                              KRAFTWERK   "Radio   Activity"   probably   the
                              darkest,and  most  paradoxical  piece  of  70's
                              electronica  and  the  first record I have ever
                              bought; this is the record that actually got me
                              into  the  musical  sciences,  TANGERINE  DREAM
                              'Phaedra"   and   "Rubicon"  along  with  KLAUS
                              SCHULZE's"  Timewind designated the period when
                              electronics    begun    to   acquire   mystical
                              qualities.Their  delicate  yet so rich textural
                              structures            are            inimitable
                              KRAFTWERK"Computerwelt"  the  absolute classic,
                              of  the  past  17  years,for all this time many
                              people have been trying to explore and decipher
                              its rhythmic architecture.This,I believe is one
                              of  the  most  influential  records  ever to be
                              produced,signifying  the  beginning  of the new
                              cybernetic  electronic era.A clinically created
                              landmark  record  by  all  means,and  to me the
                              first  true opportunity to begin an exploration
                              within  the  realms  of  the silicone metronme.
                              CLOCK  DVA  "Man  Amplified"  I got this record
                              just a tad late,yet,it managed to change my way
                              of thinking quite dramatically. "Man Amplifled"
                              came  about eight years after" Computerwelt" to
                              act  as  a link between the romantic and almost
                              mystical   view   of   the   evolving  silicone
                              electronics    and    that    of    the    more
                              knowledgeable,holistic  and  mature approach to
                              them  in the late eighties.THE SISTERS OF MERCY
                              "The  Reptile  House  E.P."although I've always
                              preferred  the  LORRIES "Talk about the Weather
                              E.P."  I really think that " The Reptile House"
                              is  one of the darkest records ever. For almost
                              12 years it would keep hauting me over and over
                              and   force   me   on  the  stimulating  morbid
                              atmospheres.Of  the  modern,day  bands I really
                              liked  HAUJOBB,I  believe that "Solutions for a
                              Small  Planet is one of the best records of the
                              current decade,a huge influence on me. I should
                              also  have  to  mention "FRONT 242's "Fuck Off"
                              and   "Fuck  Up  Evil"  utterly  brilliant  and
                              intensely   dark  cybernetic  explorations.Very
                              rich records indeed! Also,SKINNY PUPPY "Rabies"
                              and  "Too  Dark Park" along with MINISTRYs "The
                              Mind  Is  a  Terrible  Thing  To Tast"' are all
                              records which in the their time aad pretty much
                              helped  shape  things up,as well as predefine a
                              huge  sector  of  todays  music. So,here, there
                              were  some of the records that have pretty much
                              sculpted  my  way  of  thinking  musically  and
                              othervise. In evolutionary terms you can always
                              easily recognise the link and the circles.

 ed.  :  Does going by time act for,or against you
 in experimentation of different aspects of music?
 Now,things  are  changing alot faster than in the
 past...

                              I  have  absolutely  no respects for change,I'd
                              rather use the term evolution. Things mutate in
                              a  most rapid way.For the most part of the past
                              ten  years  we've  been  experiencing  a  manic
                              recycling    of    all   things   musical   and
                              ideological.I  really  like  what's going on as
                              time  goes  by.Current electronics technologies
                              keep  evolving month after month and along does
                              electronic  music,as well as the human thought.
                              My  pity  is  only  targeted towards those poor
                              sods  the "90's rockers".Some people are always
                              left  behind  and  out  of  time...but we don't
                              care,do  we  ?(sure,  everyone  is of free will
                              -ed)  About  the time question,though...after a
                              complete breakdown at the age of 27 a few years
                              ago,Zeit and I,have finally become good pals.As
                              I become older I feel younger in the sense that
                              I  by  now know my instruments and my tools and
                              every  minute  aspect  of their function better
                              than   ever   before.Therefore   I  can  freely
                              experiment  without  beiing  limted by the very
                              nature     of     a    previously    incomplete
                              technical/sentimental  knowledge.  It  is  also
                              mater oftrying to get to grips with and getting
                              to know your own self better.

 ed.  :  Besides the records done under CPINALONGA
 monicker,you're     also    know    by    various
 collaboration  with  artist  from  all  over  the
 world,which  common  projects you consider as the
 most  successful  artistically,and were there the
 ones   that  did  bring  nothing  to  your  music
 knowledge ?

                              There's  always  something to learn by each and
                              every   collaboration   be   it   musically  or
                              otherwise  taken.However,nothing  of  any of my
                              past  collaborations  comes  to  mind as of any
                              impartance at all.

 ed.  :  You  make  also  music  for  the needs of
 various   educational   institutions,   to   what
 purposes does it serve?


                              Well,that  was  quite  some time ago and mostly
                              during  my  last few grad and Ph.D.years when I
                              got chance to start exploring what is termed as
                              psychoacoustics   and   sonic  cognition.That,I
                              couldn't  really  call  music rather than sonic
                              experimentation   in  order  to  explore  human
                              cognition  and  recognition of space,as well as
                              total  and  textural  coherence.CApp  have just
                              released and revised and reproduced track which
                              comes       right       out       of       that
                              period,entitled"Electra"  in  a limited edition
                              of 100 LPs and are elso willing to release more
                              of my other academic and experimental stuff.

 ed.  :  Something  I  missed in your story,what's
 worthy to be known ?

                              On  yes,this great author/director Clive Barker
                              had  once  been photographed wearing my leather
                              jacket(which I of course let to him) at a major
                              radio station in Philadelphia USA.

 ed.  :  Oh,how I could ???! Ok.,let's back to the
 present,  "Spinalonga"  album was put out by CApp
 Records,while your previous releases re mainly on
 K7,vwy that departure?

                              To  put the record straight,only the very early
                              releases  were  on  tape (with the exception of
                              "Immer ein fur Allemal") What followed were two
                              vinyl outings under the banner of "POETA NEGRA"
                              (H.Martis  former  label  -  ed)  in  the early
                              90's.Actually  I  tend  to  favour  vinyl to CD
                              Yet,everybody  was  sort  of  coming  at me and
                              saying   that  the  market  dictates  that  the
                              Compact Disc regardless its countless bandwidth
                              limitations  is  the  only  commercially viable
                              medium   nowadays   (I   think,the  things  are
                              changing for better now -ed).It's this simple.I
                              still do vinyl though.A number of 12's are as a
                              matter   of  fact  planned  for  release  under
                              different  names  later  on  this  year.Another
                              point  to be made is that as a sound engineer I
                              do  produce things differently according to the
                              planned release medium.

 ed.  :  Probably  the  last  form of you activity
 doing soundtrackcs and getting up of "Festival Of
 Fiction   Cinema"  at  the  beginning  of  90-ies
 what's story behind it ?

                              No,unfortunately        I        don't       do
                              soundtracks,although   I'd  love  to.  I  never
                              actually  grabbed any chances.So,there,if there
                              is any aspiring young director out there,do get
                              in  touch!  Back  in the mid to late eighties I
                              used   to   be   heavily   involved  with  film
                              Journalism  (I  used  to  do film reviews for a
                              couple  of  publications,coorganised film weeks
                              etc.).Also,at  one  time  I'd  decided  to  get
                              involved  with  the optical and special effects
                              situation.I  fell in love with all things Latex
                              and    Cellulose/Silicone   based,   yet,having
                              reached  crossroads  at  a  later  age I had to
                              decide   upon  which  direction  to  follow  in
                              general(that  is  medical,visual or sonic...and
                              as     you    may    realise,I    choose    the
                              latter).Thanks,though,for    this    particular
                              question  as I really enjoy talking about movie
                              stuff.I'm  a die hard movie buff and I'm really
                              and  deeply  into  the German expressionism and
                              the   early  to  mid-30  s  Paramount/Universal
                              productions.

 ed.  :  In  my opinion,the music from that record
 has "an illustrative" character, might be used as
 soundtrack  for  sure;  that's  the  concept when
 recording it ?

                              You    are   correct.This   particular   record
                              illustrates  a  bleak  landscape of a dried out
                              life  at  that  time.Most  of  the material was
                              recordes  after  I had to reluctantly return to
                              Greece  and  during  my  time  in  the National
                              Service  as  an  involuntary command officer in
                              secluded  areas  of the country - that was also
                              the  time  when my ex-fiance whom I really felt
                              for,deserted  me  in  a  not  so humane way.The
                              concept behind this record had a lot to do with
                              a complete absence of emotions.For the purposes
                              of  the  record I tried not to view things in a
                              human  mode at all(not that hard at that time),
                              Everything is understood and even "felt" by the
                              mechanical   processes   of   a   sentimentally
                              stripped  being.There  is no sense of warmth or
                              sentimental   existence   bu   utter   drainage
                              instead.

 ed.  :  What  determinated you to name the tracks
 that  way?  No  one  song  but  one has the text,
 what's it about?

                              The  very  nature of the music.Each track title
                              describes  the  process involved in the viewing
                              and examination of the different aspects of the
                              same  script  as  explained  above.The  vocoded
                              voice    recites   ideas   by   psycho-mechanic
                              technology,so  as  to emphasize a complete lack
                              of   emotions.  The  voicing  of  the  dramatic
                              persona lets it act as an inverse cyborg,techno
                              cognition  in  an unwanted human body.It is not
                              the  words  that  really  matter  but  tne very
                              nature  of  the  voice. This record, however,in
                              another sense,is my personal ceremonial tribute
                              to R.Hutter, F. Schneider and A.Newton.I feel I
                              really  had  to pay respect to them in a direct
                              way and I believe I did that.

 ed.  : It's very limited album,only 608 copies,is
 it  due  to the fact that you create hard-to-sell
 music,and  fear  to  losse  too  much with bigger
 issue,or  CPINALONGA's  records  are addressed to
 only exclusive group of listeners?

                              Both.  As  well as he eternal problem of trying
                              to  get  better  distribution  deals,yet,always
                              failing  or declining to do so. Strange to say,
                              though,the  CPINALONGA CD is fast coming out of
                              stack  and  a  new edition is being worked upon
                              sleeve-wise.

 ed.   :   Your   future  projects  include  split
 albums,could  you  say  mare  of the bands you're
 going  to share the records with,and other events
 you'll eventually participate in?

                              The  split  albums idea was actually imposed by
                              CApp's owner and it has to do, as far as I know
                              with  twelve split releases on vinyl. The first
                              one  includes the CPINALONGA track "Electra"and
                              three  of  MR.CRICKET's wonderful tracks on the
                              other  side of the vinyl.I have no knowledge at
                              all  concerning the rest of the bands that I'll
                              be  splitting  records  with.This  is  a matter
                              taken care of mainly by my label boss. Anyhow,I
                              trust  him,so  we'll  wait and see what happens
                              next.Other  plans include a live date in Athens
                              Greece  on  April  15th along with other bands.
                              Unfortunately  I  don't  get  a  chance  to gig
                              frequently  due  to  inexistent free time on my
                              behalf.I'm  currently working as sound engineer
                              at  a big studio in Thessaloniki Greece and our
                              "Holly  Nother  Digidesign" is taking up nature
                              under  different  names,as  well  as,some stuff
                              targeted  directly  to the dance floor,but that
                              is  another  story...As,I said I've always been
                              willing  to do soundtracks,so it's up to any of
                              the  discerning  movie  people to employ me for
                              that reason as well.

 ed. : Final comments?

                              Do  you  know of anyone who's been at the Klaus
                              Schulze  1963  Warsaw  concert? Any bootlegs of
                              that  available  that  are  not  on  the proper
                              "Dziekuje    release"    (No,I    don't    -ed)
                              Well...anyway,I  just  hope  I didn't dazzle or
                              bore  you  with  my answers and again ,thanks a
                              lot!

                              Well,  I  wish,  I  were always endoved with so
                              informative and serious answers like yours!!!



                                                 CApp Recs. S.V.Koukoulomatis
                    Lisiou 8 GR-11146 Athens GREECE TEL/FAX ++ 30(0)1 2924036





                               
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                        ELD RICH PALMER zine   

                                   DELPHIUM
                              by.Krzysztof Sadza


               Jonathan/delphium  puts  a  critic  , who wants to
               show his smartness in pigeonholing, in a difficult
               position   .His  output  is  like  a  mirror  that
               reflects everything ,which stands within its reach
               .Of   course,  the  word  "everything"  should  be
               reduced to electronic music with its all subgeners
               ,variations  and  freeedom  in  the rendering. The
               delphium's   records   differ   from   each  other
               musicallly  having Jonathan try to explore new and
               new  terrritories  -  always  dark  and  anxiously
               beatutiful...
                                                  Krzysztof Sadza


                                  
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 1)  I  think, everyone is curious now to know how
 delphium's started!

                              1.  There  is  no  real  history to delphium. I
                              "started"  delphium in May 1993 when I recorded
                              some  solo pieces of music I had written. There
                              was  no set agenda and the whole thing was done
                              purely  for  my  own  interest to see what this
                              music  would  sound  like.  There is no past to
                              tell.  Vinyl  releases  have  appeared regulary
                              since  1994  onwards on a variety of labels too
                              numerous to go into here.

 2) I wonder if there's a suitable term describing
 Your  "style"  as  the  differences  between your
 records make delphium many dimensional?

                              2.  Yes,  the records have varied greatly. This
                              was mainly to keep the music interesting to me,
                              which  is  the  main  priority and secondly the
                              records   have   differed   to  each  other  to
                              literally  piss-off the "fan base". This didn't
                              work  though....  I wouldn't know if there is a
                              particular  "style"  for  delphium but there is
                              certainly    a    delphium    "sound",   easily
                              recognisable to most people it seems.

 3)If  not  a style ,there's maybe a trademark for
 delphium ?

                              3.   trademark?   Hmmm.......   great   low-end
                              basslines. Actually, great basslines full-stop.
                              I  was  gonna  call  the  next  album "...Great
                              Basslines"  but  then  realised  there  were no
                              basslines  on  the  next  album.. I don't know.
                              It's  not  something  I  worry  about enough to
                              comment on.

 4)  Oh  , so what do You want to ahieve with your
 music ?

                              4.  I don't have any musical goals. Never have.
                              Anything  I  do  musically  is usaually just me
                              bluffing  my  way through.. I'm not classically
                              or  technically  trained...nor  would I want to
                              be..

 5)  The  atmosphere  condenses  but continuing...
 what's   your   definition   of   delphium  being
 successful ?

                              5.  Whats  success? Recording music? Done that.
                              Releasing  records? Done that. Selling Records?
                              Done that. Radio Airplay? Done that. Publishing
                              deal?  Done  that.  My only definition of being
                              successful  would  be to be able to continue to
                              do  what  you do without concern of what others
                              think   of   your   work.   In  this  case  I'm
                              "successful".  I've  no  interest in commercial
                              success...I  don't  seek  it. If it happens, it
                              happens...

 6)Tell us about Aquese Recordings....

                              6. Aquese Recordings is having a break but will
                              re-activate  in  September  1999  with  a 7" by
                              Troum   and  a  CD  collection  by  Lull.  Past
                              releases  have  been very limited 7" records by
                              delphium,  big  city  orchestra,  lull.... Some
                              stuff  is  still available..people should email
                              or  write  with  sae/irc if they want a list or
                              whatever...

 7)Talking  in  consideration  the sonic limits of
 7"EPs  ,  do  You  think they are a valid form to
 release delphium's music on ?

                              7.  Who cares? There is little sonic limitation
                              with 7" records...I'd say these sort of remarks
                              were  more  down  to people getting ideas above
                              their  station....  7"s are great..9 minutes of
                              music each side at 33rpm....whats more appaling
                              is  these  bands  who only put on track on each
                              side....thats crap value for money.

 8)The  part  of  Your  debut full lenght was know
 from  your  pervious  releases  ,it seems to be a
 kind    of    document   ,haven't   people   been
 disappointed by its ; usually people want a group
 to put in a brand-new stuff to its debut album...

                              8.  You  seem  mis-informed  here.  The  CD  on
                              Outsider  Records  is  not  "made up of" tracks
                              from  other  releases.  Of the 13 tracks on the
                              CD,  maybe  4  have  appeared elsewhere, and of
                              those  4  tracks  they  are all better mixes or
                              remixes.  The  remaining  9  tracks are quality
                              unreleased  material.  Of the 4 tracks released
                              elsewhere,  2 were on a 7" limited to 50 copies
                              only, 1 track was on a 7" limited to 250 copies
                              only  and  the  other  track  was on a cassette
                              limited  to  150  copies.  Nobodies  got  these
                              records  anyway and more importantly I actually
                              like  these tracks....Nobodies ever given me or
                              Mick   McDaid(who  financed  the  CD)  and  ill
                              comment  on  this  matter. Besides, the playing
                              time  of  the  CD is something like 79 minutes,
                              much more than the average CD release.

 9)What's gone down with " Retribution " album ?

                              9.  Nothings  gone  down with the "retribution"
                              album.  I recorded it and pressed it and wasn't
                              happy  with it for various reasons. The records
                              are  in  a  room  at my mothers house and thats
                              where they're staying.

 10)Any tracks from "Retribution" have appeared on
 other records ?

                              10.  Well,  one track, "Black Wave" was HEAVILY
                              remixed  for a US compilation CD...the DEMO(not
                              studio  versions)  of  two  tracks  appeared on
                              the  the  Outsider  Records  CD  release... The
                              other  material  from  the  "retribution" album
                              will  remain  unreleased..although I do like to
                              listen  to  that  album through the sampler and
                              sample myself..

 11)You  have two another albums recorded ,but not
 released .the lack if interest in them ,or what ?

                              11.  You've  got  your information wrong again.
                              I've  not looked to find a label to release the
                              next  album.  I'm  constantly  re-recording and
                              adding  new  tracks  to it..Various labels have
                              asked  to  release it but we'll see. I'm not in
                              any  great hurry..... The other album you refer
                              to  ius  a  compilation  of deleted singles and
                              compilation  tracks  which  I've  not looked to
                              release  yet.  I've had several great offers to
                              release  the second FULL delphium album, but at
                              present  I'm  content  to see what happens, sit
                              back for the right deal.... I'm busy with other
                              things anyway.

 12) Are you gigging ?

                              12.  We  have  done  and  do, although not very
                              often. Transport is always a problem....

 13)In  times like these ,everyone seems to have a
 side-project ,do you ?

                              13. I don't care for "side-projects". "Oh, this
                              is   my  ambient  project,  this  is  my  noise
                              project,   thois   is  my  jazz  project".  WHO
                              CARES!??! I do all I want as delphium

 14)Do  you  consider  delphium  as  a part of any
 scene ?

                              14.  I'm  not  sure  I  understand  what you're
                              referring to. delphium has never been a part of
                              any  scene and we've never looked to be part of
                              any  either.  I  don't  consider delphium to be
                              "industrial"  or  whatever....  You'll  need to
                              explain before I can comment further.

 15)Many  English  groups are complaining about UK
 scene ,for example LEGENDARY PINK DOTS don't want
 to live ,or perform in England ,while many people
 consider   your   scene   as   one  of  the  most
 influential in word .How would you comment it ?

                              15.I  wouldn't  know.  I  don't go to see bands
                              like  that,  I'm pretty disinterested in things
                              like     that.     However,    of    the    few
                              concerts/happenings of this type that I've been
                              to   there  has  usually  been  a  pretty  good
                              interested  audience.  I'm  sure  the legendary
                              pink dots are just complaining because they are
                              more populare here. I always thought it was the
                              same everywhere?

 16)Anything in closing ?

                              16.  Thanks  for the interview. If anyone wants
                              to  write(enclose  sae/irc  for reply) then the
                              address is:
                              Jonathan,  17  Orchard  Way, Camberley, Surrey,
                              GU15 2TD, United Kingdom.
                              Email: jonathan@delphium.demon.co.uk
                              Web: http://anotherdark.hypermart.net
                                                                           --
                                                                     jonathan
                                                                           --

 Krzystof's   comment   to   above   chat   -   my
 conversations  with  Jonathan  may  looks  like a
 relationship  between  a  fly  and a sleeper ,but
 nothing  like. Jonathan has accepted that form of
 the  interviews so do I !!! No letters bombs were
 sent this time !




                               
                        ۰۰ܲ۰۰
                        ۰  ۲۲ ۲۰  ۲
                        ۲   ۰۲
                    ܰܰ۰  
                        ELD RICH PALMER zine   

                                DREAM INTO DUST
                              by  Krzysztof Sadza

               Being  on WORLD SERPENT Recs.ennobles...It must be
               exceptional and good,and it is !!! However,at time
               ...when I did interview Derek,the fact was unknown
               to  me,  I've  been  enjoying  "  No Man's Land",a
               little   piece   of   dark  and  softened  music a
               reflection     on     loss,alienation,chaos    and
               emptiness   unleashed   by   use   of  mixture  of
               classical,industrial,experimental,doom   and  folk
               music,  while  being  none  of  them...DREAM  INTO
               DUST...


                                                        
       ܰ             ߲ܰ    ܰ޲
   ۲  ߲ܲ޲  ۲ܲ۲۲   ܰ
 ۲  ݰ۲   ۲         
۲  ޲۲   ۲߲   ۲     ݰ
  ߲۲  ޲           ߱       ޲ݰ
      ߰                                        ޲
                         ߲߲ܲ                        
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             ޲  ܰ        ߰ܲ       
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    ۲ ߲ܲ۲      ۲  ޲
                               ߲ܲ 
                                Dream Into Dust             


  ed. : Can You give us a brief story on how DREAM
  INTO DUST was formed?


                              DREAM INTO DUST was actually considered for the
                              title  of the 1995 december cassette,as well as
                              for    thee   name   of   band   itself,however
                              stubborness  won  out  and  " Hope for Nothing"
                              came out by DECEMBER.Later the generic sound of
                              word  amd  its  subsequent  overuse  by various
                              bands began to annoy me,so it was changed,since
                              the sound was maturing anyway.

  ed.  :  What's  status of DID,since you all have
  your own groups?

                              DECEMBER    is   no   more,DID   is   my   main
                              focus.Patrick's   main  focus  is  FIGRHEAD,and
                              Bryin has mainly concentrated on LORETTA'S DOLL
                              for past serevral years, however he will always
                              have       his       hand      in      multiple
                              projects.Basically,it's    my    conception,but
                              others  are  brought  in to add instruments and
                              embellishments which bring new dimension.

  ed.:    Comparing    DID   to   DECEMBER,   your
  side-project's  more electro oriented, are there
  other things that differ both groups?

                              As  I  mentioned,DREAM  INTO DUST is simply the
                              next  step,not  a side project. I would have to
                              disagree with the "electro" tag though.Although
                              more sampling is used,there are a great deal of
                              organic  sound,that  are  simply warped through
                              effects   and   other  means.Besides,that  word
                              brings to mind fat more synthesised sounds,than
                              we   use,I  have  nothing  against  synths  but
                              there's   actually   no  synth  on  the  album.
                              Mostly  what  sounds like is probably Patrick's
                              guitar or microphone feedback effects."A Prison
                              For  Oneself"  is  even  further,being entirely
                              constructed  of  samples  of instrumentation of
                              the  type  used  in  "  The  Prisoner"  cult tv
                              series.Probably  the  new  material  will bring
                              some of the older sound back, while still going
                              further.

  ed.: I tried to get the meaning of your lyrics.I
  thought  it  might  be  inspired by a historical
  events   because   of  cover  picture,title,disc
  graphic,but   finally  I've  found  nothing  but
  recordings   of  different  states  of  emotion,
  negative  feelings, thoughts... Did I missed the
  sense of them?

                              Your     general     reading    is    basically
                              correct,although  there  is  no real historical
                              backgrounds  inherent.No  one's interpretations
                              of the lyrics can be truly "wrong" unsless they
                              make  blatant and sweeping statements and block
                              alternate  meanings.The  words  have a personal
                              meanings.The  words  do  have a personal meaing
                              and    resonance,but    they're    veiled    in
                              poetry,metaphor  and  symbolism.Every  word  is
                              there for a reason.

  ed.:  Would I be wrong if I state the music from
  "No Man's Land" kind of sonic background for the
  lyrics,because  it's  so strongely bound up with
  each other?

                              I   disagree   with   the  "sonic  backgrounds"
                              idea,although  it  may  seem  that  way  on the
                              track,such  as  "Dissolution"  However  I agree
                              that  our music and lyrics interwined.Often the
                              main    lyrical    and   musical   ideas   come
                              separately,and   at   some  point  while  still
                              forming   the're   joined,and   then  completed
                              together. Each would be less without other.

  ed.:  What  has  the response been to your debut
  MCD  "No Man s Land" ? Did some record label get
  interest in releasing you a full lenght?

                              The response has been good,with better comments
                              and  discussions  of  the  music than before.It
                              surprises   me   that   it   is  seen  as  very
                              experimental  by  most,  except  perhaps  those
                              artists and listeners who are more experimental
                              than us. As for the record label,this MCD would
                              have  been  released  by "Elfenblut" If not for
                              the poor timing or its completion.However,after
                              a  long  delay  we are now signed to thea for a
                              full  lenght  album,which we are about to begin
                              seriously   working   on  for  an  autumn  1998
                              release.

  ed.: What's going on with DREAN INTO DUST now?

                              We  have  just  recorded a song called "The Man
                              Who  Disappeared"  for a tribute to Franz Kafka
                              compilation,coming  out  on  Italian label Fork
                              Muzik.  Now  we are recording an exclusive song
                              for       a       Misanthropy/Elfenblut/Heroine
                              compilation,to fight the unfair censorship that
                              is  imposed by people who are not even familiar
                              with the music.

  ed.: ...and with FIGUREHEAD and LORETTA'S DOLL?

                              FIGURHEAD sould soon release their debut NCD on
                              their  own  label.LORETTA'S  DOLL  are about to
                              release    their   most   eclectic   album   to
                              date,"Nocturnal  Arcade", on World Serpent.Some
                              bass  parts  of mine were sampled for one song,
                              and  I  mixed  another,besides  doing the cover
                              art.I may also play bass with them live.

  ed.:  Do  you  see a new faces on NY scene being
  worthy to pay the attention to, at the moment?

                              A  band  new  to those outside New York city is
                              the  excellent  BACKWORLD,who  are  now also on
                              World  Serpent.Of  course  I  have always liked
                              LORETT'S  DOLL  but  now  my  view  of  them is
                              becoming less objective.

  ed.: Anything in closing?

                              Bryin  and  I began another project called " OF
                              UNKNOWN    ORIGIN    "    which   is   a   true
                              collaboration.Besides    a    song    on    the
                              aforementioned   kafka  compllation,  the  full
                              lenght  CD  "Seven Ovens Of The Soul" is coming
                              out   very   soon   on   Suffering  Clown/World
                              Serpent.It's      more     electronic,     more
                              experimental,more   chaotic   than   our  other
                              projects.Dark     atmospheric,tribal,industrial
                              soundscapes,other than that,Chthonic Streams is
                              continuing  to expand, offering more items from
                              more  sources  while  maintaining  a  very dark
                              underground    focus.Thank    you    for   this
                              opportunity to be heard.

                                                             CHTHONIC STREAMS
                                                                 P.O.BOX 7003
                                                                    New York,
                                                                NY 10116-7003
                                                                       U.S.A.




          
                               ܲ
      ܲ        ۲     ۲             ܰܰ
     ۲ݰ۲   ۲ܲ   ݲ۰  
     ۲ݲ   ۲۲ ۲  ܲ   ۲ݲ  ۲
ܲ  ۲   ۲ ߲ ۲ ۲    ۲۲
   ۲ܲ ߲  ܲ    ߲ܲ  ߲
 ߲       ܰ       ޲    ޲     ۲
                         ۲                             
                   ۲        
                     ۲         ۲   ۲
                ۲۲      ܲ  ۲  ۲
                  ߲߲    ۲  ۲
                  ߲                 ߲ ߲

                            Jantar Daj Czar 55krotny
                                   by Zenial

                    The  hidden music, turning into space like an
              eye's  amber  of  dumb listener. Give a spell fifty
              five times!

                    JANTAR  DC  55 is my project, which is also a
              new  way  and still opened chapter. Actually I'm at
              the  stage  of  penetrating and searching specified
              brain  wave. Now I am trying to condense form of my
              recordings  by  constructing  collages of ambiental
              restlessness.I  want  to feel a suggestive taste of
              the art-standard.

                    SPACE,     MINIMALISM,    SURROUNDINGS    AND
              ALCHEMICAL  GUST  OF  MYSTICAL  LOSING. The lunatic
              diversity  with resignation from clear beat. That's
              what I like.

              Ingredients:
                    New  ambient  -  electronica  with  a  little
              industrial  fluids. But  these  are only words, and
              what it is exactly ? ------.
                                         |
                                         |
                                        \|/


                            Try eat magical mushrooms:

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                                     -.c############c
                                    -.c##############c.
                   .o.             -.cq#############qo.
                  .q###qqm.         .c##o-  -###-  -#q.
                  .q#######qqqm .    -.orrrrr###rrroc-
                  .q##########qqq.       --q###---
                  .q######qc- -.q.         qqq-
                   .q###qc-  -mq.         qqq-
                   .q##m- -m##c.          qq-
                    .mqqqqqm.q##-        qq-
                             .qq##-     qq-
                                .q#-   qq-
                                  .qq-qq-
                                    .qoqq.
                                   .qo-  .qq.
                                   .q-[grs]qqq.
                                   .o         qqq.
                                    -            vvv.
                                                    -.
                                  BON APPETIT !



                               
                        ۰۰ܲ۰۰
                        ۰  ۲۲ ۲۰  ۲
                        ۲   ۰۲
                    ܰܰ۰  
                        ELD RICH PALMER zine   

                                  JANTAR DC 55
                               by KRZYSZTOF SADZA


                    The  presence  of  formations in the style of
              JANTAR  DC  55  augurs  that the new quality in the
              scene  is  coming!  Man/machine  relationships, far
              away  from big studios producents, market, critics;
              somewhere  in  home calm take place unnatural evets
              between  stillness  and  individual way of thinking
              in the form of single compositions, being know only
              to  people,  who share author's passion. Hopefully,
              someday  it  will  come  out to the light... Get to
              know  Zenial  and  his  secret  world!


    [zenial:  oczywiscie  marginesy w wywiadach mozna zmniejszyc/zwiekszyc, w
                              zaleznosci   od   potrzeby..   i   od   Twojego
                              upodobania - ale tak jest chyba okej?]

 ed.:
 Is  JANTAR  DC  55  equal  project to the others,
 you're involved in?

                              Actually,  JANTAR  DC  55  is  my main and only
                              priority  right  now,  although  sometimes I do
                              something aside. ANASTAZYA is the past for me.

 ed.:
 As far as I know,the writing process in JANTAR is
 constantly  in  work, probably that's why so many
 tracks  are  recorded  to  be  not assigned for a
 relase.So,could   you   state   your  discography
 precisly ?

                              Well,  under  ANASTAZYA  monicker is hidden the
                              set  of  my  tracks  from  1995  to  97. Mainly
                              various  techno  mutations based on industrial,
                              experimental,  ambient music. In the historical
                              pointview,   nothing  of  the  stuff  but  some
                              excerpts   is   remarkable   in  my  eyes  now.
                              ANASTAZYA's   demo  tape  "Metro/tube"  was  on
                              SHITHUATION   (a  limited  edition),  it's  not
                              record  label  as  such, but the distro service
                              that  offers  poetic  volumes,art zines etc.And
                              now  comes  JANTAR DC 55 (for a while know also
                              as  ZEN-ZEN),but I didn't relased anything yet.
                              Of course,there are many other songs by me,done
                              aside  with what I do now. By the way ,I'd like
                              to  mention about PALSECAM - project/group with
                              other    musicans/friends    from    demo-scene
                              (Bartes(Mhz),Tees,Soniq,Kain)     -    minimal,
                              ambient,experimental...and  don't  forget about
                              ETER(y)   it's  20  minutes  long  compositions
                              "Nadrealistyczny zapis snow fal radiowych" made
                              up  by  use  of  radio (only!) and kept in dada
                              spirit.

 ed. :
 How    would   you   characterize   people   from
 demo-scene?  In  my opinion,this is very hermetic
 scene + acess to it depends more on the possesion
 of  proper  equipments  than  on  an  attitude as
 such...

                              Theoretically,  you're  right.The demo-scene is
                              of  the  people,who're  is  possession  of  the
                              computer    outfit    -    it's    neccessary.I
                              think,everyone  can  easily  join  us,if one is
                              aware  of  how  to do it.The bigger problems is
                              how to get noticed by audience,how to get their
                              acceptation  and  appreciation...On  the  other
                              side,I  know  personally  some persons,who have
                              sold  their  outfit,neverthless  they're  still
                              faithful supporters of the demo-scene.

 ed. :
 What  sorts  of things does demo-scene deal with?
 With everything.

                              Graphics,  music, programming, publishing. It's
                              the   art/skills/acting  -  done  by  use  of a
                              computer.

 ed. :
 Do  you  think  the  present  audio  mediums like
 vinyls,cassettes  or CDs can be superseded by the
 internet  because of the possibilities of dubbing
 straight from the web it offers?


                              I  don't think so...Firstly,not everone has got
                              a  computer,secondly  not  everyone  does  like
                              listen  music  from computer.As for me,I do not
                              like MP3 things for example.Keeping CD or vinyl
                              record  in  the  hands is very nice feeling,the
                              same  goes to visual side of a cassette jacket.
                              I    think,the    internet    is   useful   for
                              people,who're  in  trouble with distribution of
                              their  records.Owing  to it more people can get
                              interested in them.

 ed. :
 Let's back to JANTAR DC55, what's prompted you to
 create this ?

                              I  think,it's  happend  because of my itches to
                              ambient    music    and    to    its    various
                              experimental,industrial    tides.There    was a
                              moment  in  my  carrier,when  I have decided to
                              limit   a   rhythm   in   my   music,and  start
                              experimenting   with  other  things.That's  why
                              ANSTAZYA  had  got  to  be  gone - I've lost my
                              heart  for it.I'm still searching,my tracks are
                              mainly    anxious,I   put   to   them   ambient
                              collages,minimalism,and    add   subtle   noise
                              constructions and smudges on the top.

 ed. :
 I think, the computer music is a skill of putting
 single  sounds  in  order  +  mastering  -  not a
 creative process as such...

