DAFIR - WORLD RADIO HISTORY
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SILV $C0 TER *. CLUTCH
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A CMJ EXCLUSIVE INTERVIEW
1411•GETTING IN STEP WITH 2-STEP 1006**********************ALL FOR ADC 20128
KUOR - REDLANDS
2/38/1902
FREDERICK GIER
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•THE NEW FACE OF AMBIENT ATASCADERO CA 83422-3428
•RPM ARTISTS TO WATCH 11111111111111111111d II Itt II I III IIt I d
rACTORY
DIEN cRTAL
METAL RADIO ADD DATE:
MARCH 26, 2001
CONTACT JEN MEOLA: 212-274-7545
MEOLA@ROADRUNNERRECORDS.COM
ROADRUNNER
OADIPRINEll «AM NC COMPANY •. r
Produced by Rhys Fulber and Fear Fa :tory. Mixed by Mike Plotnikott and Fear Factory.
Creative Guidance and Fundamental Management by Scott Welch and Mark Rotting at Mosaic Media Group. www.teartactory.corn www.roadrunnerrecords.com 2001 Roadrunner Records. Inc.
Issue 706 • Vol 66 • No 12
FEATURES
8 The Face 8£ The Faceless 13 2-Step
What happens when techno's most recogniz- Speed garage lasted for all of five minutes
able figure sits down to interview the dance and drum 'n' bass never quite made the
scene's most anonymous stars? We made the mainstream cut. Could the house hybrid
introduction, hit "record," and let nature 2-step be the breakbeat form that goes all
take its course. the way? Artists like MJ Cole and Artful
Dodger are banking on it.
10 Tomorrow People
Your first look at the RPM artists that will 14 The New Romantics
control the airwaves this spring. A new generation of ambient artists give
chillout music a facelift.
DEPARTMENTS
4 Essential 28 RPM
Daft Punk, Silver Scooter, Kings Of Convenience Coachella announces line-up for its 2001 event,
and Clutch. Twilo Records makes its first artist signing, a new
Mushroom Jazz mix from DJ Mark Farina, around-
7 The Week up of the spring's best releases and more.
All the industry news you need to know, bite-sized.
31 I
S
F
-IAlternative
36 CMJ Radio 200 Q&A with Nimboestatic label founder Ejival, Nortec
Stephen Malkmus at No. 1. in NYC, the many faces of Chile's Uwe Schmidt,
Argentina's electronica guard, and more.
40 Core Radio 75
Tortoise at No. 1. 34 Jazz
CMJ gets exclusive music from Ken Vandermark.
41 Adds 8L Going For Adds DJ Smash on Blue Note? And reviews of On Kaplan
Idlewild at No. 1. and Matt Wilson.
16 Heard Here First 42 Triple A
Compilations, tribute albums, and punk covers of Reviews of the Sheila Divine and Over The Rhine.
your mom's favorite pop classics: They're all here
to warm the cuckolds of your DJs' hearts.
44 New World
The Lalezar ensemble takes on 500 years of music.
Reviews of Sorten Muid, Putumayo's Carnival and
17 Reviews
Sharon Shannon's latest.
Ataris, Bis, Black Halos, Boycrazy, Crushstory,
Hefner, Hot Water Music, Minders, Sadies, Richard
46 Just Out
Thompson, Semisonic, and the Standard.
47 Upcoming
22 Loud Rock
New releases from Sepultura, Big Dumb Face, and
48 Airplay
WASP.
70 On The Street
26 Hip-Hop Spotlighting a local scene. This week:
Two noteworthy collaborations, and some Qs and As
Washington, D.C.
with LA Symphony's Cookbook.
Cover illustration by Michael Lopez
CMJ New Music Report (ISSN 0890 0795) is published weekly except the week of September 9th, the week of Thanksgiving,
and the last two weeks of December. Published by The CMJ Network, Inc. with offices at 44 W. 18th St., 6th Fl.; New York,
NY 10011. Subscription rates are $345.00 per year; 2 years, $575.00. Subscription offices: 44 W. 18th St., 6th Fl., New
York, NY 10011. Tel 800.CMJ.WKLY (800.265.9559). Outside U.S. and Canada 646.230.4503. Periodicals postage paid at
New York, NY and additional mailing offices. CMJ New Music Report is copyright ©2001 by The CMJ Network, Inc. all rights
reserved; nothing may be reproduced without written consent of publisher. Unless indicated otherwise, all letters sent to CMJ
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manuscripts, photos and artwork are welcome; please enclose a self-addressed, stamped envelope to facilitate return.
Postmaster: send address changes to CMJ New Music Report, 44 W. 18th St., 6th Fl.; New York, NY 10011
3
CMJ MARCH 19, 2001
ESSENTIAL
DAFT PUNK
Discovery (Virgin)
If God really does control the pop fates that spin on the heavenly jukebox, it's
only fair that 2001's brightest breakthrough moment be granted to Daft Punk.
After all, who deserves it more than Thomas Bangalter and Guy Manuel de
Homem-Christo, makers of one of the greatest albums of the '90s, the French
house manifesto Homework, and the most crucial crossover pop stars this side
of OutKast? Bangalter's unprecedented skill at creating disco hits to jumpstart
weddings (Stardust's "Music Sounds Better With You") and house tracks to melt
clubs ("Together," his collaboration with DJ Falcon), lend him the necessary
one-two of mass appeal and hipster credibility, and this is the pulpit that
Discovery plays from. Of the constituencies, the hardcore clubbers get the short-
est shrift, but who's gonna bitch when your consolation prizes include the
party-rocking shout-along "Crescendolls" and the tension groove masterpiece
"Superheroes"? But Discovery will best satisfy lovers of superior, futuristic
R.I.Y.L: Stardust, Romanthony, DJ Sneak
dance-pop. The best-be-a smash "One More Time," featuring Jersey house deity
Contact: Tyson Haller
Phone: 212.253.3154 Romanthony's vocoderized proclamations of dance-floor upliftment; "Harder,
Email: tyson.hallerOvirgin-records.com Better, Stronger, Faster," aplayful house-funk call to arms; and "Something
Release & Add Date: March 13
About Us," asoulful love song completely outside of the Dafts' usual stratos-
phere, are all Top 40 moments of brilliant proportions. Now if only our prayers
would be answered! — Piotr Orlov
SILVER SCOOTER
The Blue Law (Peek-A-Boo)
There's nothing drunken about Silver Scooter's third full-length — anote-wor-
thy fact when you consider that there's abar mentioned in almost every song.
