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Download issue as PDF - SLUG Magazine

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Allister, NeverHeard of It, Hiddenin PlainView,OverItSaturday, March 13at Albee SquareTotal Chaos, Funeral Dress, Cheap SexFriday, March 19at Albee SquareDeathCab for CutieMonday, March 22at In theVenueliars, Young People, GoldfishWednesday, March 24at Albee SquareThe Juliana Theory, Ann Berlin, Bayside,NumberOne FanSaturday. April 3 at In theVenueSomething Corporate, YellowcardSunday, April 4 atIn theVenueAdolescentsMonday, April Sat In theVenuePunks vs.Psychos TourTiger Army, The Business, F·MinusThursday, AprilS at In theVenueTheSuicide MachinesFriday, April 16at The lo-FiCafePinback, EnonWednesday, April 21atIn theVenueStellaStar,TheKillers, HelloAmsterdamWednesday, April 21atliquidJoes • APrivate CubforMembmTheRapture, BlackRebel MotorcycleClubSaturday, April 24atIn theVenue1SYoarJ •S11XiIlIliIlJlt • fa", 3

Just got burned for that "out of print importspecial edition"1 Don't get angry" startshopping atTaE RBYSS!!!"Neither Humorous Nor Appropriate""l]Do~[?~QrnCJlC.eS3MATT CASEU pg 11THE CASUALTIES pg 26THE LIARS pg 24PURl-DO pg 28VALLEY OF THE GIANTSpg23VOX CARNAGE pg 30UDo~ [?ro\l(])[P6Q~CDREVIEWS pg 31CUSSIREDS pg27DAILY CALENDARpg44DEARDIO

dlckheads@slugmag.comDear Dickheads,Who the hell?I'm curious you always are sayingshit in your liltle piece about blahblah i hate this and that and i hatethis kid ect. but you never leaveyour name so people know whohates them. so please whats yourname?Cheers,-RyanGood question Ryan. My realname is Orrin Hatch. Feel freeto stop by my house andpunch me right in my stupidface ... assho/e.Dear Dickheads,Awwww...nobody wrote lastmonth ever see that bumpersticker "kill apathy unless youdon't care" it always made mechuckle cuz I just know the punkin the car cares more about thenext beer buz than any "real"issues that are popular whenever.Call me jaded but I've beenaround the scene as long as thisgood 01' rag here and apathy islike a comfy pair of boots theymight slink but they are just socozey. Hey don't get me wrong Iadmit I can be pretty apatheticmostly about trying to project onmy outside the rebellious naturewithin. So mostly I am considereda poser since I lack the neccesarypeircings and tatoos thatprove how hardcore I really I save money on that shit andput it where it can really do somedamage ,1 go see as ma,ny Iq~~Jshows as I can get to. I own 'almost as many local music cd'sas national. I love my local bandt-shirts cuz they tend to be waycooler lookin' than some stupidrancid t.You know a few yearsago I wouldn't wipe my ass with ,this ra!g but I golla give kudos(ihate that word) to A.Brown andthe rest of the S.L.U.G. staff formaking it worth readingagain(usually while on the shitter)buthey don't we all do ourbest thinking there? Some of youold schoolers might rememberme and think yeah she used tofuck the editor and he put herlame ass band in the mag. welltrue A true B but I was 16 howdeep can a 16 year old girl be(insert your own dirty joke here)well I hope the letter providedsome sort of entertainment foryou. On a last note, We lost aSWEATIr.lGWILLY'•EVEin' SUNDAY 1fT IOPMAFTEI( OPEN MIC 1fTBUI{TS TIKll.OUNGECA PI(IV1fTE Cl.UB)killer human being last week andI know I am gonna miss seeinghim around. ' Ramon Cardenaswas generous, soulful, and fun toparty with, He gave me my firstreal job and stayed my friendeven after he fired me I love youRamon.peace people,-SanDRamon was indeed a reallycool guy. For those that did notknow him, he owned the RedIguana and the coolest damnbelt buckle that I have everseen. He will be sorely mIssedby many people here in SLC. Idon't think Ramon had aniirikind word to say about anyone.~.l.P Serio';' Cardenas;' iam drinking one for you rightnow. ' (Sometimes It's tough tobe a dickhead.)Dear Dickheads,You should be , punished by mydad for corrupting the youngminds of mychildren . After your presidentfufills my prophecy and blows upthe rest of the Middle East, I'll bethere to personally address yoursins. I'll send you to the fire sinners!!!Especially you, AngelaBrown! DIE! DIE! DIE!Love, JesusThanks for taking time out ofyour busyschedule to promoteyour new movie to type me alittle note ... must be hard withthe stigmata and all, that shit'0 'has to sting. Also, I don't giveshit who killed your fictionalass and I am sIck of fuckInghearing about It. NextllllDear Dickheads,So you only got 2 letters lastmonth huh ? Well Boo-fuckin'­Hoo! I sent you a letter 14 yearsago and you didn't print that.Don't print this one either, youwhiny fucking cunts.Sincerely yours,-Brian Hatch.Well there gramps, Ifyour lastletter was half as riveting asthis one, that Is very hard tobelieve. So here ya go, let's try,to make this a fun thing we doevery 14 years. Oh wait, youwill be dead In 14 years. Whydon't you go change yourcolostomy bag and listen toyour Dinosaur Bones tap&­you know how that calms youdown, you onery old cumbuck·et. ' 'Dear Dickheads,you guys rock, your doing whatother magazines couldn?t youroffering a quality magazine forfree, I do have one problem, thename of the magazine is salt lakeunderground right? then howcome itsonty about music andnot other underground shit thatgoes on in the grand ole fuckingstate we call Utah, like the illegalstreet races or maybe some kickasskeggers, or something, youknow what just fuck it, I just haveone thing to say eat my dick dickhead.signed-FUCKYOUWow why didn't we think ofthat? A story about a kegger7Who wouldn't love to readabout assholes we don't knowthrowing up and jammln' toP.O.D.III Hey, did you read thatstory about the fucking idIotswith the fast cars puttIngstrangers' lives at risk? Nextmonth, we will have a storyabout cockfighting Just for you... Oh yeah, fuck you too, yagoddamn mental mIdgetTah-tah, shitbrickslll