                              In  the  case  of mine, I have got low standard
                              outfit.You  say  about putting of single sounds
                              in order,and that's true,although,you must know
                              how,  becouse  the creative procces in the case
                              of  computer  music  is  like " codification of
                              music " - while the program,which I used to use
                              is  not  "friendly" in service.My work is based
                              on  the  samples,neverthless  their sounds come
                              from  keyboards or I take them from a friend of
                              mine  who  creates  samples...The  mastering is
                              done  in  totally  diffrent  programme...I must
                              say,   there's   the  programmes  that  act  as
                              substitute  for  you,fucking makers,i.e. "Magic
                              Music  Composer", and that's uncreative.You can
                              take  yourself  as  a  computer  musican,if you
                              fell,you  are a musican.I have never considered
                              myself as a musican.

 ed. :
 Who's impressed and inspired you lately ?

                              I  don't  know.  There's  so  many  interesting
                              things   around.  The  movies,  music,  poetry,
                              existential   events,   magic   of   life.  I'm
                              interested   in   uncommon   issues,  the  ones
                              univisible for others. The life is too short to
                              spend it on triviality.

 ed. :
 Do  you  find  your bearings in current trends in
 music?

                              I  manage with it. I listen to various kinds of
                              music,  though some things surely do not get to
                              me.I  think,I'm  in  the swim in music market.I
                              have no idea,if techno/IDM evolves in something
                              new  yet.I'm  sure,it  won't be in 4/4 form.The
                              rythm has been broken in every possible way.But
                              time  shall  tell.The  aesthetic  of  post-rock
                              seems  to  be  popular  these  days.  Some says
                              post-rock      evolves,some      says      it's
                              dying.Anyway,I'll   be   faithful   to  ambient
                              music,it's still live sound magic.The subgenere
                              of  ambient  music  -  techno ambient - made it
                              somewhat      commercialized,therefore     this
                              subgenere is out of my interest now.

 ed. :
 You're  just  working at a com.tape for GAN, tell
 us something more about it?

                              It will be on Gustafff Recs.The idea behind is:
                              "cyber  music  against  racial prejustice " and
                              it  will  compromise  all styles of alternative
                              electronic     music.GAN     is     only    the
                              patronage.Previously,I    wanted   it   to   be
                              consisted only of demo-scene artist,but as time
                              went  by,a  new  and new groups came in.There's
                              quite  great  chance,a big names from post-rock
                              scene  will  appear  on  the  tape.I'm going to
                              present             mainly             ambient,
                              jungle/drum'n'bass,and  said  post rock.I still
                              work on it,although Gustaff Recs.seems to loose
                              its interest in it.

 ed. :
 Why  all your releases you have published on your
 own,  and  when  a  serious album by JANTAR DC 55
 hits the street ?

                              In  fact, I don't releases it all,I just dub it
                              from  the  source  and  send it to those who're
                              interested in it.I have no money for publishing
                              and  distribution.I'm  loooking  for  a  record
                              label,  that  will  care for it. I need a time,
                              patient and money to realise it.

 ed. :
 Is a live performance possible in your case?

                              I  am  able  to  do  it  by  use  of  only  one
                              computer,I  can  mix  and  re-mix  mine  and my
                              friends   tracks.I   think,in   the   case   of
                              JANTAR,the  live  concert may be an interesting
                              experience for a listener,becouse every time my
                              mix  is  different.I  hope to buy the sequencer
                              and  sampler  some  day,so  it  will change for
                              better.

 ed. :
 How   do   you   find  the  condition  of  Polish
 experimental music scene?

                              Besides  Obuh  Recs,  there's  no  real  record
                              label.  We  have  two tape labels, that do only
                              limited   editions.   The   grasp   of   active
                              people/artists, only 2 fanzines - Dark Zone and
                              Anxious.exe  -  the remaining press titles have
                              disappeared  from  the market. The local radios
                              give  some  shows  on air, and overground press
                              put in the articles on that music occasionally,
                              but  what of it? Even in the web,you don't find
                              more.That's  condition  of  pl  scene. And what
                              about  people  ?  There  are  of  opinion  that
                              ambient  ends  on THE ORB,others say MORTISS is
                              ambient.I've   even  heard  ambient  music  has
                              arosen  from techno... People have no idea what
                              they   say.Industrial   music  is  replaced  in
                              People's  minds  by indus-metal trashes. No I'm
                              not  satisfied  with it...It's pity, seldom who
                              knows genious SPEAR...

 ed. :
 Anything in closing ?

                              -All  artistic/creative  contacts  are welcome.
                              Write  me,  although I allow myself litte delay
                              in answer !
                                                   e-mail : jantar@promail.pl
                                                                 JANTAR DC 55


                               
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                        ELD RICH PALMER zine   

                                Noxious Emotion
                              by  Krzysztof Sadza

               Noxious  Emotion...the  band's  name pictures well
               the  sort  of  feeling  that emanates out of their
               music..."Symbols"  is  their  fifth  album  in the
               carrier,  but  the  very first I had a pleasuer to
               listen  to,and my overall impression is good,not I
               was  much  exciting  about  it,but  considering my
               non-danceable  music taste,"Symbols" found a niche
               in  my  sound  menu...speaks  it  good  for  them,
               doesn't it ?! Fans of Elektro-Body-Music and Dance
               Industrial  (what  a strange term - taken from the
               band's info sheet) will surely love it !



                                                             
                                                 
                               
                 
                        
                
            
                                     
                                         
                            
              
                   
             
                   
                                                  
                                                   


 1.  Could you give us a little history of Noxious
 Emotion  and  how  your  music  has been evolving
 within all these years?

                              Sure.......NE  was  formed  back  in 1991 as an
                              "alternative"   to   the  "alternative"........
                              hehehe,   it   was  my  way  of  giving  people
                              something  musically  different  than  all  the
                              grunge  and  cock-rock  that was comming out of
                              Seattle.  I've  always  tried to keep the music
                              all-electronic......  you  know,  just  to have
                              something  different......  The evolution of NE
                              has  been basically from "hard edge" Industrial
                              to  what is now a more mellow 80's New Wave EBM
                              mix instead........

 2.  The  heyday  of  EBM  seems to be gone in the
 past,  techno  music  and it's subgenres force it
 out  of  the dancefloors.....would you agree with
 that?

                              Reluctantly,   I  do  agree.......however,  the
                              scene      in     America     is     definately
                              growing.......just  5 years ago here in Seattle
                              there   was  NO  place  to  go,  now  there  is
                              something  to  do  every night of the week!! So
                              it's getting better......finally! hehe

 3.  Are you experimenting? Is there anything left
 in danceable electro to explore?

                              Oh yea.......There's always something NEW to do
                              with  the  music out there......right now we're
                              focusing  on  the  younger  croud  and  getting
                              them  to  take  "electronic" music as a serious
                              art-form.  It's  hard  in  America  to do that,
                              because it's the land of Guitars.......

 4.  Does  SYMBOLS  work well for you? What is the
 feedback from Press and Fans?

                              Symbols  is  doing GREAT for us!!! It's totally
                              kicking  the  shit  out  of  our last CD called
                              "Count   Zero"........hehehe..........I  wasn't
                              sure  how  people  would  like it at first, but
                              people  seem  to  really  be  liking it a lot!!
                              **which is VERY cool with me**

 5.  As  my  interest in EBM ain't deep, could you
 tell  me  what sort of lyrics are mainly taken up
 by EBM lyricists?

                              Hmmmmm......well,  I've  noticed that most will
                              sing     about     either    "Technology"    or
                              "Religion".........I  do  my  fair  share of it
                              too......D'oh!!!! But I also like to take a few
                              other  things  into  it, like "Sex" and "Social
                              Issues".

 6.  What  about SYMBOLS then? I've noticed you're
 against any form of religion.....what role do the
 lyrics play in Noxious Emotion?

                              I've  always  tried  to  write lyrics that make
                              people   think........or  at  least  piss  them
                              off........and    you    picked   up   on   the
                              "anti-religious" message well. I've always been
                              a  strong  advocate for getting people out from
                              under  the  opression of religion. I personally
                              think  that  as human beings we've outgrown the
                              use  for  religion.......all  it  does  here in
                              America  is  cause  wars........and that's just
                              useless and stupid.

 7.  I  think  if  people dance to your music then
 seldom  who  cares  for  word  messages,  does it
 disturb you much?

                              Not  really........the  people  that  listen to
                              dance are having a good time.........and that's
                              totally  cool with me. The people that actually
                              DO  catch  the lyrics and are listening to what
                              I'm  saying are cool too.........everyone takes
                              the  message  that they want to from our music,
                              and that's all I can ask for.......

 8.  I don't understaqnd what's the point in remix
 of other bands, I find usually the remix releases
 boring......you are surly of different opinion?

                              Actually,     no.........most    remixes    ARE
                              boring.........hehehe.........but every now and
                              then  you  find a REALLY cool remix. Bands here
                              in  America  remix eachother basically just for
                              fun   and   for  more  band  exposure.......and
                              usually  those remixes suck........but every so
                              often  you'll  come across a real gem, and that
                              makes it worth while.

 9.  Are you touring alot? What about the upcoming
 gigs in May? Do you ever plan to visit Europe?

                              Oh  yea!!  I'd  LOVE  to  tour  Europe......and
                              someday     we     will........**crossing    my
                              fingers**.......we're  actually planning a tour
                              right  now  for  August  of  the  US to support
                              Symbols     (details     are     located     at
                              http://www.noxious.com)  It'll  be  our  6th US
                              tour,  so  I guess it's just about time that we
                              came over to Europe, huh?!?! hehehe

 10. Have you a side-project?

                              Actually,  yes......I  also play keyboards with
                              Fockewolf,  OmniBox, and Mental Ward. I've also
                              got  another  side  project  called "Industrial
                              Motor  Korporation"  but  that's  still  in the
                              early stages of development......

 11.  Could  you  say  what's  comming  next  from
 Noxious Emotion, and how much will it differ from
 Symbols?

                              Actually, yes......the next CD is in the studio
                              right  now......It's gonna be called "Elements"
                              and  it  will  continue  in  the  New  Wave-EBM
                              style  that  we're  doing  now. It's gonna be a
                              little  more  etherial,  but  still  with  that
                              "noxious" beat.......

 12.  Is  it  hard  to  be  an electro band in the
 grunge city of Seattle?

                              Ohhhhhhh......you  have no idea!!!! It was HELL
                              at  first......but  it's  gotten  better  every
                              year,       so       now      it's      totally
                              cool..............Every  now  and then, when we
                              play local shows, we'll be setting up our stuff
                              and  the soundman will come up and ask us where
                              our  guitarist  is.......when  we  say we don't
                              have       one,       they      just      stand
                              their........blank............then  shrug their
                              shoulders and go back to work..........hehehe

 13.  Would  you recommend to us a few good groups
 from the states which impress you lately?

                              Yea......there  are  several  that  I'm  REALLY
                              liking.........SMP,  Testube, Assemblage 23 and
                              Battery Cage.........they're all along the same
                              lines as we are.....very cool EBM. But you guys
                              have  it  sooooooo  good  over there with bands
                              like   Covenant   and   Project  Pitchfork  and
                              Apoptygma         Berzerk........        <sigh>
                              .........America  is  just too guitar oriented,
                              so there are only a few really good bands here.

 14.  And  last  but  not  least, why did you find
 Poland  to  be interesting place to make a promo?
 Have you a distributor over here?

                              Hehehe.......actually,  I first got turned onto
                              the   Poland   scene   through  a  band  called
                              Agressiva  69 who I did a remix for........very
                              nice  people.......also,  a  few  of my friends
                              have  traveled  there  and stuff.........plus I
                              just  love  dealing  with  people who have cool
                              accents.....hehehee.

                              As   for   distribution,   we're   working   on
                              it.....hopefully   we'll  be  getting  SPV  for
                              Europe......that's still in the works.

                              Thanks  for  giving  the interview! I hope that
                              the  zine does REALLY well for ya.......go kick
                              Rolling Stone's sorry ass.......hehehe........

                                                               Take it easy!!
                                                                         Mike

                                                              Noxious Emotion
                                                            1106 E Republican
                                                             Seattle WA 98102
                                                                          USA

                                                       http://www.noxious.com




                               
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                        ELD RICH PALMER zine   

                                   OBERON
                             by.Krzysztof Sadza

               Here  we  go...OBERON,as  musical  event,has  been
               keeping   us   company  for  long,long  time.Every
               time,when  Bard's  putting  his  fingers  into any
               recording,we  had  tried  to notice and critice it
               since  that  beginnings.So,  this time we have the
               opportunity to talk about the newest OBERON's work
               "  Mysteries  "  done  absolutely  on his own with
               grand  dose of subtle beauty an individual thought
               patterns that characterize Bard's music.

              
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  1.  Bard,  you  told  me,  you had troubles with
  publishing  of  2nd  album,  what's happened you
  didn't do it on Prophecy Productions?

                              It's a long and tedious story. There were a lot
                              of  problems all the way from the beginning. It
                              just  didn't  work  out between us so I decided
                              to leave. I seem to be haunted by bad luck when
                              it  comes  to  finding  a  proper label. I have
                              promised myself that I will not sign any papers
                              again  until  I  find  a  label with the proper
                              financial  resources and little bit of artistic
                              integrity,  something  which I feel most bigger
                              labels  lack.  But it's no use releasing albums
                              on  a small label with limited resources. Won't
                              get  you  anywhere.  Then  it's better to do it
                              yourself  .  At  least  then  you  are in total
                              control over your own work.

  2.  So, Incidental Music is your personal label?
  What is the future of that record label?

                              Yes,  well  I  wouldn't really call it a proper
                              label.  I  released  the  record myself because
                              there  were  no  one there at the time to do it
                              properly.  I don't know what will happen in the
                              future.  It depends on how "Mysteries" does and
                              whether or not I get signed to a new label.

  3.  2 pieces of MYSTERIES are the classic ones -
  is  it  that  stuff that you have planned to put
  out as a 7" ep?

                              No,  those  songs  will  not come out on vinyl,
                              unless  someone  wants  to  do an LP version of
                              Mysteries,  that  is.  There  is  however  some
                              interest  coming  from an Italian label to do a
                              vinyl  re-issue  of  the  1994  "Through Time &
                              Space"  demo tape. But it's evident that OBERON
                              is moving in two or three different directions.
                              You have the classical, piano oriented style of
                              "Nocturne" and "Tearing Me Apart", and then you
                              have  the  acoustic  stuff  like "Mysteries" or
                              "The  End  Of  The  World"  and the more upbeat
                              melancholic  pop  songs... On Mysteries, I feel
                              that I succeeded to combine all these different
                              styles  into  one great whole. Despite the wide
                              range  in  musical style, it is an accomplished
                              work.  But,  it  would  be  interesting to do a
                              singles  series  or  something like that in the
                              future,   which   kind  of  presented  OBERON's
                              different faces to different audiences.

  4.    What    about    the    other   projects /
  collaborations  to  be done in 1998. Any effects
  visible / audiable?

                              I had was originally going to do some work with
                              some  other  European  bands in 1997 / 98 which
                              fell  through.  So there's nothing to report. I
                              spent most of 1998 to record MYSTERIES and sort
                              out  my  problems  with  Prophecy  Productions.
                              Apart  from my recording activity that year was
                              quite  uneventful  for  me.  I try no longer to
                              place my bets on the future. It's too risky.

  5.  Some people say that the Good is dull in the
  arts,  only  the  Evil  is truly interesting and
  attractive for the artists / receivers, what are
  the  reasons  for the popularity of the wrong in
  art / medias in your opinion?

                              Maybe  because  people  live  such enclosed and
                              boring  lives  they seek the extremes to find a
                              reason  to  be  interested  in anything at all?
                              Basically,  I  am  tired  of the whole thing. I
                              don't  want to waste my time speculating on why
                              someone chooses a particular path through life.
                              People  can  do  whatever  they want as long as
                              they keep it to themselves and don't get in the
                              way   and   ruin   the  lives  of  others.  The
                              mainstream media has always liked to flirt with
                              taboos  and  "dangerous" sexuality or whatever.
                              Everything  mounts from an urge to be a part of
                              something  that  is  greater  and more powerful
                              than  themselves. Surely, all of this "dark and
                              eerie"  stuff  lies latent in man's own nature.
                              But   it   seems  that  some  people  needs  to
                              experience  these  things  through role models,
                              hype  and glamour since they themselves are too
                              restrained  to  confront  and  live  out  their
                              "dark  sides" as individuals, alone and exposed
                              to the berating glares of their peers.

  6. "Mysteries" hasn't got negative/dark feelings
  and emotions, and sounds great!

                              Basically  what  my  music  tries  to convey is
                              vision  of  a  world where you find consolation
                              and  serenity.  It  represents the struggle for
                              being   able  to  experience  beauty  which  is
                              untainted - untouched. In the midst of all this
                              there   is   of   course  an  element  of  deep
                              melancholy  and sadness, because such states of
                              being  are not easily attainable because we are
                              locked  into  the  womb  of  the great beast of
                              civilisation. I mean, I have become indifferent
                              to  a lot of things I used to care about in the
                              past.  I  don't know, but when you give a piece
                              of  yourself  to  something  you love, that you
                              really want to believe to be good, and it turns
                              out to be corrupt and ugly, something inside of
                              you  turns  to  ice.  It's  inevitable.  I have
                              realised that it is better to focus on the good
                              things  that  you  have inside and forget about
                              the  world  for  a while. It's no crime to shut
                              out  the  misery in the world and indulge for a
                              while   in  the  beauty  that  stems  from  the
                              mysterious,  magical  worlds  in  the mind. For
                              me,   in   art   and   music,   evil  becomes a
                              meaningless word. Negativism or sombre feelings
                              are  nevertheless a completely different issue.
                              As  much  as  anything  it  is  a  part  of the
                              artistic   expression.  I  can  be  low,  I  am
                              egotistical,  which  is  kind  of the haze I am
                              living  in, like being inebriated on dejection.
                              I  have  a desire to experience true beauty and
                              unrestrained freedom, and to realise the things
                              that  I  believe  in.  And I know that the only
                              road  to fulfilment goes through myself and the
                              music.  It's  all in a blur, but I know where I
                              am  going.  I  want  to  express this greatness
                              beyond  all  the  pain  in  the  world.  So  in
                              essence, OBERON should be a source of strength,
                              not misery.

  7.  Do you think that art, as opposed to a human
  being, can exist beyond good and evil?

                              Art  does  not exist beyond good and evil, that
                              is,  if these terms are for real. Art may exist
                              beyond  politics.  It  has  been  said that all
                              living  creatures  are  political.  I can agree
                              with that because we live in communities and we
                              have  to do everything in our power to preserve
                              and   protect  our  personal  interests.  But I
                              believe   that   music   and   art   transcends
                              politics.  Music is about feelings and it is an
                              experience  that  exist only between the medium
                              and  the  listener.  It  brings out visions and
                              dreams  that  does not have anything to do with
                              the world we see everyday, and there is no need
                              to hide or stalk anything before the force that
                              flows  through the music. Music and art are the
                              ultimate  expressions  of  freedom  in  a world
                              where  freedom  has  become  an ideal and not a
                              reality  we  may  take  for granted. All things
                              which   contribute   strength  and  comfort  or
                              pleasure  or  power are good. All that destroys
                              and  hinders  growth  is evil. So art is also a
                              matter   of   either   being   constructive  or
                              destructive.   A   good  dream  visualised  and
                              brought closer to the listener through music or
                              art  would  therefore be good. So art and music
                              does not exist beyond good and evil. Our bodies
                              and   our   minds   perceive   and   interprets
                              everything that comes into our private spheres.
                              It is all a matter of what makes you strong and
                              what brings you down.

  8.  This  is the very first time you asked guest
  musicians  for help in recording. What share did
  they have in the final result?

                              Well,  I did use session musicians on "Oberon",
                              but  this  time they were more active. The oboe
                              solo  on  "Anything"  was  written  by the oboe
                              player.  And the drums for "The Garden Of Flesh
                              &  Bones" was improvised over my music. I mean,
                              people will get to know these songs as they are
                              -  the  energetic beats, the oboe solo... So if
                              you  look at it that way, it wouldn't have been
                              the  same album if they weren't there. It would
                              have  been a different album. But when you hire
                              session  musicians,  they come in, do the work,
                              get   paid  and  leave.  There  is  hardly  any
                              personal  or  creative  input. So at the end of
                              the  day,  the final result is up to those left
                              in  the  studio  when the album is being mixed,
                              which is my producer and myself.

  9.  Does it mean that your music has reached the
  level   in   which   the   other  musicians  are
  indispensable?

                              That  depends on what kind of music I choose to
                              record.  I could do a record for solo piano, or
                              I  could go back and do something like my first
                              album.  But  OBERON  tends  to  go  in  a  more
                              complex,  classical  direction.  I  may  in the
                              future  do  some more work with the guy who did
                              the  oboe solos on "Anything" and "Reveries" (I
                              wrote   that  one).  In  addition,  I  want  to
                              incorporate  a  string quartet/quintet into the
                              OBERON  sound.  I will only use professional or
                              exceptionally   talented  musicians,  because I
                              feel  I have reached a level of perfection both
                              in  song  writing  and  recording  that demands
                              competent  players. I always set new goals that
                              surpass  what I have done in the past. If there
                              is  something  I  want  to  do  which  requires
                              additional musicians, then I will do that.

  10.   Tell   us   about   your  latest  literary
  fascinations...

                              I  am  wildly  in love with the works of Albert
                              Camus,  Carlos Castaneda, Robert Prisig and Ayn
                              Rand.  I  am  also  reading a few things by and
                              about    the    mighty    interesting    German
                              philosopher, Spinoza. I have a huge interest in
                              the  stuff that Ayn Rand writes about. So far I
                              only  read "The Fountainhead" but I rarely come
                              across  such  beautiful  works  of art. I would
                              recommend  it  to anyone out there. It's a good
                              book.  I also like some of Lyall Watson's work.
                              I  read  his  "Dark Nature" which is a "natural
                              history  of  evil".  It's  basically  about the
                              semblance  of evil in the animal species, which
                              isn't  such  a  farfetched  subject at all. You
                              should read it, Krzysztof. I am sure you'd find
                              some very interesting things in there.

  11.  All  lyrics  but one is by you, why William
  Blake, then?

                              Several  years ago, I was given a collection of
                              his poetry for my birthday, and when I saw this
                              particular poem I was struck with it's stunning
                              beauty.  I was working on some of the music for
                              "To Spring" at the time and all of a sudden, it
                              dawned  on  me  that  the  poetry would fit the
                              music  perfectly.  In  addition it said exactly
                              what  I  was thinking as well. The Spring is an
                              important  season for me. Also, the poem seemed
                              to encompass so many things. It was perfect.

  12. By the way, did you watch J. Jarmuch's "Dead
  Man"?

                              Just  a  few  clips,  that's all. Not enough to
                              leave an impression.

  13. What's the feedback from the press, fans? Do
  you  think  that OBERON's status in Norway grows
  up with that album?

                              Too  early  to say. But the feedback from those
                              who  have heard it has been good. But Mysteries
                              is   obviously  something  new,  and  they  are
                              usually a bit confused, because they don't know
                              how  to  approach  it.  But as far as Norway is
                              concerned, I have not made a big fuzz about it,
                              because there are hardly any fanzines here, and
                              the  major  press  only writes about mainstream
                              music.  I  am  about  to  launch  a new project
                              though,   which   I  have  called  "The  Oberon
                              Conspiracy" which is basically about putting up
                              lots  and  lots of posters and spreading flyers
                              everywhere,  getting  my  record  played in the
                              most  unusual places, like waiting music on the
                              telephone  help service of the Internet Service
                              Providers  where  a lot of people will hear it,
                              basically becoming a part of the people's daily
                              routine...  I  will start here in my home town.
                              If  it works I will let loose the conspiracy on
                              other  towns  in Norway as well as abroad. Feel
                              free to join the pack!!

  14.  BEL  CANTO finally released a new album. Do
  you enjoy "Rush"?

                              No,  I don't really like Bel Canto. It's not my
                              kind of thing.

  15.  What  other great albums appeared in Norway
  lately?

                              None that I can think of, no.

  16.  Will  you  record  something  new  in  this
  Millennium yet?

                              I  hope  to  record  some  new  material in the
                              summer.  I  love  to  record during the summer.
                              Creatively, it's a very good season for me. But
                              I  wouldn't  expect a new OBERON CD to come out
                              before next year at least.

                                                         Contact information:

                        Oberon web site: http://home.sol.no/~titlesta/oberon/
                                                     E-mail: oberon@online.no

                    Incidental Music Online: www.iguild.com/homes/incidental/
                                           E-mail: incidentalmusic@iguild.com



                               
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                        ELD RICH PALMER zine   

                                ORIGAMI REPLIKA
                               by  JUDGE REPLIKA

               ORIGAMI  REPLIKA  is  a  free  part of the ORIGAMI
               REPUBLIKA   network  of  cultural  workers.ORIGAMI
               REPLIKA   deals  with  extreme  audio  tricks  and
               totally  stupid  sarcasm  on  behalf  of  the  old
               clichees   of   rock,   punk,   techno  and  power
               electronics.Instead  of  using the obvious imagery
               of death camps,torture,apocalypse and that shit,we
               scream  for  ice  cream.There are no set limits to
               what ORIGAMI REPLIKA want to achieve,in our recent
               SchMerzP0nk  Dada  concept (putting out recordings
               in  various  formats and touring Europe in May) we
               steal  the  tricks  and  the spirit of punk,broken
               techno  and harsh noise and include them in a very
               hard  physical  performance,  in  UK we handed out
               flowers   and  chocolate  to  the  audience,I  was
               naked,in  Newcastle I even gave fellow Republikant
               Martin  A40  a  short  blow  job.So  there  are no
               limits,we  simply  challenge ourself.Maybe you can
               call  ORIGAMI REPLIKA the flowerpower child of the
               KULTURAL  TERRORIST  NETWORK.We always put out new
               split-tapes  with  other  bands  of  similar  fine
               music,we try to submit material to any compilation
               out  there.We  love  to do live shows by phone, so
               radios  etc.  please  contact  us,call  us up at a
               specific time and we'll play for you.Of our merits
               we   can   tell   you  that  we  did  support  for
               EINSTURZENDE  NEUBAUTEN  at Astoria in London last
               September,   and   that  DaDa  Nation  recommended
               ORIGAMI  REPLIKA  to be on the list of the 10 best
               bands in the 90s.Just because our attitude is that
               of positivism, but still with a very sharp edge to
               what  we  do.Check  out  our  website  for further
               confusion/  information...if  not on the net; feel
               free     to     contact     us     via:     Komkol
               Autoprod,Kirkegata   37  a,7014  Trondheim,NORWAY.
               (Recommended letters to Tore H.Boe ONLY!) Website;
               http://www.noiseweb.com/origamireplika   out  now:
               ORIGAMI   REPLIKA:Ka/Skader   cd,ORIGAMI  REPLIKA:
               SchMerzP0DaDa  7"  cd  and a bunch of cassettes on
               various  labels globally.WE ARE TRUE PUNKnTHERE IS
               NO   COMPARISON.Support   the   POLAR   BEAR  BEAT
               foundation!

               "music for the tilted generation", ORIGANI REPLIKA
               list  of  related  bands  LESSE  MARHAUG, THE GREY
               WOLVES,  COCK  E.S.P.,  SMELL  and QUIM, RRRs PURE
               series,   MASONNA,   MERZBOW,   CON-DOM,   CHARLES
               BASCOMB, HARRY PUSSY, NEIL CAMBELL, INCAPACITANTS,
               FLUX  OF  PINK  INDIANS,  SPICE GrrrLS, MRS.HIPPI,
               BUTTHOLE SURFERS, ATARI TEENAGE RIOT, CNN

               for Eld Rich Palmer zine by JUDGE REPLIKA


                               
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                        ELD RICH PALMER zine   

                                    PHYLR
                             by.Krzysztof Sadza

               One of the pillar of electro beat legend COP SHOOT
               COP,John  F.Coleman has recently put out his debut
               full  lenght  "Contra  La Puerta".An event such as
               many  others,everybody  seems  to release a record
               now.The  difference  is  in  the  musical  content
               that's very attractive piece of electronic music.I
               think  you  can find out more about the album from
               the below chat and if you're perceptive enough,you
               will  surely  notice that the used descriptions to
               characterize  PHYLR's  debut are much alike to the
               ones in CPINALONGA's case. What of it ?? Nell,gust
               a  remark  -  things  ain't  such  as we see them;
               making    illustrative/picturesque   music   meant
               something totally different both for Mr.Martia and
               Mr.Coleman,though  the  means and the goals're the
               same.It's  needless  to  say  what's my opinion of
               it,could  I  give  a  space  to an artist's output
               other than great ???!

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                                                         ޲
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۲    ۲߲ܰ ۲  ۲ 
   ۱  ۲߲  ۲ ۲޲  ۲
۲   ۰   ۲۲ ۲   ۲޲  ۲
۲ܲ ޲۰ ۲۲ܲ۲          ܲ
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                                ۲
                                          


 ed. : How did you start the musician ?

                              As a young child,l was forced to take classical
                              piano  lessons.All  I  really  wanted to do was
                              make up my own songs but I had to learn to play
                              Bach and Diabelli and stuff like that. I really
                              wanted  to  play  in a rock band,but my parents
                              wouldn't  let  me grow my fair long so I though
                              that  I  would've  to go into business or urban
                              planning  or  some such thing. When I got a bit
                              older,I  started  taking  french  horn  lessons
                              with  Phillmore  Hall,an  anclent black man who
                              had   taught   Dizzy   Gillespe   to  play  the
                              trumpet.So  we  had a jazz band early on.Then I
                              started       doing       classical       brass
                              quartets.Eventually   I   quit  all  music  and
                              started  making  experimental films.But I found
                              myself   always   making   loops   out  of  the
                              magnetic   tape   from   films.  All  sorts  of
                              weird,fucke   up  stuff  that  made  no  sense,
                              really.I may release some of this stuff through
                              internet  and  mail  order sometime in the next
                              year.So  this  led  me back to music.I bought a
                              sampler  and  continued  making  strange  sound
                              collage  type  stuff.Eventually I became a part
                              of  the  band,COP  SHOOT  COP.Years  went  by.I
                              stopped  doing  drugs  and found out that I was
                              still  in  COP  SHOOT  COP.This  lasted another
                              couple  of  years,although I started doing some
                              film  scores.Finally,  CSC fell apart and I was
                              free.

 ed. : So,do you find the years in CSC creative?

                              Yeah.The  years  I  spent playing with CSC were
                              definitely creative. We made alot of good music
                              in Cop,put out 4 albums and other EP's,etc In a
                              way,though,  I feel more creative now. Now that
                              Cop  is  history,Im  standing  on  my  own feet
                              creatively.Im  scoring  films and theatre doing
                              solo  stuff (PHYLR),and have a band(HERE) I now
                              feel more fulfilled creatively in that I have a
                              few outlets rather than being a part of a band.

 ed. : Ok,what s happened next?

                              I  drove a truck for a year,during which time I
                              got  a  band together called FILER (which is my
                              middle  name).  I quickly got disenchanted with
                              it,  though;  at  the time I was sort of fed up
                              with  rock music. Also,I realize that I was not
                              much  of  a singer,or at least I didn't know my
                              boundaries  at  the  time.Now  I'm  singing  in
                              another  project  and  I feel pretty good about
                              it.Anyway,  from the ashes of FILER came PHYLR,
                              which  is  also  coming  out of my film scoring
                              work.Right  now, I'm gust starting to do live's
                              shows as PHYLR.

 ed. : And what's reaction been to the shows?

                              The  audience  reaction  varies  at  live PHYLR
                              gigs.Then  again,the  live  PHYLR shows are all
                              different.Sometimes      its      live     solo
                              mixing,sometimes its with live drums, sometimes
                              with  female  vocals.I  basically  gust  try to
                              change  it  around  as much as possible and its
                              not  like  the  album.I  see  these as two very
                              different  things  Sometimes  the  audience  is
                              right  there  with me and sometimes there is no
                              connection. Also,in changing the live situation
                              all    the    time,there   is   somewhat   of a
                              gamble,especially  if there is very little time
                              to   rehearse.But  this  uncertainty  can  also
                              provide a real edge to live shows.

 ed. : What's MATERA PROJECT '!

                              MATERA  is  M.Teho  Teardo's  project.There  is
                              MATERA  album out which he did with Mick Harris
                              from  SCORN.Theo and I have a project together-
                              called  HERE,  but I really had nothing to with
                              MATERA.They  did use a fev samples which i gave
                              them,so  I'm  credited on the album.But even my
                              credit is wrong : on the MATERA I'm credited as
                              John,not Jim.

 ed. : You've mentioned HERE...

                              This  is  a  collaboration  between  myself and
                              Mauro Teho Teardo from Italy. It will be out in
                              Italy  on  CPI;after  we  are done mixing it we
                              will  start shopping it around for European and
                              American    release.    It    also    is   very
                              electronic,touing band.

 ed. : Let's talk about "Contra La Puerta" album -
 due  to various personal elements,I found it as a
 sonic biography...

                              "Contra  La  Puerta"  is  a  sonic biography. I
                              think   anything  I  do  musically(except  film
                              scores  will  be  a  sonic  blography. It's all
                              personal.Generally,I  don't  have  a plan in in
                              mind  when  I  make  music.  My  motivations is
                              internal  although it may be reaction on to the
                              world outside So the songs and sounds arise out
                              of  my  personal  history,  my  feelings and my
                              moods.Which  strange,because  I  am generally a
                              happy  person,but  my  music is not.Sonically,I
                              find  truth  in  darkness.  This seems true for
                              most art forms."Invasion of the Body Snatchers"
                              feels more real than "The Sound Of Music"

 Ed. : Is the album a substitute for a film ?

                              No,although    it   does   evoke   images   and
                              scenes."Contra  La  Puerta" is not a substitute
                              for a film.

 Ed.: You are more musican,or film maker ?

                              I  am definitely more a musician.I like the way
                              that   sound/music   can   work  together  with
                              film/image,but my primary sense is sound.

 ed.  :  The  musical  contents  of the debut is a
 blend   of   newer  trends  in  electronic  music
 (masterely  done,by  the way!), however you avoid
 the   real  extreme  things:  power  electronics,
 hardcore...what  do  you think of them, would the
 ones find a niches in your music someday ?

                              "Contra  La  Puerta'  did  not  venture  to the
                              extremes   of  electronic  music,  although  it
                              contains               elements              of
                              ambient,jungle,breakbeat,etc.I  don't know if I
                              could  ever  work solely in one single genre of
                              music.It  feels  too  limiting.  But  the newer
                              PHYLR  stuff  does feel more extreme.It is also
                              much  simpler.  The  only  problem  I have with
                              "Contra  La  Puerta"  is that there is too much
                              going  on. So the new material is simpler.And I
                              am  interested in seeing hov extreme things can
                              get and still remain cohesive.