It's as if Austiner Scott Garred, Silver Scooter's singer and principal songwriter,
is acareer designated driver, always the sober observer, perpetually the voice of
reason. From Garred's peaceful, laconic delivery (with apleasantly percussive
twist to his consonants) to the measured way he tells his characters' stories
(even the exaggerated crazyman in "Terrorism Lover"), there is amarked inhibi-
tion, areticence, to Silver Scooter. This can work to the band's advantage, and it
often does — restraint within the tidy, well-produced pop-rock context they
inhabit (complete with clacking drums and swallowed backing vocals) is amore
effective tool than messy, destructive impulses would be. But while straight-up
rawk touches might sound contrived, Silver Scooter could use afew more cylin-
ders to rev up; impeccably crafted songs like "Albert Hall" scream for aguitar
R.I.Y.L.: Karl Hendricks Trio, Belle & Sebastian, Old 97's
Contact: Fanatic Promotion
crescendo or two, and the intense "Remembering" aches for something more
Phone: 303.245.0285 aggressive than the twee organ riff that glues it together. So the album's name,
Email: info@fanaticpromotion.com and Garred's repeated line, "Beer's not sold on Sundays," from the title track,
Release Date: March 6; at radio now
become emblematic: The Blue Law is aperfect album for days when teetotaling
restraint is mandated, when melody is more effective than zeal.
— Dylan Siegler
R.I.Y.L. = Recommended If You Like 4
CMJ MARCH 19, 2001
THE WEEK'S BEST NEW nnussc
KINGS OF
CONVENIENCE
Quiet Is The New Loud (Source—Astralwerks)
On their self-titled debut, the Kings Of Convenience came off like asuave new
Simon & Garfunkel, thanks to their subtle folk-pop songwriting and charming
narratives. The presentation envisioned by Norwegian guitarists/singers Eric
Glambek Boe and Erlend Oye was simple, but the delicate melodies and arching
vocal harmonies struck achord with sensitive boys and girls everywhere. Fans of
the first album will find Quiet Is The New Loud to be somewhat of abittersweet
experience: Six of its 12 songs appeared on the first album, albeit in more
stripped down versions. A full set of new material would have been nice, but
polishing these acoustic gems and making them readily available on aglobal
level makes the offense forgivable. More encouraging is the fact that the new
tunes are just as good or even better, as in the cases of the jazzy "Singing Softly
To Me" and the subtly arranged "Little Kids." The new album also has awarmer
feel that plays up the vocal harmonies to even greater effect, and the instrumen-
R.I.Y.L.: Simon & Garfunkel. Karate, Ida
Contact: Clint Koltveit tation is more self-assured. For some this may be asecond chance for afirst
Phone: 212.886.7591 look, but Quiet still follows up on the promise of the Kings' previous work.
Email: clint@astralwerks.com — Tad Hendrickson
Release Date: March 6; at radio now
CLUTCH
Pure Rock Fury (Atlantic)
In the 10 years since its formation, Clutch has done quite abit of label hopping,
moving from their own imprint to Earache, then EastWest, then Columbia,
back to their own label, and now to Atlantic. The band's musical development,
not to mention its huge amassment of diehard fans, has thankfully followed a
steadier trajectory, and that path hits anew high water mark with Pure Rock
Fury. Though its early cuts pigeonholed Clutch as an also-ran to its then-peers
Helmet, by 1998's The Elephant Riders, the band had fuzzed-out and, literally,
found its groove in heavy, funky, jam-friendly riffing. Those followers who
found Elephant Riders alittle too loose for their liking, however, will rejoice at
this new album. The D.C. band shakes off the excess noodling and delivers a
plain old ass whooping, ripping through its songs with asound fueled by the
gnashing spirit of its hardcore roots, while it maintains the quirky, elastic
rhythms that make it astand-out. Want proof? Check "Open Up The Border,"
R.I.Y.L.: Queens Of The Stone Age, Corrosion Of possibly one of Clutch's finest moments in years, and one of which the band's
Conformity, Big Chief
Contact: Anthony Delia resident, fevered mosh pits will no doubt approve. — Cheryl Botchick
Phone: 212.707.2086
Email: anthony.delia@atlantic-recording.com
Release Date: March 13
Add Date: March 20
Tour Dates: Stage College, PA (3/19); Cambridge, MA
(3/20); Cleveland (3/22); Columbus, OH (3/23); Detroit
(3/24); Minneapolis (3/26); Milwaukee (3/27); Grand
Rapids, MI (3/28); Brooklyn, NY (3/30)
R.I.Y.L. =Recommended If You Like
CMJ MARCH 19, 2001
GOING FOR ADOS 3/26
For more information, contact FANATIC!
Jason: 888-349-4842 jason@fanaticpromotion.com
Andy: 888-862-9373 andy@fanaticpromotion.com
KC064 CD /2)(1.1)
COQUELICOT ASLEEP IN THE POPPIES: A VARIETY OF WHIMSICAL VERSE
THE NEW LONG I-LAYER FEATUR:NG 70 MINUTES OF MUSIC, A FULL COLOR ART BOOK, AND FOLD OUT POSTER!
Edited by Lisa Hageman •lisah@cmj.com THE WEEK
Napster Down But the tour was cancelled. A back amendment uses "the specter of
Not Out.. Yet injury suffered by Page forced protracted litigation and 'dam-
In the early evening hours the band to cancel nearly a ages' [for non-delivery of
NEW MUSIC REPORT of March 5, Judge Marilyn Patel month's worth of shows last albums]... to prevent artists
issued apreliminary injunction fall. from gaining fair payment for
EDITORIAL against Napster that puts the According to the lawsuit their creative efforts." Love
Editor responsible of identifying and filed March 1in Los Angeles, vows to plead her case all the
Colin Helms removing copyrighted material way to the Supreme Court.
Senior Music Editor from the music service on both Love has also expressed a
Cheryl Botchick the file-sharing company and the desire to start aunion for
Hip-Hop Editor recording industry per the terms recording artists. Rock stars of
Neil Drumming the world, unite!
of the 9th Circuit Court of
Jazz/New World Editor Appeals decision. In addition, as the woman
Tad Hendrickson
"The burden of ensuring that controls the catalog of her
Loud Rock Editor
that no copying, downloading, late husband, Kurt Cobain,
Amy Sciarretto
uploading, transmitting or dis- Love has been in talks with
NAlternative Editor
Enrique Lavin tributing of plaintiffs' copyright- Epitaph Records to release
RPM Editor ed works occurs on the system is never-before-heard recordings
M. Tye Comer shared between the parties," the done by the late Nirvana front-
9th Circuit Courts decision read. Black Crowes man, as well as aone-off by
Staff Writer
Responding to the findings Love's new "femme punk
Lisa Hageman
of the higher court, Judge Patel's the company has refused to supergroup," according to her
Contributing Editors March 5injunction requires that compensate the band for the website at www.holemusic.com.