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o CCA IL llllE 1[1) . By Camilla Taylor~HIS MONTH. LOCALIZED WILL BE t~website when I get home. I did not group in a large backroom going throughoccurring on the March 12, featuringthe Electoral College and the massivecrowd of people that goes by the nameof SLAJO. Last month, the entire cityof Ogden headed down to the UrbanLounge for Localized, so Salt Lake, besureto turnout to show0-Town up.The Electoral CollegeChad Murphy: Vocals, guitarMikeMcCaleb: BassChrisPurdie: DrumsRussel and I met Chad Murphyof the Electoral College at Monk'sHouse of Jazz. After a good amount ofbrowbeating about how they are at faultfor ourcurrent president, we gotdown tobusiness, which is to say, we proceededto talk about nothing for about an hour.They formed in September. Mike andChris used to be in the band PlayerPiano before the three formed ElectoralCollege. They already havethe undyinglove and affection of Tolchock Trio andStanny, or, at least, they've played withthem a few times. I asked Chad to sumup his band using only three words orless."No words?" He misheard me andlooks confused. Russel suggests heuse hand motions. "Oh, three words.Well: memorable, noise and complex. Ican't use 'good,' can I? we try to makeour music more memorable by payingmore attention to the songwriting, to thelyrics."regret this decision after my computerlaboriously loaded their mp3s. Theirlyrics are original and their music hasa slightly dissonant sound to it-strangeto have come out of the acoustic funkpurgatory of thevalley.The trio are all from different partsof Utah County, ranging from Lehi toOrem. I am fascinated by people whostill remain in UtahCounty and continueto produce good workand don'thatetheplace. Chad and Mike, at least, don'thate it there. My conjecture is that thelack of stimuli force them to create theirown, and playing in SLC is a breath offresh, although rather smoky, air.www.theelectoralcollege.comSLAJO(SaltLake Alternative JazzOrchestra)Dave Chisholm: TrumpetJim Follet: TrumpetJoshDixon: TrumpetJoeChisholm: TromboneRyan Shepherd: TromboneMattMoore: TubaMarco Blackmore: WoodwindsAndrew Kuhnhausen: WoodwindsHerschel Bullen: WoodwindsAdam Leishman: WoodwindsWill Lovell: Double BassVViliis Clow: GuitarSteve Lyman: DrumsLate in the evening, we went to theGardener Hall on the U of U campusto hear SLAJO practice. We found thea song for the first time. I didn't realizethat there were 13 members of thisband and I immediately get crowd shy.But they don't notice Russel and I, and .continue playing, picking apartproblemsin their music that I cannot detect. Theyfinish the first piece and then move onto reading through a song composedby one of the band members, Herschel.Theybanter with eachotherlike a groupof, well, like a group of 13 boys. Theirmusic is richandcomplex.A couple of the members stayed afterpractice to talk to me. I believe thattheir initial plan was for all of them tostay, but I doubt that I am capable ofnot misquoting that many people. DaveChisholm started the band and he didso, he told me, because he was gettingtired with big band jazz. Then he gotsick of jazz altogether. He came to therealization that there was a fair amountof greatyoung players in the city and hetookimmediate action."From the get gO, .1 tried to avoid anybackstabbing. It's hard to avoid that in aband this big, but at our second or thirdpractice, I said, 'If you've got anything tosay about anyone elsein the band, thenjust say it.' It seems to have worked,because we're all friends. In a way, youdon't wantanycompetition in a band butin a way, youdo. We all pusheach otherto do things:. Dave says that being the band leaderhas forced him to become diplomatic.Theyalsotryto make their music, whichis sortof intimidating when you arefacedwith the horde of them, more accessible.Theyadapted a couple Nine Inch Nailssongs, a few Radiohead songs, aNirvanasong, andI amtoldthattheyareworking on a Bjork tune. LOCALIZED isa monthly local music showcase thesecond Friday of each month at theurban Lounge. For more info call SLUGat 801.487.9221.I ask him how he tries to write lyricsthat aren't silly. Chad, it seems, is wellread in post-modernist literature andpatterns his lyric writing after that style.He stresses seemingly disconnectedimagery and ideas which coheresomehow as a unitin the song..Chad talks about various indie andunknown bands with a fair degree ofknowledge, but the range is so diversethat I have no handle on what theythemselves sound like. I resolve to visit. , •PailB· SlJXj1fJ/jOJll· 1ftudt. 2rXJ4