 Ed.  : While we're at it,will the next release be
 as "picture-esque" as the debut was ?

                              Not  really.Like  I said earller, the new PHYLR
                              stuff is much simpler. This makes it a bit more
                              lean  and  mean, less dramatic. I think that it
                              will  still  be cinematic, but not so dramatic.
                              Also,i  think  it  will  be  working in several
                              different  directions.Some  stuff I'm doing now
                              is  extremely  electronic,some  is bordering on
                              jazz  noir,and some I see as real "songs", with
                              vocals and all.

 Ed.  :  "Contra..." became a priority release for
 Invisible,you  must  be  extremely content of it,
 don'  t  you ? Is it easy to hit to Martin Atkins
 taste ?

                              I'm  not  sure  why  you  think it's a priority
                              release.  (because  your  UK's distributor said
                              that   -ed)I  haven't  really  seen  that  much
                              happening  with  it.As  far  as  Martin  Atkins
                              tastes  go,they  must be good since he released
                              the  PHYLR CD, right? (Yep -ed)He just happened
                              to  like what I was doing and agreed to release
                              it.I  do  like  some  of  the  other  things on
                              Invisible.In  particular,you  should  check out
                              the  NOT  BREATHING  stuff if you haven't heard
                              it.

 Ed.  :  Did  you  watch  or  hear  something good
 recently ?

                              Records:  WE  ("As  Is", on Asphodel),DJ SHADOW
                              ("Endtroducing",on                      Mawax),
                              Dr.OCTAGON("Dr.Octagonacologyst",MoWax),
                              SQUAREPUSHER    ("Hard    Normal   Daddy",   on
                              Warp).Alsa  Lo  Recordings is a label that puts
                              out  great  compilations, and & EMI has a great
                              jazz  label.  Film:It's  weird.I never remember
                              films after I see them.(????? -ed) I've gone to
                              see  a film and sat halfway through it before I
                              realize that I've seen it before.

 Anything left to say ?

                              Other   things   I'm  doing.I'm  co-composing a
                              theatre  piece  now  with  Hal  Hartley  called
                              SOON.This  will  debut  at  the  Salzburg Opera
                              Festivel     in    Austria    this    July.With
                              PHYLR,hopefully   a   12  inch  vinyl  will  be
                              released  soon  with  a  couple of remixes from
                              "Contra  La Puerta" and a new song as well.With
                              HERE, the first single and video will be out in
                              Italy  in May,the full lenght CD will be out in
                              the  beginning  of  September.We  are currently
                              looking for European and American distribution.

                                                                  Jim Coleman
                                                      352 Oakland Valley Road
                                                     Cuddebackville, New York
                                                                        12729
                                                  email: phylr@mindspring.com


                                                        Hot news from PHYRL :

                              I  just  finished  a new Phylr album. Invisible
                              plans to release it in the early fall, but just
                              in North America. So I am currently looking for
                              a label or labels throughout Europe.

                              Meanwhile  I've  been  touring in Italy with my
                              other  band,  here.  Our  first album, Brooklyn
                              Bank was released on CPI in Italy and Invisible
                              in the states. We are about to start working on
                              the second album.

                              And  I'm  on  an  upcoming compilation of music
                              which  has  been  made for dance theatre. Other
                              artists  on  this  CD include Zeena Parkins and
                              David  Linton.  This  will  be released soon on
                              Elliot Sharps label, zOAR records.

                                                                  Jim Coleman



                               
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                        ELD RICH PALMER zine   

                                  ROSEGARDEN
                                    HISTORY


                    ...Once upon a time in the year 1990...

               A  day  in  April,  music  store  in Katowice. Two
               individuals  of  Katowice  underground  have  come
               across   each   other:   Magda  Majka  and  Tomasz
               Podgorski.  This  meeting has given a birth to the
               most   extraordinary  band.  It  happened  on  the
               "Valpurgia  Night",  and this was supposed to be a
               name   of   this   newborn   child   of   Silesian
               underground.  It  started  its  music journey as a
               duet,  that  later  has received a name ROSEGARDEN
               FUNERAL OF SORES

                                       *

               "...We always want to follow, what's inside of us,
               and not mind any music trends" -Tom said.

                                       *

               This  outstanding, keeping far from the mainstream
               was  always  the feature, that distinguishes their
               band  from  the rest of our music scene. Instantly
               inspired  by  the  universe, the people, thoughts,
               dreams,  they  drew  from ideas from their unusual
               sensitiveness. That is, why their lyrics circulate
               around love, beauty, sex, faith, god.

                                       *

               "...In  spite of different ways of expression used
               by  musicians  on  their 7 tapes, you can realise,
               that high emotions dominate over a form of a song,
               over  everything.  You  do  not feel the lack of a
               structure,  because  you  receive  an avalanche of
               sounds,   profound   and  proud  voices,  sadness,
               melancholy,  hope,  joy,  and  anger... One of the
               most positively haunted bands I have ever met..."

               A review from "Eldrich Palmer" - zine

                                       *

               "GOD  CRY  FOR  THE  INSANE  EARTH"  is  the first
               record,  imbued  with  past century's climates and
               Celtic nature.

                                       *

               It   was  followed  by  rock  "BLAMAGE",  full  of
               hypnotic  drum  machine, sampled guitars and bass,
               gentle   violins,   mouth  harmonica,  French  and
               English lyrics.

                                       *

               The  year  1991  is a year of the first conception
               album   "MY  INSIDE  GARDEN",  the  expression  of
               blossoms and curses. It was a genial act.
               "...Two  opposites collide; fine acoustic guitars,
               a   gentle   female  voice  and  a  sick  keyboard
               atmosphere, a drum machine, a sinister male lament
               (...)  It  is  difficult  to find a place for this
               music  and I think it's not because of the lack of
               my   knowledge   but   a   unique   character   of
               ROSEGARDEN..."

               A review from "Foolmoon" - zine

                                       *

               They have become an intellectual, esoteric band.

                                       *
               A  couple  months  later  "GATHERING  OF  FLOWERS"
               appears  as  a  result  of  a  co-operation with a
               pantomime  theatre.  It is an instrumental work, a
               sampled symphony.

                                       *

               "TASTE THE SKY `TILL IT BLEEDS" was born in 1993."

               "...Music?
               It's not music.
               These  are  pearls scattered around mires, sirens'
               voices  during  a  gale,  a cold light buried in a
               dying  in  ritual  fire.  It's  a  horror  and  an
               ecstasy... "

               A review from a "Darkzone" - zine

                                       *

               It  sets  against  a  religion  in opposite to the
               "LOVE GOD", which explains the essence of God.

                                       *

               In 1994 Magda Majka walks off and Marta Hryniewicz
               joins ROSEGARDEN.

                                       *

               "IMAGINATIONS"  and "In the garden..." appear as a
               return  to a slow, heavy guitar sound, followed by
               a beautiful music inspired by Charles Baudelaire's
               poetry called simply "LES FLEURS DU MAL".

                                       *

               In  1994  they begin "Novenna", which is a perfect
               work.  It is also as crucial as "My Inside Garden"
               or "Love God". In 1996 Rosegarden Funeral Of Sores
               signs   a   contract   with   German   Hyperium!!!
               "NOVENNA"  the  first  official album was produced
               and published in 1997!

                                       *

                              ... And nowadays...

               Tom still working and we still waiting for the new
               ROSEGARDEN   album  which  will  call  "BODY  WITH
               SUNLIGHT"  Tom says - this album will include more
               beautiful,   dynamic  music,  with  more  hypnotic
               sounds,  oriental  sounds,  is  inspirited  Hindus
               music,and will be very eroticism...

               ROSEGARDEN
               CONTACT
               You can contact us:
               By mail:
               ROSEGARDEN
               Tomasz J. Podgorski
               GROMADZKA 53 G
               40-771 KATOWICE 19
               POLAND

               HYPERIUM
               http://www.hyperium-rec.com


               ROSEGARDEN
               DISCOGRAPHY

               07.1990 "God Cry For The Insane Earth"
               (cassette longplay)
               02.1991  "Blamage"
               (cassette longplay)
               10.1991  e.p. "Blind Soul"
               (cassette e.p.)
               12.1991  "My Inside Garden"
               (cassette longplay)
               08.1992  "Gathering Of Flowers"
               (music for pantomime)
               11.1992  e.p. "Haunted House"
               (cassette e.p.)
               07.1993  "Taste The Sky 'till It Bleeds"
               (cassette longplay)
               11.1993  "Love God"
               (cassette longplay)
               05.1994  "Imaginations"
               (cassette longplay)
               07.1994  "In The Garden..."
               (cassette longplay)
               10.1994  "Les Fleurs du Mal"
               (cassette longplay)
               12.1994  "Jesus Loves Me"
               (cassette longplay)
               08.1997 c.d. "Novenna"
               (the first official published album)

               ROSEGARDEN
               LIRICS

               "NOVENNA"

                 The Man Who Loves The Sea

               Love the sea
               Your wet feet love the sand
               Love the sea
               A jealous wave that castles undermines
               Love the sea
               A wind blowing empty in your ears
               Love the sea
               Scattered by joy its salty tears
               Love the sea
               Breathing with wavy sigh
               Love the sea
               Seashells lying on the sand
               Love the sea
               Hiding tour dreams in the shells of god
               Love the sea
               Blue flames hidden in your coral blood
               Love the sea
               Its mouth let it come to your face
               Love the sea
               It calms you down with its waves
               Love the sea
               Fingertips on my sandy skin
               Love the sea
               When I sing let my love in
               Rattle with empty snail shells, sea said
               Jump into my blue love veils, sea said
               Ill cuddle you with my sea
                My humming tune Ill hide in your ears
               I am the history
               I will be here
               Treasuring you
               It's a perfect time
               To richen my blue eyes
               Hey man please love the sea
               Fall in my arms
               Sail with my sea
               Your tear in the water
               Hey man please love the sea
               In the name of love
               I will hide you in the shell of god
               The man who loves the sea
               Turned his face to the sun
               The man who loves the sea
               He open its shells of god's thoughts
               The man who loves the sea
               He rattled with empty snail shells
               The man who loves the sea
               He jumped into its blue love veils
               The sea cried
               Threw out the sand
               Brought him on a wave
               To the edge of his land
               Laid him on a sand
               Among his castles
               The sea waited for so long
               To find him divines pearl
               To take him into its depths
               Until it lies him on the coral bed
               Covered with boundlessness
               Hidden in its shells
               The sea
               The man who loves the sea

                 Before My Heart Burns Out Quite

               One milliard years ago
               When the word was upraised
               By the birth sounds
               The sky was golden
               And the nature had no colour
               Born from fire and the sea foam
               Fed with the sweetness of the sun
               High on the silver of the moon
               Carelessness I waited
               For a moment, a precious one
               Cry out my name
               I will become
               And your body so pale
               Like snow at dawn
               I scent roses on your body
               Which creeps and crawls
               Like a snake changes its skin
               Blinds with a naked glare
               Oh that loves inside of me
               It quite burns out my soul
               Can you see me?
               When at night I light your body
               With my brilliant tears
               And crying I lie beside you
               By down
               When the winds that blow out of my mouth
               With kisses disperse your hair
               With sunshine
               I blind your sleepy eyes
               So here I am
               Just cry out my name
               So here I am
               I become
               So here I am
               Just invite me in
               Before my heart burns out quite

                 True Love (Chanson Sur L`amour Et La Vie)

               My mother
               She gave birth to me
               With one great true love
               She was feeding me love
               And I was only a child
               Growing up in her safety arms
               With her true love
               She opened my burning eyes
               With her true love
               She filled my mind
               When I grew up
               I slipped out of my mother's arms
               I saw the world
               With my immature eyes
               It was like a rainbow
               Like god's sun
               I found here my love
               My true love
               Was hidden in her colder eyes
               In her true love
               Her nude body covered mine
               True love
               We found ourselves
               Flying with the birds
               Jumping to the sun
               Talking with the stars
               We found ourselves
               Feeling the warmth of the ground
               And flowers under our feet
               While stepping
               Led by our true love
               Choked by true love
               True love
               One true love
               Nestled in our garden
               To escape the world
               We set free the butterflies
               That lived in our mouth
               The cold wind surrounded us
               Grabbing the blue suns
               Walking with the planets
               Which sleep in our arms
               In the circle of the earth
               In the circle of the sky
               Plaiting turnovers
               Of our twisted hands
               We were flying on the clouds
               Sinking with the sunny lights
               Reflecting our mirrors
               We looked like the gods
               It was our cosmos
               And we were the new stars
               Discovered by the astrologists
               When we floated above the ground
               But she left with my love
               Leaving empty my memory
               And I still need this time
               In which I miss love
               One true love
               To feel my mind







                               
                        ۰۰ܲ۰۰
                        ۰  ۲۲ ۲۰  ۲
                        ۲   ۰۲
                    ܰܰ۰  
                        ELD RICH PALMER zine   

                                  SZEKI KURVA
                              by.Krzysztof Sadza

               The  name  SZEKI  KURVA  (the whore of Szeki town)
               came about when a famous Hungarian cultural figure
               accused    the    people    of    Szek   Town   in
               Transylvania,that's ethnic Hungarian and a bastion
               of  traditional culture,of "prostituting Hungarian
               traditional  music  ".It is also a name guaranteed
               to  offend  the  maximum number of Hungarians... I
               think,the genesis of the band's name says a lot of
               them  and  their  music  - rude and uncompromising
               treatment  of  different musical styles (including
               Hungarian  folk  music)  that were just handy,gave
               dazzlingly  weird  (and  abusive for many) effect,
               excitingly sounding even to that non-techno fan as
               myself.Answers with touch of Che Guevaras by Ludas
               Matyi!!!

                                                      
                     ܲ                       ܲ              
           ۲۲  ۲  ۲  ۲ ۲
             ۲   ۲  ۲ ۲۲ ۲ ۲
        ܲ      ۲    ۲  ۲۲۲  ۲
    ۲   ۲۲ ۲۲ ۲  ۲۲    ۲
   ۲    ۲ ۲۲  ۲ ۲ܰ  ۲
    ۲    ۲۲ ۲۲  ۱۲۲۲
        ۲۲ ۲۲۲ ۲۲
 ܲ                ߲     ߲      ߲    
 ۲  ۲        ۲ܰ       ۲     ۲۲ܰ
 ۲ ۲۲   ۲۱ ۲    ۲۲   ۲
 ۲۲۲    ۲۲  ۲   ۲    ۲
 ۲  ۲   ۲۲  ۲۲  ۲۲ ۲
 ۲ ۲۲   ۲ ۲ ۲ ۲   ۲۲  ۲
  ۲۲۲ ۲ ۲       ۲  ۲۲ܲ۲
  ۲ ۲ ۲ ۲         ۲   ۲۲
         ߲               ۲                                ߲


 ed. : "The technopunk variant of Hungarian music"
 -   who  struck  upon  the  crazy  idea  to  roll
 Hungarian  folk  music  and modern Western trends
 into  the one,and what cante first then: the idea
 of playing this kind of music or the band itself?

                              Waddya  mean,crazy  idea?  Doesn't  everyone do
                              this  kind  of  thing?  Was ELVIS crazy when he
                              rolled   together  hillbilly  music  and  black
                              music?Actually,it  was  an  accident.Two  of us
                              used  to  know,wach other before we were in the
                              band  becausce  we  ran market stalls in Esceri
                              market,in   Budapest.One   day  we  were  there
                              trading   and   we  had  a  radio  playing  hip
                              hop.Another  stall  used to sell Hungarian folk
                              music  and the two sounds just drifted together
                              and  formed something new.After that we used to
                              make   tape  loops  up  of  hip  hop  and  folk
                              music.This  was  the first crude attempt at the
                              Szekimuffin  sound.  So the idea of plaing this
                              kind  of music came first.Then we had to form a
                              band around the sound,with the right people.

 ed.   :  What  is  useful  and  needful  in  your
 song-writing    process?      How    much   input
 have, producers had  in  the  final shape of your
 records?

                              You   wouldn't   believe   how   slapdash   our
                              songwritig process is! Most times we throw some
                              breaks  and  music loops together on our Amiga,
                              play   it   on   car   stereos  while  cruising
                              around,then  take  iy  down,the  studio and put
                              guitar  etc.over  it  and some poetry.That's it
                              Sometimes  it  only takes 24 hours.All the time
                              we've   been   recording,we've   only  had  one
                              engineer/producer,   knowm   as  The  Man  Like
                              Grant.This  is  good because he knows our style
                              inside out.There's a lot of stuff on our tracks
                              that  we would never thought of,that he came up
                              with.The  man's a genius. We don't want to work
                              with anyone else ever.It's funny really because
                              he's  not  into  our  musical style at all he's
                              more a ballads man.

 ed.  :  Are  there  sounds/styles  that you would
 never incorporate in your music for some reasons?


                              Yeah,African sounds music and didgeridoos,cause
                              that's  all  bollocks.It  reminds  us of middie
                              class  hippy  wankers  at  festivals.Other than
                              that  why  restrict  ourselves?  Back to people
                              like  ELVIS again,and EDDIE COCHRANE:those guys
                              fused   an   unbelievable   number   of  styles
                              together,till   it  became  unrecognisable  and
                              new.Our  ideal  would  be maybe to totally fuse
                              any  number  of  styles  into  one  track so it
                              became  indefinable  new music.Modern,late 20th
                              Century  music.This would be the final point of
                              the Szekinmuffin style.

 ed.  :  Was the choice of Essex known also as the
 raveland for the place to live in, accidental? Do
 SZEKI  KURVA's  proposals get across to the local
 public?


                              Not  really  accidental three of us in the band
                              have  lived  here,on  and  off,for  all  of our
                              lives.We're only about 30km from London,so it's
                              almost  suburban  Anyway,we're a London band.An
                              Anglo-Hungaran  band  living  in  London.You're
                              right,though.It is the Home of Rave.People here
                              love  energetic,jump-up  dance  music  they can
                              play in their cars.That stereotype of the Essex
                              Boy   or  Girl  in  their  custom  car  playing
                              Jungle:it's  true!  That's  us  and  our mates!
                              Does  our stuff get across to the local public?
                              Absolutely.It's  hard, aggressive dancey music,
                              y'know,  lots  of  jungle beats and harcore and
                              ragga  and  hip  hop.We  make music for working
                              class hoologans and refugees and au pair girls.
                              That's our fanbase. Within 5 years you've built
                              a  solid  base  in  order to become independent
                              from  the music industry; what are the pros and
                              cons of this situation? Tell us more about your
                              radio  station,  record label and other project
                              you're involved in.The cons first: It's tucking
                              hard because you can only trust yourself,and it
                              take  AGES  to  build  up  that base. The pros:
                              Everything is yours.No-one tells us what to do,
                              and  no-one  fucks  with SZEKI KURVA,cause they
                              know  our  security will come round their house
                              and  cut their face off It's all about building
                              a  reputation and getting respect.That's all we
                              want, R.E.S.P.E.C.T., means to me! Buying a new
                              more  powerful  transmitter so that we can piss
                              off  more  of  Essex  and  London.  Our, record
                              label,FGZ   we   now  run  it  mainly  as  mail
                              order,and also for publishing our stuff Oil the
                              Web.

 ed. : What does all this major labels involvement
 in  the  underground  scenes mean for you? Is the
 underground    movement    today   that   healthy
 alternative music for offical music as it used be
 a decade ago,let's say?


                              It's  scary and insidious what the major labels
                              are  doing.Basically  they  wait  till  a small
                              underground label is on its knees,then they buy
                              it  and  run  it,to give themselves some "Indie
                              credibility".You  can  count the number of true
                              independent labels here on one hand,I reckon (I
                              think,the  number  is  much  bigger  -ed).We're
                              happy  to say,though,that everyone we work mith
                              is   truly  independent.All  our  partners  our
                              affiliated  label  Iris  Light, who were signed
                              with   and   the   distributors,are   all  true
                              independents.We  won't work with anyone else.As
                              for  "the  underground  movement",there is only
                              one   true   underground   movement,and  that's
                              underground   dance.As  represented  by  pirate
                              radio  stations etc.It was called hardcore rave
                              then,and   it's   mutated   into   jungle,happy
                              hardcore etc.For years,the majors and the music
                              press  ignored  ut  cause  it  was the music of
                              lower   classes.Now   they're  all  desperately
                              trying   to   buy  into  Jungle  and  breakbeat
                              music.Every  other  so-called underground music
                              scene is bollocks.Rough words !!!...

 ed.  : Does your fight with music indrusty go way
 beyond aggressive destroying the system...

                              We  are  different  from  absolutely ever other
                              band  the  made pronoucements like this,in that
                              we     FUCKING    MEAN    IT.Everyone    else -
                              MANICS,BIS,PUBLIC      ENEMY      =     sellout
                              nuthafuckas.No-one  knows  how far we are gonna
                              go,but keep watching, cause it'll get bloody.An
                              example  :  we  bugged  the  offices  of Melody
                              Marker  this week.Next week wr're gonna crash a
                              remote-controlled    plane    into    the   BPI
                              building.The  idea  is  that we are meant to be
                              the   example   to   you.   Follow   our  lead!
                              You,Krzysztof  run a fanzine,therefore you have
                              power!  Obviously we can't do it on our own.But
                              if   we   can   convince   enough   people   in
                              bands,fanzines,record  labels to turn round and
                              say  - hang on we could do it all ourselves! We
                              don't  need  sponsorship  or  advances  or part
                              overship  ! We don't need to sing away our work
                              to  some  blood-sucking fuckers in EMI ! If you
                              printed  our  Manifesto,well  you never know,it
                              could wake some people up.

 ed.  :  No  problem.  (Look at down -zenial) What
 about  the  large  amount  of  releases  you have
 recorded to date?

                              What abut them ? Actually,a lot of those on our
                              label,FGZ,are  single  cuts  from our 2 EPs and
                              album.At  the moment,we're doing remixes of all
                              the singles so you get value for money when you
                              buy a single cassette.We want people to get lot
                              of  entertainment  for their money.If anyone is
                              wondering  "what  should  I  order from FGZ ? "
                              then  it  should  be  "The Sound of Dead Goats"
                              EP,then  the  albumn"Music For Joyriders", then
                              "The   Fearless   Vampire   Killersn"  in  that
                              order,'cause  that's  the  order we did them in
                              and you can hear how we're coming along.

 ed.  :  I  heard SZEKI KURVA live blows out WHITE
 ZOMBIE,MINISTRY  and that ilk off the scene,is it
 true?

                              You  heard  right,it's  true.  Apart  from  the
                              PRODIGY,we are best live band in Europe.Name us
                              any band,however "metal" they think they are,we
                              could  go  on  before them and blow them out of
                              the  arena.The  audience  knows  they're seeing
                              something  different because for us,there is no
                              "stage"  and no "audience".It's all the Theatre
                              of  Senseless  Jungle  Hate!  We  play  in  the
                              audience,and,the  audience  gets up on stage if
                              they  have  the guts:when it works,it kicks off
                              like  a  block  party.We get so fed up watching
                              audiences   standing   there  thinking  they're
                              watching  TV.Well,we  remind  them that they're
                              not and that's real life.

 ed. : Will you ever go back to Hungary?

                              We sneaked over the border at Christmas! It was
                              great,we  did  some  DJing  of jungle and happy
                              hardcore,and  played  a  Sound  System on Tilos
                              Radio.  Basically  what we were doing was SZEKI
                              KURVA   Sound   System,which  is  band  members
                              improvising   over  turntable  breakbeats.We're
                              going  back  in  August  to  play  at the Pepsi
                              Sziget  festival,which  will be fantastic,being
                              able  to  get up on a Pepsi-sponsored stage,and
                              show   them   our  Pepsi  ripoff  logo,and  say
                              "personally  we prefer COKE!". We're gonna fuck
                              their  shit  up  and give them a bad name.Maybe
                              it'll  make the Hungarian youth think about all
                              these   corporations   pimping  bits  of  their
                              country.

 ed.  :  What will be different about the upcoming
 SZEKI KURVA records ?

                              More  experimental,more  styles in the mix,more
                              risks.More  like film themes. More pop! Some of
                              it's gonna sound like WIGHGFIELD meets LAIBACH.
                              It's  that constant lension, of trying to be as
                              extreme    as    possible,and    as    pop   as
                              possible.Sometimes   it   works,  sometimes  it
                              doesn't.   Check   out  "The  Fearless  Vampire
                              Killers"  which  we're  sent you and you'll see
                              where we're going.

 ed.  :  Do  you think people can still follow the
 current changes in the music, nowadays?

                              Funnily  enough,it's  getting  quite good here,
                              because  so  many  youngers DJs have moved into
                              Radio   One.You're   hearing   stuff   in   the
                              afterenoon  that  wouldn't  have  been played a
                              year  ago  real  hardcore  stuff. So people are
                              being   exposed   to   these   new  underground
                              styles.Some   stuff   by   the   CHEMICALS  and
                              PRODIGY,or  even the latest PRIMAL SCREAN stuff
                              that's truly experimental shit to be playing at
                              lunchtime! So we're optimistic!

 ed. : Anything in closing?

                              An  advertisement!  To  get  hold  of any SZEKI
                              KURVA releases, send an envelope to:

                                     FGZ PO BOX 9806 London SE 10 9ZD ENGLAND

                              and  tell  us  what  you  want, what you really
                              really  want.  And last of all : thank you very
                              much for your time and support - you can make a
                              difference! Dziekuje bardzo i do zobacziena!

 ed.  : Ja rowniez dziekuje bardzo i do zobaczenia
 ! Rengeteg koszonet,Luddas ezert az interjuert !

               --------------------------------------------------
               Attention all you Massive! Szeki Kurva was wrapped
               up  a  couple  of  weeks  ago,  and we are now The
               Fighting Cocks. Stand by for a new album, Come And
               See  -  Original Motion Picture Soundtrack, out on
               AAS (www.aas.mcmail.com) in July. Meanwhile, check
               out: www.mp3.com/fightingcocks and www.ubl.com for
               free downloads and stuff.

               our  new  homepage  will  be up and running in the
               week. hold tight all massive and kru!

                        *http://www.f-cocks.demon.co.uk
                        The Fighting Cocks @ FGZ Records
                   *look out for all Fighting Cocks releases
                  first thru FGZ on cassette and on the web at
                               http://www.mp3.com
                 The Fighting Cocks are affiliated with Artists
                            Against Success Records
                           http://www.aas.mcmail.com
               --------------------------------------------------


                                [ SZEKI KURVA ]

                                Read This First!

                                 Our Manifesto

                              Why We Are Fighting

                 Do You Remember When It Was Still About Music?

                       Join Up And Help Fight The Beast!

               Those of you who know the music industry will have
                realised by now that a couple of multinationals
                 have a stranglehold on it. Between them, Sony,
                 EMI, Polygram and the like have bought up just
                about everything and are sucking the life out of
               it. Our research has shown that these corporations
                are headed by VAMPIRES and THEY MUST BE STOPPED!


                              Know Your Enemy/NME

               Our fight back starts here. We in Szki Kurva can
                 spot these undead and their minions- the crap,
                 coke-snorting whore A&amp;R men, the dead-eyed
               'indie' label bosses, the BPI gestapo, the hordes
                     of accountants and lawyers, the bland
                 transatlantic commercial radio people, the PRS
                informers, the bourgeois music press ghouls- and
                   we are going to hunt them down one by one.

                               COMMUNIQUE NO. 1:

                   BEHIND THE BANNER OF THE GRINNING FOX HAVE
               GATHERED MEN AND WOMEN WHO HAVE NO FEAR STOP WHOSE
                 VIOLENT FORCE WILL DESCEND IMPLACABLY UPON THE
                           FILTHY BLEATING HERD STOP

                       Strike At One To Educate A Hundred

                      Kill A Chicken To Scare The Monkeys

                 We exist, not to wait for some distant musical
               revolution, but to reinvent everyday life here and
                  now. We intend to construct situations which
                disrupt the ordinary in order to jolt you out of
               your frame of thinking. We exist to say: don't go
                  along with the music industry consensus that
                you've been baby-fed; construct the situation of
                 your own life. The way we live our lives, our
                music and our inevitable deaths will be our own
                               statement to you.

                        Fight Back Electromagnetically!

                Arm yourselves! Follow us! Our tools are our own
                record label FGZ; our affiliated record company
                   Iris Light and its network of independent
                  distributors; our fanzine; our pirate radio
                 station KRR; the Web; and our army of zealous
                fans. With your help, we are going to wound the
                music industry so badly it will hopefully never
                 recover, and then we can all start to hand pop
                music back to the people who make it and buy it.

                                  Bite And Run

                Don't get any of this confused with politics. We
                are above all ideology. Get this into your head
               and ditch all sixth-form political preconceptions.
                Most important of all, understand this- we don't
                exist, but we're more real than anything you've
                               ever seen before.

                   Take A Music Industry Executive To Dinner

                 Label bosses take record shops to dinner with
               two-for-one deals. Music PR staff take journalists
                to dinner with free coke. The music press takes
               record companies to dinner with blanket coverage.
                Music journalists take themselves to dinner with
                  ego trips in print. The whole industry takes
                  itself to dinner with blatant chart-rigging
                     marketing and fixed awards ceremonies.

                     Start A Pie Fight In Virgin Megastore

                Our manuals are: The Techniques of Revolutionary
                 War by Guido Giannettini; the writings of the
                Situationist International; US Army Field Manual
               30-31B; CIA Psychological Operations In Guerrilla
                  Warfare; Operation Vampire Killer 2000; The
                Cultural Terrorist Manifesto of the Grey Wolves;
                   the Doctrine of Leaderless Resistance; The
                Thoughts of Chairman Mao. (And nothing at all by
               Bis). Do yourself a favour- read these. You might
                                learn something.

                               COMMUNIQUE NO. 2:

                  SZEKI KURVA WILL USE ANY MEANS NECESSARY TO
                 DESTROY THE SYSTEM FROM OUTSIDE OR INSIDE STOP
                 SZKI KURVA WILL ENTER THE INSTITUTIONS OF THE
                RECORD INDUSTRY ESTABLISHMENT IN ORDER TO DIRECT
                 THE MASSES TO DESTROY- FROM WITHIN- THE WHOLE
                             BOURGEOIS SYSTEM STOP

                          Free Goulash For Everyone!!

                               Basic Social Facts

                                     Part 1

                 Parades, bank robberies, fires and explosions
               focus public attention. A crowd is an audience for
                  an event waiting to happen. Release of crowd
                spirit can accomplish social facts. Riots are an
                     audience reaction to bad life theatre.

                                     Part 2

                 Your existing music media theatre is bogus and
                   safe, a sham action-reaction, your 'shock'
                   reaction to MTV action as predictable as a
                  marketing executive's shoes. We are the Real
               Thing. Our art is going to liberate ground held by
               the self-appointed consumer wardens and establish
               territory without walls. Our art is going to shock
                   you, the patient, right out of the window.

                               COMMUNIQUE NO. 3:

                    SHAKE IN YOUR SHOES BUREAUCRATS STOP THE
               INTERNATIONAL POWER OF THE SZKI MASSIVE IS COMING
                TO WIPE YOU OUT STOP HUMANITY WILL NOT BE HAPPY
                UNTIL THE LAST MUSIC JOURNALIST IS HUNG WITH THE
                       GUTS OF THE LAST A&amp;R MAN STOP

                          Stand By For Leaflet Drops!

                             Stand By For Sabotage!

                              Stand By For ACTION!

                       HELP US DESTROY THE MUSIC INDUSTRY
                              (in 12 easy stages)


 -
 Po naszemu :
 Tlumaczenie  wywiadu z Szeki Kurva znalazlo sie w
 Dementia#3,  a zupelnie nowy wywiad z Szeki Kurva
 jest w Anxious#2
 http://anxious.topnet.pl
 http://www.alter.pl/tne


                               
                        ۰۰ܲ۰۰
                        ۰  ۲۲ ۲۰  ۲
                        ۲   ۰۲
                    ܰܰ۰  
                        ELD RICH PALMER zine   

                               THE 4th IS ELIGOR
                                 by Zenialowski

               It  may sounds like banality, but music of THE 4th
               IS  ELIGOR is receiving by me, as musical pictures
               to  the  master  of terror tales  H.P. Lovecraft.
               Made  up  of  mysterious  and  haunted sounds from
               esoteric  worlds, the very first release When the
               purity  is  raped    by  this  duo should attract
               people   of   dark  nature...  I  have  spoken  to
               Krzysztof Azarewicz- the leader and founder of THE
               4th IS ELIGOR and Moonwheel Rec.
                                                      Zenialowski

 Hello  Krzysztof  , I got the chance of listening
 to  a  sample of your upcoming material  hard to
 pigeonhole indeed !

                              - Hello Zenial! Yes, you're right.

 "When  the  purity  is raped" was edited in 1995.
 What  do You think about this record now, are you
 satisfy ?

                              -  Yes  and no. When I come back to period when
                              this  tape  was  recorded, Im satisfied. "When
                              the  purity  is raped" reflects very well that,
                              Time  of  our life. But the prospect of today I
                              think  that  I'd  play many things differently.
                              The sound is too synthetic. I became a lover of
                              more analogue, not electronic ways of creation.
                              If  I  see  reactions  I must say that Im very
                              impressed.  I  didnt  suppose  that  this tape
                              would  cause such a big interest of our project
                              and  acknowledgement.  So  from  perspective of
                              time it was not so bad.

 Who is the "essence" of THE 4th IS ELIGOR ?

                              - Two men. Me and my friend, Piotr Weltrowski.

 You're  inspirited  by  group  of  really  gloomy
 individualities  ,  this  in my impressions after
 listening  this  music  and  reading tape jacked.
 Why?

                              -  Well,  as  you know this tape was recorded a
                              few  years ago. Our personalities have changed,
                              developed.  Some  years  ago  we were under the
                              influence  of such people like Hannibal Lecter,
                              and  so  on.  Today  Im not interested in mass
                              murderers, for example. I'm still fascinated in
                              trangression but in other form. But if by "dark
                              person"  you  mean figures like H.P. Lovecraft,
                              they inspire us till today.


 What  Can  You  say about QUADRIGA SEXUALIS , any
 details  abut  this  project?  When  we will hear
 this sound?