Steve Ciabattoni
the record labels submit alist of missed September and
Nicole Keiper Just A Bite...
Tom Mallon song titles and artist names they October performances,
want Napster to remove from its including the anticipated Newly founded JCOR Records
Peter Orlov
system. The file-sharing compa- co-headlining run with The has expanded its roster with
Contributing Writer the acquisition of hip-hop
ny will then have 72 hours to Who at Madison Square
Christina Roden
block the copyrighted material Garden. The Crowes are label Wild Pitch Records. Wild
Interns from its users. seeking compensatory and Pitch artists include the likes
Joseph Wrenn of Main Source, Ultramagnetic
punitive damages.
Ryan Adams
Black Crowes Promote MCs and Gang Starr. The first
Brotherly Love Courtney Has No releases under the new deal
MARKETING Love For Universal will be aWild Pitch compila-
The Black Crowes have con-
Director, Marketing Courtney Love has filed a tion, and re-releases of Chill
Julie Levitt firmed rumors that they will be
co-headlining an American suit against her record label,
ART tour with Oasis. Universal, over disputed con-
Art Director The aptly-named "Tour Of tractual obligations. Love's law-
Sara Brownell Brotherly Love" will kick off suit counters one filed against
Associate Art Director May 11 in Las Vegas and wrap her last year by Universal,
Drew Goren up June 7at New York's Radio which claimed the Hole front-
Production Artist City Music Hall. Music fans woman was backing out of her
Kimberly Reinhardt everywhere are currently taking contract with Geffen Records
Production Manager bets on who will throw a after she delivered only two
Bob Green tantrum first, then storm back albums out of afive-album
home and bring the tour to a deal.
PUBLISHING screeching halt. Let's hope fam- In her lawsuit, Love accuses Oasis
Publisher ily counselors are planning to the major labels of acting as an
Robert K. Haber hit the road with the brothers illegal trust that forces artists to Rob G's Ride The Rhythm and
Sales Representatives Gallagher and Robinson to help sign unfair contracts designed The Coup's Genocide. •
B.J. Bernard keep it together. to cheat artists out of profits Maverick Records signed an
Greg Corrao The Black Crowes also and royalties. The action also agreement with MP3.com that
Chad Feinstein recently sued Lloyd's of seeks to invalidate a1987 grants MP3.com alicense to
Greg Maniha amendment to Section 2855 of use Maverick's repertoire for
London, the underwriter of last
year's Black Crowes/Jimmy the California Labor Code, use in its My MP3 service. •
CIRCULATION
Page tour. Before the tour which limits personal-services The lineup for the third annual
Distribution & Fulfillment
kicked off, both Page and the contracts to seven years. The Fuji Fest, to be held July 27-29
Manager
Crowes bought apolicy from amendment allows record in Niigata, Japan, has been
Lynn Spector
the international insurance labels to sue artists if they fail announced. Performers
Distribution Assistant
company to protect them from to fulfill the terms of their con- include Oasis, At The Drive-
Ryan Romana
financial loss in case any part of tract. Per Love's suit, the In, Travis and the Deftones.
7
CMJ MARCH 19, 2001
RPM
SPECIAL ISSUE
inzie Face how it is to change from one
album to the next. It's more
irHE FaceLess
fun.
M: What were some of the
Moby Interviews Daft Punk Coordinated by M. Tye Comer things you were listening to
when you made this record?
I
nthe year 2000, no elec- two people you wouldn't recog- less) to say to each other, if
tronic artist — and not nize if you clocked them in the given the opportunity. On Guy-Manuel: We listened to
too many from any other head with aglowstick. French January 30, 2001, during aNew some albums when we were
duo Daft Punk (Thomas York City listening party for making the album, but nothing
genre of music, for that matter
Bangalter and Guy-Manuel De Discovery, we introduced the that really influenced us. Iwas
— made more of an impact on
pop culture than Moby. His Homem-Christo) have purposely face of techno to the scene's listening to alot of Foreigner.
music was inescapable. You kept their mugs away from mag- most anonymous producers,
heard it on the radio, at the azine and television cameras, stepped back, and listened as T: Ithink we were not really lis-
movies, in the grocery store... hiding behind photo-shopped they discussed their shared love tening to house. House is start-
you probably even heard it in distortions and, this time of American hip-hop, their con- ing to go... not in avicious cir-
around, robot helmets to keep trasting views on life in the cle, but it's always disco. That's
your sleep. And it was just as
hard to escape Moby himself. their identities as mild-man- limelight, and on life in general, good from time to time, but...
After the Calvin Klein ads, the nered house producers secret. as touchstones to an entire gen- Iwas actually listening to alot
dozens of talk show appear- With their latest release, eration of musicians and Ws. of American hip-hop.
ances, award show perfor- Discovery (Virgin), Daft Punk
mances, flashy music videos will once again prove that popu- Moby: So Iwas listening to M: Modern hip-hop or old
and atwo-year world tour, his lar artists don't necessarily your new record, and it seems school?
became the most famous need to be recognizable to like it's alot less minimal than
shaved head in rock 'n' roll remain popular. the first album. T: Modern...
since Billy Corgan, completely
dispelling the ongoing myth that We couldn't think of two musi- Thomas: Yes, it's very... maxi- M: That's pretty much all Ilis-
one-man techno musicians cal entities within the electronic mal. We did minimal stuff on ten to.
would remain forever unmar- music genre that have found Homework, and now we really
ketable and unrecognizable. more acclaim and adoration by wanted to break every rule that T: Bands like OutKast show
using such diverse and conflict- we made on that record. We how open-minded musicians
Ironic that in 2001, the artists ing artistic ideals than Daft explored, like, 40 ideas in a can be, and that's really what
most poised to capture the Punk and Moby. We also could- three-minute track rather than we're trying to do in electronic
attention of America's dance- n't think of any artists who using one idea over a 10- music; to have an open mind
floors and clothing stores are might have more (or perhaps minute track. But you know and really push the limits. I
a
CMJ MARCH 19, 2001
RPM
SPECIAL ISSUE
think Timbaland as aproducer, M: Idon't know, really... But their girlfriend, another person to approach it that way you
and OutKast as artists, are real- one of the things Iparticularly might be trying to pick up that did...