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ap '0 'roll cQPfi~~p!i~~- ~ ..... -.. - ~ - -- ... ~---- 1984 elections, we asked a lot of questions that we are stillThere are any number of music magazines you can read with asking about the Democratic Party. Also, Reagan trying to coglossypix of rock stars and fashion spreads. But what aboutthe harsh realities of the music industry, the jagged edgeswhere the music world intersects with the larger world of thepolitical spectrum in which we all live? Dave Marsh, one of theopt Springsteen's "Born in the USA." It's not only valid for indiepeople to speak out. And we spoke out against the color bar onMTV even before Michael Jackson's people. The latter wasnot just a case of 'giving people what they want;' people wantelder statesmen of rock journalism , eventually found what they are exposed to; at least the best of it.mainstream music magazines shallow, becoming more andmore corporate shills, so he founded his own organ ofcommunication to examine the sides of the music industry thatthe people that run it don't want you to see. Rock & RapConfidential has looked at topics as divergent as rock assoundtrack for war, sampling, the war ondrugs, the truths about gangster rap,musician's gear made in sweatshops,and the sometimes strange bedfellowsof rockers' political affiliations. Marsh hasmanaged to ruffle more feathers with hiseight-page newsletter than many aheavily bound scholarly critical tome. Yettalking to him, he's still the kid fromDetroit in love with rock' n' roll. Howmany other ex-Rolling Stone writerscould you talk to who don't have anykind of rock journalist attitude?SLUG: 'Mly is it an online format with issues distributed bymail for free? Is this economicallyviable?DM: It's really a newsletter, not a magazine. 'Mlen you find ithard to get advertising because you're not playing to corporateadvertisers, it's difficult not to alteryour content to fit that. If we do it thisway (without ads), we don't have toplay to that. Advertising and venturecapital is thp. tail that wags the dog.There are projects meant to fighttheir way through the noise, but weare under the radar. We have 10,000paying subscr ibers . We arepreaching to the converted, but weget enough resistance that we knowwe're not just telling people whatthey want to hear.SLUG: 'Mlat is the background that ledyou into rock journalism and eventuallyto found Rock & Rap Confidential?Dave Marsh: I was goir:'lg to college atWayne State. My father was a railroadworker, and I was a working-class kid inDetroit. In 1968, I fell out of school and in with people like JohnSinclair and the MC5. 'Mlen Creem Magazine started, Iwound up writing at Creem from ages 19 to 23. Creem had avery politicizing way of looking at pop culture. By 1973, Idecided I had had enough. Creem was not going where I wasgoing. I was a music critic for Newsday, and wrote for the"Real Paper' in Boston. Then I wrote for Rolling Stone from '75to '78. I also did a lot of freelancing, like my book onSpringsteen. Then around '82, '83, Lee Ballinger, an amateursports journalist and radical, came to me and proposed that westart a newsletter exploring the connections between rockmusic and politics. It took about 10 to 15 issues before wechanged the name from Rock'n'RolI Confidential to Rock &Rap Confidential. Through things like my book on Elvis and. editing the first two editions of the Rolling Stone Record.GUide, I was in a position to take on such a project. It's not amoney-making project, though it pays for itself.SLUG: Why is there a need for R&RC? 'Mlat are you doingthat no one else is?DM: A lot of stories were going unreported. At first, we reallyfocused on censorship attacks. The attacks on Prince-wevery doggedly pursued that story. We collaborated with theSun City book on Artists United Against Apartheid. At the".11' S11KiIlJli.IDII' 1Iarc:111004SLUG: What is the mostcontroversial topic you have studiedin R&RC? Do you feel like you'vehad any impact on the widercommunity as a whole, the musicindustry or society in general?DM: We are writing more about the civil liberties implications ofrecent record industry actions, like RIAA vigilante groupsaccosting street vendors selling records the group deemsillegal. Issues like the economic structure of the recordindustry, how can artists survive when most of them get paidvery little; the industry's rationale about downloaders. I'm sureI'm persona non grata with a lot in the industry; I probably don'teven know how reviled I am. Rock the Vote doesn't like usbecause we continually point out that it's just a front group forthe Democratic party. The party won't solve the real problemslike health insurance, and they have alienated a lot of people. Idon't vote. If you could change anything by voting, they'd makeit illegal. If you're trying to do the two things most musicmagazines do-get the big interview and wheedle economicsupport from record companies, you can't ask thesequestions. That's why we have a column, "Why Do We Needthe Record Industry?"SLUG: What is your outlook on the upcoming political raceand the political climate in general? Do you see any causefor optimism?DM: It doesn't matter who is elected, but what we do Nov. 5,the day after, to start to solve our problems. I am interested insolutions, not just tinkering with a collapsing system. Still, you