                              -   Quadriga   Sexualis   is   my  new  musical
                              incarnation,  which  is created with my friends
                              from  Warsaw  and  Wroclaw. Its ritual ambient
                              music.   Emanations  from  The  Unknown,  sonic
                              landscapes  which  lead  towards transcendental
                              nature of every man and woman, every star which
                              is   manifested   on   the   earth.   Its  the
                              soundtrack  to  utilise  all  aspects  of human
                              beings,   to   realise   that  we  have  hidden
                              powers, which lives in our souls and bodies. We
                              can  use  this strength by our carnal vehicles.
                              God  Power  is  a  Sex  Power. We recorded many
                              rehearsals inspired by Waites Ceremonial Magic
                              and  sexual  mysteries  of  O.T.O  and Hermetic
                              Brotherhood  of  Light.  I suppose that in next
                              year  well  record  professional  material  on
                              debut LP. I dont know yet for whom.

 Moonwheel  rec.-  what  is  the  purpose  of this
 works? What about DECEMBER'S FIRE?

                              -Moonwheel  rec. won't release any new stuff. I
                              published  debut  demo  of The Fourth is Eligor
                              and  7'' EP of Decembers Fire. These positions
                              are  still  available. Why did I decide to stop
                              activity  of  my  label? Its mission ran to the
                              end.  Decembers  Fire  has  split  up  and  my
                              project   looks   for   bigger   label.  Also I
                              haven't got the time to act in such a form.

 The  new  millennium is coming. Everybody asks me
 about it, and what do You think about this?

                              -Yes, Ragnarok is coming. But Im ready to look
                              in the eyes of wild wolf Fenris and melt my ego
                              in  chaos  with  love and understanding of this
                              process.  I  think that apocalypse means change
                              the  world  paradigm,  nothing more. Newtonian-
                              Cartesian way of thinking is dying and for many
                              Westerns  and  Catholics it will be really pure
                              Armageddon.

 H.P.   Lovecraft    any  impressions  about  his
 novels,  stories  ? I feel the connection between
 them and your music....

                              -H.P.  Lovecraft... as I told you when our tape
                              was   recorded   we   were   impressed  by  his
                              creativity.  He  showed  me  some  ways  how to
                              perceive  some aspects of life. I think that he
                              is  one of the best writers on this planet. His
                              works   are   something  more  than  incredible
                              stories.  Believe me. Hes the explorer of dark
                              and  unfathomed  levels  of our psyche. Results
                              that  he  reached  are  at  least  distressing.
                              Today,  in our music you wont feel many of his
                              influences as in the past.

 What do You think about Polish scene. Do You plan
 collaborations?


                              -Why  not?  Polish  scene  is interesting. Obuh
                              rec.  is  the  best  label. Wojcek Czern who is
                              founder  of  this  label  makes good work. Also
                              Fluttering  Dragon  is growing in strength. For
                              me  the  best  magazine is Anxoius Axe. I think
                              that   Polish   experimental   scene   will  be
                              strongest  from  throughout  years.  Time shall
                              tell.

 Do You believe in destiny,Providence ?

                              -Yes,  I  believe in destiny. When I look at my
                              past  I  see  many  pictures  which showed what
                              would  happen to me. But for me destiny has two
                              ways;  we  can meet it in halfway and change it
                              under our Will.

 What  about  life,about  the  elements playing in
 your soul ?

                              -Wind leading me towards dreams, fire inflaming
                              my  lust  and passions, water which purifies my
                              soul and thoughts from weakness and earth which
                              makes that I can feel joy of existence.

 Anything to close it?

                              -Thanx  for  interesting  questions.  Everybody
                              interested  in  our  activity, buying materials
                              released by Moonwheel rec. - please write. Also
                              I  take up distributing of CD's and vinyls from
                              World  Serpent.  I  think that would be all for
                              now. Best wishes, Zenial and good luck. Love is
                              the law, love under will.

                                                          KRZYSZTOF AZAREWICZ
                                                            UL.CHROBREGO 60/7
                                                         80-423 GDANSK POLAND
                                            e-mail : thelema@friko.sos.com.pl



                               
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                        ۰  ۲۲ ۲۰  ۲
                        ۲   ۰۲
                    ܰܰ۰  
                        ELD RICH PALMER zine   

                              ZIDSIC rec./Mr.Zan
                              by.Krzysztof Sadza

               Zan Hoffman is the name-institution, whom embraces
               many  dimensional  actings  in  musical field i.e.
               recordings  distribution,  publishing,  performing
               and   collaborating  with  other  artist.  In  the
               below,  detaled answers, you will find the essence
               of   rules  that  should  prevail  in  underground
               movement,  I'm always dreaming of! Definitely, the
               best interview, i've ever got!




 1)  Mr.  Zan,  many  musicians  from experimental
 electronic  and  even  noise  scene  have started
 their  musical  adventure,  just like you, as the
 classical musicians playing on the piano, violin,
 etc., So could you tell us why are the electronic
 music  forms  so  much attractive for classically
 educated musicians?

                              I  think  there are a number of interesting and
                              different  forces  at  work here. I'll speak in
                              general  terms  and  then  I'll describe my own
                              experience  here. By the middle of this century
                              a   fair   number  of  experimenting  classical
                              composers  were longing for a way to break free
                              from   the   tyranny   of   being  beholden  to
                              orchestras  to perform their advanced works. It
                              was  the inventions of electronic equipment and
                              recording  devices (recordable records, reel to
                              reel machines, etc.) That was the liberation of
                              composers  who  felt  held  back by traditional
                              arrangements  and techniques. It is this legacy
                              which  I inherited via John Cage, Pierre Henri,
                              etc.  The  desire to see around the traditional
                              foundation  of  ones  training.  For  me  it is
                              clearly   important   to   have   training   to
                              understand  tradition,  convention and rules of
                              classical   music  before  branching  out  into
                              experimentation.     The    understanding    of
                              considerably   more   complex   structure   and
                              arrangement  of  classical versus rock and roll
                              and  other  popular musics trains ones ears and
                              mind  to  be  able  to  create  and  understand
                              extended  compositions.  Learning  the  violin,
                              playing  in  orchestras and such gave my ears a
                              hunger  to hear and it is those same open ears,
                              opened  even  wider  by  some  coy  and  clever
                              ideas  of  John  Cage, that I use to create the
                              sonic works that are in my zidsic catalog. So I
                              think  it is valuable from a musically educated
                              sense  to understand that sounds and noises can
                              benefit  from some of the features of classical
                              music.

 2)  When  and  in  what circumstances did you run
 across "the cassette culture"?

                              Starting  from  the top, when I got accepted to
                              Drake University in Des Moines, Iowa in 1982, I
                              was  lured  largely  by the amount of mail they
                              sent   me.   I'm   convinced   this  gave  me a
                              mail-fixation/bug  that  lead  me  to write not
                              just  friends,  but  different  people  and  to
                              trading  mail  art.  I was making one-of-a-kind
                              postcards I'd send out in late 82 and I started
                              some raw recordings in 83. So I was sending out
                              postcards  to different mail art contacts whose
                              I'd  addresses  gotten.  From Option Magazine's
                              Castanettes  section  I  found  out  about home
                              taping  cassette  culture.  I  was reading this
                              magazine my friend John

                              McBride  had  bought and given to me because he
                              couldn't  make  heads  nor tales of it since it
                              reviewed only independent label works. Eric, my
                              college  roommate  at  the  time, and I wrote a
                              number  of  labels  asking for catalogs. We are
                              both  eager for new music, being in a veritable
                              backwater  of culture in the middle of Iowa, so
                              the  post  office  could relive the boredom and
                              inaccessibility  of this isolation. Sometime in
                              1984  I  noticed  that  certain  people  in the
                              Castenettes   section   offered  recordings  in
                              trade, and in the fall of 84 I set up the label
                              zidsick  to  release my original recordings and
                              those   of   friends.  Al  Margolis  [sound  of
                              pig/pogus]  sent  me  my  first  tape  in trade
                              "Sombrero Galaxy-Where Next?"

                              It was very exciting for me, new and thrilling,
                              the knowledge that you could listen to only new
                              music  that  you  traded for. Eric had given me
                              the  bug  of  wanting to hear new music all the
                              time and burning out on new stuff real quickly.
                              When  it  dawned  on me that through the mail I
                              could  satisfy  my  hunger for original and new
                              music  out  of  the  mainstream I eager started
                              writing every one I could and recording as much
                              as  I  could,  witness  1985's productivity for
                              instance  -  45  new releases. I needed to have
                              stuff  for  people  to trade with and I eagerly
                              set  forward  to  make  it,  a process that has
                              never stopped!

 3)  As  many  facts  from  the  history  of  this
 movement  ain't  known  to our readers, could you
 throw light on this matter?

                              The  home  taper  movement  emerged in the late
                              Seventies  and  early  Eighties when people who
                              were  doing  home studio and live recordings of
                              their    original    music   began   informally
                              exchanging  music  by mail, set up small labels
                              to  house  and   represent  ones own works. The
                              motivation  for  this  was  multi-fold and I'll
                              touch  on  a  few  currents  that  existed. One
                              motivating  force  is  an ongoing frustration a
                              recording  artist  has  with  large  labels and
                              success.  Unlikely  to  be signed, these people
                              record  for  themselves,  for friends and fans,
                              and  for  posterity.  Unable or uninterested in
                              waiting  for  a Warner- Bros recording contract
                              they   create   their   own   labels,   promote
                              themselves,  and  have  a  chance to do 'right'
                              what  is deemed 'wrong' about the way the major
                              labels  operate.  Next in many people the whole
                              'do-it-yourself'(DIY)   nature   of   the  home
                              recording   process   extends   naturally  to a
                              release-it- yourself process, with never a care
                              for  someone  else interfering. Home tapers can
                              do  it  all  themselves  and find a pleasure in
                              not relying on others to do something for them.
                              Think of it... I sing, I play, I record, I mix,
                              I  master,  I  dub, I package, I distribute and
                              promote.  Today's  idea  gets  recorded  today,
                              mixed  today,  mastered today, dubbed today and
                              sent  tomorrow,  gets  there in a few days, and
                              nobody  else held me up from doing so. There is
                              also  a  mindset  with some home tapers that is
                              the  rebellious type which is 'F*#k Warner-Bros
                              et.  al. I'm doing this all myself and they can
                              go  to  hell'.  There is a 'fed-up with all the
                              dreck  on  the  airwaves,  can't  stand popular
                              styles  and trends and posing and marketing and
                              falseness  I'm  doing  my  own thing' that is a
                              real   lively   attitude   that   infects  home
                              recording  artists. Most people one runs across
                              in  home  taping  have  been recording in their
                              homes  long  before  they  were  aware  of  the
                              existence of a postal trade network. It took me
                              a year or two to figure it out. It almost seems
                              like  too  good to be true. The exciting option
                              to  only  trade  for  new recordings, never buy
                              another    new   major   label   release   ever
                              again...this  has a lot of allure to people who
                              are hungry music consumers, who would otherwise
                              be  spending  a  lot  of time and money hunting
                              down new recordings.

                              Some  people  want  to credit Throbbing Gristle
                              and  their postal networking in the mid to late
                              70's w/ the birth of tape networking. Certainly
                              labels  that were tape-only started in the very
                              late  70's  and a sense of an informal network,
                              with   dedicated   zines,   contact  lists  and
                              presence   of  hundreds  if  not  thousands  of
                              contacts  was  available in the early 80's. You
                              just  had  to  know it was there. Every now and
                              then  it would bubble up in local newspapers or
                              national  magazines,  but  it  was  not  in the
                              interest  of  large  labels  to acknowledge the
                              existence  of so it was confined to a perceived
                              marginal status. Often these efforts would just
                              be   marginalized  to  'demo  tape'  status  if
                              noticed at all.

                              The  beauty of DIY home release for some artist
                              is  also  in  the  control  of  limited edition
                              designs and packaging. Some of the most twisted
                              and  interesting  packaging  arrives by mail in
                              limited edition productions.

                              One  would  say  by  86-88 the network had been
                              around long enough for a new generation of home
                              tapers  come,  and  some  older ones fade away.
                              Another  generation  also by the early 90's and
                              yet  another  in  the  mid-late  90's, this one
                              informed   by   digital  options  and  morphing
                              production  out of exclusive tapes to tapes and
                              cds,  cdrs, mp3, real audio, etc. Finally it is
                              difficult  to refer to it has home taping since
                              lots  of  peoples  studios  are their computers
                              nowadays.  Taping was a convenient title for it
                              anyway  because  some  contact  have been doing
                              stuff  on  reel  to  reel in the 60s or 70s and
                              then  in the 80's they stumbled into hometaping
                              networking.   I'd   suggest   most  people  are
                              recording  long  before they are networkers and
                              rarely vica versa.

                              In  my  recollection  home tapers appeared from
                              Belgium,   Holland,   Germany,  France,  Italy,
                              Spain,  England,  America,  Canada,  Japan  and
                              Australia initially. It took me a while to find
                              people   in   other  countries  besides  these.
                              Scandanavia  and  Austria  appeared  in the mid
                              80's.  In  the late 80's second world countries
                              of   Eastern  Europe  poured  in:  Poland  then
                              Chezchoslovakia earliest. It took into the 90's
                              for  contacts  to  appear in Portugal, Iceland,
                              South  Africa,  Phillipines  and South America.
                              These  are  all  my  own  observations over the
                              years and I could be wide of the mark at times,
                              but this should give you much of what I know on
                              the subject which is unknown to your readers.

 4)  How  do you characterize zidsic and the rules
 the system of your work are based on?

                              Rules   are   important   in  that  they  place
                              parameters of allowable behavior. At zidsic the
                              rules   are   as  often  ignored  as  they  are
                              implemented.   Therefore  my  behavior  is  not
                              completely  under control. One rule is to never
                              be  too  polished.  Perfection  is tedious. I'm
                              driven  to  release  works  which show what I'm
                              capable  of  at  any given time. Sometimes I'll
                              listen back and think, 'oh, i'm not too fond of
                              that  work', but that's not a reason to take it
                              out of my catalog.

                              The rules that work are the ones that make life
                              easier  for  me.  Rules  about having covers in
                              stock.  If  I  run  out  of  a cover, I'll hand
                              produce  a  limited  number to ensure one is in
                              stock  next time. By rule all master tapes have
                              numbers  marked  in  ink on the tape physically
                              and  the  location  of each work is stored in a
                              Filemaker  database. Numbers are also marked on
                              the  spine of the case and that is how they are
                              organized.  I  established a rule early on that
                              all  zidsic  releases would be either 15, 30 or
                              60  min.  Only  rare  45s  and 90s crop up. The
                              preferred length is half an hour.

                              I  also  go  by  the rule of crediting everyone
                              involved  on  each  recording.  I  try  to send
                              contributor  copies  to  each person on a tape,
                              but at times I've not been able to keep up with
                              this.  Of  the  last 15 years my label has been
                              running,  only  the  last few have seen largely
                              stable  finances  to  keep up with basic postal
                              and blank tape costs. I try, as a rule, to have
                              a few new tapes dubbed off in advance so when I
                              receive  something  in  trade  I  can  speed my
                              response  by not having to dub something before
                              the  mail  goes  out.  And mail that doesn't go
                              quickly   out   can   get  shuffled  aside  and
                              accidentally    ignored    for    6-12   months
                              sometimes!  The  way I work with new recordings
                              on  my  label  is to drive forth original ideas
                              and  techniques,  push them out without massive
                              premeditation,  but  allow  the  thick  of  the
                              moment  to  make major decisions, thus having a
                              spontaneous   approach.   In   fact   I'm   not
                              altogether   fond   of  rehearsing  songs  into
                              perfection.  I'd much rather play it by ear, so
                              to  speak,  and  let  things  go  as they will,
                              maybe  try a few takes on an idea before moving
                              on.  I can be found setting equipment up to try
                              out  different ideas, always on the lookout for
                              taking  advantage  as  things  go awry or askew
                              when  least  suspected.  Always looking out for
                              360  degrees  of  possibilities, and looking to
                              use  equipment  and  instruments  in  ways  not
                              intended  by the manufacturer/maker. I'm really
                              not  into  having  things  appear  particularly
                              'normal', because people can and will do things
                              tons  'better'  than  I  ever want to do. It is
                              sometimes  intimidating, but I feel secure that
                              I  have  my  own way of doing things and things
                              will  sound like their mine and that is clearly
                              more  important than being just as good as some
                              band  or  composer  I idolize. I'll always miss
                              that mark and then beat myself up for not being
                              'good  enough'.  I  don't  shy  away from being
                              intense,  but  I don't want to be uptight in my
                              recording  actions.  I  think  intensity  and a
                              certain  amount  of  anxiety is important in my
                              recordings as it improves the individuality and
                              challenging quality of my works.

                              So  if you follow along these lines of thought,
                              you'll  see  there  are rules that I don't call
                              'rules'  per-se  but,  a whole line of thinking
                              that  dictates  how my works are. I do my work,
                              and sometimes a lot of it, because I'm inspired
                              by  everything  I  hear, what I love and what I
                              hate  all inspires me to be more like one thing
                              or less like another, but all the way, striving
                              to report back in my own way on what I think is
                              valid,  what I think can be better stated. Plus
                              I  strive  to  get  at these things that nobody
                              has  ever touched specifically. In the last few
                              years  especially  I've  been  enthusiastically
                              letting  one  experiment  lead  me to the next,
                              taking  lessons  I  learn forward into the next
                              project, and so on. So it is possible to follow
                              my works and see where I'm going and where I've
                              been  while keeping it all available for anyone
                              who  cares.  Often  I'm  exploring a way out of
                              traditions   that   I   know   into   something
                              interesting  and  new  to  me and the world. So
                              many  of  the experimental recordings that I do
                              are  for  me  to  see  what  happens  when I do
                              something  in a certain way that I have thought
                              out  in  my  head.  I'd  say  much  of  far-out
                              multi-track  work is recorded without listening
                              to  the  accompanying  tracks as I lay down new
                              ones.  I  don't see it necessary to orchestrate
                              the points of intersection, I let the sounds be
                              themselves  as  much  as necessary, and let the
                              combinations  occur  as they will. I'd say that
                              going in for the kill and meticulously matching
                              things  up,  and planning and executing perfect
                              compositions   produce,   for   me,   no   more
                              satisfying  result  than a loose and unexpected
                              process.

 5) Could you mention all projects you're involved
 in and describe them stylistically?

                              Must  start with the most prolific projects and
                              work backwards for a way to manage the enormity
                              of this request (omitting projects that feature
                              only  a few releases as otherwise I could go on
                              for pages!).

                              *=*KEY*=*   Band  [inception  date:  number  of
                              releases] description *=*KEY*=*

                              Zanstones   [1984:  66.1  K7s]  is  my  longest
                              standing  project  which  is  my sound on sound
                              experiments,    usually    quite    personal. A
                              sarcastic,     tongue-in-cheek,     bittersweet
                              attitude  is often used in the intention behind
                              some assaults.

                              Bodycocktail[1993:  55 k7s] started as my first
                              music  project  on  my own after I picked up my
                              very  first  electronic  musical  equipment: an
                              Ensoniq  Mirage  keyboard.  For  a  while I had
                              other   people  besides  cbc3  standing  in  on
                              different  instruments.  I did a few live shows
                              w/  Chillson  on guitorgan and Bobby Douglas on
                              bass/drums.  Did  one  show  just with Greta on
                              bass.   But  after  a  year  or  so  it  became
                              exclusively  solo.  This group explores various
                              styles  from  new  wave  to  experimental music
                              using  a wide array of instrumentation starting
                              with keyboard, strings, horns, winds, accordion
                              and  such.  Tho  there  are some instrumentals,
                              there  are  lots  of  songs  with vocals vocals
                              vocals!

                              Elevation   of   Anxiety   [1986:  47/57*  k7s]
                              features recordings for 10 years or so with the
                              mighty   Miny   from   Torrance,   California.
                              Miny\Zanny  being  a  major group within this
                              section. Releases vary from spacey to extremely
                              intense, be scared!

                              *10  Releases in this series are Miny mixes. A
                              full   146   zidsic   releases  feature  miny.
                              Zanoisect  [1985: 40 k7s] takes on more obscure
                              and  austere  causes.  Ranging  from  noise  to
                              austere,  this  project  often  explores  dense
                              obscure scenarios full steam ahead.

                              Grandbrother  [1989:  38  k7s] The exploits and
                              escapades  of  Beau  Castner  and  myself while
                              roommates at 'the Grandbrother lounge'. Various
                              studio and live projects lasting until we moved
                              apart  in  1992. Grandbrother started live with
                              cbc3 on 12 string [soon to be 6 because strings
                              broke  so frequently] and me singing home-taper
                              songs.    The    interesting   proposition   of
                              performing  works by home recording artist that
                              nobody has heard of, transcribing all the music
                              down  to  acoustic  guitar  and  one vocal with
                              rarely  a lyric sheet to go by, was compelling.
                              We  covered  Mans' Hate [uk] Lawrence Salvitore
                              [usa]  Don  Campau  [usa]  Lord Litter [berlin]
                              Selves  without Shells [Hol] Al Perry [usa] and
                              others  in  live  shows  at  coffee  shops  and
                              artist   nights,  roaming  wildly  through  the
                              crowd, never 'on stage', belting out wild songs
                              we'd  never  have  the  gall to write, but will
                              perform.  Later  on  Grandbrother performed our
                              own  studio  works  live  on  stage w/ bass and
                              drums  too.  I  always fought plugging in tooth
                              and  nail.  cbc3s  tendencies  to  noodle  when
                              presented  w/ electricity is legendary and when
                              focused  on  acoustic  guitar  he's a madman.At
                              once  show  he  did  a forward somersault while
                              playing   a   song  and  didn't  miss  a  note!
                              Grandbrother  also  became a studio project for
                              cbc3 to overlord a studio situation and Zan try
                              to  disrupt  it  as much a possible. The studio
                              recordings  range from drum machine based songs
                              espousing  our  whacked  outlook  to  side-long
                              experimental musical works.

                              Masters of the Ungentlemanly Art [1985: 24 k7s]
                              has  been  my  vehicle  for multi-collaborative
                              recordings  using tapes sent for zidsic collab.
                              by  a  wide  range  of  contacts  in Europe, N.
                              America  and Japan. Since this project has gone
                              on for so long, there is a wide range of styles
                              and contacts that appear on these releases.

                              Creamy  Porn Stars [1997: 17 k7s] a desperately
                              needed  loop  project lasted just as long as it
                              was  needed...  365  days.  Loops and loops and
                              more   loops   done   in   ever  inventive  and
                              persistent ways. Wouldn't say any two are alike
                              as  I  was trying to go for something different
                              in each one.

                              You, Me, Us & Them [1987: 12k7s] Intended to be
                              dense  and  thick and overloaded projects, like
                              'masters'  gone  awry.  Lasted  two  years  and
                              involved lots of interesting mixes.

                              Memphis  [1986:  12  k7s]  I've  had up to five
                              contact down in Memphis at a time. none of them
                              have  their  phone  numbers  listed,  a strange
                              town...is  that home cooking I smell? It's only
                              the  river,  it's  only  the  river.  Done some
                              really  interesting and intense live and studio
                              works,  radio  shows, road trips, and more with
                              Mike  Honeycutt,  Roger  Moneymaker and Richard
                              Martin.   The  Larb  project  with  the  former
                              (Mystery  Hearsay)  is  the most active project
                              since   we   still   keep  in  touch  and  keep
                              remixing different things we've done that still
                              hasn't  seen  the  light of day.

                              Agog  [1987:  12  K7s] A number of acoustically
                              interesting and diverse tapes I done with Agog,
                              from  North Ridge, California. He sends me very
                              interesting things to work with and I've done a
                              variety  of  things with it. 78 zidsic releases
                              feature him!

                              Here  Be  Monsters  [1990: 9 k7s] is four track
                              multi-collaborative works on fostex machines of
                              varying  quality. These are nicely arranged and
                              layered  home taper collages for the most part.

                              Tom  Furgas  [1986:  8 k7s] Tom and I have done
                              collaborations  over  the  years  that are very
                              distinct  in  the zidsic catalog. The good news
                              is  they  are all quite different, some of them
                              from   EnDuration...   Tom's  'Masters  of  the
                              Ungentlemanly  Art'  brilliant  works...To  the
                              newest 'All Points Forward' by ToFuZaHo, are up
                              with  the  finest works on zidsic. Others, like
                              'Orchestraccordianza', a breathtakingly obscure
                              work   for   orchestra   and   accordions,  are
                              distinctly   weird   and   works  together.  35
                              releases feature Tom Furgas.

                              Embarrassing   &   Regrettable  [1988:  6k7s] A
                              series  to  catch  all  obscure  and tragically
                              ignored  material.  Ken  Clinger  had  Winnie &
                              Friends  compilation  series that's point (from
                              1984  or  so)  was to celebrate regrettable and
                              amateur  material, and this wondrous quality of
                              this   attitude  has  never  escaped  me.  Some
                              material didn't make it on to releases due to a
                              variety   of   circumstances,  so  this  series
                              rescues a wide variety of rarities.

 6)  The  enormous  amount of your items shows how
 fast tempo of your writing process is, and then I
 wonder  why  do you think, all you've written and
 recorded is worthy to be released?

                              When  I  started  out  making  tapes  one of my
                              overarching   concerns   was   to  have  enough
                              releases  to  trade with people who had sizable
                              tape labels. Not just quantity, but variety has
                              been  quite important for me. I want to write a
                              wide  range  of people, and I need an extensive
                              variety  of  works to offer accordingly. When I
                              set   forth   to   record   I'm  interested  in
                              expressing  myself  in  a  variety of guises to
                              suit  the intention or condition, what comes of
                              it  is  applicable  to  be  sent  out only to a
                              certain  range  of  people  I trade tapes with.
                              There  are  very  few  zidsic releases that I'd
                              send  out  to  all  my contacts, some tapes are
                              general  to a music crowd, some are specific to
                              a  certain  few  people  I  know are attuned to
                              different  things  I'm  working  with.  So, for
                              instance, I'll be inspired by some esoteric and
                              austere work of, say, Francisco Lopez, and I'll
                              set forth to express a sonic event based on his
                              aesthetic.  This  itself  limits  the number of
                              people I'm willing to send this tape to.

                              So some releases are broad enough in scope that
                              I'd  send  them to 50% of my contacts, and some
                              are  only  going  to  be  appreciated by 3 or 4
                              people.  Although I'd say that peoples ears are
                              a  lot  more  open nowadays than they have ever
                              been  to experimental recordings and techniques
                              so  that  bodes well for zidsic works to have a
                              broader audience in the future as compared with
                              their  accessability contemporaneous with their
                              release.

                              Many  releases  I do are important for me to do
                              as  a stage in development, and accordingly one
                              can  trace  all  sorts  of  progress through my
                              tapes.  Even if a work is not the greatest part
                              of  a  series,  I'm  uninterested  in censoring
                              things   historically   speaking.  Many  groups
                              delete  old  things  that don't reflect a newer
                              'enlightened'  stage  and  I've long found this
                              distasteful.

                              At  some  point  around 100 tapes, I shrunk the
                              zidsic  catalog so as to concentrate on my more
                              important stuff, but this made it back into the
                              catalog  later when having too many releases no
                              longer  bothered  me.  So,  I'm  cutting out an
                              entire  part  of  zidsic  history  here  by not
                              reporting  the  fevered trials and tribulations
                              about having a label that grows from 100 to 200
                              and  onward  and upward. With only one cat here
                              to  run it all, what a trip trying to be on top
                              of  covers, master tapes, lists of who has what
                              tape,  catalogs,  packaging,  letters, artwork,
                              etc. 1989-1991 were the crux of the crisis, and
                              by  the  mid-90's I developed systems to handle
                              the  continued production of new works. Systems
                              that  make  it  a  joy  to  keep  on  top of an
                              unlimited  number  of  new  works.  Now  I  can
                              release  works with impunity again, making it a
                              joy to record and make my statement for today.

                              Another thing that has continually driven me to
                              record  as much as I do, is that all of this is
                              documents  of  where  my  head  is at any given
                              place and time, and the more I record, the more
                              I document conclusively my sonic state of mind.
                              This  alone is a valuable service to me, if not
                              others.

                              I   can't   deny  that  running  my  label  and
                              networking  has been a major sanity device over
                              the  years.  This  has  kept things in line and
                              viable  when  the  rest  of  my  life was going
                              through  its  gyrations.  My 20s were turbulent
                              and    the    tapes    reflect    the   process
                              wonderfully.  My 30's have been sublime and the
                              tapes  are  stretching  out  in many directions
                              accordingly.  Many  of  these  releases  that I
                              continue to put out are important, as mentioned
                              before,  as part of a larger process of getting
                              somewhere  new and interesting with what I know
                              from  the previous experiment. As I let one odd
                              plan  lead  to  another, one compositional idea
                              beg  further development, and I think it should
                              be  exciting to follow along some of the chains
                              of events.

                              Sincerely,  I'm not waiting for the rest of the
                              world  to  catch  up  with  me. I'm not hanging
                              around  thinking  someone is going to 'find' me
                              and  make  me  famous, hanging onto a few great
                              tunes  or  ideas  to play out to the world. I'm
                              doing  contemporary audio documents, whatever I
                              can, whenever I have the time or inclination to
                              do so. I should decide later who to send it to,
                              not  if I was going to release it or not. In my
                              mad  scheme of things as it goes, I'm trying to
                              send  at  least  5 copies of every zidsic tapes
                              out  to  various people. This seems modest, but
                              with  nearly  600 releases, it is quite a task.
                              I'm  a  bit behind in places, I'll admit, but I
                              try at least to keep the newest works out.

 7)  That's  why  all  your  recordings are on the
 cassettes,  and  on  zidsic? What about the other
 mediums then? Will you publish anything on CD  or
 vinyl or whatever?

                              First  of all the letter C at the end of zidsic
                              stands  for cassettes and thus every release on
                              zidsic  will always be available on cassette. I
                              am  planning,  perhaps this year, to purchase a
                              cd   recorder   to  explore  the  archival  and
                              commercial  potential  of  having  zidsic works
                              available  in  digital  format both CD and MP3,
                              internet-friendly  format.  When one grasps the
                              enormity  of this task you'll see why it hasn't
                              been done yet.

                              Second,  the  nexus  of  the  cassette culture,
                              underground   home   taping   movement  is  the
                              democratic   media   of   the   cassette  tape.
                              Anybody,  in  any  country, can have a cassette
                              deck  long  before they can afford a turntable,
                              cd  player  or  other  stereo  unit. Cassettes:
                              portable,   recordable,  re-recordable,  cheap,
                              versatile,  available, universal... we're still
                              waiting for the competition to show up. Even in
                              the  commercial  music  world  cassettes  still
                              outsell   every  other  media  in  america  and
                              beyond...  The  compact  cassette has been used
                              for   2,  4  and  8  track  recording  devices,
                              computer  backup,  video storage (pixelvision),
                              and   in   a   physical,   hands   on  way,  is
                              manipulatable, flip it over it plays backwards,
                              splice   it   and  create  a  loop  tape,  etc.
                              Cassettes   afford   and   allow   for  limited
                              production also.

                              Vinyl  never  was  a democratic media as it was
                              way  to  expensive  for  anything  but the most
                              serious  home recordings, in edition of 1000 or
                              more.  CD's  until the mid/late 1990's were not
                              economical home duplication format. Now that cd
                              units  are as expensive as a cassette deck, and
                              the  media  is  under  $1/60+min recording, the
                              playing  field,  as  a  duplication  unit evens
                              out.    Glory    be    to    the    underground
                              revolution...home  made  cd's  and  mp3s on the
                              internet    today    are   the   children   and
                              grandchildren  of the home-taping movement from
                              the 80's.

 8) Usually musicians say to record anything, they
 need  to be prompted by various sorts of emotion,
 or  they  need to experiment with new areas, what
 promotes you?

                              Those are good examples of inspiration I use to
                              which   I  can  add  the  multi-collaborational
                              nature  of my works...That I receive recordings
                              from people I trade with which are intended for
                              collaboration...  will  sometimes push projects
                              along.  I  feel  a  need  to  work with someone
                              sources  in  a  certain  way or time-frame. Yes
                              emotional  states drive recordings...Miny is a
                              fine  role model for that tendency. Lately lots
                              of  my  inspiration  comes  from  a  desire  to
                              experiment  in  new  areas using specific rules
                              and   equipment  to  give  new  life  to  sound
                              experience.

                              I am often just as curious and unknowing as the
                              listener  as  to  what  the  final result of an
                              experiment  will  actually  'sound'  like. What
                              experience  the  sound  in  space and time will
                              give...i.e.  if the work is fairly contained in
                              the  range  of elements used over half an hour,
                              what  does it feel like to be subjected to such
                              an  experiment? When the tape finally stops and
                              there  is  some  silence...what  is  your  head
                              feeling  like? I'll also say their is a certain
                              desire  to  express  myself  in a unique manner
                              never  heard  by  the  rest  of the world which
                              promotes me to make new works. I also feel that
                              I  don't  want  to  sit  around at any time and
                              think  I've already done my best stuff and it's
                              time  to  rest. I've got a lot of rocks to lift
                              up  and look under yet. Don't you fret, I'm not
                              done  discovering  all  the sonic potentials in
                              life yet. You'd think that after over 300 hours
                              of original recordings I'd run out of things to
                              express.  Ah,  it  is  hard to find the time to
                              record ENOUGH.

                              What's  more  of  a question than what promotes
                              me,  is  what  holds me back from DOING MORE!?!
                              Long ago it was equipment, now that I'm set up,
                              it's  time  and a desire not to burn myself out
                              and  lose  touch  with what I'm up to, and what
                              I've done.

 9)  I  wonder,  how do you find time for working,
 and  personal  life,  being  so in-depth in music
 affairs?


                              Lets  see,  in the past fifteen years sometimes
                              I'm as manic as you can only imagine, recording
                              like  there  is no tomorrow and other times I'm
                              laid  back  and  only do a tape or two in a few
                              months.  Occasionally this is at the expense of
                              a social life. Most importantly of all there is
                              drive.  The  drive  I  have to mark my place in
                              time  by rendering a new recording. Second is I
                              am  a  spaz  with  lots  more  energy than most
                              people and I pour it into networking, recording
                              and  artistic projects. Third I watch NO TV and
                              am  thus  left with that much more time left to
                              record.  How much time I have to record is also
                              base on, fourth, my

                              DATING   situation.   I  can  also  credit  the
                              momentum  of  the  whole  exercise  of  being a
                              recording artist for keeping a ball rolling. In
                              addition  I  think often in a historic sense in
                              my  own  works...  how many tapes did I release
                              last  year  or per month, or whatever and I let
                              that drive me to prolific states.