ly breaking the rules of hip-hop like about the career that you've girl, one person might have
\and going further. We really had is the fact that you've had gotten fired from their job. The G: Maybe at the time when we
'like the sound of American the most unlikely hit singles. I song means something differ- were younger, we saw the bad
radio in general, in terms of mean, "One More Time" is a ent to everyone who hears it. side of managers and record
compression and dynamics. It's great single, but it's kind of Multiply that by ahundred companies using rock bands
always been avery big influence obvious that it would be ahit. million... You can't control all like puppets... and we didn't
to us. But the singles off of the different contexts, which is want it that for ourselves. We
Homework, Inever thought kind of exciting. didn't ever understand why it
M: Hip-hop radio in New York they would become hits. should be systematic that just
has always been very R&B T: There's no way to imagine it. because you make music, you
influenced, reggae influenced, When you look at the airplay should appear on the cover of a
T: It's always surprising. We
soul influenced... Sometimes magazine...
make the music for having fun charts in the U.K., it estimates
I'll travel around the world and ourselves, and we never think the number of people the song
I'll meet people who are into T: As human.
about whether it will be popu- reached that week, and Ithink
hip-hop, but they're only into lar or not, so it's always surpris- the number one song reaches
the really aggressive stuff. And G: Yes, as human. At the time
ing. It still is. 90 million people, just in the
it's strange because when you people wanted us to be in mag-
U.K. alone. When you're mak-
go out to hip-hop clubs, it's azines, Idon't think we were
(The recognizable vibration of ing music, it is avery personal
making much more than a
supposed to be party music and Daft Punk's "One More Time" experience, but once you baker or ashoe-maker. And
it's supposed to be sex music. creeps through the wall of the release it, you can't really con- they are not on the cover of
But if you're playing "Fuck Tha office.) trol what kind of effect it will magazines.
Police," it's really hard to get have and what the context will
your sexy groove on with be.
M: God, Ihear this song every- M: But one of the nice things
someone. But that's why Ilike where. Imust have heard it 50 about culture is the fact it
Hot 97, the hip-hop radio sta- M: Can you explain the idea
times during France's NRJ democratic. The reason that
tion here in New York, because behind the robots masks?
Music Awards alone. Every time actors and musicians are on the
it's alot more R&B influenced.
they introduced someone, every cover of magazines and not
(pause) So, what's the worst T: The story is that we were in bakers and shoe-makers is
time they went to acommer-
thing about living in France? the studio making music on the because ultimately, people want
cial....
night of September 9, 1999, and to know more about actors and
G: Urn...the weather. musicians.
T: Honestly, watching the TV there was the 9-9-99 bug. There
show was like..., every time was abig explosion, and we
T: Yes...especially in the winter. T: Because it makes them
they would say "and the winner don't remember anything after
It's very bad. What's the worst dream.
is...," they would play "One that, but we woke up and we
thing about living in New York?
More Time." All my friends were robots. We just like the
were phoning me saying, "Are idea of visually doing things M: For myself...I am more like-
M: Well, it's adouble-edged ly to read abook about Miles
you there?" Everyone was differently and not doing the
sword. One of the nice things Davis than one about abaker.
expecting us to win an award same thing twice. We were
about living in New York now
or something. wearing different kinds of
is that it's cleaner, it's safer and T: Yes, that's true, but...the
masks in the past and not hav-
there's less crime, but Iremem- question was really about try-
M: It always makes me nervous ing adefinite identity; doing
ber when Ifirst moved here 12 ing to do things differently. We
hearing my songs in that con- this is adifferent approach, but
years ago, New York City was a don't have anything against
text. If I'm watching TV, or in a not entirely opposite to what
really scary, but avery sexy people who are trying to be
nightclub, and Ihear one of my we have done in the past.
place. Now, it's more like cigar exposed. For me personally, I
songs, that's when Iexpect was so much more into cinema
bars and expensive bottles of
everyone to suddenly stop lik- M: When Iwas growing up,
wines, and limousines. It's very and really worshipping filmak-
ing what Ido. Like, this is when every musician Iever really ing and directors, and Ireally
affluent, but it's not as interest-
everyone is going to stop danc- liked — people like Miles Davis liked the fact that there's much
ing as it used to be. Imiss the
ing, turn on me, tear me limb and Prince and Johnny Rotten less media emphasis on direc-
dirty, dangerous, sexy element
from limb and throw me out — they all did interviews and tors. We like the idea of sepa-
of New York.
the window. But one of the nice they all took pictures and they rating ourselves physically from
things about making records is all played concerts. Iknew what what we are doing.
T: Does it affect your music?
that when you put it out into they all looked like. So when I
the world, you put it out in so made arecord and the record M: I've been criticized for being
M: Um...
many myriad contexts. Right company wanted me to do a too public, going to too many
now out there, this song is photo shoot, Isaid `yes.' Inever awards shows and doing many
T: Your music is
being played and one person really thought about it. Idon't photo shoots. But my feeling is
cleaner.. safer... (laughs)
might have just broken up with think Iwas ever smart enough that there are so many different
Continued on page 30
9
CMJ MARCH 19, 2001
RPM
SPECIAL ISSUE
ironnoovv Recap Le
RPM Artists To Watch
LEMON JELLY THE ANGEL MAX GRAHAM FLOSSIBLE
Lemon Jelly members Nick During the past four years, the In the beginning, Kinetic Records' Prior to captaining the Mex-Tech
Franglen and Fred Deakin made a Angel put her sonic stamp on Transport DJ mix series seemed to revolution now known as Nortec
lot of career stops before finding film scores (1997's Tupac-as- be little more than avehicle for — afusion of Mexico's oompah,
their niche — orchestrating junkie-cop free-for-all Gridlodc'd Paul Oakenfold in his quest for drum 'n' brass music and synthe-
charismatic, sample-fueled elec- and 2000's stock market drama global domination. Not only does sized atmospherics — Tijuana-
tronic pop. Franglen tried his The Boiler Room) and numerous Oakey's 1998 mix remain the based DJ/programmers Pepe Mogt
hand at gardening for Phil remixes (Japanese lounge kids most successful of the popular and Melo Ruiz were two-thirds of
Collins, writing music for Sony Fantastic Plastic Machine, jazz series (more than 230,000 have Artefakto(Opción Sónica),
PlayStation ads, film scoring, and pianist Jacky Terrason and hip- been sold to date), he also toured Mexico's most influential post-
programming keyboard and hop dopesters the Pharcyde have the States three times under the industrial electronica outfit. But
drum sequences for everyone been among her clients). She's Kinetic/ Transport banner between today they are known as Fussible
from Beek to the Spice Girls. also taken sidesteps into drum 'n' '98 and '99. But successive mixes (pronounced Foo-SEE-blay), a
Deakin passed his time DJing and bass (with Jaz Klash, acollabora- by Britain's Dave Ralph and band with afondness for making