zineland by slakerized... _---------.-:_- ---..... ---_ ... _-- _ .. _---­gotta work with the system. Unlike most people, I see low votertumout as cause for optimism, because it means people aredissatisfied. People trying to do something on their own abouteconomic and human rights gives me hope. There's no hope inBono traipsing around with his govemment pals. People need tobuild something of their own, outside the radar. Human beingsshould be out to help each other, not exploit. The resistance tothe war has been a hopeful sign. People have been strongarmedinto supporting a Democratic hack against Bush. But if aDemocrat is elected, will people turn their dissatisfaction intomeaningful change? No Demos plan on bringing the troopshome, or providing health insurance or jobs. The inequalities insociety become greater, not less. They all support NAHA, freetradecapitalism. We can't keep private insurance companiesand provide health care to everyone. We need to deal with ourproblems or fail as a species. I just read in the Guardiannewspaper that the No. 1 threat to security is global warming,which our administration doesn't even acknowledge exists.SLUG: What topics haven't you covered that you'd like to? What .are some upcoming issues to look forward to?OM: I miss old-fashioned rock criticism, when people could goon and On about the details of a concert or album. I have noeditor; I can write what I want. I do love music; I think very fewmusic mags do anymore. I read Tracks, the "hot new mag," butwhere is the passion? Upcoming features include the escalatingcriminalization of non-RIM approved music. They could beknocking on your door tomorrow. And lawsuits againstdownloaders. The music industry is the most ruthless.arm of theentertainment industry; immoral and hypocriticaljt's becausethey have the pressure to deliver a rate of profit 'that's damnnear impossible. The system allows them to beat up everyone.SLUG: What is the one thing you would change about the musicindustry if you could?OM: Capitalism. I would get the world of music on a rationalbasis, not a profit basis. I'd still have some complaints, but mostof my concerns would be resolved. Then I wouldn't have toworry whether my performer friends are going to die of poverty.Music is a human need that we've had longer than fire. Peopleshould be able to have it in their lives.••, .r~~kr~p.·~~m·lIardt 2Ot» Sl1Xillki11J1l • Pall' 13

GSL label owner, Sonny Kay, pictured here with his band, Year Future.n the indie music world, it seems to keep changing; the hot label of the month or evenweek, let alone the hot band. In the world of boutique niche houses run out of college dormsor. the bedrooms of post-grads moved back in with mom & dad, with usually one or twonotable releases amongst a string of 'awesome' embarrassments (maybe not now, buthow many of those 'cool' records from the 90s do you still own?), a few labels have stoodout. There are the Matadors and Merges, the gargantuans of the indie world, but everyoneknows almost all of their bands; it's not hip to go squawk about some band that's new to noone and be all acting like you've just discovered it. Go/d Standard Laboratories, however,has become the gold standard, the label that has slowly but surely amassed a bullpen ofthe most highly touted but also out there and even 'cool' (if it's cool to use that word) bandsin the universe: III, Arab on Radar, emo kids The Get Hustle, G09090 Airhart, I AmSpoonbender, alien punks The Locust, the Mars Volta, Japanoisists Melt Banana, formerSub Poppers Pleasure Forever, the Rapture, garageadelics The Vue. We spoke to SonnyKay, GSL founder and possessor of a seemingly supernatural ability to corral the holiestsounds around.SLUG: How/when/why were you inspired to start GSL?Sonny Kay: Vvhen I was in college in Colorado in 1993, I wanted to help document bandsthat were coming and going unnoticed.SLUG: Vvhatare some of the most rewarding and most difficult things about running an indierecord label?SK: Opening the first box of a new record or CD is always an exciting moment, and seeingbands progress/grow can bring a sense of accomplishment. Staying on top of the day-to-daybusy work is probably the most tedious aspect. I wind up doing a lot of accounting and othershit I all of the people we work with. I don't think itcan really be described verbally, it's more of agut instinct or feeling I have about it. I recentlysaw the label's roster described somewhere asbands who all have an affinity for the darker sideof life, which! guess is true to a degree. But Iwould never in a million years pigeonhole us asanyone thing, especially not 'goth punk' or anyother conglomerate genre. The label really existsto defy labeling.SLUG: With all the highly touted bands onyour roster now, which ones are you the mostexcited about? If GSL was a baseball team, whatpositions might some of the different bands fill?SK: Well, I am always excited about everyonewe're working with and all the various projects in(he cooker at any given time. I really just enjoythe process of walking something from idea tofinalized product; I get a lot of satisfaction outof just that. I feel like beyond our office, there issome 'buzz' building around one or two of thenewer bands which is always exciting. Rightnow, it seems to be Kill Me Tomorrow andChromatics, but I