                              I still spend the same amount of time that most
                              people do working and hanging out with friends,
                              but also my lifestyle revolves around how I fit
                              everything  else  around  the  inevitability of
                              zidsic's  continued  activities.  I  never knew
                              what  I'd  be  doing  10  and  15 years after I
                              started my label, but I've felt for a long time
                              that it is a thing I should keep on doing. It's
                              often  a  sanity  device,  an  emotional outlet
                              option   extrordinaire,   a   way   of  feeling
                              strongly,  on  tape,  and  then using that as a
                              exorcising  of  the need to feel that way about
                              whatever  hurt,  or inspired by negative force,
                              the recording.

 10)   Returning   to  zidsic  that  tends  to  be
 "exclusive"  for  your  projects...does  it  mean
 there's nothing interesting going around?

                              Ah   just   the  contrary,  there  is  lots  of
                              interesting  work  out  there  that needs to be
                              distributed  by the people responsible and most
                              in touch with its purpose. I have a hard enough
                              time   mustering   the  energy  and  effort  to
                              distribute  the hundreds and hundreds of zidsic
                              releases  that  I put out. I will release works
                              that  feature  my sounds and are composed/mixed
                              by   a  mail  music  contacts  of  mine.  I  do
                              collaborative  work  with  people  whose  stuff
                              impresses  me  and  in that way I promote other
                              peoples  stuff.  And importantly, the fact that
                              other interesting stuff is out there, available
                              for  trade, is why I put out as much stuff as I
                              do, for trade to keep things moving.

                              The  good stuff that impresses me has gotten to
                              be   because   somebody  else  does  it  and/or
                              distributes  it.  Even  if  I  could, should or
                              would distribute works of others, I've only got
                              a  hundred  people  I write at any given time I
                              could give the stuff away to.

 11) With how many projects do you play alive? Who
 helps you usually in doing performances?

                              Conqueror  worm  -> Universal Will To Become My
                              very  earliest  stuff  was  keyboards  and then
                              violin  for an experiential band 'The Universal
                              Will  To Become' that played live a dozen times
                              or  so  in 1986-7. I worked for the guy who was
                              the  bass  player  who put the band together. I
                              worked  in  his record store, which grew out of
                              his excellent record collection. Altogether way
                              too  advanced  for Des Moines, and Iowa and not
                              tight  enough  to fly anyplace serious. Masters
                              of  the  Ungentlemanly  Art Alive before I left
                              des  moines  I  did  my first solo show, mixing
                              tapes  from home 27 different home tapers, plus
                              live   vocals  and  sounds.  This  was  at  the
                              botanical  center  in  des  moines, opening for
                              Henry  Rollins  only  a  few years out of black
                              flag at that point in 1987.

                              Grandbrother.
                              I was a roommate with and formed a band with an
                              old  neighborhood  friends  older brother cbc3.
                              For  most  of  our existence we played out live
                              doing  acoustic  guitar  and  vox  (me)  roving
                              troubedor  cover  songs  of  home  taper songs.
                              cbc3's   wild   guitar   virtuosity   and   our
                              combined  hijinx  made  us  quite a thing to be
                              recorded  with  at that time 89-91. Later on we
                              performed  some  of  our  original studio tunes
                              with  friends  like Bobby Douglas (drums/bass),
                              Kurt   Bendl   (bass)...but  this  was  not  as
                              satisfying or interesting as far as most people
                              were concerned.

                              Memphis
                              I've  done  a  few live things in Memphis while
                              stopping  through.  A  few live radio things at
                              WEVL-fm   with   Mike   Honeycutt   and   Roger
                              Moneymaker  in the late 80's. I also did a live
                              VOW hall (Veterans of Foreign War) gig, playing
                              snow  shovel  with  all the local legends, Mike
                              Honeycutt,  Mike Jackson, Richard Martin, Roger
                              Moneymaker  and  Chris Phinney in 1986. Twisted
                              in a word!

                              Paco
                              I've done live works in Louisville and in Spain
                              with  Francisco  Lopez  which  were  excellent,
                              memorable, and well documented.

                              Bodycocktail
                              Fresh out of Grandbrother and out on my own for
                              the  first  time with new songs I did some live
                              works  with chillson on guitorgan, guitar, etc.
                              And me on vox, keys, horns. One show or so with
                              Miko too. A show or two with Bobby Douglas too.
                              Then after Bodycocktail 10, I did my first solo
                              live  Bodycocktail  show.  Ended  up doing 3 of
                              them  in all. Keyboards and horns, clarinet and
                              voice.  Oh  yeah,  did  a  show with the lovely
                              Greta Harding on bass too.


 12) OK, I finish here, wanna add something to it?

                              It is an interesting freakin' world to be alive
                              in today. To create and document is an artistic
                              imperative.  Here  are  a few artistic concerns
                              for  artist  and musicians at this late part of
                              the 20th century.

                              The  world  could care less about ambiguous and
                              obscure   statements.  Even  if  ambiguity  and
                              obscurity  are  part  of  your art, you have to
                              reach  out  and  give  the audience a reason to
                              give a shit. There an ever increasing number of
                              artists and musicians creating new works, think
                              about  ways you can make sure your statement is
                              not lost amongst the noise.

                              Document,  if  only  for yourself, any relevant
                              data   about   your  artworks/musicworks.  This
                              becomes  increasingly  difficult to do on older
                              works as time goes by, so try to document while
                              you still remember what you did.

                              Label  everything you send out clearly so if it
                              becomes  stranded  from  the rest of your mail,
                              someone will know whose it is.

                              We  can't climb into your head and find out why
                              you  did  something,  so  any clues you care to
                              leave   us   are  welcome.  Creating  can  be a
                              hermetic  and isolated experience sometimes, so
                              if  you  provide  ideas  and  hints  as to your
                              intentions  we'll  have a reason to care and be
                              interested in your works. (See first part)

                              The  personal touch is always rewarded. In this
                              late  day  in  the  game of art/music marketing
                              many   things   have   become   impersonal  and
                              commercially  slick.  Your  works can stand out
                              from  the crowd if you supply a personal touch.
                              Then  the  person who 'consumes' your art/music
                              knows   there  is  actually  a  'person'  not a
                              corporation  behind  it  all.  Study your field
                              well.  Find  out all you can about 20th century
                              arts as they apply to what you do. Ignorance of
                              history  is  no  longer  a  valid excuse. Avoid
                              repeating,  poorly,  what  someone  has already
                              done  before  by  being  well  informed.  Dada,
                              surrealism,  music  concrete, cubism, etc. Have
                              all  changed  the  landscape  of  the twentieth
                              century irrevocably and to know the antecedents
                              to todays' artistic works is crucial if you are
                              to  not just repeat in another guise, something
                              that has come before.

                                                                      contact
                                                      zidsic at post box 4730
                                                                  louky 40204
                                                                          usa
                                                   http://www.tool.net/zidsic
                                                          e-mail zan@tool.net



                               
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                        ELD RICH PALMER zine   



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Yukiko Ohishi and Kazumoto Endo has split
Yukiko has disbanded in sep 98

Yukiko Ohishi is now working on ambient noise
under the name of Yama-Akago
She is still doing excellent works

Yama-Akago
c/o Yukiko Ohishi
1-5-28-205 Hiyoshi, Kohoku, Yokohama
Kanagawa 223-0061 Japan
http://www3.justnet.ne.jp/~kazumoto/yukiko

thanks
kazumoto endo

kazumoto endo
kazumoto@ma3.justnet.ne.jp
http://www3.justnet.ne.jp/~kazumoto



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               Outsight  brings  to  light  non~mainstrean music,
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               ELECTRIC FRANKENSTEIN DOWN UNDERGROUND
               American  blues and jazz finds better reception in
               Europe.  Will  American punk rock go overseas too?
               Electric  Frankenstein  put  out  their  new album
               ROCK   &  ROLL  MONSTER  on  Australia's  Au-Go-Go
               Records  on  CD  and  vinyl.  The New Jersey group
               starts  off  paying  respect  to The Germs with "A
               Singer's  Blood/Naked Heat" features the "Sex Boy"
               rhythm.  Our nation's premier riff-punk group also
               covers  fun  Things,  Misfits,  Negative Trend and
               F-Word.   The   fact   that  EF  is  tuned  in  to
               Australia's  Fun  Things show these savage rockers
               are  tuned  in  to  the rich downunder punk scene.
               Au-Go-Go is too and they just put out A ROOT AND A
               BEER   from   The  Chosen  Few  of  the  late  70s
               Melbourne  punk  scene.  Having  started  out as a
               heavy metal act named Deathwish, the group allowed
               the  sounds  of  America's  The  Stooges,  MCD and
               Blue Oyster Cult seduce them into something meaner
               and  heavier that eventually became very rowdy and
               punk.  So it all goes full circle and know you can
               enjoy the beer-spewing antics of the originals and
               choice  covers  from  The  Sonics, and Australia's
               Coloured Balls and Radio Birdman.

               ONCE TAINTED, TWICE SHY
               About  ten  years  ago  I auditioned to sing for a
               band.   They   passed  me  over  and  went  on  to
               California.  As  far  as  I  know,  at  least some
               members  of  that  group (The Meanies) are rocking
               and  rolling  out  on the West Coast and I am just
               here writing about it. That's just as well because
               the  songs they asked me to sing has been a guilty
               pleasure of mine and now is out on CD. Soft Cell's
               "Tainted Love" is a quirky but giant step into 80s
               keyboard  skinny tie rock. And now NON-STOP EROTIC
               CABARET,  the album that housed that chestnut (and
               such  other  memorable  ditties as "Sex Dwarf" and
               "Say  Hello, Wave Goodbye") is out as a mid-priced
               CD  reissue.  Also  out  on the Chronicles/Mercury
               (but  purely  for  obsessive completists) is their
               succeeding  titles  NON STOP ECSTATIC DANCING, THE
               ART  OF FALLING APART and THIS LAST NIGHT IN SODOM
               along  with (and much more interesting) THE TWELVE
               INCH  SINGLES  COLLECTION of each and every 12" A-
               and B-Side issued by the group.

               HOT LIKE BRIMSTONE
               Scanner  is  the alter ego of Robin Rimbaud, a man
               who took the hobby of electronic eavesdropping and
               made  it  a  recording  career.  Since  early this
               decade,   Scanner   has   picked   up   on   phone
               conversations  using  his  radio scanner and added
               them  to  compositions o f ambient electronica. He
               has  now  started  his own label, Sulfur Inc., and
               secured   North   American   distribution  through
               Beggars  Banquet.  Robin  promises  "music that is
               outside  the  traditional electronic sphere that I
               have   been  historically  associated  with."  The
               inaugural  release  is a 20-track remix project by
               Future  Pilots AKA entitled VS. A GALAXY OF SOUND.
               Scanner,  Kim  Fowley and Cornershop are among the
               artists remixed on this album.


               ARCHAEOLOGY
               Having  fooled  some Beatles scholars, the mystery
               of  supposed  missing Beatles songs is now exposed
               as  the  work  of  a  prankster.  The four pieces,
               "Colliding  Circles,"  "Pink  Litmus Paper Shirt,"
               "Deckchair,"  and  "Left  Is  Right  (And Right Is
               Wrong)," were a 1 971 teenage prank perpetrated by
               Hollywood-based    British    humorist    and   TV
               personality  Martin  Lewis,  a  Beatles  authority
               (http://www.martinlewis.com/beatles.html).  Lewis
               initiated the ruse as a London music journalist by
               inserting    the    titles    of    his   own   Be
               atles-inspired  songs into a story on the Fab Four
               in  Disc & Music Echo. Since then, lazy journalism
               gave  life  to  the joke, as one piece referred to
               another.  Also,  Lewis  admitted  to even planting
               further  clues  as recently as two years ago. As a
               producer,  Lewis  was  responsible  for the Secret
               Policeman's  Ball  flicks and Monty Python albums.
               Python  songster  Neil  Innes (Bonzo Doo Dog Band)
               references  the  song titles in "Unfinished Words"
               recorded by his Beatles parody group, The Rutles.


               CAN MUSIC
               Mute (http://www.mutelibtech.com/mute/) celebrates
               Can's 30th Birthday with the May 18 release of the
               CAN  BOX.  Formed  in Cologne, Germany in 1968 the
               feckless  sound experimenters went on to reach the
               lofty  cult  and  seminal  status  of  The  Velvet
               Undergroun  d,  Mothers  of  Invention,  etc.  The
               three-item  box contains a double-CD of live music
               recorded   from  1971-1977,  a  book  of  history,
               interviews, reviews and photos as welll as a video
               fo  a  1972  concert  and  a previously unreleased
               documentary  made  in  1988  and  1997.  The CD is
               compiled      from     cassettes     and     other
               non-profressional fan recordings with professional
               sound  processing  and mastering applied. Four the
               of the pieces are extemporaneous jams that have as
               heretofore  not  seen  the  light of day. The tome
               proves  to  be  of  just  such  rare  and personal
               content.  The concert was a free event attended by
               over 10,000 when Can had placed "Spoon" (available
               on BOX' album) into the number one chart position.
               The  footage  was made with help from Wim Wenders'
               film  editor  Pet er Przygodda.. The group is on a
               small  German tour where each member is presenting
               a  solo project as I write. There are no plans for
               a reunion.


               MOBFEST
               With  the  motto  "No  Distractions,  Just  Music"
               Chicago's  new music festival MOBfest 1999 ("Music
               Over  Business Festival") happens June 24-26. Both
               signed  and unsigned bands as well as seminars are
               offered  at  this event. Music industry types will
               staff pane ls covering the business side of music.
               A  $50  pass gets a weekend of music and access to
               the seminars and panels, if nothing else. MOBfest,
               1608  West Belmont, Suite 203, Chicago IL 60657 or
               call 773/327.2529.

               MORTIIS SIGNS WITH EARACHE
               Earache  Records  announces the signing of Mortiis
               (Emperor)  to  a  worldwide, multi-album deal. Two
               albums  are to be released this year. One album is
               a  new  project  entitled  THE  STARGATE while the
               other  is  a  CD  issue of his limited edition 12"
               series to be t itled CRYPT OF THE WIZARD. Emerging
               from  the  'extreme  Norweigan' death metal scene,
               Mortiis  should now see his synth compositions and
               vampire-theater  reach  an  audience  much greater
               than his solid cult followindg.

               NXNE
               Toronoto's   North   by   Northeast  (NXNE)  music
               festival  and  industry  convention now enters its
               fifth  year.  The  dates for this year's event are
               June  10,  11  and 12. The deadline for showcasing
               opportunities  is  already  past, but have enjoyed
               myself  at  NYNE  more than once and can attest to
               the fact that is good fund and excellent chance to
               network in one of North America's most fun cities.
               Check  out the facts online at http:/www.nxne.com.
               NXNE  is also moving to new location this year. As
               such, that daytime acti vities are now going to be
               held  at  the Canadian Broadcasting (250 Front St.
               West, Toronto). Apparently, this is a spacious and
               comfortable location. More info can be had through
               its parent organization, SXSW by sending e-mail to
               sxsw@sxsw.com or surfing to http://www.sxsw.com.

               BIBLE LAUNCHER
               The  purposefully obscure, publicity shy Residents
               are  embarking  on a rare, national tour. They are
               touring  to  support  their  new  album WORMWOOD -
               CURIOUS   STORIES   FROM   THE  BIBLE  (East  Side
               Digital). This is a rare and blessed event indeed.
               Here are the dat es of this rare occurrence:

               April 1-3 Copley Theater, Boston, MA --
               http://boston.sidewalk.com/detail/57291
               April 4 Pearl Street, Northampton, MA --
               http://www.virtual-valley.com/pearl-street/
               April 5-7 Irving Plaza, New York, NY --
               http://newyork.sidewalk.com/detail/11049
               April 9 The 9:30 Club, Washington DC --
               http://www.930.com/
               April 12 First Avenue, Minneapolis, MN --
               http://www.first-avenue.com
               April 13-14 The House of Blues, Chicago, IL -
               http://www.hob.com/
               April 17 Showbox, Seattle, WA
               April 18 La Luna, Portland, OR
               April 20 Zellerbach Auditorium, U of C Berkeley, CA --
               http://sanfrancisco.sidewalk.com/detail/20179
               April 23-24 The House of Blues, West Hollywood, CA
               -- http://www.hob.com/

               For   ticket  ordering  details,  see  the  Smelly
               Tongues                 website                 at
               http://www.smelly-tongues.com/tour.html.   Further
               show  dates  may  be  announced.  A  European tour
               begins in June.

               LIVE THROUGH THIS
               Phoenix Media Group is a new corporation formed by
               NYC   music  industry  insiders.  The  company  is
               composed   of   three  divisions:  Phoenix  Rising
               Records,  Phoenix Gems Records, and Internet radio
               station Radio Phoenix which is to offer live music
               24  hours  a day , 7 seven days a week. As if this
               was  not  ambitious  enough,  one  of the founders
               explains,  "Phoenix  Media's focus is to provide a
               recording  and  multimedia forum for musicians who
               actively   embrace   live   performance   as   the
               foundation  of  their  art.  We  plan  to  release
               recordings of both new studio projects and classic
               rock  concerts  on  CD."  Initial releases of this
               roots  rock  label that emphasize live performance
               include  the first studio recording in 20 years by
               Kingfish  (a  Grateful Dead offshoot of Matthew Ke
               lly,  Bob  Weir  and Jerry Garcia) and The Dude Of
               Life's  new  CD  featuring Trey Anastasio (Phish),
               Mike  Gordon,  and  Jon  Fishman. The Phoenix Gems
               label  is prepared to release classic concert from
               a  425-recording  vault recorded from 1972 to 1985
               by  bands  ran ging from Aerosmith to Frank Zappa.
               These  CDs  feature  the  artwork of poster artist
               Mark  Arminski.  Upon launch, Radio Phoenix can be
               found at http://www.radiophoenix.com.

               A NEW TWIST FOR THOSE THAT STAYED HUNGRY
               The   legendary   Twisted  Sister  reunites  for a
               limited number of live appearances in the fall and
               summer  of  1999. Original members Dee Snider, Jay
               Jay  French,  Marc  Mendoza,  Eddie Ojeda and A.J.
               Pero  will  perform  together, in full make-up and
               costume,  for  th  e  first  time in twelve years.
               Twisted  Sister  performed  for  15 years, logging
               more  than 3,300 live shows between 1973 and 1987.
               The band received Gold and Platinum certifications
               after  attaining  an  amazing  amount of fame with
               precious   little   involvement   o  f  the  music
               industry.


               ZINES ********************************************


               Turning The Tide: Journal of Anti-Racist Activism,
               Research & Education People Against Racist Terror,
               POB 1055, Culver City CA, 90232 Part2001@usa.net

               Turning  The  Tide  is a zealous tabloid doing its
               'part'   to   expose  the  criminal  existence  of
               organized  racism.  Articles  in  this Summer 1998
               edition  include spotlights on Hawaiian and Peurto
               Rican  independence  movements  and  a fascinating
               historical look at homosexuality in the early Nazi
               ranks.  In  what  has  now  become  an  obligatory
               inclusion  of  an  article on the Y2K bug, Turning
               The  Tide sees as threatening greater encroachment
               by the dangerous Christian Right.



               Citizens of Xee
               POB 45636, Seattle WA, 98145-0636
               http://www.speakeasy.org/~gotee
               gotee@speakeasy.org
               vox@speakeasy.org

               Being  alien  beings themselves, the publishers of
               this     photocopied    zine    are    privy    to
               extraterrestrial motivations and secrets. Giggling
               along   the  way,  they  let  drop  some  of  this
               knowledge along with comics, poetry and interviews
               with  their  friends.  My fav orite piece examines
               the latent homosexual subtext in Star Wars.



               Mutant Renegade
               POB 3445, Dayton OH, 45401
               http://www.mutant-renegade.com

               This  is  Mutant  Renegade's  special  High School
               Issue.  The  hard-working  staff  here  is  living
               formaldehyde  for  preserving the special humor of
               those  teen  years.  Letters  to  the editor, many
               reviews,  poetry and high school remebrances round
               out this bit of ba throom reading.


               BOOKS ********************************************


               We Rock So You Don't Have To: The Option Reader #1
               Scott Becker, Editor
               Incommunicado, POB 99090, SD CA, 92169
               http://www.onecity.com/incom

               Scott  Becker, editor of Option magazine, compiles
               in  this  volume articles on the glowing stars and
               unsung  heroes  of "alternative rock." Reading the
               book  from  beginning to end, we are going back in
               time from Sonic Youth (January 1998) to The Mekons
               (July  1991).  The  story  begins  with a group at
               times   awkwardly   thrust   into  the  mainstream
               limelight   meanwhile   acting   as   an  admitted
               inspiration  to most chart-climbers better capable
               of  commercial  success.  The  story ends with The
               Mekons,  unequaled  pop  craftsmen working largely
               unnoticed  putting  out  albums craved by those in
               the  knows  and obtaining a paucity of recognition
               in  return.  Along  the way we encounter anarchist
               mass-marketers   Chumbawamba,  icon  Patti  Smith,
               Aberdeen,  Washington  originators  Melvins, Beast
               ie  Boy  Mike  D,  grunge globalizers Nirvana, the
               monks  of  musical  hardcore Fugazi and many more.
               Surprising  to  me, all the articles regardless of
               age  reflect  insight and serve to contribute to a
               telling,  overall picture of today's self-loathing
               Top 40 and their unacknowledged inspirations.



               The  Brazilian  Sound:  Samba,  Bossa Nova and the
               Popular  Music of Brazil
               Chris McGowan and Ricardo Pessanha
               Temple University Press

               This  is  new,  updated  version  of the book that
               brings  into  view  the  big  picture of Brazilian
               music.  Brazil  has  been  crossbreeding European,
               African and indigenous sounds for a century longer
               than  the  U.S.A.  It  is  no  wonder,  then  that
               especially in the rea l of jazz, Brazil has had as
               much  or influence on America than vice versa. Ten
               chapters  of  a  volume  that includes a glossary,
               bibliography   and   discography  take  a  largely
               geographical  view  of  Brazil's music map. Six of
               these  chapters  deal explicitly with regions; Rio
               the  home  of  samba and birthplace of bossa nova,
               the  pop  sounds  of MPB and more in Minas Gerais,
               Bahia's  African  pride  and  the dirty dancing of
               lambada from the northeastern coast are covered in
               these  chapters.  Chapter  one puts five centuries
               of  history  into  perspective.  The  final  three
               sections  measure  the width of Brazil's intricate
               spectrum.   Anyone   short  of  a  Latin  American
               musicologist  will  walk  away  impressed with the
               genius, innovation and experimentation, especially
               in jazz idioms, by national artists related toward
               the end of the book.


               VIDEO ********************************************


               Richard Kern
               THE FILMS OF RICHARD KERN:
               HARDCORE PLUS, VOLUME 1 & 2
               Video Music Inc., POB 1128, Norristown PA, 19404
               http://www.richardkern.com

               Richard Kern has a rare film talent. A rare talent
               for  obtaining sultry women that look like a heavy
               metal  headbanger's  wet  dream. A rare talent for
               involving  these 'women of questionable character'
               in violent, sexual and challenging scenarios. Each
               package  assures  also all actors are over the age
               of  eighteen.  Sometimes  we  even get to see Kern
               exact  the  age  statement signature on film. Five
               films  are  contained  on each separately packaged
               volume.  VOLUME  1  features  Henry  Rollins  as a
               younger  man  with  longer hair and Lydia Lunch as
               his furious fellatio date. Violence, especially in
               forsaken   or   urban   locations,   is   constant
               throughout.  The  one  oasis  of passivity is when
               Kimbra  Pfahler  (The  Voluptuous  Horror of Karen
               Black)  shaves  her  vagina  as  the  subject of a
               short. In VOLUME 2 we get more of another punk sex
               symbol, Lung Leg. Especially harsh are these final
               flicks   in  the  gritty  series.  Two  previously
               unreleased   pieces,  "My  Nightmare"  (1993)  and
               "Horoscope" particularly up the ante. (4)



               The Tempest
               Derek Jarman, Director
               Kino on Video, 333W 38th St. #503, NYC NY, 10018
               http://www.kino.com

               Derek  Jarman's  adaptation  of  Shakespeare's The
               Tempest   is  a  surreal  world  of  Fellini-esque
               characters   and   uncovered   madness.  Typically
               Jarman,  this  opus is unforgettable, powerful and
               weird.  The  gist  of Shakespeare's magical island
               where a ruling spell c aster wreaks revenge on his
               shipwrecked is wholly intact. Like a 40s Hollywood
               spectacle,  this  version  winds  its  way  toward
               homoerotic   floor  show  or  dancing  sailors  as
               Elisabeth  Welch  emerges  from a history of black
               musical  comedy's  to  deliver a renditio n of the
               aptly  chosen  "Stormy  Weather." The location for
               this   film,   first  released  in  1979,  is  the
               mysterious   and  ancient  Stoneleigh  Abbey.  The
               script  to  this gorgeous and otherworldly film is
               delivered  in  Shakespearean  English. But, you do
               not  even need to know who Shakespeare is in order
               to  appreciate  its strange grandeur, a pageant of
               seductive power and bizarre, enchanted beings. (5)



               Apt Pupil
               Bryan Singer, Director
               Columbia Tristar Home Video

               Bryan  Singer's  (The Usual Suspects) direction of
               Brandon Boyce's screenplay based on a Stephen King
               novella  is  one  of  the better treatment of that
               author's  works.  While  it is no The Shining, Apt
               Pupil is up there with Misery. Chivalrous, opaque,
               manipula  tive  and  morally degenerate is Sir Ian
               McKellen  (Gods and Monsters) as Nazi war criminal
               Kurt  Dussander hiding out. Brad Renfro stars (The
               Client)   as   16-year-old  with  an  over  active
               imagination  that  tracks  Dussander down. Staring
               into  the  abyss  for too l ong in this Nietzchean
               psycho-drama,  Renfro  as Todd Bowden plummets the
               cesspool depths of Dussanders soul until it almost
               too  late  to  climb out. As Sam Peckinpah's films
               (Straw  Dogs,  etc.)  toyed  with  the  idea  of a
               resident  evil  ready to be awakened in e ach man,
               so  Singer's  efforts  seem  to cener around human
               spiders  that  keep their black thoughts close and
               patiently  await gullible prey. Apt Pupil is often
               obvious  (no one has to figure this film out), but
               it  is interesting in how it exploits the inneffab
               le  fact  that  behind  every voice of indignation
               against   evil   there   is   a   traffic  jam  of
               rubber-necked  gawkers  that  just  want to have a
               look. (3)



               Dark Obsession
               Nicholas Broomfield, Director
               Kino on Video, 333W 38th St. #503, NYC NY, 10018
               http://www.kino.com

               This  is  the  first  feature  film  from  British
               director   Nicholas   Broomfield   known  for  his
               controversial  shorts Chicken Ranch, Heidi Fleiss:
               Hollywood  Madam  and  Kurt and Courtney. Nietzche
               said,  "Man  is  the  animal which can get used to
               anything." Dark Obsess ion tells us that man is an
               animal  that  can  find  something  wrong  in  any
               situation.  Living  comfortably, even luxuriously,
               and  with  a  markedly  beautiful  wife  is only a
               chance   for   paranoia   to   set  in.  Vehicular
               manslaughter  urged  on  by a hallucination is the
               first  major  ethical  sacrifice brought on by the
               main  character's (Gabriel Byrne as Hugo Brockton)
               fostered  belief  in  his  wife's  infidelity. The
               shallow    thoughts   of   self-preservation   and
               masculine   comradeship   from   Brockton's  macho
               buddies  in the Guards a re negative reinforcement
               to  his  reactionary  mindset. So effectively does
               Broomfield   convey   the  widening  gulf  between
               husband   and  wife  that  when  Hugo  kisses  her
               (actress  Amanda  Donohoe)  late in the movie it a
               disgusting,  forced  act,  almost  rape,  by one s
               tranger upon another. (4)



               Conspirators of Pleasure
               Jan Svankmajer, Writer and Director
               Kino on Video, 333W 38th St. #503, NYC NY, 10018
               http://www.kino.com

               Food  items  and  sexual  obsession  combine  in a
               bizarre,   very   bizarre   set   of  theatrically
               elaborate   scenarios   staged   by   the   quirky
               characters  portrayed in Conspirators of Pleasure.
               Sets of inter-related characters are enmeshed in a
               web  of surreal sexual act ivity. Common themes of
               repression  and  lengthy,  detailed pre-production
               lead  to such extravagant displays as a five-armed
               entertainment   center   for   self-pleasure   and
               costumed bondage passion plays where two neighbors
               act  out  their  unspoken desires for eac h other.
               Unspoken  nearly  everything is because this film,
               told  in  movements  and  facial  expressions,  is
               bereft  of dialogue. It does not need any dialogue
               because  motive  identification  is made through a
               candid acknowledgement of the lengths to which the
               hu   man   animal   will   go  for  unique  sexual
               gratification  and  the  common,  neurotic  desire
               (fueled   by   a   very   real   desire  to  avoid
               persecution)   to   keep   bedroom   doors   shut.
               Svankmajer  throws open these gateways into a land
               of  common  hang-ups  and  grandiose  solution  s.
               Frequent    lapses   in   Svankmajer's   trademark
               stop-action  treatment  serves  to  animate  these
               character's freakish dreams. Also included in this
               volume  is  a  14-minute 1993 short entitled Food.
               Food  includes  the same elements the culinary and
               uncanny in an e ternal round robin. (4.5)



               Wittgenstein
               Derek Jarman, Director
               Kino on Video, 333W 38th St. #503, NYC NY, 10018
               http://www.kino.com

               Derek   Jarman's   biographic   portrayal  of  the
               influential     Austrian     philosopher    Ludwig
               Wittgenstein  (1889-1951)  is  witty,  surreal and
               entertaining. At one point, Wittgenstein proclaims
               that  the  lion, for instance, has language but we
               can  not understand it be cause we do not know the
               lion's world. Jarman opens up to us Wittgenstein's
               word  as  a  precocious  boy  born  into  means, a
               contemporary   of   Freud,  eager  philanthropist,
               decidedly not highbrow, struggling philosopher and
               bold  iconoclast.  Typical  of Jarman's s tyle, we
               are  taken  into a bizarre land charged with depth
               and  symbolism.  Vignettes  of Wittgenstein's life
               are  portrayed  in  a theater-like set up of black
               background,  minimal  props  and  quick  character
               studies  of  Wittgenstein  and  the  people of his
               life,  bo th real and imagined. Distinctly Jarman,
               this  rich  display  of  metaphor  and imagination
               succeeds as a completely telling portrait of a man
               of   powerful   insight   and   overt   absurdity.
               Afterwards,  we  feel  we  know Wittgenstein. This
               success   makes   the   film  perha  ps  the  most
               accessible of Jarman's oeuvre. (3.5)



               REVIEWS ******************************************

               Wimme
               GIERRAN
               Northside, 530 N 3d St. #230, Mnpls MN, 55401
               http://www.noside.com
               chill@noside.com

               Wimme  (VIM-may)  is  a  Finnish Sami yoik master.
               That   is,   he  is  an  adept  in  the  peculiar,
               traditional  chant  style of aboriginal Finns that
               is  strikingly  similar to Native American chants.
               Whether  from  Wimme's  own  style, or inherent in
               this  Scandinavian  for  m, I do not know, but his
               delivery   is   particularly  expressive.  Wimme's
               chants, some of which are spoken and some of which
               are  sung,  vary  from  harsh  ejaculations to sad
               wails  to fearsome growls. On this recording he is
               backed by Finnish electronica projec t RinneRadio.
               RinneRadio's additions are thoughtfully programmed
               to  enhance  the  mood  and  intensity  of Wimme's
               passage,  whether  delicate  or  forceful, and add
               much to a sense both of mystery and power to these
               exotic,  charged  vocalizations. The name of thi s
               recording  itself  is a word for "enchantment" and
               the verse here feel as if they are imbued with the
               power  of  the sorcerous word, conjuring familiars
               from   studio  technology.  The  musical  element,
               regardless  of  the  fact that it arises from cold
               circuitry,  serves  to place Wimme in his natural,
               sylvan setting. In "Enchantment" we hear the sound
               of  electric  birds  and in "Arvedavgi" the strong
               snorts  of a reindeer. GIERRAN is a techno-charmed
               travelogue   through   an   enchanted,  sub-Arctic
               forest. (4)



               Various Artists
               A MARIA TERSA VERA
               Nubenegra

               On  A  MARIA fifteen tracks present mostly updated
               versions of songs sung by legendary Cuban vocalist
               Maria    Teresa    Vera    (1895-1965).   Entirely
               self-taught,  this  mulatto woman faced racist and
               sexist  obstacles  in making a name for herself in
               Cuba during the age of radio. As such, she as much
               a  heroic  figure  as talented icon. The handsome,
               eighty-page  booklet  that accompanies the CD in a
               slipbox  tells the entire, rich story of her life.
               As  such, such tracks as the wailing ballad/bolero
               "Por  Que  Me  Siento  Tri  ste? (Why Do I Feel So
               Sad?)" seems suited to this triumphant figure that
               faced  her  share  of  adversity.  Noted  Galician
               vocalist  Uxia  joins  Cuban sensation Pavel for a
               spirited duet. This characterizes the entire disc,
               which  gathers  artists from both her home country
               and Iberia to celebrate this first lady of Spanish
               song.  The scholarship that went into this project
               unearthed   previously   unknown   material   that
               constitutes  a third of the album. One such track,
               "Dime  Que  Me  Amas (Tell Me That You Love Me)" i
               s,  as  presented  by  Cuba's  Argelia  Fragoso, a
               tender  acoustic guitar ballad drawing on both the
               bolero   and   son   traditions.   The   piece  is
               periodically  ornamented  with  percussion,  vocal
               chorus  and  saxophone.  The accompanying text, in
               Spanish and English, inc ludes lyrics. (4)



               Gianluigi Trovesi
               AROUND MANY SMALL FAIRY TALES
               Soul Note