running club nights in tion with Bristol's More Rockers) America's Sandra Collins — as music that sounds like Los Tigres
Edinburgh, Brighton and London and trip-hop (with her 60 well as aspotless reputation for Del Norte on mescaline. Fussible
and teaching graphic design at Channels project), but the throwing class-A parties — has made aname for itself on Mexican
Central St. Martin's School of Art Brooklyn-born, London-bred, allowed Transport to evolve into dancefloors and radio with its hit
in London. But it's safe to say that L.A.-based producer knows her one of the global trance scene's "Milenio," ajazzy, breakbeat track
with Lemon Jelly, the two have beat esthetic well enough to be most recognizable and reliable decorated with amelodic vocal
truly found their calling. Their the master of her own domain. crusaders. Kinetic is banking that coo. The song was featured on
music is at once playful, haunt- With the May 22 release of No Canadian DJ Max Graham has Fono, the duo's big beat-heavy
ing, strangely familiar, and Gravity (Supacrucial), her first skills superior enough to blaze his debut that was released on Mil
remarkably original — arriving at proper solo album, she unequivo- own trail with Transport 4(release Records, alabel formed by Fussible
similar ends as Air while traveling cally proves that spacey electron- date: May 15). Having spent the and Bostich (known as the "godfa-
acompletely different musical ics and experimental hip-hop last decade breaking the progres- ther of Nortec"). An album of
course. In fact, the band's dra- share greater kinship than many sive house scene in his homeland, remixes, Bostich+Fussible, soon
matic fusion of giddy guitar and heads and rave kids would care he's already been hyped as followed. The band is featured on
piano melodies with random (or know enough) to admit. To Canada's "Ambassador Of Dance." Nortec Collective: The Tijuana
vocal samples, hypnotic sound drive the point home, she brings His Transport affiliation, coupled Sessions Vol. 1(Mil-Palm), and was
loops and electronic rhythms is Pharcyde's Tre Hardson, the with afull-scale U.S. tour this recently signed to Head+Arm, the
so infectious, the band appeared toast-flavored Navigator from spring, guarantees Graham's name electronic branch of Sonic360, a
on BBC Radio 1and became a similarly minded rap-rave crew will soon be whispered in the label headed by Beta Band and
darling of the U.K. press before same breath as the trance elite. C,oldplay producer Chris Allison.
the Freestylers, Divine Styler, and
they even signed arecord deal. But his mix alone, asmooth pro- On April 1, Head+Arm will make
other left-of-center MCs to pep-
April 3will see Lemonjelly.ky gressive house journey peppered Fussible's remix of previously
per the record with rap spices far
released on XL—Beggars Banquet, with his own unique flavor, is released song "Odyssea 2001" and
more conscious of hip-hop cul-
an album that collects tracks enough to secure his status as one brand new "No One Over 21"
ture than most crossover
from three very-limited edition available on vinyl. A full-length
attempts, finishing the job Mo of the scene's most watched and
EPs released in Europe between album by the band is also expected
Wax and Ninja Tune artists start- sought-after talents of 2001.
1998 and 2000. You'll be buzzing for release in May.
ed in the mid '90s. — MTC
about the artwork alone. — Enrique Lavin
— Piotr Orlov
— M. Tye Comer
10
CMJ MARCH 19, 2001BEGGRRE GROUP, UER // E PRFIGTIME // 2001
?"-
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For more information contact: Sheneza Mohammed 212.287.5112 sheneza@kineticrecords.com
Kinetic is still looking for a few excellent street reps in SF and NYC!! Email Matt Maland: matt@kineticrecords.comRPM
SPECIAL ISSUE
=-s-rep BREAKBEAT'S NEW FORM
The U.K. goes through new musical trends faster than a box of Kleenex,
though its latest favorite — 2-step garage seems poised to last. But will it
make the transition from British phenom to an overseas hit? By Tricia Romano
lizing his classical music chops artist albums, so we'll see what
to produce jazzy tracks on the happens."
S.O.U.R. and Emotif labels Size knows better than
under the monikers Morf, Jilt anyone that it is albums, not
and Spectra 1000. But Cole, 12-inch singles, that people
who now says his drum 'n' buy and remember. Cole
bass was "too soft," smartly (whose Sincere album hits U.S.
and swiftly left for the greener shelves through Mercury
pastures of 2-step. Records one April 10) and
"I loved [drum 'n' bass] so cohorts like Artful Dodger
much, Icreatively wanted to (whose full-length It's All
take it where it didn't want to About The Stragglers, is set for
[go,]" he says. Iput in lush aMay release on London-Sire)
chords, and when Ilistened seem to know this as well.
back to it, Ididn't want [them] "I don't think it's reached
Artful Dodger there. It was arelief when I full maturity yet," Cole says.
actually started doing the "Hopefully we'll start to see
S
itting in his dark beat/garage hybrid as "the next garage thing." great albums come out. That's
blue M-5 BMW, Pete big thing" in the U.S. actually Though it's aspawn of asign of great music: It's easy
Devereaux of British be on to something? drum 'n' bass, many consider to make aone-off tune, but if
2-step duo Artful Dodger Derived from the short- 2-step to have abetter shot at you can make agreat album,
watches afootball game on the lived speed garage movement breaking the sound barrier of
car's telly while he discusses — itself aspin-off of U.S. anti-dance American radio and
the popularity of the genre in garage — 2-step (or U.K. MTV than jungle. 2-step
his native land. "It's kind of garage) is an amalgamation of makes no effort to keep it real
gone past its honeymoon peri- U.S. hip-hop, R&B, house and by keeping it hard, so all man-
od," he explains, noting that drum 'n' bass. Now, nearly ners of "soulful" elements are
MJ Cole's debut album, three years after it broke free welcomed with big, Gucci-
Sincere, "only" sold 100,000 from speed garage, 2-step has adorned, diamond-glittered
copies despite being nominat- put African-American-influ- arms. Cole and others redis-
ed for the prestigious Mercury enced music back at the fore- covered the art of the melody
Music Prize. "You'd think if front of British dance culture. and compose music that pre-
you [were nominated] for an Craig David (the R&B artist sents awider scope of emo-
award, it would shift more whose voice adorns Artful tions than the majority of
albums. It's acool award to Dodger's blowout hit, "Re- drum 'n' bass and house.
win, but it's about selling Rewind") sits happily atop the But for all its resemblance
records and shifting units. U.K. pop charts, mainstream to R&B and its reflections of
That's the bottom line radio stations embrace the hip-hop, American R&B fans
Brash talk from aproduc- genre while pirate radio turns are notorious for not swallow-
er in agenre that would have club heroes like Wookie, ing anything they didn't create:
been considered "underground" Spoony, and Dreem Team into trip-hop and drum 'n' bass MJ Cole
just ayear or two ago. But not stars, and producers like Cole went unnoticed by the urban
only does 2-step still garner rack up the critical respect and market in America, and 2-step you really are an artist. They
heavy airplay on pirate radio garnering nominations for the might suffer from the same are the things that sit on peo-
stations — the heart and soul Mercury Prize (past winners consequences. So the question ples shelves. They are the signs
of the U.K. underground — include Portishead and Roni remains: will Yankees ever do of longevity."