am equally as fired-up aboutthe new albums by Rhythm of Black Lines andFree Moral Agents. I don't know how I wouldplace the various bands in the baseball contextwithout potentially inSUlting anyone, but let's justsay The Mars Volta are clean-up, anyway youslice it.SLUG: What are seme new or upcomingreleases or signings that you are excited about?Discuss the SXSW showcase. Vvhat does theopportunity to present your bands there meanto you?SK: I guess I mentioned a couple of the newthings already, but there is also new stuff comingfrom Year Future, The Vanishing, 400 BlOWS,and The Mars Volta. The SXSW show is notmuch different than a show in any other citywhere there are kids paying attention to this stuff.The show is part of a larger 'festival'/trade showthat for the most part does not affect or concernme, the label, or any of the bands all that much.It's a great reason to go to Austin at that time andhang out with tons of other bands. Beyond that,it's just another stop on tour. Our show this yearincludes Gogogo Airheart, Rhythm of BlackLines, Kill Me Tomorrow, Year Future, andThe Holy Kiss.SLUG: Vvhatare your future plans for the label?Vvhere do you see the label in a year? Two?Five?SLUG : How has the label grown since the beginning?SK: To keep doing what we're doing andhopefully have a few more bands enter into theSK: I guess that could be answered in a variety of ways, but I feel like the scope of what we realm of Locust and III record salesI lsee theare doing is well above and beyond the somewhat modest punk rock of the early releases. label existing for a long time and developing/I feel like the label is a good representation of 'underground' music in 2004 on a fairly wide maintaining the idea that we value art and ingenuity over scrambling to stayup with trends. If we can keep working withSLUG : Vvhatniche in the musical world do you think GSL fills? Is there a 'GSL sound?" Vvhat people we respect and admire and manage toelements do you look for in bands to sign?_--"fTl'lM~m1'ffleeli"W'PIt'r~Ine"e"l'e'P'ltml",eaI_"af---comfort, then I will be happy.SK: I don't think there is anyone sound; I think by definition, most of the bands sim Iy couldnot possibly sound very similar. However, I will admit to there being something nsistent

W elcome back-edld you survive February? If you didn't get achance to check out the killer shows last month (Deepswlng &Lenny Fontana), you have another opportunity to get your groove onand get down. We have some great tracks out this month-from thekings of the West Coast, OM Records (including the long-awaitedMarques Wyatt release), back to the soulful sounds of New York'sown Jellybean Records. Also, we have a special guest reviewer thismonth: Drew Luck (Salt Lake drum n' bass guru) inquires:aluck@snowbird.comNick Jamesnickjames@slugmag.comMarch Shows :Matt Caseli, March 13 @ W Lounge (check out interview)Ash Huntlnqton March 27 @ W LoungeOJ Fluid"Sounds of OM vol. 4"OM RecordsFrom the founder of OM Records and Afro-Mystik, Sounds ofOm 4 isa continuous mix of West Coast and Chicago funk , by none other thanlegendary OJ Fluid (Chris Smith). If you saw his performance in SLClast December, then you know what's in store. Featuring tracks fromAfro-Mystik, OJ Fluid, Mark Farina, Migs, Kaskade and others,with remixes by Wyatt, Carter, Fiasco and Andre Harris, you can'tgo wrongl Soulful, techy and full of funk , it's one of the best mixes tocome out this year. Info: (available on CD andLP). Keep it up OM!-NJMarques Wyatt"Horizons"OM RecordsHouse the way it was meant to be ! Now this is my style of house,blended in an hour or so of deepand soulful vibes! But,for those thatdon't know, set for March 23, "Horizons" represents a "hopeful spiritand mood rooted in the deep soulful poWer of gospel, blues, jazz andpoetry focused on the healing power of music:" Including a spokenintro from Omega (of Afro-MystikiAndy Caldwell's ."\ Can't Wait")and tracks from Louie Vega, Kathy Brown,MarkGrant and. myrecent favorite, Intense & Voices of 6th Ave.; it's , definitely myfavorite LP of spring . More info: or on CD and LP). -NJ .Zinc"Faster"Bingo BeatsAfter releasing 12" dance singles for nearly a decade, including trackssuch as "Supa Sharp Shoota" and "138 Trek: UK-based OJ/producerZinc shows up on his first full-length LP. Without losing his signaturechunky beats or dance appeal, this album hosts a broad collection ofinfluences, from dreamy Ella Fitzgerald to flaming hot raggae-stylevocals . The overall vibe is lush and ornate, yet seemingly melancholyand serious in mood; however, this is a musically inspiring piece ofelectronica. -DLJaque"Love will save the Day"Jellybean RecordsFrom the sounds of Jellybean Records we have yet another greattrack. Written by Toni Colandreo and produced by Marlon D. forUnderground Collective. this jam is in rotation with Louie Vega,Tony Humphries, Louis Beneditti and Basement Boys, to name afew. Released on Feb. 17, "this soulful rendition of Whitney Houston's, classic 80s song will definitely put you in the mood for some all-nightbumpin' and grindin': Featuring a "house party vocal mix" and awicked "union square lounge solo organ mix," this is a pleaser for allmarkets. Also, check out other releases from Jellybean such asJa'Nel, "My Groove;" and Jaque, "Keys