               Italian  music,  even  of  the  pop variety, often
               references   the  country's  rich  orchestral  and
               operatic tradition. Rarely do I find such a fusion
               as  effective  and grand as in this 'chamber jazz'
               concoction  of  Italy's small town saxophonist and
               clarinetist  Gi  anluigi  Trovesi.  Every jazz bar
               follows with an allusion to Baroque or Renaissance
               forms  before  returning  to something 'trad.' The
               effect  is wondrous and magical; a translated jazz
               combo  visits  an enchanted castle. The prevalence
               of vibraphone maintains this air of Django under a
               symphonic  spell.  Symphonic  it is, because while
               the  album  is  a  collection  of separate pieces,
               conductor Bruno Tommaso scores the entire opus for
               conceptual continuity. A prevalence of strings and
               a  beautifully understated parti cipation from the
               jazz  percussion  (a  knockdown exception is royal
               rhythms  of  "Dance  for  a  King") gives TALES an
               airy,  free  and  lighthearted feel. Nembro is the
               name  of that small town that Trovesi is from, and
               his  daughter  and son-in-law play in its Cham ber
               Orchestra,  chosen  for use on this recording. The
               eighteen-member  ensemble  is bolstered by Trovesi
               himself, vibes, a very subtle electric bass, drums
               and   percussion   for   jazz  flavoring  of  this
               exquisitely  arranged meeting of Western Society's
               two  most intellectual musics. Liner notes to this
               genre are in Italian and English. (4)

               Frifot
               SUMMERSONG
               Northside, 530 N 3d St. #230, Mnpls MN, 55401
               http://www.noside.com
               chill@noside.com

               Frifot  is a trio from the Swedish folk scene that
               is   the   core   of  ECM's  Nordan  Project.  The
               instrumentation  is  two  fiddles  and  a  mandola
               player.  A  mandola is an alto mandolin, giving it
               the  pitch  of a viola. The multi-instrumentalists
               in  this  group  also  t  hrow in viola, bagpipes,
               hammered dulcimer, folk harp, flutes and whistles.
               One  of the fiddle players, Lena Willemark, is the
               main vocalist. The two other gentlemen in the band
               also  contribute  on  vocals.  Lena  is  a  living
               warehouse   of  traditional  folk  son  gs  with a
               strong,  expressive  lyric. She manages to include
               in  her performance a substratum of jazz, which is
               large  part  of other projects she is involved in.
               The  disc  opens with a spirited original by Lena,
               as  appropriate  for  the members of a living, dyn
               amic   folk   scene.   Deeper   in   the  disc  is
               "Gyrissviten (The Gyris Suite)." Here, two polskas
               of East European inspiration are joined to the end
               of  a  pastoral  song,  sung  mostly a cappella by
               Lena.  The result is lively and similar to Klezmer
               fiddle instrument als. A Swedish hymn, rich in its
               thick  dialect, is present as a three-part harmony
               with plenty of trilled R's and no instrumentation.
               SUMMERSONG  covers a wide spectrum of Swedish folk
               music and is throughout executed with high-caliber
               musicianship and gr ace. (4)



               Jacques Tremblay
               ALIBI
               DIFFUSION  I MeDIA, 4580 de Lorimier, Montreal QC,
               H2H 2B5,Canada
               http://www.cam.org/~dim/
               dim@cam.org

               Ned Bouhalassa
               AEROSOL
               DIFFUSION  I MeDIA, 4580 de Lorimier, Montreal QC,
               H2H 2B5,Canada
               http://www.cam.org/~dim/
               dim@cam.org

               Yves Daoust
               MUSIQUES NAIVES
               DIFFUSION  I MeDIA, 4580 de Lorimier, Montreal QC,
               H2H 2B5,Canada
               http://www.cam.org/~dim/
               dim@cam.org

               DIFFUSION   I  MeDIA  celebrates  fifty  years  of
               musique  concrete  with  eight special releases in
               the  genre  of  manipulated  tapes and recordings.
               These  three  titles  are  the most recent of that
               series  to  reach  my  ears. The simple surrealist
               experiment of sliding across radio bands forms the
               introduction  to  Tremblay's  excursion toward "an
               Alibi...a deferred elsewhere." That piece, Heresie
               Ou  Les  Bas-Reliefs  Du  Dogme  and  its  fellows
               (recorded     1990-1995)     are     fascinatingly
               otherworldly  and  rather bizarre sonic crea tions
               from  an expansive imagination. Unintelligible and
               distorted  voices  intrude upon a world of overtly
               mundane   environmental   sounds   (birds,   water
               running, etc.) for a unique intrusion of the alien
               into  the  comfortable.  Daoust  of  Montreal  was
               Tremblay's  first  instructor in the arts of audio
               alchemy.  His  MUSIQUES  NAIVES covers roughly the
               same  years  and  is a more pure reflection of the
               sounds   we  hear.  However,  as  when  restrained
               electronic  roars  and  eerie whispers are used as
               sorbets  to  segue from traff ic to the playground
               to  cartoons,  etc.,  (Il  Etait Une Fois...(Conte
               Sans  Paroles)" these visitation of the weird onto
               the  banal  are  more  contrasting  and vivid. Ned
               Bouhalassa takes cues from current techno culture,
               as   well  as  past  musique  concrete  master  s.
               Bouhalassa's    trippy   visions   are   odd   and
               intelligent dreams from the chill-out room. As the
               album's   title   summons  images  of  fluorescent
               graffiti,  so  do  his sonic collages tap into the
               sci-fi  lands  of  hip electronica. (Tremblay 4.5,
               Daoust 4.5, Bouhalas sa 3.5)



               Charline Arthur
               WELCOME TO THE CLUB
               Bear  Family Records, POB 1154, D-27727 Hambergen,
               Germany
               http://www.bear-family.de

               Charline  Arthur  is  a  country  voice of immense
               talent  and  powerful technique. Her clarion songs
               recalls  Rose Maddox for fresh, rural charm, Wanda
               Jackson  at  her  most secular and Patsy Cline for
               vocal  refinement.  No  one  matches  Charline for
               bold,   brassy   te   mperament,  though.  Cruelly
               unacknowledged  is  Arthur's  pioneering  role  in
               bringing  vim  and  verve  to  the  female country
               singer  personality. A regular honky-tonk siren in
               the  late  40s  and  50s, Charline sings or fierce
               independence  ("Burn  That  Candle"),  touc  hing,
               drawled  ballads  ("How Many Would There Be?") and
               humorous  novelty number loaded with innuendo ("He
               Fiddled  While I Burned"). The constant throughout
               is  Arthur's  strident  voice  and  saucy  spirit.
               Included on this collection of mostly original RCA
               Vic  tor recordings, is her first single "I've Got
               The Boogie Blues." This piece shows her sultry and
               raucous side was evident from the start. Prevalent
               in  songs  of this admitted Ernest Tubb worshipper
               like  "Dreaming  Of  You" is a Western Swing feel.
               The   instr  umentation  often  includes  electric
               guitar, steel guitar, mandolin and/or fiddle along
               with  percussion  and  double bass. Tracks like "I
               Was  Wrong"  and "Anything Can Happen" evidence an
               R&B  touch  which has been compared to Ruth Brown.
               The   26-page   booklet  he  re  includes  several
               photographs, detailed biography, session notes and
               a discography. (4.5)



               Auburn Lull
               ALONE I ADMIRE
               Burnt Hair, POB 5519, Dearborn MI, 48128
               BurntLarry@hotmail.com

               The  ethereal,  organic  immersion sound of Auburn
               Lull  has  been compared in print both to Mahogany
               and Slowdive. Auburn Lull shares members with that
               group and Mahogany's Andrew Prinz supplied samples
               and  production  to  ALONE I ADMIRE. Prinz further
               appears on piano and bass synth besides doing some
               singing.  Drum machines (augmented by kit drumming
               and  other percussion) provide a stable background
               to  a  dense swirl of guitars and singly mostly by
               Sean  Heenan.  Additional instrumentation provides
               valuable  tex  turing  as  in  the cello featuring
               space   oddity  of  "Old  Mission."  The  constant
               expansive,  slow  tempo  paints  the  picture of a
               dozing  giant  in autumnal repose passing from one
               dream of monstrous bliss to another. (3.5)



               Jonas Hellborg
               ARAM OF THE TWO RIVERS: LIVE IN SYRIA
               Bardo  Records,  532  La  Guardia Pl. #421, NY NY,
               10001
               http://www.hellborg.com

               When I close my eyes and imagine myself sitting on
               the   porch   and   playing  an  instrument,  that
               instrument  is the acoustic bass guitar. The warm,
               versatility  and  sonority  of the instrument have
               always beckoned to me. This is the same instrument
               journeyman   b   assist   Jonas   Hellborg   (John
               McLaughlin's  Mahavishnu Orchestra, Tony Williams,
               Ginger Baker, Bernie Worrell, Bootsy Collins, Bill
               Laswell,  Trilok  Gurtu,  Glen  Velez, Shawn Lane,
               etc.) is using here. This Swedish virtuoso summons
               the  religious  and  secular  m usic of the Middle
               East  to  fuse  with stunning jazz playing on this
               peerless live album. The 1996 recording opens with
               subtle,  hypnotic  solo  bass for several bars (we
               could be even in a New York City jazz club) before
               the   appearance   of   Hellborg's  two  derb  uka
               percussionists. Now, we are definitely in historic
               Syria.  One  can  hear the audience applaud loudly
               when  Hellborg  is  joined  on stage by ney player
               (its  an  oblique  flute) young, rising star Mased
               Sri  al  Deen to trade long, languid passages. The
               crisp r hythms of the riqq (tambourine) from Nabil
               Khaiat  (known  worldwide for work with oud player
               Rahib  Abou  Khalil)  join this pair on "Akkadia."
               The   most  stunning  guest  is  acclaimed  master
               violinist  Hadi Bakdounas who employs a vast array
               of  electronic effect s to his improvisations that
               mark the second half of the recording. (4.5)



               The Church
               MAGICIAN AMONG THE SPIRITS PLUS SOME
               Thirsty Ear, 274 Madison Ave. #804, NYC NY, 10016
               http://www-cgi.cs.cmu.edu/afs/cs/user/vernon/www/sance.html
               http://www.rucc.net.au/church
               bb@peg.apc.org

               The  Church  initiate  their aspiring parishioners
               into  a haunted cathedral of delicate beauty (like
               stained  glass)  and  lofty,  vaulted  poetry. The
               aptly  named  opener "Welcome" ushers in a panoply
               of living and dead names, both famous and obscure,
               before  ann  ouncing  "you're like astronomy - you
               see  everything,  astronomy a part of me" and then
               descends  into  sparse,  Bauhaus-like  creepiness.
               There  is  a  fascinating  connection  between the
               Gothic to Baroque philosophies of architecture and
               worldview   and   what  The  C  hurch  is  saying,
               lyrically,  here.  That is, there is infinity both
               in  side  and  outside  and  infinite  connections
               between  everything in between (inviting all to be
               welcome). This theme can be picked up elsewhere in
               their   invocation   of   gateways  ("Lady  Boy"),
               multiple  lives  ("Why  Don't  You  Love Me?") and
               universality   ("Could  Be  Anyone").  Beside  the
               textual  depth  that  resides here, what cannot be
               overlooked is that the Church fastens this lyrical
               art to a solid wall of entirely accessible pop and
               ear-catching  experimental  guitar.  For instance,
               "Comedown"  is  a  beautiful  example of symphonic
               guitar   pop   that  is  more  'bittersweet'  than
               anything  by The Verve and containing majestic and
               poignant  metaphor  (nearly  apocalyptic)  in  its
               images  of  monuments, flotsam and ominous clouds.
               An  example  of  their  art rock prowess that will
               sound  great next to your most over-the-top ELP or
               Curved Air cuts is "Grandiose," their instrumental
               brew  of  violin, guitars and closely miked drums.
               The  Church's MAGICIAN is that rare treas ure that
               is  an album full of songs both to hum and ponder.
               (4.5)



               Mike Nolan
               VENUS
               Carbonfourteen Music

               This  collection  of  Mike  Nolan's  music, garage
               recorded  from  1996  to  1998 in an unadulterated
               'dry'  sound. Closely miked acoustic guitars belie
               the  texture of plectrum on wound string. As such,
               VENUS bares the broken-armed, statuesque beauty of
               frozen  mom  ents  of  lost  love  ("In  Your Arms
               Again"),  identity  crisis  ("Sea")  sad nostalgia
               ("Jeanee's  Come  Back")  and  other such personal
               topics  with  honesty  and  alacrity.  VENUS is an
               example  of  that contemporary pumped up folk rock
               that  can  entertain  from  a  stage  in  either a
               coffeehouse  or  a  bar.  The arrangements of this
               fine  recording contain both acoustic and electric
               guitars.   VENUS   is   a   solid  and  impressive
               collection   of   rockers   and  ballads  from  an
               obviously talented singer songwriter. (3)



               King Missile III
               FAILURE
               Shimmy  Disc/Knitting Factory, 74 Leonard, NYC NY,
               10013
               http://www.shimmydisc.com
               http://www.knittingfactory.com

               Ever   known   one   of   those  people  given  to
               repulsively  absurd,  detailed personal attacks of
               venomous  cynicism?  Well,  that's  the whole King
               Missile shtick. The current trend for professional
               therapy  and  "owning  your shit" is exploited for
               comic  purposes  in  the  self-help-tape  voice of
               "Failure."  While  it may be as strongly worded as
               Jonathan   Swift  (read  A  Modest  Proposal)  and
               exaggerated   as   Voltaire   (compare   Pangloss'
               philosophy   to   track   one),   listen   to  the
               examination of the penis complex in "A Good Hard L
               ook"  and you will have to agree that King Missile
               is  the  literary  satire  of crude 'toilet talk.'
               Aside  from such language games, King Missile also
               provides imaginative, surreal stories like that of
               the  ultra-brittle Bone China Boy, "The Adventures
               of Pla nky" (Planky is a lump of plankton) and, my
               favorite,  "The  Little  Sandwich That Got A Guilt
               Complex  Because  He  Was  The  Sole Survivor Of A
               Horrible  Bus Crash." All this bathos is delivered
               in  a  casual,  conversational, story-telling mode
               with there is litt le singing. A notable exception
               is    the    "ZIP-A-DEE-DOO-DAH"-on-Prozac   piece
               "Despair."  The  background  is mostly collages of
               'cool,'   hard  rock  distorted  guitar  and  drum
               phrases  with a heavy rhythm and no melody. Plenty
               of  variety  is  added  here, too, like t he Asian
               exoticism   of   Oriental  instrumentation  on  in
               "Monks"  and  the cheesy-churchy organ one of many
               decidedly  un-PC pieces, "Gay/Not Gay." FAILURE is
               story time for jaded scenesters. (4)



               Kodo
               IUBKI
               Tristar Music

               Various Artists/Kodo
               SAI-SO: THE REMIX PROJECT
               Red Ink

               The  Kodo  group is Japan's global ambassador's of
               Taiko drumming. This fanatical group arose in 1981
               from   an   island  colony  of  traditional  Taiko
               drummers  that  sought nothing else but perfection
               of   their   art.   The  religious  intensity  and
               single-mindedness  of  this  small (pop. 40) thorp
               clearly  comes  across  on  the  mighty percussion
               forays  contained here. Consider the powerful drum
               exchange  on  "Nobi."  Beats  are thundered in one
               channel, to be answered by drums of another timbre
               in  the  other  channel. Impercepti bly, the piece
               slows  in  tempo  until  the  sound  of  a muffled
               heartbeat  emerges.  "Heartbeat"  is  one possible
               translation  of  "kodo"  and after this exposition
               the  group  returns  to  a potent swell of rhythms
               accompanied  by  frenzied  and  ecstatic shouting.
               "SAI-S O" means "reborn" and as such this album is
               a  rebirth  into  electronica of the Kodo material
               midwifed  by  some  of  the genre's most important
               names.  Experimentalist  Bill  Laswell (Material),
               producer  of IUBKI, contributes two tracks to this
               compilation   which   mostly  finds  in  Kodo  the
               possibilities   of   ambient,  chill-out  vibes. A
               notable  exception  is  the  vigorous  "Wax  Off."
               Sampling  three  different Kodo pieces and written
               by Kodo, David Beal, David Baron and Lindsay Jehan
               the   urgent   and  layered  "Wax  Off"  makes  an
               excellent  soundtrack  to  highway  travel.  Other
               interpreters include Strobe, DJ Krush, Kevin Yost,
               Metronome  B,  My Name Is Myron, and Killer Whale.
               (IBUKI 5, SAI-SO 3)



               Beth Capper
               COMPLIMENTARY MOOD ENHANCER
               Win Records, POB 26811, LA CA, 90026-0811
               http://www.winrecords.com
               winrecords@aol.com

               Ms.  Capper  (SFTRI's  Oiler,  Fleabag)  can't get
               enough  of  vocal  effects. Dense with distortion,
               reverb  and  sonic  mutation,  she  is rough-toned
               siren  calling  hauntingly  through a sea storm of
               clashing guitar waves beating out a rhythm against
               solid  drumming which goes lustily on, in spite of
               all  the  commotion.  On some cuts, like track ten
               (can  anybody  tell me where a track listing is on
               this  sample  of  cardboard  origami!?)  she comes
               through,  singing  naked as it were. The result is
               as honest and non-musical a s a wanna-be pop start
               teen  singing  in  her bedroom into a jambox. But,
               the  meat  on this plate is laced with the gristle
               of  tortured  sounds  and  transmogrified guitars.
               Feel  the rough texture of every note and ruminate
               hard  on  the accompanying comic book ( by Capper)
               where one woman circles the drain at the bottom of
               a  cesspool.  Music? Commentary? Both? You decide.
               (3)



               Brazzaville
               BRAZZAVILLE
               South  China Sea Records, 1849 N Berendo S. #6, LA
               CA, 90027

               What do Fiona Apple, The Blasters, Cibo Matto, The
               Creatures,  Divinyls, Jewel, Ben Lee, Sean Lennon,
               The  Lemonheads, NOFX, Michael Penn, Lou Reed, Tom
               Waits  and Victoria Williams have in common? Well,
               besides  being a representative sample of the most
               inf  luential projects and artists of the last two
               decades,  all  these  names  are on the collective
               resume  the  septet  Brazzaville.  Put together by
               saxophonist   David   Brown   (Beck),  Brazzaville
               boasts,   slinky,   spy-at-the-beach  sounds  that
               suggest exotic, tropical vacations courtesy of the
               Federal  Witness Protection Program and invitation
               into  dangerously  cool,  Yakuza hangouts where no
               body  knows  your  name  until  all  the doors are
               locked.   World  traveler  gathered  together  his
               journeyman  musician  friends  together  to create
               music  fusing  his  Far East and South America. In
               the  result, which has room to reconcile both West
               Coast cool jazz and New York City hip-hop flavors,
               there  is  even room for some vivid spoken word in
               the  gritty "Sewers of Bangkok" and the now-I-am-b
               ecome-Kali  "Ocean"  featuring Joe Frank (National
               Public  Radio). Eclectic arrangements successfully
               synthesizing  a  multiplicity  of  genres  rich in
               percussion  and  incorporating  organ, turntables,
               piano  and  more  give  every  track  a unique and
               exotic  feel.  Thi  s  self-titled debut is one of
               those  rare  albums  that  more  than fulfills its
               promise. (4.5)



               XTC
               APPLE VENUS VOLUME 1
               TVT Records

               The  success of High Llamas HAWAII, the Beach Boys
               PET    SOUNDS    reissue,   Verve's   "Bittersweet
               Symphony,"   etc.   proclaims  that  vivacity  and
               universal  appeal  of  art-rock  with  strings, or
               "orch-pop."  Opening their album delicately with a
               subtle   crescendo  in  piz  zicato,  the  duo  of
               vocalists Colin Moulding (bass) and Andy Partridge
               (guitar) that is XTC announce their emergence from
               a  seven-year  absence  from music in general into
               chamber  pop. While they missed the chance to ride
               the crest of this wave, XTC's APPLE VENUS is, with
               its  dulcet harmonies based on pop music's perhaps
               most   recognizable   and   mellifluous  falsetto,
               destined  to be one of the most enduring landmarks
               in   chamber   pop.   Says   Partridge  that  "the
               orchestral  thing was something I really wanted to
               do,  but  I think I've gotten it largely out of my
               system  now."  So,  expect VOLUME 2 to be markedly
               different and this meeting of pop rock and strings
               featuring  water  droplets,  clapping  rhythms and
               symphonic   horn   solos   to   be  a  unique  and
               luminescent   start   in  o  f  music's  brightest
               discographies.  The  emotion inducing arrangements
               here  are  mated  with  highly personal lyrics. "I
               Can't  Own  Her"  is  insightful commentary on the
               ephemeral  nature  of  relationships and "I'd Like
               That"   is  an  accurate  translation  of  pure, s
               pontaneous   joy.  APPLE  VENUS  is  a  conceptual
               concerto of rosined heartstrings. (4)



               The Saints
               EVERYBODY KNOWNS THE MONKEY
               Amsterdamned Records, POB 862558, LA CA, 90086-2558
               http://www.guavajelly.com
               jelly@uavajelly.com

               Australian   ur-punk   rockers  continue  on  with
               original  front  man  (Chris  Bailey) and original
               soul (vicious individualism) and continue to move,
               musically  toward  more  rock  and  less punk. The
               horns  showed  up  on  sophomore release ETERNALLY
               YOURS  and now the p resence of Nugent-like guitar
               leads  sets  the transformation up for completion.
               But,  change  is good, right? The Saints certainly
               are  not  whiny  Top 40 'indie rockers' as perhaps
               they  point out in identifying the "welcome guests
               in  the  corporate  zoo"  in  "Wo rking Overtime."
               Their  rock-n-roll  is  honest,  pure  and mature.
               There's  even  a  ballad, "Fall of an Empire." The
               Saints  have  feet in both camps, though. Consider
               the  Sex  Pistols descending guitar progression in
               "Playboy  of  the  Western  World."  So, let the p
               urists  battle  for stagnation, as this solid rock
               band points out in "Everything Turns Sour,"

               "When  every  new invention feels like yesterday's
               news
               Remember, somebody sold you a lie
               But you don't have to buy it this time
               There's more to life than standing in line."

               And this delivered in a rock and horns arrangement
               with  a  voice  like  if  Joe  Jackson was a heavy
               smoker, which is not a bad thing if you like rock.
               (3.5)



               The Trashmen
               BIRD CALL!: THE TWIN CITY STOMP OF THE TRASHMEN
               Sundazed, POB 85, Coxsackie NY, 12051

               Over half of this collector's four-CD box set is a
               previously  unissued  studio,  demo,  rehearsal or
               live  recording. No material is duplicated in this
               material   originally   recorded   1961-1967.  The
               Trashmen  are an amazing summary of contradictions
               when  looked  at from afar. In pictures, even live
               ones,  they  are  four  clean-cut  chaps in suits.
               Their nationwide 1963 hit "Bird," the 1965 version
               of which is included here, is a deliriously silly,
               primitively noisy and utterly infectious gem. It's
               like  playing  a  Bla ck Sabbath album and showing
               pictures of the Bee Gees and trying to get someone
               to  believe  they  are one and the same. The T-men
               arrangements  are two guitars of clarion twang and
               garage  crunch with harmony with lead vocals often
               moving  from  one member to another. While some of
               their  covers  are  saccharine (for example, Buddy
               Holly's  "Tell  Me  How") they offer such glorious
               trash  rock  as  the  cartoonish  analysis  of  Bo
               Diddley's  signature sound in "Bird Diddley Beat."
               The  Trashmen tap straight in to a democra tic and
               transforming  American  spirit that celebrates the
               Universal Goof, a sort of holy fool spreading pure
               joy    through   music.   There   you   have   the
               entertainment   recipe   of  The  Trashmen;  surf,
               doo-wop,  blues  and  rock-and-roll motifs swirled
               together  for  eit  her  devastating  hilarity  or
               smooth, slow dancing ballads. (5)



               Rocky Horror Band (England)
               ROCKY  HORROR  SHOW:  SOUNDTRACK FROM THE EUROPEAN
               TOUR 98/99
               Lava Records/Polymedia

               Originally recorded in 1996, this stage production
               of  the ultimate midnight classic The Rocky Horror
               Picture  Show  is  still  touring Europe with this
               soundtrack.  The  cast,  and thus the singers, are
               mostly  Americans  with impressive stateside stage
               experienc  e.  So,  not only can they sing in tune
               with   impeccable   English,   but   they   deeply
               understand  every  syllable  of  innuendo and make
               that  manifestly  plain  with  strategic pause and
               inflection.  I  spent  a couple years going to see
               RHPS  religiously and this is the fifth collection
               of RHPS material I have acquired. I point that out
               because as any RHPS fanatic will agree these songs
               are  durable  war-horses  and you couldn't mess up
               even  if  you tried. Still, this Rocky Horror band
               manages  some  superior  renditions,  incl uding a
               scorching  Hammond  solo  for  "Intro + Overture."
               Rocky (David Velarde) performs "Sword of Damocles"
               with rare gusto with exaggerated pronunciation and
               great  leaps  of pitch. The band line up is a rock
               combo  with  tenor  sax and piano. The test of the
               sax   portion  of  any  RHPS  collection  is  "Hot
               Patootie"   which   Geoff   Driscoll  carries  out
               admirably though the focus on this version is more
               on the group chorus. Portions of relevant dialogue
               precede most of the tracks. (3)



               Zgen
               DAY 1
               Zgen United, B.P. 137, 84007 Avignon Cedex, France
               http://www.zgen.com
               celine@zgen.com

               Zgen  is  an  eight-member  project  that includes
               cello  in  its  arrangements  and  has  one female
               vocalist  to  sing  in  English  and  another  for
               French. One member, Archisound, is listed as being
               responsible  for "sampler, keyboards." This belies
               what  is  perhaps  th e most important part of the
               Zgen sound, the studio. Each song sweetly sung and
               cleverly if simply arranged to include a chorus of
               child-like  charm,  is  festooned  with such sound
               samples  as  rasping, dripping, rattling and more.
               Everything  is  blended  toget  her in production,
               especially  with  echo.  The  result  is  rich and
               textured,  a  real treat for the attentive ear. As
               each  song builds from and ends in a cloud of such
               corralled sounds, there is a de facto cleansing of
               the  aural  palate  by  sorbets of audio col lages
               before each song "course." (3)



               Vienna Art Orchestra
               TANGO FROM OBANGO
               Extraplatte, P.O. Box 2, A-1094 Vienna, Austria
               Extraplatte@blackbox.at
               info@extraplatte.at
               http://www.extraplatte.at/homepage

               The  Vienna Art Orchestra is a fifteen-member jazz
               orchestra    that    features    the   avant-garde
               arrangements   and  compositions  of  its  leader,
               pianist  Mathias Ruegg. This is a reissue of their
               1980   debut,   an   important   document  in  the
               post-modern  jazz  movement.  The  opening,  title
               track  is  a  joyous, folk-like tango cartoonishly
               toyed  with and featuring three solo sections. The
               marimba  section  is also ornamented with vocalise
               from  Lauren  Newton.  This  is followed by a horn
               lead  that  is extremely playful and sounds like a
               toy  instrument.  The  solo  offering, from violin
               (Rudi  Berger)  has  an  electronically  effected,
               fusion  sound.  A  tight, a lot sax solo (Wolfgang
               Puschnig)  ties  everything together neatly with a
               lengthy, unaccompanied solo. This leads right into
               a  mel  low, tenor sax and marimba introduction to
               "Polish  Contrasts."  The  lead here is eventually
               taken  by  a  bright,  cosmic  soprano  sax (Harry
               Solkal).  For  a  short  piano  piece,  background
               singing  and  clapping  recorded  on  the tour bus
               serves  as  backdrop.  Lauren'  s  brings back her
               playful   scatting,   in   clear   imitation  of a
               squawking  free  jazz  sax  solo for an a cappella
               intro  to  "The World of Be-Band & Big Bop." After
               about  three  minutes, the instrumentalists slowly
               materialize  behind her until the mad marimba poss
               esses  her.  After  a  full six minutes of amazing
               scatting,  the  song  itself is introduced and six
               more  minutes  follow  of cross-genre pollination.
               This  special  box  set includes a four-song Ruegg
               disc  deceptively  entitled  TWO SONGS FOR ANOTHER
               LOVELY  WAR.  The Vienna Art Orchestra members are
               featured on this recording. A further, third CD is
               an  Extraplatte sampler of two-dozen tracks, among
               them  one  by  Vienna  Art  Orchestra and two solo
               tracks  by  their  figurative  marimba  and  vibes
               player Werner Pirchner. (5)



               Lechner / Puschnig / Tang / Youssef
               HOT ROOM
               Extraplatte, P.O. Box 2, A-1094 Vienna, Austria
               Extraplatte@blackbox.at
               info@extraplatte.at
               http://www.extraplatte.at/homepage

               HOT    ROOM    captures    four    players,   four
               instrumentations,  and  four  concerts in a Vienna
               tepidarium.  The tepidarium is part of a system of
               variously  heated  rooms  from  classical  bathing
               culture.   Extraordinary  acoustic  qualities  are
               attribute  to  this  certain  room. This situation
               resulted  in  a  rather  peculiar  concert  series
               sampled    here   in   recording.   Otto   Lechner
               contributes  three  tracks.  Two of these are with
               melodica,   one   with  accordion.  Lechner  seems
               tentative, in each selection, particularly in "Der
               Plubu tsch"), he stretches out inquisitive fingers
               into  the  reverberating  corners  of  this indeed
               lively  room. Lechner himself has a solo album out
               on   Extraplatte   (ACCORDEONATA)   applying   his
               accordion  virtuosity  to  a  plethora  of genres.
               Wolfgang  Puschnig (Vienn a Art Orchestra) tackles
               the  room  first  with alto sax which results in a
               distinctly  Middle Eastern sounding wail of a horn
               in an ancient grotto shrine. His second experiment
               is  with flute and chants, which elicits a subtle,
               enlarging  resonance.  The most textured, physical
               sound  is  that  of Achim Tang who brings a double
               bass  into the "hot room." Akin to William Parker,
               he  alternately  bows  and  scrapes his instrument
               sending  sonorous  scrapes and trebly squeaks into
               this  unique  chamber. The final two cuts o f this
               hour-long  CD  come  from  Dhafer Youssef. Youssef
               sings  in  a mournful, clarion, Qawaali-like style
               and  plays oud (lute) in the room, like Puschnig's
               "Sharing"   sax   solo,  he  summons  an  antique,
               religious  performance of great depth and feeling.
               (5)



               Alegre Correa
               INFANCIA
               Extraplatte, P.O. Box 2, A-1094 Vienna, Austria
               Extraplatte@blackbox.at
               info@extraplatte.at
               http://www.extraplatte.at/homepage

               Alegre   Correa   is   a   vocalist  and  acoustic
               guitarist. Here on this recording he also performs
               percussion, and the one-string, bow-like berimbau.
               Ten  other  musicians  join  him in performing his
               compositions celebrating the wide-eyed joy that is
               infancy  (inf  ancia).  The airy jazz arrangements
               feature  nimble  flute,  cheery  guitar  lines and
               smiling  harmonica  all  supporting  each other an
               uplifting   melody   line.   Occasional   rattles,
               whistles  and  the light scat from vocalist Denise
               Fontoura  complete a picture that r elates both to
               the  easy  jubilance  of  childhood  and the sunny
               pleasures  of  Spring  in  full  bloom. Thus it is
               especially  fitting that the cover is decorated in
               flowers   and   butterflies   drawn   by  Alegre's
               daughter,  Gabi,  to  whom  this  CD is dedicated.
               Slightly  tropical  in feel, this recording is not
               only  for  children.  The trombone work of special
               guest  Christian  Rodovan  on  "Grajau" decorating
               delicate  vocalise  harmonies  will satisfy many a
               jazz   fan.   As   for   vocal,   this   basically
               instrumental  album,  featuring "O pequeno cigano"
               sung  by  another  special  guest,  Timna  Brauer.
               Backed  by  guitar,  drums  and electric piano she
               moves beautifully from moderately fast verses that
               could  be  from  a  Semitic  folk dance to clarion
               upper  register  reaches to silence the idle chatt
               er  of  a  downtown  night  club.  There is also a
               fascinating "Tanog" that grows out of the contrast
               of  coversation,  a  sleeper's respitation and the
               timbre  of different instruments. Two bonus tracks
               are  included  in  this  reissue  of Alegra's 1993
               album. (4.5)



               Trio AAB
               COLD FUSION
               Cabral   Music,   47B   Bridge  St.,  Musselburgh,
               Scotland, EH21 6AA
               http://www.cabermusic.com
               feedback@cabermusic.sol.co.uk

               A  generous  grant of funding from the open-minded
               Scottish Arts Council and now drummer Tom Bancroft
               is now living a personal dream; releasing the best
               and  most  unnoticed jazz-based experimental music
               of Scotland. Trio AAB contains Tom on drums and is
               a  f  orward  thinking  the  future's egg-stealing
               mammal  onslaught  on  the  ungainly  major  label
               dinosaurs.  Less  that  10%  of  Cabral's start-up
               capital  netted  Tom  his  most expensive and most
               crucial  bits  of  technology,  the CD duplicator.
               With no money tied up in un sold stock, Cabral can
               sign  groups on artists' merit alone as it markets
               through  mail  order  and  the Internet, basically
               creating CDs as they are ordered.