it's also managed to make a Size). the doodle dandy to 2-step? "I think it could have a
presence on the British charts The long-standing joke "I would say the garage shot at it, Ireally do," says
— atrick that neither drum 'n' about 2-step garage is that it's scene is so big, it's on the verge Devereaux. "I really think it
bass nor 2-step's predecessor, afield full of failed jungle pro- of exploding," says drum 'n' could have ago to take on the
speed garage, ever managed. ducers who couldn't cut it on bass don Roni Size. "Of course, world. When you get people
And with the widespread pop- the darkside of drum 'n' bass. Iremember when jungle got like Madonna coming to you
ularity of the form in the U.K., Cole, for one, tinkered with the same hype in '97. And 2- for aremix, you know you're
could those praising the break- beats as ajungle producer, uti- step's really only had [a few] making waves." NIVIR
13
CMJ MARCH 19, 2001RPM
SPECIAL ISSUE
THE NEW RMBN1TIC5
The Rebirth Of Ambient By Eric Demby
III nthe early '90s, ambient Vienna-native wunderkind who distributor Haus Musik, which lines between minimal techno,
music provided the sound- has captured the sound kids' col- handles the handful of the microhouse and ambient music,
track for the chill-out room lective imagination with his two scene's labels (such as City as well as four EPs as Farben (on
at raves, where clubbers had a majestic albums, 1998's Pop Centre Offices), as well as splen- the Frankfurt Klang Elektronik
chance to escape the increasingly Loops For Breakfast and 2000's A did minimal-house imprints like imprint), which add warmth to
intense BPMs on the main floor, Choir Of Empty Beds. The latter Cologne's Kompakt and Mouse the often sterile glitch style.
or focus on heightening apartic- has become the defining album On Mars' a-Musik. His latest project, Loop-
ularly intense chemical experi- of the scene, its sugarcube-pop
01101 141°
ence. But over the years, as elec- perfectly tinged with aheart- ,000
tronic music splintered into a wrenching yearning.
vast assay of genres, so did ambi- Amazingly, Fleischmann 'elegole—l:er11111:111
" •e••ii'geIrrl::r:llloisà°ihoPi:1:1111e111111
: 111-.-0-
ent. No longer just the bailiwick (who works under the moniker
1;1111411 1:11101:1:1111111111111:0111111101:11
of slow, mildly syncopated beats B. Fleischmann) was ahard rock
àla Spacetime Continuum or drummer with no knowledge of 101110111111111«er11100114;
the Orb, its influence has trick- electronic music when he dis- eimmt'111"1411
eges
led down to minimal techno and covered the MC-505 Groovebox
1111'
trance. sampler/sequencer at arehearsal
Ambient's seemingly dis- session in 1998. "At that time, I
_ems "Irrelsowg'ine"
°Or 1111011081-u.1n11o1111r11e:;111117
parate sub-styles actually make thought about [making music] -einisionom
-1111 111
1
wonderful bedfellows, often not on the drums or on the clas-
resulting in sublime electronic sical piano, but Ididn't know 110111 eir1111111111evielionl
pop constructed with magnifi- how Ishould do it," he recalls. "I
cent digital craftsmanship. saw this thing and thought,
Artists in this new ambient scene Wow, it would be cool to work Jan Jelinek
often employ tones and drum with that:" Nine months later,
sounds plucked from the techno he had not only figured out the Focusing mostly on full- Finding-Jazz-Records (released
palette, jettisoning the pounding gear, he had also completed the lengths, Morr Music artists such on Pole's --Scape label), is a
rhythms in favor of aromanti- Pop Loops masterpiece, which as Styrofoam (Belgium's Ame beguiling quilt of swirling,
cism normally reserved for the was already causing an under- van Petegem), ISAN (the English haunting washes and digital
pop charts, marrying abstract, ground stir by spring of 1999. duo Robin Saville and Antony edits gently nudged by muted
Coincidentally, "Toe" Ryan) and Hermann & rhythm patterns. Using acom-
the album was Kleine (Berliners Thaddeus plex, self-referential creative
the first release Hermann and Christian Kleine, process in which atrack's
on Morr who also helps operate the label) arrangement is triggered by the
Music (in tan- have constructed acomfy chair chord and rhythm changes con-
dem with of what Morr calls "up-to-date tained in samples of old soul
Vienna's nostalgia" electronic music. and jazz records, Jelinek's sound
Charizma Linked by ashared reverence for evolved out of his dislike for
Records), a "key records" — including early (and inability to play) key-
label run by ICraftwerk, Autechre, Seefeel, the boards. Describing his hard-
Thomas Morr, Smiths and old OMD B-sides — ware-based "loop-point modula-
the sun the artists in this community are tion" approach, he says his pri-
around which just starting to jell, as evidenced mary intention was to "make the
B. Fleischmann
the new elec- by last year's double-disc scene- process of music-making pub-
tronic pop defining compilation Putting lic," agoal inspired by Atom
IDM-style composition and scene orbits. Morr, 30, emits his The Morr Back In Morrissey (not Heart's 1998 album of clicks and
musique concrète technique gravitational pull from the for- acollection of Smiths covers!). cuts, Schnittstelle As enveloping
with timeless melodies and har- mer East Berlin, where his If the family has aquiet as they are fascinating, the tracks
monies that even your old-fart white-hot label still operates out genius, it's fellow East Berliner — like the music of all the artists
granny could love. of his modest flat. If acool Jan Jelinek, asoft-spoken 26- in the new ambient scene — are
"It's amiddle [ground] seven-inch is making the rounds year-old who has already issued documents of human emotion
between the hard electronic stuff somewhere on Earth, Morr anumber of masterful records, expressed through acatalyst of
and the Kruder & Dorfmeister knows about it — and most including an album under the sentient machines. Could there
thing," says Bernhard likely had ahand in its release. name Gramm (on the German be amore suitable way to relax
Fleischmann, the 25-year-old Morr also works for the German Source Records) that blurred the ageneration? NNIR
14
CMJ MARCH 19, 2001THE SOLUTION IS SO CLEAR
CRLLING ALL HUMANS AND ABLE UOLUNTEERS
• .R
e
Add CLUTCH 3.20
1Jurr rlilt! Ty
Contact Anthony Delia
at [000]898-223? or [212j707-2086
anthony.delta@atlantic-recording.com
210) www.atlantic-records.cam www.pro-rock.com
IHE ATLANIIC GROUP t2001 RILANTIC ACCORDING CORP R ORE WARNER COMPANY
"when the hits of the day have faded and aged poorly,
polichinelle will sound fresh and relevant."