of My Life: Info: -NJJ Dubb & InklKnick & Sirus"Nemcron 003"Nemcron RecordsWhether it be neuro-funk, jazzy, jump-up or straight-up "amen"smashers, these soulful, vibin', vocal-looped tracks range from lushatmosphere to edgy bass lines and banging drum kits. Nemcron'sconstant effort to produce two top-notch tracks on every release isapparent-especially these two hot-joints that will rock from Bristol toL.A. My preference is the domestic (Atlanta & NC) outing by Sirus &Knick, "Fiction: Both from other duos, Basic Operations and EvolIntent, they have been rising the airwaves like DJs such asDieselBoy, Loxy, Dlllan, Goldie and Bailey. J Dubb &Ink, of the legendaryMetalHeadz, come proper with intricate compositions androlling bass in "Desire ." This domestic label has an ear for quality, anda big heart for drum and bass. -DLF811tarlDog tbe Eli-SaU Lakers•.•Carrie Murphy & Blcbard VlslcklBo't miss reium to llaa withouchdoWB EllgleTodd's Bar I; Gril*.. ".........,...--...ON SAT. MAS. 20KILBY COURTwww."'uclldIlWJIIIIIII'B.t:llmON SUN. MAS. 21

ClearlakeCedarsDominoThe surprise of the month comes from Britain's popsters Clearlake.Unheralded in America but well respected in the UK, Cedars pulls inthe warmth of the early 90s (House of Love, the second stage ofaforement ioned Teenage Fanclub) mixed with a heavy dose of theSmiths (that is, if Johnny Marr had grown up in the 60s rather thanthe Mick Ronson-fueled 70s) and a surprising amount of wit, leavinga more lush and biting version of Gene (who, while solid, never quitelived up to the "next Smiths" tag). Produced and mixed in part byCocteau Twins musician Simon Raymonde, Cedars firmly placesClearlake in the upper echelon of current British acts. Highly recommended.'·;~~r ~~::n: ShO ~I~' ::~: '~~ :~bW;~d~S releaSi ~gtheir~~tri-Sbutions to the Split Sides performance by the MerceCunningham Dance Company via iTunes until March 23, when therecordings will be released on CD and vinyl as Ba Ba Ti Ki Di Di.La Floa MalditaSalut JacquesWTIIIn many ways, Delerium destroyed the whole notion of female vocalslayered on top of industrial-light electronics by clubbing up all theanthems and driving the genre straight into Tranceland . Everythingpost-xerma has felt lifeless and disconnected. Then La Floa Malditawaltzes in after nearly five years of silence with an album that not onlyrejuvenates that genre , but reminds that it was never completelyabout the dance floor. Mixing in a Collection of dark dance beats andatmospheric soundscapes, Salut Jacques has been stuck in my CDplayer for weeks, a caustic reminder of how cookie cutter electron icmusic has become in the past few years . Clearly, there is still art in thedead space . .Teenage FanclubFour Thousand Seven Hundred and Sixty-Six Seconds: AShortcut to Teenage FanclubJetsetTeenage Fanclub were anothe r British act to collect a vast amount offinancial and critical praise early on in their career before slipping intothe obscurity file in America. Initially grouped in with the likes of Rideand their shoegazing compat riots, Teenage Fanclub saw their soundmove away from the distorted pop songs into a more traditional 60sByrds power pop (which oddly enough , sounds a bit like the GinBlossoms or a less kooky Weezer). This collection of 21 tracks highlightsbriefly the evolut ion (in no particular order) . I'd love to say that,.",. 16· SUXiNIIJOM· NlI1dI '2rXJ4Sing SingMadame Sing SingAerialFor those who thought Sing Sing's debut lacked the bite that EmmaAnderson had been a part of in Lush need worry no more . "Ruby,"the opening tack to this 4 song EP, is a heavier twist on the etherealpop song. It might not storm like "Ladykillers," but proves there is stilla lot of punch left in old guitar. "A Modern Girl" comes across as awonderfu l snapshot of the new Mod (retro-futurism) shaking aroundLondon , and frankly, should be a Britpop club staple . Ant icipation forthe full-length is suddenly much highrr than expected.StarsaiIorSilence Is EasyCaptiolWith their album Love Is Here, Starsailor was crowned best new bandin England , which in retrospect , might be a bit of an overstatement.Love Is Here was a good album from a band with a great amount ofpotential and yet not up to snuff with the likes of Coldplay , The Dovesor Travis. Silence Is Easy is a vast improvement over its predecessorwithout abandoning what critics and fans loved in the early material.Granted, the album is still flawed as the lyrics are a bit silly at times ,the music a bit grandiose for the subject matter, and the Phil Spectorproducedtracks not necessarily standing out either. Essentially,Starsalior are the rich man's Manic Street Preachers cleaned up formass consumption without the celebration of a life of debauchery;which was what always made the Manics more than the sum of theirparts.ElbowCast of ThousandsV2The long-awaited U.S. version of Elbow 's second album arrivesattached with some of the loneliest lyrics you could ever weep forwhile sonically picking up where Asleep in the Back left off, which, atleast initially, was a stumb ling block for me to overcome. Having oftendrawn compar isons to The Doves (vocalist Guy Garvey following agig where they played openers to The Doves told me that they werein fact his favorite band), I had hoped for the