               Tom  is  joined  in  this band by his twin brother
               Phil  on  saxophones and Kevin MacKenzie on guitar
               and  guitar  synth. While "Untitled" is an example
               of ECM-style reflective jazz and "Gotta Decide" is
               fun  and  funky dynamism, this trio even stretches
               further  t o cover Ornette Coleman ("When Will The
               Blues Ever Leave?") and finds a lazy, contemporary
               R&B  feel  in  2pac Shakur's "I Ain't Mad At Cha."
               Guest  vocals on this subtly and sweetly delivered
               track  are from Columbia Records' Gina Rae. Put it
               all  together  an  d  Tom Bancroft is a man with a
               head  for  business and music and a lot more style
               than Herb Alpert or Madonna. (4)



               What We Live
               QUINTET FOR A DAY
               New World Records, 701 7th Ave., NYC NY, 10036-1596
               newworldrecords@erols.com

               What  We  Live's QUINTET FOR A DAY is superior and
               compelling  example  of  collective improvisation.
               There   is   nothing   here   of  the  cacophonous
               collisions  of  multi-note contemporary free jazz.
               The  approach  of  the  members of this quintet is
               thoughtful  and  coope  rative. The result is that
               while  each  person's  extemporaneous  performance
               adds  color,  the total collaboration equates to a
               unique  sum,  not an anonymous blast that would be
               similar  from  any matched instrumentation by jazz
               cats  in  an  anarchist  jam. Note, t hese are not
               structured   pieces   containing   interludes   of
               improvisation  (like  Don  Cherry  or Sun Ra), but
               pieces  wholly  created  on  the  spot. And as the
               success  of  Miles Davis' explorations is based on
               what  he  does  not play, so the strength of these
               group  co  nstructions  is  similarly based on the
               fact  that  they are listening as much as they are
               playing.  Consequently,  much dynamics and texture
               is  afforded  by  the  fact that rarely do all the
               musicians play at once and instruments come in and
               out  of  the  mix  const  antly  varying the sonic
               qualities   and   melodic   direction.  Conceptual
               continuity  is  largely  due  to  the reliable and
               clear  foundation laid by Lisle Ellis. On QUINTET,
               the  core  trio  of  Larry  Ochs (saxophones, Rova
               Saxophone   Quartet),  Lisle  Ellis  (bass,  Glenn
               Spearman) and Donald Robinson (drums) is augmented
               by  the addition of two trumpet players. Separated
               in  to  different channels, these horn players are
               Wadada  Leo  Smith,  a  pioneer in new improvising
               composition techniques, and Dave Douglas (Masada).
               (4.5)



               Swirler
               SWIRLER
               Cabral   Music,   47B   Bridge  St.,  Musselburgh,
               Scotland, EH21 6AA
               http://www.cabermusic.com
               feedback@cabermusic.sol.co.uk

               Sounding  like  a  new Rickie Lee Jones in embryo,
               Columbia  Records'  Gina Rae is the guest vocalist
               for  two  tracks  on  this  self-titled debut from
               Scotland's  Swirler.  Both  her selections, "EZ4U"
               and  "In Your Arms" are laid back hip ballads with
               the  flavor  of  contemporary  R&B. Swirler swirls
               together  heady  jazz  passages like the edgy jazz
               passages   from   saxophonist   Phil  Bancroft  in
               "Mythology"  and  funk-based  dance  grooves  that
               share    a   common   derivation   with   hip-hop,
               drum-n-bass,  etc.  Interesting  new  hybrids a re
               produced   as  this  group  packs  this  six-song,
               f6rty-two  minute  release. "Switch," for instance
               is  a heavy between keyboards, bass, drums and sax
               that  sounds like ELP goes fusion. I feel the meat
               here is the seven-minute "Wrinkle." "Wrinkle" is a
               brashly  funky  Frankenstein  built up of 70s jazz
               saxophone  and  organ,  a fat bass line, and a lot
               hi-hat.   The   temperature  rises  as  the  piece
               progresses into an incendiary funk-jam sparked off
               by  the  late  arrival  of some showy lead guitar.
               Swirler's  album  is hip e nough to sip cognac to,
               but   still   not   too  cool  to  get  down  like
               rock-n-roll rehearsal in the rec room. Most of the
               players  here  are  in  some serious, experimental
               jazz  projects  and  one  can  tangibly  feel them
               cutting  loose  merely  for the fun of it time and
               time again here. (3)



               The Blaster Master
               SKANGA!
               Megamania,  Johanna Justannus Oy, Hameentie 6 A 4,
               00530 Helsinki, Finland

               The Blaster Master is a ska band from Finland. The
               European  roots  of the ten-member ensemble lend a
               natural  affinity for the European/English face of
               ska,  The  Two-Tone movement. By combining Western
               rock  and  Jamaican ska a new sound was forged and
               spearh  eaded  by such groups as The Specials. The
               influence here is obvious. Also, by performing any
               form  any  form  of  rock-based  music  with horns
               suggests  a  link across the chasm of history back
               to  the  50s  and  60s  when a horn section was an
               expected   contribution   to  popular  music.  The
               Blaster  Master  makes an overt acknowledgement of
               this  connection  in  the  Motown  introduction to
               "Solidarity,"  through  the chorus is very reggae.
               They  go  even  further  in  choosing for the only
               cover,  "Chapel  of  Love"  sung  sweetly  by t he
               group's  third  vocalist and only female vocalist,
               Miss  Mama. These feisty Finns espouse an escapist
               adoration  for  America's  Hollywood images in the
               energetic  "Johnny  Depp,"  one of the many pieces
               taking  full  advantage of their three-person horn
               section  (sax,  trombone,  trumpet).  Just as even
               Queen,  Alice  Cooper  and the Rolling Stones felt
               compelled to put disco-flavored tunes on their 70s
               albums,  so  The  Master  Blaster  is  seduced  by
               techno.  Placed at the end of the album, "Ska Trek
               -  remix"  gives  the ho rn section a break as the
               drums and keyboards get electronic. (3)



               Maximum Coherence During Flying
               MAXIMUM COHERENCE DURING FLYING
               In-Phase Records, 3302 Hemlock, Austin TX, 78722
               http://www.maximumcoherence.com
               myy@maximumcoherence.com

               Maximum  Coherence  During  Flying is large enough
               ensemble  to  produce  an  impressive  variety  of
               sounds;  three  vocalists,  two  guitars and bass,
               keyboards, percussion, synth and saxophone. Still,
               outnumbering  are  their  eleven  guest musicians.
               Including cello, bass, voice and percussion, these
               guest  musicians give Maximum Coherence eight wind
               instruments  to  work  with  from  flute  to tuba.
               Still,  the  arrangements  tend to be spacious and
               airy,  evocative of the island-spotting air flight
               depicted  on  the  cover.  As  such, the recording
               recalls  the  early  atmospheric  Pink Floyd (ATOM
               HEART   MOTHER,  METTLE,  etc.)  and  due  to  the
               inclusion of female vocalists Sonya Shaw and Jenny
               Parker  there  is  a connection to that criminally
               under-acknowledged  70s  art  rock project Curve d
               Air.  The  combination of these diverse sounds and
               integrity-laden  referents alone is enough to make
               the   album   worth  listening  to.  But,  Maximum
               Coherence  does not stop there and adds to the mix
               samples  and  sound  bytes  that  adds  continuity
               ("coherence")  t  o  this story-like overview of a
               strange  land. Flying over this odd locale, we are
               invited to consider a metaphor of flight ("Zoom"),
               lethal demons ("Piggymossum," "Primogenitaur") and
               apocalyptic  visions  that  question the nature of
               God  ("Crusade  IV,"  "St  erile  Hands"). MAXIMUM
               COHERENCE   is  a  weird,  dangerous  and  uncanny
               journey  that  makes  maximum  use of dark, poetic
               lyrics     and     intelligent,    economic    and
               soundtrack-like  use  of  basically  a  small rock
               orchestra. (3.5)



               Tom Varner
               THE WINDOW UP ABOVE: AMERICAN SONGS 1770-1998
               New   World   Records,   701  7th  Ave.,  NYC  NY,
               10036-1596
               http://tomvarnermusic.com
               newworldrecords@erols.com

               Tom  Vaner's  interpretations  from that rich mine
               that  is  American  Music is, quite simply, one of
               the  most  ear-opening  and  singular recordings I
               have  heard  in  too  long. The Missouri-bred horn
               player looks out over two centuries of diverse and
               inspiring  cre  ation.  He  chooses  to take great
               liberty with some of the most hallowed themes from
               the  land  of  liberty,  like  drunken,  faltering
               deconstruction  of  "When  The  Saints Go Marching
               In."  But  for anyone having strolled down Bourbon
               street that this version, whic h begins strong and
               "straight" to end a bleary recollection is closest
               to  the  spirit  of New Orleans. Partitioning this
               recording  into  a  beginning  and  an  end is two
               classic,  country  chestnuts  given  a  compelling
               voice  by  Thirsty  Dave  Hansen, the title trac k
               (George  Jones)  and then Hank Williams' "Ramblin'
               Man."  Before  "The  Window  Up Above" is a single
               track,  a  treatment  of the Revolutionary War-era
               "Stone  Grinds  All."  This  lone  song (largely a
               fiddle   solo  by  Mark  Feldman)  expresses  both
               Varner's  plain  lov  e  for  this  music  and the
               ability  to  throw in stunning jazz treatment from
               the   horn.   Between   Jones   and  Williams  are
               spirituals, a weeping "Over The Rainbow," Gershwin
               and more. After Williams are three more spirituals
               and  two  interesting additions to the collection.
               First,   Bruce  Springsteen's  "With  Every  Wish"
               'sung'  as  all but Hansen's contributions are, by
               the  horn  with  all  the necessary gospel-soul to
               contain  it  in  the greater picture. This is also
               where  we find the one original, "The Best Thing,"
               an expansive summary by the horn, encompassing the
               sounds  of America, especially jazz, and upheld by
               double bass and percussion treatments. (5)



               The Cardigans
               GRAN TURISMO
               Mercury Records

               "Paralyzed"  opens  The  Cardigans new album, GRAN
               TURISMO  and confronts the listener with bliss and
               blasts.  As  poetical metaphor for being 'crazy in
               love,'  this  fusion of smooth pop tones and surly
               cacophony  is  an  apt combination. "This is where
               you  sanity  ends/and  love begins" says the song.
               The  sweet,  mellifluous  portion here is courtesy
               vocalist  Nina Persson, a Swedish Blondie, and the
               harsh  side from guitarist Peter Svensson, a Craig
               Scanlon  (The  Fall)  for  our  usually  spineless
               'modern  rock.'  Svennson  writes  all  the  music
               melodies, though the fact that these unforgettable
               combinations  of  the  dulcet and dissonant is, at
               time,   hard  to  believe.  Persson  contributes a
               seducing voice; tender and touching. Persson wrote
               most  of the lyrics, so it is to be ex pected that
               she  delivers  each song as a personal confession.
               The   Cardigans   made   their  name  global  with
               memorable   pop   melodies   produced  on  vintage
               equipment  and  now  they  up  the ante with slow,
               programmed  percussion for guitar-based beat music
               led by Perss on. While the production is decidedly
               more  modern,  there  is  still  a pleasant fur of
               warm,  nostalgic  hiss enveloping each track. That
               is  because  The Cardigans' formula is about tunes
               that move you and also present a tangible texture,
               songs  that  massage  th  e  soul with a vigorous,
               knitted rub. (4)



               Friendly Rich
               MUSIC FOR RETARDED CHILDREN VOL. 1
               Scabba Studios, 16 Peachwood Pl., Bramalea ON, L6S
               3Y9
               http://www.scabba.com
               friendlyrich@hotmail.com

               Friendly  Rich  has  a  predilection for innocuous
               keyboard  ditties  and  samples  from  movies  and
               captured  conversation. The over-all effect is the
               inside  joke  of  dweeb  production  by dweebs for
               dweebs.  It  comes  as no surprise that dweebs are
               featured  prominent  ly  on  the artwork. MUSIC is
               fifty  minutes  of home-produced goofiness that is
               noteworthy    for    its   unabashed   immaturity,
               simplicity  and  weak sense of humor. Undoubtedly,
               then,  Friendly  Rich is destined to become a cult
               hit of great longevity. (2)



               The Gone Orchestra
               NO PRICE TOO HIGH
               Gone@kspace.com
               http://www.kspace.com/gone

               The  eleven-member  Gone  Orchestra  of  Portland,
               Oregon  provides  the  listener with a fascinating
               mix   of  improvised  instrumentals  and  singular
               arrangements of thirties-era jazz and blues songs.
               Jamie   Price   sings   these  songs  sweetly  and
               delicately.  This svelt e brunette is posed in the
               booklet clad in a flapper's apparel, smiling wanly
               and  clutching  herself  in  a manner that appears
               pensive.  She delivers three songs on the ten-song
               release.  They are the playful "Miss Brown to You"
               (A  musical  piece  by Robin/Whi ting/Rainger), an
               oddly  charming  "Honeysuckle  Rose" (Fats Walker)
               backed  by  piano  and  theremin,  brass and other
               squelching     electronics,     and     "Solitude"
               (Ellington). It is in the piano-backed "Solitude,"
               much of which is largely uncluttered and marked by
               a  languid  tempo, that Ms. Price seems to take on
               the  song with most honey-voiced, melancholy ease.
               The  album, improvisations and songs, is marked by
               the  inclusion  of such quirky tone-benders as the
               theremin  and  vibraband. The Gone Orchestra comes
               across  a  s the soundtrack to a sci-fi speakeasy.
               Looking  both  backward and outward, they are most
               definitely   "gone."   Thus,  The  Gone  Orchestra
               presents  two  different faces, one that bears the
               voice  of  Ms.  Price and one that is an amorphous
               collective  improvisation of rock combo, trombone,
               bassoon,  theremin,  trumpet,  samples  and  more.
               (3.5)



               The Metalunas
               X-MINUS-ONE
               American  Pop  Project,  POB  2271, San Rafael CA,
               94912
               http://www.infoasis.com/people/ampop/amp.html

               One may not identify the snowy shores of Canada as
               home to much surfing, let alone surf music, but it
               is the home to surf guitarist Mark Brodie. He made
               a  name for himself in Beaver Patrol before taking
               surf   sounds   to   Japan  where  he  formed  The
               Saboteurs.  Back  now  in  The  Great White North,
               Brodie  put  together  The  Metalunas  to fuse the
               sound  of 40s and 50s science fiction radio dramas
               to  instrumental surf guitar. Theme-enancing sound
               bites  for  this  golden  age of radio theater are
               sampled  and  imitated in t his story of antennaed
               aliens with Beatle-doos. All but three of the cuts
               are  originals  with  one  of  the  covers being a
               particularly  damp  rendition  of  "Twilight City"
               (The Vulcanes). While the line-up is a trio led by
               Brodies reverb-drenched guitar, the s ound on this
               album is thickened by allowing Brodie to accompany
               the group on Farfisa organ. (3.5)



               Mary Jane Leach
               ARIADNE'S LAMENT
               New World Records, 701 7th Ave., NYC NY, 10036-1596
               newworldrecords@erols.com

               Drawing clear inspiration from the medieval choral
               traditions   that   grew   out   of  the  resonant
               cathedrals of Europe, Mary Jane Leach arranges for
               voices  pieces  that  sound  both holy and exotic.
               Calling  on  the  nine-member  all-female New York
               Treble  Singers  an  d  the Cassatt String Quartet
               (resident  Quartet  for New York's "Bang on a Can"
               Festival"),  "O  Magni  Vasti  Creta"  is stunning
               opening for the disc. Waves of harmonization, tone
               color  from  the  strings  and  angelic  solos are
               encountered in the nine-minute pie ce. The piece's
               half-dozen refrains are in ancient Cretan, Italian
               and  Greek. Thus Leach reaches into her toolbox of
               the  antiquities for phrases and verses of fitting
               content  and tonality. The album also contains one
               instrumental.  "Windjammer" is a langu id rhapsody
               of   incomplete,   suggested   themes   shared  in
               conversation  between  oboe, clarinet and bassoon.
               Leach  began  her  work as a composer accompanying
               herself  to  an eight-track recorder. She revisits
               this  technique  with  magical  effect  in "Tricky
               Pan."  Ta  king  its  lyrics  from  sources in the
               1300s,  this  is a piece for solo countertenor and
               tape  beautifully  executed  by David Lee Echelard
               (The  Blue  Heron  Consort).  This  work, actually
               pieced  together  from  recordings made 1993-1997,
               builds  on  layers  of  sadness to he title track,
               Ariadne's  wailing  in  the round from Monteverdi,
               and  the  closes with Leach's own work on the same
               theme,  "Song  of Sorrows," a powerful hymn of the
               forsaken    majestically    performed    by    the
               thirty-plus-member  mixed Rooke Chapel Choir.(4.5)



               Missing Persons
               LATE NIGHTS EARLY DAYS
               Designer    Fruit/Sumthing    Distribution,   1650
               Broadway #1201, NYC NY, 10019
               http://www.sumthing.com

               In  one  of  the  more surreal comings together of
               music  history,  1980  saw four Frank Zappa alumni
               join   with  keyboardist  Chuck  Wild  in  forming
               Missing  Persons.  The  other  members are drummer
               extraordinaire  Terry  Bozzio,  his wife Dale (who
               says  the  words "Warr en Cuccurullo" in "Catholic
               Girlz"),  current  Duran  Duran  guitarist  Warren
               Cuccurullo  bassist  Patrick  O'Hearn.  More indie
               than  most  indie  bands  today,  this group wrote
               their  own  songs,  designed  their  own  clothes,
               booked  their  own shows, promoted their own debut
               release and built their own stages. This hard work
               paid  off,  along  with  the fact that they wholly
               bought  into  the  80s  pop  of  keyboards, simple
               melodies  and big hair. You know that vixen singer
               Dale  Bozzio  knows  what boys want, but you won't
               hear  t  hat song here. Instead this collection of
               1981  live material contains other signature tunes
               such  as  "Destination Unknown," "Walkin' in L.A."
               and   a  unique,  over  the  top,  pop-psychedelic
               version  of the Doors' "Hello I Love You." This is
               also the part of th e set where Dale starts ending
               more   and   more   lines   high-pitched   squeaks
               culminating  in  "Walkin'  in L.A." This important
               document of 80s pop proves that modern rock is 80s
               nostalgia  minus  the  keyboards.  The  album also
               contains  a  previously  unreleased 1980 demo song
               entitled  "Action Reaction," the heaviest thing on
               this  record. Paraphrasing Solomon, this song says
               "you might think its new, but its not." (4)



               Dusty Springfield
               STAY AWHILE: I ONLY WANT TO BE WITH YOU
               Mercury/Chronicles

               English  pop  singer  and Nashville recording star
               Dusty  Springfield  was  a human jukebox in an era
               when  talented  voices  were used to incarnate the
               songs  of  hit  factories. Dusty wrote very little
               material  for her albums and had little to do with
               the    vocal    arrangements   on   the   numerous
               contributions.  Still,  her  technique  and  style
               cause  much  of  her output to ascend to memorable
               heights.  Five of her albums are reissued on to CD
               by  Mercury's Chronicles imprint. Each contains an
               album  of  about  one  half an hour in length with
               three   bonus   tracks   each.  Foremost  in  this
               collection is STAY AWHILE (July 1964). STAY AWHILE
               opens  with  the "I Only Want to be With You," and
               includes  other  Motown-era songs that are typical
               of the era's production and are delivered cheerily
               and  with  female  backing  vocals.  These  pieces
               include  "Mama  Said,"  When  the Lovelight Starts
               Shining  Through  His  Eyes," "Wishin' and Hopin'"
               (Bacharach/David,  all  but  one  of  these albums
               has  one)  and  the  saxophone-fueled  bonus track
               "Standing  in  the  Need of Love." More compelling
               and along the lines of blue-eyed soul is "Will You
               Love  Me Tomorrow" and "You Don't Own Me." Also in
               this   series   is  DUSTY  (October  1964)  with a
               gospel-strong   "Can   I   Get   A   Witness"  and
               OOOOOOWEEEE!  (March  1965)  which  leans  on  her
               natural  charms  for  a set of songs of unrequited
               love  and  promising  pronouncements like the pair
               "I'll  Love You for a While" and "I Wanna Make You
               Happy."  YOU DON'T HAVE TO SAY YOU LOVE ME has, of
               course  a strong title track majestically preceded
               by horns and chorus. Also on the eclectic album is
               a vivacious rendition of "La Bamba" and the simply
               arranged,  bluesy  "I  Had  a  Talk  With my Man."
               Finally,  THE LOOK OF LOVE (December 1967) returns
               to  the  same approach as OOOOOOWEEEE!, but with a
               more  mature  and  sensual  approach. (STAY 4, THE
               LOOK 3.5, all others 3)



               Fred Frith Guitar Quartet
               UPBEAT
               Distribution  Ambiances Magnetiques Etcetera, 4580
               avenue de Lorimer, Montreal QC, H2H 2B5, Canada
               Dame_cd@cam.org
               http://www.cam.org/~dame_cd/

               The  four  guitarists  in  the  Fred  Frith Guitar
               Quartet are not about the synergistic effects of a
               riffing  guitar  army, instead they are about tone
               texture,  unexpected  counterpoint and dissonance.
               These  four electric guitars run the gamut of what
               is  possible  with  the  instrument  and  then, by
               group  association,  take  it to the fourth power.
               The  project  has been quietly at work for a solid
               decade  and  celebrates  that ten-year association
               with  this  collection of live material from their
               1997 European tour. Since his days with Henry Cow,
               Frith  has, like Robert Fripp, Snakefinger or Mike
               Keneally,   advanced  the  guitar  as  a  tool  of
               stunning  improvisation  and  experimentation. The
               tracks     are     angular,    mathematical    and
               extemporaneous.    Selections    represent   group
               performance,   and   solo   showcases   from  each
               member.    Fred    is   exhibited   in   a   12:38
               "Antaeus/Rosali's  Song." Beginning with a slowing
               oscillation  between  bass  and high end plucking,
               the  piece  has a middle section of electronic hum
               before  a  syncopated  solo  is  patched  in  from
               another venue. "Rosali's Song" is a gentle melody,
               almost  Nashville,  that  continues the introduced
               theme  of  alternating  notes  widely separated by
               octaves. From Nick Didkovsky we get "Stinky Eye/To
               Laugh  Uncleanly  at  the  Nurse" another study in
               contrasts, this piece features Oriental, Koto-like
               stylings  with  highly distorted guitar. From Rene
               Lussier  there is "Tour de Suite" an unpredictable
               tour  of the fretboard that recalls Michael Hedges
               but  with  more  seriousness.  The  final  member,
               Mark  Stewart  steps  out  on  "Speedy  Feety" for
               quickly  paced  runs  that quote "Hot Rod Lincoln"
               and more. (4.5)

               Astor   Piazzolla  /  Thomas  Fortmann  (Accademia
               Amiata Ensemble)
               TANGO CATOLICO
               Amiata Records, Villa Gaia, I-58038 Seggiano (Gr),
               Italy
               http://www.amiata.media.it
               amiata.records@agora.stm.it

               The tango compositions, impressionistic extensions
               of  the  art,  by  Astor Piazzolla (Argentina) and
               Thomas  Fortmann  (Switzerland)  are mixed here to
               wondrous   effect.  Actually,  two  of  Fortmann's
               compositions  bookend seven pieces from Piazzolla.
               The  first  piece,  is  the  eighteen-and-one-half
               minutes  title track by Fortmann. Strings, sad and
               plaintive,  are  supported  by cello in this piece
               for string quartet. The quartet here is the Tirana
               String  Quartet.  The  coda  is  a  bit  of Weimar
               Germany  sung  auf  Deutsche by Bruno Ferrari. The
               first  piece  from Piazzolla is one of my personal
               favorites,  "Libertango,"  wherein a running piano
               rhythm is the foundation for an enlarging, freeing
               melody   for   the   two  saxophones.  The  Tuscan
               Academia   Amiata   Ensemble  comprised  of  three
               award-winning  instrumental  soloists on piano and
               two  Saxes performs these Piazzolla pieces. Toward
               the end, the piano breaks from into the liberty of
               a  succinctly stated, but sweetly composed melody.
               A  somber  contrast  is  provided by the following
               wind     instrument     reflection,    "Oblivion."
               Piazzolla's  "Adios  Nonino"  is  so  lyrical  and
               mellifluous  as  to one of those rare instrumental
               pieces  that  summons  a humming audience with the
               strength  of  an infectious song. "Close Your Eyes
               And  Listen" is another Piazzolla piece that is so
               compelling and emotionally powerful as to need not
               a  single  syllable to express the most tender and
               sincere  of human feeling. Soprano saxophone leaps
               are featured in the final, Fortmann piece as Steve
               Potts  joins  the  Ensemble  in  the Stravinskian,
               twelve-tone   "Catholic   Blues."  Notes  to  this
               recording are in Italian, English and German.



               Dave Douglas
               CONVERGENCE
               Soul Note/EuroJazz

               Trumpeter  Dave  Douglas  continues to converge on
               excellence  with the same quintet that appeared on
               his first major work, PARALLEL WORLDS (Soul Note).
               The unusual fusion of a trumpet-led jazz trio with
               violin  and  cello allows for fascinating, dynamic
               encounters  of timbre. These meetings can take the
               shape of conflict and resolution as in "Joe's Auto
               Glass"  or  exquisite  sonic cooperation as in the
               somberly  reflective  "Tzotzil  Maya." This piece,
               written  for  the  indigenous  peoples of Chiapas,
               Mexico,  is  a  reflection  and  reaction  of  the
               December   1997   Acteal   massacre.   "Collateral
               Damage"  is a requiem and well. Humanely dedicated
               to  the  tragic  losses on both sides, "Collateral
               Damage"  is  another island of quietude. Following
               it  is  the  rambunctious race between trumpet and
               violin  "Goodbye  Tony"  in  remembrance  of  Tony
               Williams.  Preceding  it  is a suite of four short
               pieces  entitled  "Border Stories," Fragmented and
               skeletal,  these  sparse  bits largely feature the
               cello  and  trumpet  sharing  the  primary role in
               front  of  a  background  of  edgy  percussion and
               pizzicato.   The   presence  of  pieces  by  Weill
               ("Bilbao Song") and Messaien ("Desseins Eterenls,"
               from  an organ work) made lead one to believe this
               is  "chamber  jazz," but what Douglas is promoting
               is  a  modern  jazz  vision with traditional roots
               that   are  more  jazz  than  classical  and  more
               impressionistic than symphonic. (4.5)



               Various Artists
               MOVIE KILLERS
               Telstar

               Filmmaker  Quentin  Tarantino  has  remarked  that
               going   through  his  personal  record  collection
               looking for good songs is an important part of his
               creation process. Consequently, each of his movies
               has included excellent soundtracks, so it comes as
               no  surprise  that  a half-dozen extracts from his
               films Pulp Fiction and Reservoir Dogs are included
               in this twenty-track compendium of "20 direct hits
               from  cult  movies."  Who having seen Pulp Fiction
               can  forget  when  Uma  Thurman  puts on "Son of a
               Preacher  Man."?  Such  moments  are  ready  to be
               relived  or  imagined on MOVIE KILERS. While these
               "cult  movies"  tend to be from some hardly hidden
               productions (Casino, Trainspotting, Carlito's Way,
               etc.).  Whether  or  not  the  movies are strictly
               "cult"  the  collection  of  songs  is noteworthy,
               regardless  of  how  the  context is defined. Such
               exceptional   moments   are   made   by  the  cool
               confidence  of  Nina Simone 'starring in' "Feeling
               Good"  (Assassin),  the  forward flirtation of The
               Staple Singers 'in' "I'll Take You There" (Casino)
               and  the  smug hipness of Ramsey Lewis 'in' a live
               recording  of  "The  'In'  Crowd"  (Casino).  Some
               composers  noted for writing directly for film are
               represented,   like   Lalo   Schifrin   ("Mission:
               Impossible") and David Lynch's Angelo Badalamentti
               ("Laura's  Theme  (Instrumental)" from Twin Peaks.
               So,  cult or not, this crowd of cuts 'in' films is
               solid entertainment in rock, jazz, blues and more.
               (4)



               The Streetwalkin' Cheetahs
               LIVE ON KXLU
               Triple X
               http://www.members@aol.com/aytab/cheetah.hmtl

               The  Streetwalkin' Cheetahs of California are keep
               the  Motor  City punk tradition alive and well out
               in  the  environs  of  Los Angeles. Some time back
               when  I saw them on the stage of a West Coast dive
               I  saw  the  spirit  of  Detroit  rock at its most
               self-destructive,  i.e.  Iggy Pop in METALLIC K.O.
               and  The  MC5  KICK  OUT  THE  JAMS.  LIVE ON KXLU
               captures  that  energy  spiraling  out  of control
               through  original  songs  that  channel  the  same
               demons and nods to the masters on "Looking At You"
               (MC5)  and  "Funhouse"  (Stooges). Solid, Cheetahs
               originals  like  the visceral opener "None of Your
               Business"  and  the  singular anguish of hard rock
               love  unrequited  in "Durango" proves the Cheetahs
               to be true members of the pack. They are adding to
               the  genre, not merely celebrating it. All this is
               synthesized   in   "Motor  City  Rock  n  Roll," a
               Streetwalkin'  manifesto  of "punk rock and soul."
               Punk and soul also in that this group likes to get
               down  with  a saxophone. Vince Meghourni joins the
               group  on  just  that  instrument  on the last two
               tracks.  All  this  activity  is  bound to get the
               attention  of  icons  themselves,  and appended to
               this blistering, 12-song live set are three studio
               cuts produced by MC5 guitarist Wayne Kramer (Dodge
               Main,  etc.).  Historian  of punk Legs McNeil pens
               the  liner notes for these inductees into American
               punk  royalty,  worthy of the crowns shared by the
               Stooges, Dead Boys, etc. (3)



               The Saexophones
               FROM GESUALDO TO STING
               Amiata Records
               http://www.amiata.media.it
               amiata.records@agora.smt.it

               The  Saexophones are a sax quartet formed in 1988.
               The  group  covers  the  sonic  ranges through the
               instrumentation of the high-end soprano saxophone,
               the   seldom-heard   contralto,  the  tenor  and a
               foundation  of  baritone sax. The Saexophones take
               their unique interpretations to the masses through
               regular  appearances  with European orchestras. On
               this  recording,  an  overview of popular music is
               taken  from  C.  Gesualdo d'Venosa (popular in the
               late  16th  Century) to Sting (popular in the late
               20th  Century).  The arrangements are conservative
               and   light,  almost  airy.  Pieces  are  arranged
               chronologically  on this disc, from the late 1500s
               to  today.  Often,  only an identifying theme from
               the  original  work  is provided, as in Gervaise's
               jolly Bransle Gay and Praetorius' similarly bouncy
               Courante  and  Springdance.  Given  somewhat  more
               attention  are the Classical icons Bach (Bourrees,
               one  of  the  most  intricate pieces here), Mozart
               (the   pastoral   Andante   from   K138)  and  the
               "Hitchcock theme" "Marcia funebre d'una Marionetta
               (Funeral  March  of a Marionette"). Faure's Pavane
               Op.  50  and  Gershwin's "Visit" are two excellent
               keyboard  melodies  presented  by The Saexophones.
               Bits from three dances by Shostakovich from Dances
               of  the  Dolls are also here. The inimitable Astor
               Piazzolla  sees  his  imaginative accordion melody
               "Night  Club" translated into the brass arena. The
               modern  song  also  is  adapted  well.  The chosen
               examples  are  the very emotional "Yesterday" (The
               Beatles)  and  Sting's "Moon Over Bourbon Street."
               Notes are in English, French and Italian. (4.5)



               Andrea Parkins
               SLIPPAGE
               Knitting Factory, 74 Leonard St., NYC NY, 10013
               http://www.knitting factory.com

               Andrea Parkins is an accordion witch. She has used
               her  cataclysmic  magic  in  association with John
               Zorn,  Jim  Black and others of the modern No Wave
               pantheon.  Her  cohorts  on  SLIPPAGE  are Briggan
               Krauss  on  clarinet  as well as alto and baritone
               saxophones    along   with   percussionist   Kenny
               Wollesen.  Sometimes  Krauss sputters spastic free
               jazz runs of notes while Parkins furious works the
               accordion  as  in  "Early TV." Sometimes the three
               lock in to heavy groove as in the grand fantasy on
               "Row,   Row,   Row   Your  Boat"  entitled  "Local
               Cosmography."    At    times    playing   to   the
               accompaniment of a sampler, Andrea sometimes frees
               a  hand  and  plays  a bit of piano, too. On "Lost
               Lure,"  the  album's  most  sparse  selection, she
               provides  a  segmented  keyboard melody sonorously
               backed  by  low-end  horn.  SLIPPAGE  is a raucous
               ride  of  avant-jazz performed by a trio sometimes
               fused  and  directed,  sometimes reckless in their
               wild   abandon.  The  result,  as  it  slips  from
               control  to  chaos,  is a memorable episodic trip.
               (3.5)



               Maggie Sansone
               A TRAVELER'S DREAM: CELTIC EXPLORATIONS
               Maggie's Music, POB 4144, Annapolis MD, 21403
               http://www.maggiesmusic.com
               mail@maggiesmusic.com

               Master  of  the  hammered dulcimer and mistress of
               the Maggie's Music label, Maggie Sansone proves on
               CELTIC  EXPLORATIONS,  her  sixth solo album, that
               this head of a largely traditional Celtic label is
               one   of  the  roster's  most  expansive  artists.
               Sansone   reaches   out  both  geographically  and
               musically. The music of Ireland, Scotland, Sweden,
               Northumberland  (England) and Cape Breton (Canada)
               are  encountered in this Gaelic travelogue. Sweden
               is  a  largely unrecognized trove of Celtic sounds
               chooses  to introduce the listener to "Bjorndansen
               (Bear  Dance)." Surprisingly, this is a very light
               and   airy  piece  played  on  dulcimer,  acoustic
               guitar,  clarinet  and  supporting  instruments. I
               guess  they  have  very  delicate, nimble bears in
               Scandinavia.  Canada's  Cape  Breton  is  a region
               known  for  its  fiddle  virtuosos.  Award-winning
               fiddler  Bonnie  Rideout steps in two showcase the
               set  of  "Gaelic Reels" that are also arranged for
               hammered  dulcimer,  soprano saxophone, accordion,
               bamboo   flute,  clarinets,  acoustic  guitar  and
               Celtic   and   East   Indian  percussion.  Sansone
               contributes  a  pair  of  original  tunes.  One of
               which,  "Samhain Set: All Hallow's Eve/The Seeker"
               is a magical and mysterious piece where a mournful
               harmony  from  bass  clarinet  supports the sylvan
               bamboo  flute and the sorcerous E-Bow, a hand-held
               electronic  device  that  produces  a bowed string
               effect.  Each  track  is patiently and beautifully
               developed  incorporating skill and tradition in an
               immensely  memorable  treatment  of  these ancient
               styles. (4.5)



               Epperley
               SOPHMORE SLUMP
               Triple X, Box 862529, LA CA, 90086-2529
               http://www.triple-x.com

               I  have  been  a  closet  pop  rock  fan since the
               "modern  rock" of the 90s managed to both make the
               rock  of  the  70s  sound dated while itself being
               devoid  of  melody and shallow. What is left for a
               rock  fan  to hear? Not much, except when an album
               like  Epperly's  SOPHOMORE  SLUMP  arrives  on the
               scene.   SLUMP   contains   cheery,  upbeat  lines
               delivered  with  a Pixies guitar sound. Instead of
               drowning  in  80s  nostalgia,  Epperley is solidly
               rooted  in  today,  aware  of  the  past  but  not
               overawed.   In   "You're   So   1988"   the   band
               announces,  out  of frustration, "It's something I
               hate  / You're so 1988  If I could only wish, I'd
               make  you  rock  harder." And rock harder they do,
               while  still  being  more  joyous than serious. In
               "She's  A  Marine"  Epperley reminds us you can be
               un-PC  and honest and still be more fun than rude.
               Epperley  songs  boast hooks and the band can even
               occasionally  play without distortion. Tracks like
               "Crystal"  and  "Breakups and Shakeups" ring truer
               then any chart-topper today.