-billboard
"fine music which surfs along on cool rolling chords...
quite stunning."
-nme
• "the perfect record for heartbroken insomniacs...
sweetly melancholic and rather sublime."
the prayer boat
polichinelle appearing at SXSW
adds 3/20
contact anthony cleha
at (800)898-2237 or (212)707-2086
anthony.dnia@atlantic-recording.com
www.atlantic-records.com
the atlantic group
02001 atlantic recording corp. an aot time warner companyHEARD HERE FIRST Column by Cheryl Botchick •cherylb@cmj.com
Tr here are two very Verde, Sun City Girls, Rocket
From The Crypt, Bluebird
Jandek, and now Pennsylvania
indie label Summersteps has
quick ways to acol-
lege radio program- and the Bellrays. assembled atribute album,
mer's heart: 1) Compilations Naked In The Afternoon, in his
of new material from favorite A little less star-studded, but honor. The track list of partic-
bands, and 2) Pop-punk cov- no less fascinating, is this trio ipating artists is as odd as you
ers of classic tunes. With a of tribute albums: might expect, including
crop of recent releases in both Reproductions: Songs Of The Retsin, Low, Bright Eyes, Amy
categories, DJs across the Human League (March), Denio and Gary Young (Yes!
country are set for the next Naked In The Afternoon: The original Pavement drum-
two months! And there are a A Tribute To Jandek mer!), but the thoughtful
number of these albums that (Summersteps), and Shoe reworkings of Jandek's songs
merit the intense attention Fetish: A Tribute To Shoes are as heartfelt as the mystery
they'll be getting. (Parasol). The first of the man's own versions. For more But even if you're not astu-
three is already doing well on information, visit the label dent of any of the above,
First off is Hangin' From The the CMJ charts, since it fea- website at http://www.geoci- you'll be hard pressed to not
Devil's Tree (Your Flesh), a19- tures such college radio ties.com/summersteps. enjoy these two pop-punk
track compilation with pro- favorites as the Aluminum juggernauts: Less Than Jake's
ceeds benefitting under- Group, Optiganally Yours, Greased (No Idea) and the
Ladytron, Momus and Stars. new album from Me First And
(And of course, Stephin The Gimme Gimmes, called
Merritt works his way onto Blow In The Wind (Fat Wreck
the album in three guises: as Chords). The latter disc,
didpi
himself, as Future Bible another pack of covers of
Heroes, and as the 6ths.) adult pop classics from the
punk rock supergroup, is a
The other two are enchanting guaranteed college radio hit,
in their own right, however. with hyper versions of every-
Longtime members of the col- thing from "Stand By Your
lege radio community know Man" to "Blowin' In The
Jandek all too well. An enig- Wind" to keep the kids pogo-
matic singer/songwriter who Formed in Illinois in 1975, the ing in the on-air studio. But
ground music publication has been self-releasing his Shoes made exactly the kind it's the Less Than Jake disc
Your Flesh. Aside from com- albums on Corwood Records of delicious power pop that
memorating the magazine's since 1978 and servicing them was doomed to stunt them
20th year in existence, it also to college stations and limited commercially, yet preserve
serves as aperfect intro to the press outlets, Jandek is a their work forever in the
Your Flesh esthetic, with con- celebrity without anyone even hearts of rock critics and
tributions ranging from the being sure of who he is. He music nerds. Swimming
free jazz of the Vandermark 5 doesn't play live or speak to entirely against the tides of
to the pill-popping punk rock '70s rock and then new wave,
of the New Bomb Turks. An the Shoes stuck it out with a
astonishing 15 of these cuts Raspberries-inflected style of
are exclusive to this benefit candied songwriting (along
compilation, so it'll serve both with ahandful of other
you and the legendary 'zine Midwestern torch bearers,
well to pick yourself up a such as Off Broadway and that's the sleeper: Eight tracks,
copy. Dig this list of addition- Pezband). Now, all these years all versions of the classic
al contributors: Thurston later, the Shoes are finally get- songs from the musical Grease
Moore, Lifter Puller, ting the sort of tribute album to which every generation
Turbonegro, Goatsnake, its songs have always demand- grows up singing along.
Slaves (now called Pleasure ed. Shoe Fetish runs 22 tracks "Greased Lightning"s dudes-
Forever), Electric Airlines long, and includes contribu- and-cars lyrics translate
(featuring Ed Roeser, the press, and — outside of tions from the likes of especially well into the shout-
formerly of Urge Overkill), his lyrics and strange cover art Matthew Sweet, the Shazam, along delivery. And those
Eyesinweasel, Bardo Pond, — reveals nothing about his Doug Powell, LMNOP and slow spots in "Beauty School
Michael Gerald, Supersuckers, identity. A comprehensive more, but the real stars here Dropout" are pretty funny,
Thinking Fellers Union Local website (http://tisue.net/jan- are certainly the indelible too.
#282, Monster Magnet, Cobra dek/) studies the mystery of hooks.
16
CMJ MARCH 19, 2001REVIEWS
ATARIS BIS
End Is Forever (Kung Fu)
End Is Forevees opening track
bis Music For A Stranger World
(Lookout!)