same progression TheDoves made between their debut and sophomore releases . Yet thatdisappointment is lost to what is a painfully beautiful album . A moreup-tempo release wouldn 't have suited the subject matter withoutdiminishing the theme of drunken collapses and kisses blown fromhalfway around the world . Iby oneamysevenIf you haven't already heardthe bad news, I'm hear tobreak it for you. OnSaturday, February 28thmany of us bid our farewellto the club that has beenour stomping grounds forthe last 2 1/2 years.Sanctuary has representedmuch more than a danceclub. This club has been apinnacle for the Salt LakeGothic and Industrial scene_ proving that our support- and strength can successfullymake something likethis happen. I get a tear inmy eye knowing that I will'never dance, see a liveshow or DJ at Sarictuaryagain.There is some good news. Area 51 has generouslyoffered the downstairs area to host us with a regularTuesday-Saturday Gothllndustrial flavor. It will be a littledifferent, but in the scheme of things it's the same strongscene that we know in a different place. Thanks to AlanMoss who believes in this scene and bends over backwardsto give us this foundation .Please show your support and keep a good thing going.Sevren Ni Arb hasX Marks the Pedwalk tickled my fancy forover a decade now.ExperiencesYou can imagine howDying Cu ltureexcited I was when Ilearned there was5/5new X Marks thePedvvalk material comingout this year. Experiences is a double disc with the deliciousclassics like "Abbatoir," "Cenotaph" and "T.OL" inaddition to 3 new tracks that make buying the old materialagain worth it. Not only that, there are some special mixesof songs like the "World mix" of "Missing Ught" and "Neverlook back re-edit". The new song, "Hot Head" was recordedduring Drawback, but was never released as Mr. Ni Arb didn'tsee it fit for the album. This song has been getting repetitiousplay at the moment - good stuff. "Here I Stay" wasrecorded during Meshwork and "Under Glass" was recordedduring The Killing Had Begun. I wasn't planning on reviewingExperiences because it has so many previously releasedtracks. But I have never sung my praises for X Marks thePedwalk in this column before. This is an older industrial actthat has been among my permanent top 10 since first discoveringthem. If you are unfamiliar with XMTP this is theperfect place to start.Top 10 forMarch2004I. Lapsed - Twilight I !2. X Marks the Pedwalk - ExpEriEnCES \,.3. Icon of Coil - MachinEs ere US4. Frontline Assembly - CIvilization5. Seabound - BEyond FlatllnE6. In strict Confidence - HOIl/ I,7. Dls~acer - Moon PhaSE8. Tarmvred - Viva 6581 I9. Tactical Sekt - GEnEtic/dE _ I10. Ladytron - light and MagicHands down, Lapsed isthe best thing to comeLapsedout of Salt Lake City.TwilightTwilight, on the Germanlabel Ad Noiseam, is the Ad Noiseamfirst release from Jason 5/5Stevens. Laced withdelicate a~mo~pheres, merging with blips and deep groovy ibass, TWllJght IS an album that separates itselffrom anyone igenre. It's impossible to compare Lapsed to anyone band, !but there are moments that are reminiscent of Beefcake, ',iCordell Klier, Boards of Canada, Gridlock, and Scorn. ,Intricate detail has been involved among the 14 unnamed Itracks. Aside from the praise I give to Mr. Stevens, this is I .:probably the best collective effort among the talent stem- I­ming from this city. Again, J. Cameron has done an incrediblejob mastering this album. Photographer, .ke, has pro- ]vided some beautiful imagery representing the natural !beauty of Lapsed. The Canadian act, Displacer is featured i ­as a remixer as a bonus to this masterpiece. Even if you iaren't a fan IDM, drum'n'bass, illbient, etc. you locals really jneed to check this out. It's brilliant. i ,The happy technosounds of Icon of CoilIcon of Coilreally gear me up for the Machines are uschange in weather thistime of year. I don't knowMetropolisexactly what it is or evenhow to describe it As the~/5third album, they continue with the catchy dancy 4-on-thef1o~rbeat~. Icon of COil .isone of the best ofthis kind of tech- Ino-industrial-pop. Machmes Are Us comes to us two years jafter The Soul is in the Software , yet it still feels like a perfect ifollow-up. Others have compared Machines Are Us as an iappropriate soundtrack to The Matrix. There is a definite Icyberlindustrial and sci-fi thing going on here. 14 tracks of Icontinuous danceable EBM serves as a perfect Rite of Spring !Masterpiece and will be the soundtrack for my sel-f spring Icleaning action.I1III