               Various Artists
               UNITED STATES OF PUNK
               Music Club

               In  my  day  job,  I sit across from a fellow name
               Adam  who is in a band named Elemental Groove. The
               other  day we got into a discussion about bands we
               liked  with heavy, distorted guitars. Then he told
               me that he was choosing a Sex Pistols cover for an
               upcoming  show. Somehow, this all did not sit well
               in my mind. Then, listening to this compilation, I
               hit  upon  it. The Dead Boys' "Sonic Reducer" is a
               real  punk  rock  song, with the emphasis on rock.
               The  Sex Pistols is punk too, but watching footage
               of  English  punks pogoing up and down to "Anarchy
               in  the  UK"  makes  me  think  more of a dress-up
               birthday  game for kids then the faster and louder
               American  punk.  This  brings  me  to  "Faster and
               Louder"   by   the  Dictators.  Included  in  this
               compilation, it is the live track that I suggested
               he  cover.  Even  Devo "Mongoloid" is heavier than
               anything  on  NEVER  MIND  THE  BULLOCKS.  But, is
               Devo punk? Suicide's chestnut "Rocket USA" is also
               here,        but        I        think       those
               guitar-and-programmed-beats    groups   are   more
               seminal  for  industrial  and  No  Wave than punk.
               Whereas  the  Pistols-led punk movement of England
               has  a  'hate-love'  relationship  with pop music,
               American punk is largely a subculture of 70s rock.
               This collection also includes demo versions, "Judy
               is a Punk" (Ramones), "Mongoloid," "Might he I.D."
               (DMZ)   and   live  tracks  from  New  York  Dolls
               ("Personality  Crisis"), Johnny Thunders ("Chinese
               Rocks"), Flipper ("Ha Ha Ha") and Bad Brains ("Pay
               to   Cum").  Also  here  is  Richard  Hell  &  The
               Voidoids, Real Kids, Weirdos, Zeros, Dead Kennedys
               and Misfits. (3.5)



               Kim Carnes
               THE MISTAKEN IDENTITY COLLECTION
               Razor  &  Tie,  214  Sullivan  St.  #4A,  NYC  NY,
               10012-1354
               http://www.razorandtie.com

               Kim  Carnes  formed  her  style  on  the folk-rock
               circuit,  where  a  dulcet, technical pop voice is
               not  required. Her husky, full voice signifies for
               me early 80s radio and is still unforgettable. The
               sixteen-song   collection  starts  with  her  1981
               single "Bette Davis Eyes." This song's initiated a
               string of hits that kept her on the world's charts
               through  1986.  I  always  thought she should do a
               duet with Rod Stewart, their voices are remarkably
               suited.  As far as I know this never happened, but
               there  is  here  a duet with Kenny Rogers, another
               gravel-voiced  legend.  This  is  a  sparse, piano
               introduced  ballad  from  Rogers'  1980  GIDEON, a
               concept  album on a modern cowboy. Basically, this
               collection  is  an  album  reissue  with six bonus
               tracks   The   MISTAKEN   IDENTITY   (1981)  album
               contributes   the   first  ten  tracks  of  bouncy
               synth-pop  such as its title track and "Don't Call
               it   Love."   Other   songs,   like  the  acoustic
               guitar-led "When I'm Away From You," the hard-rock
               "Break  the  Rules Tonite (Out of School)" and the
               piano  and  mandolin  lament  "My Old Pals" expose
               different  facets  of  this pop talent. Kim Carnes
               drew  on  resources  of  country and folk to bring
               grace and individuality to the 80s charts. (3)



               Wendy Mae Chambers
               122
               New   World   Records,   701  7th  Ave.,  NYC  NY,
               10036-1596

               American  composer  Wendy Mae Chambers likes to do
               things  big.  Her  1993  Mass  for  Mass Trombones
               featured  77 of the horns and 1989 Symphony of the
               Universe required one hundred timpani, among other
               instruments.  She  has  several other compositions
               with  numerous  instances  of  an instrument along
               with  such  unexpected appearances as automobiles,
               TVs,  crib toys and vacuum cleaners. That love for
               grand  percussion  comes  across  in a more varied
               arrangement    executed    here    by    a   dozen
               percussionists.   Drums,  mallet  instruments  and
               other  percussion bounds, slithers and clangs with
               such  odd  cameos  as a hand cranked siren. Eleven
               parts  comprise  the  whole  and  each has its own
               flavor.  In  "Hoodoo  Root  Doctor"  a suspenseful
               clock-like  rhythm is mated with what could be the
               knocking   of   bones.   This  goes  along  with a
               general theme of ecstatic and pagan rites that can
               be  imagined  in  subtropical  jungle clearings or
               behind  closed  New  Orleans  doors. For instance,
               Wild  Ride  is  a  direct  reference  to bizarrely
               costumed  Fat Tuesday riders that act as a prelude
               to  Mardi  Gras.  The  chime  sounds  of  implicit
               magic  radiate  from  "Shango,"  a piece about the
               "master   for   magic."   A   night  charged  with
               expectancy  and  the  judgement  of  fate  and the
               poignant   stress  of  prolonged  silence  is  the
               setting  given  to "corpselike woman" seer "Manman
               Brigitte."   Chambers'   work   is   powerful  and
               fantastic,  a  singular and memorable adventure of
               sorcerous rhythms. (4.5)



               The Mulchmen
               GREETINGS FROM PLANET STUPIDER
               Big Beef Records, POB 303 WBB, Dayton OH, 45409
               Mulch@bigbeef.com
               http://www.bigbeef.com

               In  my  flightbook, your best bet for guitar-based
               entertainment  is  most  often  instrumental  rock
               regardless  of  the planet of origin. The Mulchmen
               surf  from  the  top  of  a  compost  heap of rock
               history  that  penetrates  the stratosphere. Solid
               throughout,  The  Mulchmen's peat-genius is at its
               most  pungent  in tracks like the ominous, andante
               surf  of "Backscratcher." It is also apparent from
               a  listening  here  why  the group has fit just as
               well  opening  for  such  acts as surf legends Los
               Straitjackets  and  rockabilly  guitar  god Ronnie
               Dawson.  The  Mulchmen  are about the primacy of a
               succinct,  clever  guitar  melody  traversing  the
               middle-  and  low-ends over a reliable march beat.
               Like another band they have shared the stage with,
               ManOr  Astroman?, the Mulchers feel the allure of
               space   references   through  simple  effects  and
               reverb.   On  "Delta  Velocity"  the  employ  this
               approach  while  incorporating  a Western feel and
               theremin  in  their  patented  unrushed tempo. The
               power  trio  opts  for  a  two-guitar  approach on
               "Ripchord."  Put  it  all together and you have an
               instro-rock  band  that  owes as much to Link Wray
               and  Duane  Eddy  as  they do to Dick Dale. On the
               final  track  we  get  to hear "Dr. Cyclops/Danger
               Todd  Robinson,"  the two-part scorch-relax-scorch
               show  closer  that  only  the  live audiences have
               previously   been  privy  to.  Compared  to  prior
               releases,  GREETINGS  is an excellent synthesis of
               The Mulchmen's fertile blend. (3.5)



               I'm Being Good
               POISONOUS LIFE
               Infinite  Chug, 14 Worcester Close, Langdon Hills,
               Essex, SS16 6TW, United Kingdom
               Inchug@hotmail.com
               http://www.inchug.force9.co.uk

               The  seemingly harmless phrase "I'm being good" is
               pregnant  with  the  impending misdeed. Similarly,
               the  band I'm Being Good lulls the listener into a
               defenseless torpor before exploding with sound and
               fury.  The  main  elements  in  this maelstrom are
               drums and guitar. At least one horn strikes at the
               ripe moment, as does a cheap keyboard. Most of the
               pieces are instrumental. If I'm Being Good were in
               American   they   would   probably  be  signed  to
               Skingraft. (3)



               Diane Labrosse / Ikue Moir / Martin Tetreault
               ILE BIZARRE
               Distribution  Ambiances Magnetiques Etcetera, 4580
               avenue de Lorimer, Montreal QC, H2H 2B5, Canada
               Dame_cd@cam.org
               http://www.cam.org/~dame_cd/

               Labrosse,  Mori and Tetreault combine a variety of
               metallic   percussion  and  electronic  sounds  in
               ragged,  monstrous  rhythms  that seem a jumble of
               both  industry  and  technology  referents.  These
               gritty  collages  are  a  sonic  junkyard of robot
               assemblers  gone  awry and computer death rattles.
               These  pieces tend to be not so much unsettling as
               eerie  and  dislocated.  Hearing ILE BIZARRE is to
               take  an audio ride holding the turbulent reins of
               chaos. (4)




               John McEntire
               MUSIC FROM THE MOTION PICTURE REACH THE ROCK
               Hefty  Records, 1658 N Milwaukee #287, Chicago IL,
               60647
               http://www.heftyrecords.com
               hefty@heftyrecords.com

               Drummer  and  composer  John McEntire's (Tortoise,
               The  Sea  and  Cake)  exquisite score for the John
               Hughes  film  Reach  The  Rock  is  of beautifully
               crafted  textured  instrumental  music  for  which
               McEntire  did  all  programming as well as playing
               all   bass,   guitar   and  keyboard  parts.  Also
               collected are five songs by like-minded bands. One
               such  group is Tortoise and their guitar, bass and
               percussion rumination "In A Thimble" leads off the
               album.  This  takes  us into McEntire's incidental
               music  such  as "Criminal Record." This piece is a
               study  in implications; implied angelic chorus and
               implied  techno DJ effects. We are suggested their
               uplifting    harmonies   and   the   DJ's   analog
               turntable   without   really  hearing  it.  Beside
               Tortoise, there are two other Thrilljockey artists
               present  on this recording. Bundy K. Brown and The
               Sea  and Cake frame the central piece here, "Quinn
               Goes  to Town." "Quinn" is another fine example of
               McEntire's  finesse  for combining such a kit drum
               rhythm  with  such  percussive effects as guido or
               shekere   sounds   and   the  tone  coloring  of a
               metallic,  electronic ebb and flow. Then comes Sea
               and  Cake  with  the  only lyrics on the album. "I
               hardly  could  stay  awake/the  window lies mostly
               open."  Certainly  one could be in the Dream State
               by now, and McEntire's compositions and recordings
               of  these sound shapers is a ready springboard for
               vivid,  if languid, fantasies. Polvo contributes a
               solo piano piece that while tranquil sounds almost
               jarring  for the percussive mechanics if offers in
               the pleasant caress of this soundtrack. McEntire's
               "The  Kiss"  in  the  later  third of the album is
               percussion,  crisp  guitar  and a very warm double
               bass  that  sings  a  sonorous  melody  before the
               piece's   sudden  ending.  McEntire's  genius  for
               arranging  and  recording  mood  setting  music is
               replete throughout this album. (4)



               50 Tons of Black Terror
               DEMETER
               Beggars Banquet, 580 Broadway #1004, NYC NY, 10012
               http://www.beggars.com

               Demeter  was  the  Greek  goddess  of agriculture,
               marriage  and  fertility.  Don't  let  such homely
               associations  let  you expect a cover of "Going to
               the Chapel" here. 50 Tons is about agriculture the
               way  Children  of  the  Corn  is.  Before Cain the
               agriculturist  killed Abel the butcher have gotten
               pumped  up listening to DEMETER. Marriage? 50 Tons
               of Black Terror is about the marriage of the Jesus
               Lizard  and  Birthday Party. Their sound is brutal
               and  undeniable  as  in  the  peeping tom's lament
               "Voyeur's  Blues" and just as liable to come on as
               sinister  cave  lounge  as in "La Grotte D'Amour."
               Fertility? DEMETER is so potent it gave birth to a
               remix  EP  included  in  this  package. These four
               remixes  serve  through  hammering  repetition  to
               drive  the  rhythmic point home, through its walls
               across  the backyard and buried deep in reinforced
               concrete  wall  across  the  alley.  I listened to
               DEMETER's  harsh message three times before I came
               to  appreciate its difficult gospel. By that time,
               they  came  through  town  and  someone else raved
               about  the disc to me. Don't let yourself miss out
               on  the  rich  soil where blood cries out from the
               ground,   the   joining  together  of  able-bodied
               musicianship  with  fierce  delivery and the seedy
               abundance  of  such panting excess as the "Voyeurs
               Blues (Kris Needs)" remix. (4)



               Various Artists
               OF THING TO COME
               BYO Records, POB 67A64, LA CA, 90067
               http://www.byorecords.com

               Produced  in  association  with Strength magazine,
               this  collection is the soundtrack to a "snowboard
               film."  It  also  one  of the best compilations of
               contemporary  punk and power pop that I have heard
               in  quite  a  while. Dillinger Four is great riffs
               and  those  non-technical  male  harmonies, all in
               overdrive.  Keeping  the punk sounds of G.B.H. and
               The  Exploited  alive contribute a primer in under
               two  minutes  entitled  "Punk  By  The  Book."  An
               ornery  live clip is stapled onto the front of the
               album  version  of  SuperSuckers'  "Mudhead."  The
               contribution     from     ErrorType:    11    is a
               Nirvana-styled    ballad   to   dislocated   youth
               obviously  for  the  poignant  part  of the movie.
               Pinhead  Circus hits closer to home with a ripping
               rocker that goes "we used to skate all fucking day
               and  drink  the  southern  nights  awaysomehow we
               ended   up  okay."  Sounding  like  an  outsiders'
               drinking song, Bouncing Souls contributes "Born To
               Lose."  Another highpoint is "New Day Rising" from
               Swingin' Utters as Pogues for punks. Pegboy throws
               a  vote  back in the direction of with "Fade Away"
               as  does  Pezz  when  they  ask "how long 'til you
               crack  up?"  The remix of "Ugly Stick" form Voodoo
               Glow  Skulls  could  be  out  of  the Beastie Boys
               songbook.  Also  included  post-punk compendium is
               Good  Riddance,  an  incongruous  doom metal piece
               from Hatebreed, H2O, and Zeke.



               The Wedding Present
               SINGLES 1989-1991
               Manifesto  Records, 740 N La Brea Ave., 2d Fl., LA
               CA, 90038-3339
               http://www.manifesto.com/manifesto
               manifest@manifesto.com
               wedpres1@aol.com

               Beside  the  RCA  singles  released by The Wedding
               Present  1989-1991  explicitly  referred to in the
               title,  this 2-CD package also contains non-single
               material. CD 1 contains the group's first five RCA
               sings.  CD  2  is a compilation of radio versions,
               tracks   from   compilations,   live   material, a
               previously  unreleased  song  "Crushed," and extra
               tracks  that  only appeared on 10" versions of the
               singles.   Britain's   The  Wedding  Present  is a
               jangly,  power  pop band that is diverse enough to
               recall  The  Pogues  ("Cumberland  Gap")  and  The
               Damned  ("Blue  Eyes").  The  group  also  has  an
               excellent  sense  for selecting material to cover.
               On  SINGLES  is their versions of such indie songs
               as  Pell Mell's instrumental "Signal" and The Jean
               Paul  Sartre  Experience's  "Mothers."  Then, they
               also  interpret  such  more widely known groups as
               The  Velvet Underground with an acoustic "She's My
               Best  Friend"  and  "Box  Elder" from Pavement. On
               "Box   Elder"   and  often  elsewhere  here  I  am
               reminded  of  The  Fall  by  the voice of vocalist
               David Gedge (Cinerama) and the group's rollicking,
               noisy  pop  arrangements.  Still touring, even the
               United States, The Wedding Present eight albums in
               their  discography and SINGLES is an excellent way
               to  obtain  an overview of their oeuvre or fill in
               the gaps in a fan's collection. (3.5)



               Of Montreal
               THE GAY PARADE
               Bar/None Records, POB 1704, Hoboken NJ, 07030
               http://www.bar-none.com

               The  strange, the curious and the humorous motions
               by  in  a colorful display created by listening to
               Of   Montreal''s   THE   GAY   PARADE.   Seventeen
               musicians, not counting the huge chorus on "Nickee
               Coco  and  The  Invisible  Tree,"  are employed in
               bringing  Athens, Georgia songwriter Kevin Barnes'
               visions  to  fruition. Many of these musicians are
               form the Athens Elephant Six group of Neutral Milk
               Hotel,  Olivia Tremor Control, Elf Power and Music
               Tapes.  Beside standard instrumentation they add a
               carnivalesque   atmosphere  with  melodica,  penny
               whistle,  bells,  organ,  musical  saw,  vibes and
               more.   Barnes'   is   a  pianist/singer  with  an
               undisciplined    falsetto    and    a   cartoonish
               imagination. His realized pieces are a delightful,
               unpretentious   meeting   of  Ben  Folds  and  The
               Beatles'   WHITE   ALBUM.   The   cartoon  artwork
               decorating  the  CD  booklet  serves  a map to the
               quirky  universe  declared  from the tracks on THE
               GAY  PARADE.  The  peculiar  characters, like "The
               Miniature  Philosopher"  and "The Autobiographical
               Grandpa,"  that  populate  this album come to live
               in the dense texture of circus sounds and melodies
               that  are simple and sweet. While a cursory listen
               may  cause  one  to  judge  THE  GAY  PARADE to be
               sophomoric,  paying  more  attention  serves as an
               introduction to a Seussian world vividly portrayed
               and   radiating  pure,  child-like,  instantaneous
               emotions both sad and beautiful. Like Brian Wilson
               and  Syd Barrett, Barnes has composed his way into
               a fantasy world we can enjoy visiting. (3.5)



               Angela Berann
               GROOVY WOMANN
               Extraplatte, POB 2, A-1094 Wien, Austria
               Extraplatte@blackbox.at

               Aided by a couple of keyboardists and a guitarist,
               Angela Berann performs all of the varied drums and
               percussion  on  GROOVY WOMANN. The album certainly
               is groovy, because it is about a primacy of rhythm
               and  beat.  On "Back to the Roots" she contrasts a
               dull  bass  drum with the snap of bongos and steel
               percussion.  "Ambience"  treads  into the coloring
               area  of  things  that  rattle,  shake,  rasp  and
               scrape.   Angela   calls   them  in  as  excellent
               arrangement to more roots funk. "Cuban Affairs" is
               the  most  spacious  of Berann's compositions. The
               terse  percussion  phrases  are  disparate in time
               and  stereo  location  while the keyboard suggests
               eerie,  sci-fi  effects.  This  Cuba  is an island
               afloat in the ocean of space. The last half of the
               piece  takes  on  the  aura  of  a voodoo ceremony
               soundtrack recorded in a reverberating high school
               gym,   complete  with  whistles.  On  "Bubbles  of
               Spirit"  the sound of a horn in lament is summoned
               from  the  keyboards  to  accompany  rainstick and
               rattles    in    introduction   to   cymbal-   and
               snare-accompanied  bongos.  Angela Berann's GROOVY
               WOMANN  is  an impressive cornucopia of upbeat and
               engaging    rhythms    summoned    from   eclectic
               instrumentation.   Not  only  should  this  be  of
               interest  to  percussion enthusiasts, but also all
               those that seek vital instrumental music. (4)



               All The Miserable Times
               I LOVE YOU LOUDLY
               Fish of Death, POB, 93206, LA CA, 90093
               http://www.fishofdeath.com
               Fod@earthlink.net

               All  The Miserable Times is a husband and wife duo
               that  has  a  quirky  and  appealing  penchant for
               simplistic, downbeat and charming songs. Their wry
               pieces      become     observations     on     the
               commercialization   of   beauty   as   in   "Whore
               (Whore)"  (the  vocalist is a former Miss Memphis)
               or   on  the  ephemeral  nature  of  love,  as  in
               "Sailor."  Through  such  content  and  the mix of
               basic,   acoustic   guitar  and  odd  samples  the
               approach  sometimes  comes  near to that of Kramer
               and Ann Magnuson's Bongwater (e.g., "Rudy"). While
               there  is  plenty  of  cynical  humor  here,  some
               pieces,  like the sad longing of "Dear Bird" stand
               alone  as  personal  and  moving accounts. Such is
               nearly the same with another nature-lover's piece,
               "June Bug." Combined with a background of analogue
               hiss  and  backyard environmental sounds, this ode
               to  a  bug  shares  with "Dear Bird" an outsider's
               longing  for  the freedom enjoyed by Nature's more
               humble  constituents.  The hopeless love expressed
               in  "Glamorous"  suggests their me past scars that
               have  caused  vocalist Miss Terri to be able to so
               poignantly  express this yearning to get away, far
               away.  While I LOVE YOU LOUDLY purposefully offers
               no flashy musicianship, it does it offer itself as
               a  stylized  if not surreal vision of a woman with
               a  lot of problems and a lot of visions putting it
               all together in a weird coffeeshop setting. (3.5)



               Hank Dogs
               BAREBACK
               Hannibal/Rykodisc,  Shetland  Pk, 27 Congress St.,
               Salem MA, 01970
               http://www.rykodisc.com

               Britain's  Hank Dogs debut on Hannibal with a disc
               of  Americana better than most of Americana. Well,
               it  only  figures  such it would sound to our ears
               because  our  folk tradition is derived from older
               traditions of the British Isles. In "18 Dogs" they
               add  a  new  gem  to  one of the most enduring and
               vivid  of  the  Western  folk  themes, that of the
               murder ballad. Much of the material on BAREBACK is
               open  to similarly dark interpretation. Such seems
               to be the fertile ground that has caused a cultish
               following  to  surround  this  South  London  band
               before  their debut even reached our ears. Another
               hook  here  is  the  dulcet and sweet harmonies of
               vocalists  Piano  and Lily. Lily offers the subtle
               tone   coloring  in  the  background  and  she  is
               daughter  to  the  group's third member, guitarist
               Andy  (yes, they just use first name) who has been
               in  scores  of  groups, including the Sex Pistols.
               These  key duets at the core of nearly every track
               enhance  a  superbly produced album sprinkled with
               guest  players  on piano, cello, trumpet and more.
               Hank   Dogs'   combination   of   stunning   vocal
               technique,  sparkling  acoustic guitar and cryptic
               lyrics   makes  for  an  unforgettable,  instantly
               classic and compelling album. (5)



               Amber Asylum
               SONGS OF SEX AND DEATH
               Release, POB 251, Millersville PA, 17551
               http://www.relapse.com

               Kris  Force is the alluring siren of Amber Asylum.
               She  seduces the listener into a dark but inviting
               world  of  drawing  on  wells of ambient, Goth and
               Classical musics. Force's music is ambient in that
               it  is  an  ethereal,  floating world of patiently
               phrased  lines  backed  by  a  comfortable wall of
               electronic  drone.  Amber  Asylum  waxes Gothic in
               that  they can introduce a Bauhaus-like meeting of
               plodding bass line and ultra-distorted guitar into
               this  delicate  mix  ("Devotion")  and other times
               summon  angels  of  the  night with hymns that are
               downbeat,  Medieval  and  haunting.  The Classical
               reference is made valid by Kris' own violin (often
               effected)   work   and  her  mezzo-soprano  songs.
               Acoustic   bass   and   cello  are  also  featured
               prominently   on  this  recording.  Often,  as  in
               "Luxuria,"  they provide the sonorous melody. Also
               employed  in this rich recording are e-bow, organ,
               synth,   accordion   sounds   and   more.  As  the
               arrangements   often  reach  back  into  a  deeply
               historical  well  of  sounds from chamber works to
               ancient  chants,  so  the content reflected in the
               title  SONGS  OF  SEX AND DEATH pulls from an even
               more  ancient  source.  Herein  are melodiously if
               eerily  sung reflective and personal approaches to
               the   most   and   fleeting   and   sought   human
               experiences of live and love. (4)



               Hazeldine
               ORPHANS
               E-Squared/All Swoll Music, POB 4224, Albuerquerque
               NM, 87196
               http://www.morebarn.com/Hazeldine
               morebarnm@aol.com

               This  is  a  band hip enough to cover Merge's East
               River  Pipe  band  ("Here  We Go") and Radiohead's
               "Luck"  but  country  enough  to be distributed by
               Steve  Earle's  E-Squared  label.  This  band from
               Athens,  Georgia decided to relocate to the cowboy
               haven  of  Albuquerque,  New Mexico. They employ a
               roots  rock sound to interpret "Wild and Blues" by
               the  Mekons,  a group that understands the lure of
               Americana  well, just like X (Hank Cochran's "It's
               Only  Love,"  covered by X, is also covered here).
               Very  non-country  material from Neural Milk Hotel
               and  Peter  Gabriel is transformed here as well as
               more  expected fare like traditionals ("Whiskey in
               a  Jar" popularized by Thin Lizzy and "Mining Camp
               Blues")  and  Gram  Parsons  ("A  Song  For You").
               Tumbelweed  Telecaster  leads and sweet, down-home
               harmonies  from  guitarists Shawn Barton and Tonya
               Lamm.  This album of the band's personal favorites
               was enthusiastically recorded in only two days and
               each track bears the fresh and feeling stamp of an
               instantaneous  rendition  of  a  personal  anthem.
               ORPHANS  exudes  a  prairie sexuality and a unique
               experimentalism   that   ranges   from  joyous  to
               melancholy  in recreating this material. Hazeldine
               showcases  on  ORPHANS  their musical ability, the
               diversity  of  their inspirations and the way good
               vocal harmonies enhance any song. (3.5)



               Various Artists
               DANCING WITH THE DEAD
               Ellipsis Arts, 20 Lumber Rd., Roslyn NY, 11576
               http://www.ellipsisarts.com

               Death  is common to all mankind and, consequently,
               music  to  acknowledge  that  event  arises in all
               cultures.  The  opening  track  here  is  a gospel
               eulogy  of  the type where speech erupts into sung
               passages,  peculiar  to the religious institutions
               of  the  American  South  and  Black  America. The
               message  is  one,  not  for  the dead, but for the
               living.  For  them  the  pain  is real and is they
               that need the hope that death is only a passage to
               something  better.  As  a  result of this need for
               hope  and  distraction  from  the  loss,  a  great
               percentage  of  the  pieces  are  jubilant, in the
               manner of a Crescent City jazz procession. Such an
               example,  take  from  the  Eureka Brass Band's NEW
               ORLEANS  FUNERAL  AND  PARADE  album  is  present.
               "Lanhua  Mei,"  the  contribution from the Tianjin
               Buddhist   Music   Ensemble   comes  from  another
               approach  to  songs on death. That is the requiem,
               the   sacred   observation  of  death's  spiritual
               significance.  Most of these recordings are rough,
               field  recordings.  This is suited to the content,
               as  it  marks  each  track as representative of an
               event,  not  a  session. As with all Ellipsis Arts
               releases,  this  is a beautiful package. The CD is
               slipped into a small, hardcover book of sixty-four
               pages.  Extensive  track  notes,  essays  on death
               (from  religion  to  food) and more make DANCING a
               detailed  and eye-opening document on the music of
               death rituals from the world over. (4.5)



               Various Artists
               A MEDITERRANEAN ODYSSEY: ATHENS TO ANDALUCIA
               Putumayo  World  Music,  1516 5th St. #B, Berkeley
               CA, 94710
               http://www.putumayo.com

               Do  Athens,  Greece  and  Spain's Andalucia region
               really seem similar? Diverse regions such as these
               give   birth  to  music  styles  of  a  surprising
               affinity  as  exemplified  here  on a new Putumayo
               compilation.  Putumayo  did  a  fantastic  job  of
               associating   similar  music  from  geographically
               remote   areas   through   channels   of  cultural
               exchange.  MEDITERRANEAN  ODYSSEY  is  a  personal
               favorite  of  mine  from  the  series. The peoples
               along the north coast of the Mediterranean (Athens
               to  Andalucia)  celebrate  their  sunny shores and
               temperate  clime with a guitar-based music that is
               bouncy,  upbeat and bright. The guitar, because of
               its  range,  is  an  instrument of song. Excellent
               songs  of  Spain, Gypsy Flamenco, Italian folk and
               more  are here. For its portability, the guitar is
               the  instrument  of the outdoor gathering and each
               track  here  brings  to  mind  a  vivid scene of a
               seaside soiree. (3)



               Mekons
               I  HAVE  BEEN  TO HEAVEN AND BACK: HEN'S TEETH AND
               OTHER LOST FRAGMENTS OF UNPOPULAR CULTURE VOL. 1
               Quarterstick  Records,  POB  253432,  Chicago  IL,
               60625

               Mekons   heaven   is  one  of  ethical  socialism,
               something  they  idealize  but feel has never been
               realized.  The  reality  is  a  thin  barely  held
               together, level of entropy that is on the verge of
               the  cataclysmic. The Mekons live shows exude that
               frantic  urgency.  Every  performance  is  has the
               sudden  importance  of  apocalyptic  religion. The
               Mekons destruct on stage in a last-ditch effort to
               save  you  with  guitars  and  charged lyrics. The
               cover   of  this  live  rarities  collection  is a
               photograph   of   just   such  a  charged  moment.
               Guitarist  and  vocalist  Jon  Langford (Bloodshot
               Records,  Waco  Brothers,  Three  Johns,  etc.) is
               lifted  from  the  stage  and  twisted around by a
               power chord he just launched. Vocalist Sally Timms
               beams  with  an  electric,  revival-like  ecstacy,
               tambourine  overhead.  Another  Mekon caught up in
               his  fallen  shorts, crashes to the floor. Smugly,
               accordion  player  Rico Bell smiles over all. This
               brings  to  mind  one  of  the  most unforgettable
               concerts I ever experienced, Mekons at the Howling
               Wolf,  New  Orleans,  1993.  Mekons  gigs  have an
               indelible effect on their attendees. Outtakes from
               sessions  for  previous albums are jumbled in with
               unexpected  covers  ("Oranges  and Lemons" and Rod
               Stewart's  "You  Wear  it Well"), audience tapings
               and  more rarities. Called VOL. 1, Mekons actually
               first  rewarded  their  fans with such a detailing
               hodge-podge  in  1982 with THE MEKONS STORY and on
               NEW   YORK   (1987).   These   originally  English
               post-punk   rockers   deliver  a  fair  amount  of
               Americana  in  their ragged anthems and every line
               is  a  closely held belief or personal revelation.
               On  "This  Funeral is for the Wrong Corpse" (never
               before  available  in  its  full  length) Langford
               espouses  his  political ideals. In "The Ballad of
               Sally"  Timms  shares  her  own insecurity. Mekons
               offers their fans powerful, Americanized post-punk
               British rock that is a channel for beliefs on fire
               and active honesty. (5)



               Mojo Nixon
               THE REAL SOCK RAY BLUES
               Shanachie  Entertainment,  13 Laight St., 6th Fl.,
               NY NY, 10013
               Shanach@idt.net

               Mojo  Nixon  is  an  unabashed redneck maniac that
               once  drove  a  tank  to  the very doors of Geffen
               Records  to  sing  his oddball classic "Don Henley
               Must   Die."   This  recording  takes  an  aim  at
               contemporary  topic like previous Nixon discs have
               at    people.   The   hyper-nostalgic,   backwoods
               troubadour  writes  of  the  Internet  and  modern
               technology  on  "I  Don't  Want  no Cybersex." The
               embarrassing  similarity of much of electronica to
               disco   is   loudly  and  pointedly  announced  in
               "Machines  Ain't  Music/I  Got  my  Mojo Working."
               "Honorary  Team  Captain  1998  U.S.  Olympic Luge
               Team" targets shiny edifices of popular culture on
               "Disney  is  the  Enemy" and "Rock n' Roll Hall of
               Lame."  Even an unabashed iconoclast like Mojo has
               some  heroes  and  eulogies  here is American punk
               architect  Country  Dick Manitoba (The Dictators).
               After  a  "Redneck  Rampage"  even winds down to a
               heartfelt  country  ballad  "When  Did I Become My
               Dad"  to  conclude the disc. This is more like the
               folk  and  Americana that comes from Shanachie and
               the  album's  instrumentation  of harmonica, piano
               and  guitars is not far from the Shanachie formula
               either.  But  THE REAL SOCK RAY BLUES is soaked in
               whiskey  from  an Appalachian still and much, much
               to crude to share with your parents. (3)



               Manor Astroman?
               EEVIAC
               Touch and Go Records, POB 25520, Chicago IL, 60625
               http://www.astroman.com
               coco@astroman.com

               Continuing on from MADE FROM TECHNETIUM and 1000x,
               MoA  takes a sci-fi surf sound positively drenched
               in  reverb  to  the  inter-galactic regions. Space
               monster  B-movie  sound  bites  populate the disc,
               orbiting between the tracks. The artwork of EEVIAC
               is  of the old, towering magnetic tape drives. MoA
               previously has espoused and affinity for out-dated
               technology,  but  there is something more relevant
               in  the  suggestion of weighty hardware. This is a
               heavier  sound  for  MoA. The drums and bass smash
               along  like  something more out of their albums of
               former  labelmates The Jesus Lizard. Adding in the
               contrast of the trebly, effected guitar sounds and
               the  group's  peaking  voices  and the result is a
               larger,  more  substantial  sound.  While  MoA  is
               still the same old geeks in love with 50s NASA and
               B&W extraterrestrials, they now have steroids. The
               precipitous   build  of  these  beefier  songs  is
               suddenly  cut  for  another  odd movie clip and of
               these adds to a greater tension and sense of drama
               than   previously  available  on  MoA  recordings.
               EEVIAC  is the sound of dancing mainframes and the
               deadly whine of meteor tracers. (3.5)


               ******************************
               "Don't be normal, be natural!"

               Outsight Radio Hours Cybercasts
               Fridays 6pm-9pm EST
               http://www1.collegemusic.com/index1.asp?url=3Dcontent/
               Livecasts/tearaway.asp

               Tom 'Tearaway' Schulte
               POB 1500, Royal Oak MI, 48068-1500
               248/ 544-7179
               http://www.detroitmusic.com/outsight
               outsight@usa.net


               Now playing/showing: 'Camille Claudel'

               Current reading list:
               Memoirs of a Revolutionist (Kropotkin)
               'Screams from the Balcony' (Bukowski letters)
               'Object-Relational DBMSs' (Stonebraker)





                             
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