is an unassuming pop-punk When Bis vocalist Manda Rin
tune called "Giving Up On sings "I don't like the person I
Love," which tells the caution- am" on Music For A Stranger
ary tale of afriend who takes World's "Are You Ready?," it's
his fiancée to aBilly Idol (!) hard not to wonder if, afew
show, only to have his girl hop years ago, Bis decided it didn't
in bed with Mr. Rebel Yell like the band that it was. The
himself after the gig. The six-track Music completes the
moral of the story? Love sucks and nice guys often finish last. transition that started on 1999's Social Dancing, when Bis
Relationships of the fucked-up sort are the most common sub- began to ditch the punk and ska elements of its sound and
ject on End Is Forever, but the Ataris come off abit more intro- concentrate on the new wave and dance that always lingered
spective in their subject matter than the similarly minded behind its songs. The transition has worked out mostly for the
Green Day and Blink-182. The pop-culture-happy foursome best — dance anthem and album opener "Dead Wrestlers" is
sings about making mixtapes with contributions from Built To probably the best song the band's written in years. Manda's
Spill and the Descendents, going to karaoke bars, and about voice has matured too, losing its bratty edge in favor of more
loved ones missing them when they're gone. These universal accomplished, actual singing. Lyrically the group is alittle
sentiments, coupled with the band's charmingly spirited, three- more pissed than in the past (from "Punk Rock Points": "If
chord pop-punk, assures that you point I'll break your
R.I.Y.L: Blink-182, New Found New Order, Les Rythmes
End Is Forever will end up in finger off"), but alittle vit-
Glory, Lagwagon Digitales, Human League
the permanent collection of a riol goes along way towards
Contact: The Syndicate Contact: Tristin Laughter
fair share of skater teens, and Phone: 888.666.2061 countering the sometimes Phone: 510.450.8310 ext. 13
record collecting dorm Email: collegeethesyn.com excessive cheerleading of Email: tristin@lookoutrecords.com
dwellers on their first sojourn Release Date: Feb. 20; at radio now records past. Release Date: Feb. 20; at radio
away from the comforts of Tour Dates: New York (3/19), —Tom Mallon now
home. — Amy Sciarretto Pittsburgh (3/20), Chicago
(3/21), Detroit (3/22)
10111)11Lg
1
1JLL -11[LOW iTUS 11-D0 1
ADD DATE
March 19 &20
11
TOI/Dgi
UM WOW 111111i nüvs
For More info call:
Lenny, Mark or Brent at 800.992.6553
or: rad@interscoperecords.com
Jab, ,,0111,,,,otscaREVIEWS
BLACK HALOS BOYCRAZY
The Violent Years (Sub Pop) Foreign Words
Here's away to make some (Magic Marker)
quick cash: Corner arocker, With its earnest boy/girl har-
play them The Violent Years, monies, modest but spry
then bet them every nickel instrumentation and day-
you've got that the band's not dreamy lyrics, Foreign Words
from New York City. For that sounds like abyproduct of the
matter, why don't you bet that early '90s indie-pop boom. As
rTIlE %!IdLEI YEARS
they're not even American! Or it turns out, that's not far
Swedish either! Prepare to clean from the truth: Boycrazy was
up if you do, because this gutter punk quintet hails from formed by vocalists/multi-instrumentalists Bryce Edwards and
Vancouver, BC, though you'd never guess by its raucous, glarruny Rachel Blumberg in mid-'90s Portland, after both had spent
three-chord anthems. The Black Halos ply the same kind of bruis- time hanging out or playing with the Crabs, Sissyface and the
ing punk rock that gave the CBGB's of the late '70s its reputation, Elephant 6crew. Between jaunts as part of fellow jangle-pop
but they add an extra shot of napalm to upgrade the intensity to perfectionists the Minders, Edwards and Blumberg established
21st century levels. Though The Violent Years is the band's sopho- apermanent lineup for Boycrazy (adding asecond
more effort, it's got even more power and snarl than its ratty self- guitarist/keyboardist and abass player), which makes its debut
titled debut, as evidenced by the way lead singer Billy Hopeless on Foreign Words. Despite the band's obvious instrumental
shreds his way through such chops, the arrangements are unfussy and casually playful,
R.I.Y.L.: DGeneration, marked by bop-along multi-part harmonies and simply
unrepentant tracks as "Last Of
Streetwalkin' Cheetahs,
The 1%-ers:' Sell-Out Love" strummed guitar/bass rhythms. By keeping it breezy and
Backyard Babies
and "Start The Violence!' Like Contact: Sara Pourgasemi melodically bright, Boycrazy
R.I.Y.L.: Ladybug Transistor, Belle
D Generation before them, the Phone: 206.441.8441 ext. 3063 manages to avoid the more & Sebastian, Small Factory
Black Halos may seem like a Email: sarap@subpop.com obvious shortcomings of Contact: Fanatic Promotion
throwback, but does the grit of Release Date: March 20 indie-pop naiveté, allowing Phone: 303.245.0285
astreetwise punk rock band Add Date: March 20 the irrepressible surge of Email: infoefanaticpromotion.com
Tour Dates: Kansas City, MO Release Date: Feb. 27; at radio
ever go out of style? youthful wistfulness to lead
(3/19); St. Paul, MN (3/21) now
— Cheryl Botchick the way. — Colin Helms
CRUSHSTORY HEFNER
A + Electric (Pop Kid) rieMer we love the city We Love The City
Taking stylistic nods from (Too Pure—Beggars Banquet)
new wave, power-pop and As Brits and former art school
indie-rock, Reno, Nevada's students, the members of Hefner
Crushstory comes off like would probably blanche at this
Weezer's punky little brother suggestion, but it holds water to
on A + Electric. On one of the our American ears: We Love The
album's more frenetic tunes, City is proof that Hefner has
"Escape From New Rock," the picked up the torch of laconic,
trio pokes fun at obsessive snarky indie rock right where
indie rock fans with exacting standards: "I think Ihear some American bands like Pavement dropped it, and it's broken out into
so-and-so in there/ Like what's-her-name crossed with B(r) asprint. When Yankee indie rockers hear the intellectual slacker
and X/ Who cares/ We're criminals and victims!' Wringing a vibe of songs such as "The Greedy Ugly People" and "The Day That
jagged riff-rhythm from his guitar, singer Jim Bowers repeats Thatcher Dies," the touchstones are too beloved and familiar to
in jaded tone "I'm checking out" as his voice is scrubbed over ignore. But where Hefner diverges from those U.S. bands is in its
and under synthetic noise. On that track, the band's post- quintessential Englishness. The lyrics of Darren Hayman are heart-
punk influences take the fore, but Elvis Costello and Joe sick and lovelorn, but in the dour, humorous manner of legendary
Jackson come to mind more often than not, especially on "Sick Brits like the Smiths. Hefner's sense of humor also has aself-effac-
Of Me"— abittersweet mid-tempo lament that could be read ing kookiness that's undeniably of the Monty Python/Benny Hill
as if the singer is breaking up with someone or talking to him- variety. Don't miss the limited-edition version of the disc, which has
self in the mirror. Kathy Cagigas lends her vocals on acouple some enhanced content that includes avideo for the song "I Took
tracks, adding another Her Love For Granted!' But
dimension to the already R.I.Y.L.: Elvis Costello, Chisel, R.I.Y.L.: Sebadoh, Pavement's
only watch it if you're ready to
Crooked Rain, Crooked Rain,
sophisticated, yet understatedWeezer view scrawny indie rockers in
Contact: AAM Archers Of Loaf
new rock" of A + Electric. Email: justineaaminc.com anatomically correct flesh-col- Contact: Team Clermont
— Enrique Lavin Phone: 212.925.3005 ored bodysuits running at the Phone: 888.548.TEAM
Release Date: Feb. 27; at radio camera non-stop. Seriously. Email: radio@teamclermont.com
now — Cheryl Botchick Release Date: March 20
18
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