Her Candane CDrelease parties:March 19:Scooter's (Logan)w/Day Two,Gabrael;March 20: Albeew/Contlngency Plan,Day Two, NewTransit Direction,Form of Rocket.Roses & ExilePunish the SilenceNova One ProductionsChris Alvarez has been involved in . manygoth/industrial projects over the last severalyears, including my favorite , 23 Ext~cy.Roses & Exile goes in a decidedly more ambientand goth direction than Chris' previousventures . Gobs of keyboards , synths and malevocal chanting float over a background of soft .percuss ive programming. It's not so much scary as. c~mter:tplatlV.e, theblurry discordance evoking images of tall, black bUildings In unfriendlycities, trash skittering on the deserted streets , and at moments, ~hetried-n'-true cemetar ies, crosses and white gliding phantoms. Nicebells on "The Nightma re is Sad: and Schindler's List-like violin on "NoSer Cosa de Risa." Hey, and Bryan Mehr, who sang with 23 Extacyat Dark Arts last year, sings vocals on "An Empty Drift:chris-novaoneprod@hotmail.comBlack Black OceanVultures for Permanent Fix EPRed TriangleBlack Black Ocean is from Colorado, butJeremy Smith signed them to his SLC-basedRed Triangle Records last year. That theyare a phenomenal band is beyond debate;good to know we've got that clarified. Myfavor ite track is "SM" ("How I love the wayyou hurt me"); spastic new wave collides withindie-rock and a touch of inverted disco. The picking breakdownrecalls Rye Coalition, and the reverbed -out , backwashy rhythmsrecall Mars Volta (as do all the songs) . "SM" also has one of thecoolest snapping snare beats I've heard in a long time. Black BlackOcean 's avant garde , slanty approach to rock is a good fit on RedTriang/e, and would also be right at home on Gold StandardLaboratories.www.blackblackocean.comClifton, Self-titled demoI have a shameless crush on Clifton , andthat's probably wrong ,cause I was a senior inhighschool when they were in the fourthgrade. Or maybe that's your thing? The rea­son I have such a powr'ful crush on them isbecause they play my favor ite genre of all~times: Southern-tinged stoner sludge metal. .: , ., :And they play it in a way that makes your '.. ....throat all achey and shit. Plus, lead vocalist Ryan is a little sex kitten ;a prancer, preener and bold stage-strutter. But watch out: The clawsunsheathe when Clifton launch into one of their metal breakdowns.Ryan was a little abashed to give me this demo because he said theymade it when Clifton first formed, that it's way rough. He shouldn 'thave been . What's lo-fi, children? That 's right. Lo-f is closer to theheart . It's heavy as hell, making a seamless connection between rawmetallhardcore hybrid bands like Burnt by the Sun and Blood. Has Been Shed and stoner rock heavyweights Goatsnake andeven Acid King. Go to Clifton's next show or live to regret it.cliftonrock1@aol.comPlll}# 18· SUXi",Mi.WH· "'arclt 2fXJ4The Seldom SceneVolume 1This compilat ion is killer, the best local boutique/specialtycompilation released since MySweet Compilation was unleashed a coupleyears ago. The talent of the bands in theSeldom Scene is incredible and explosive , butunlike gas, don't stink. Don't even bother tryingto pick out a favorite track. The CD starts withthe earnest, semi-epic, melodic, heavyemo/hardcore groan ings of Drowning byNumbers followed by funny, sassy mathcore rebels Her Candane. I'llbreak do~n and admit the next track, Middle Distance's "Between," isThe BabyshakersSelf-titledBABYSHAKERS1254 RecordsThe Babyshakers spin out straightforward,blues-based, no-nonsense rock n' roll that issimultaneously reminiscent of the RoilingStones and The Boss. It's the perfectbackground music for a pool hall that localteens go to every weekend in a smallMississippi town; the soundtrack to the ir 1--. - .--'descent into drink, gambling, two-b it whores and jukebox addiction .one of my favor ites ... emo that's actually emotiona l: there's a newBut with three solid chords , a song titled after themselves (not just forconcept. Next is Day of Less' skin:crawling,. spine-~hilling , ~Itra-r~wrap anymoreI), backup organs, rough n' tough voca ls, and a song titledhurricane of blackest woe. The slow Interlude In the middle of We Like"Primer 69: dem ise never tasted quite so good .Watching Kids Kick Each Other Stupid" is beautiful. Next .comesGabrael's spacey, echoey melodies that twine around you like thearms of a blanket (their second song is much harder, tho'). Nimhimpress with tight deliveries on plaintive sc.reamo-the k~nd that isn'tmainstream and is better for it. The thick, syrnphonlc sound of"CalifornialJ\ msterdam" by Tolchock Trio , will have you writing sonnetswhen you should be balancing your checkbook, and Pilot ThisPlane Down (who contributed only one track, as opposed to t~e o~her. bands' two) end the journey with freefonn darkness morphlng Intodense storms of crushing metal. www.theseldomscene.comMORE OLDIES .•. BUT GOODIES?Chronic Funk Disorder, Self-titled demo: CFD's bio speaksfor itself: "CFD has a fresh, fun, original sound called 'funky-punkyrockin'-raggae': That is unfortunately true (all but the "fresh" and "original"part that is). chronicfd@hotmai/.com Kenny Quints, In theLand of Diversity: Utah 2030? Maybe . Kenny 's weird,haltingindustrial hip-hop (a new genre?) sounds like it was created using ProTools on a '97 PC in his parent's basement, but it's got originality. 673­6791. Agents of KAOS, Six: K.I.S.S., AC/DC and G&R wouldbeproud ... or pissed that AOK borrowed their s~und . With 32 ?Oversongs in their arsenal "and many more l." AOK claim they are availableto play "festivals, clubs and private engagements" near you . Whetherthat includes Denny's grand open ings ' is debatable:agentsofkaos@ao/.com Mark Sobus, Takln' a Ride: Mark Sobuscan play bass very well, but that doesn 't just i~ him c:overing Chr i~tmascarols . His cheesy synth-saturated rock onglnals might endear him asa cult icon to some, but I can't relate to people like that. P.O. Box 1613,Layton , 84041 Old Man Johnson, Life-Saving App~ratus: I,ngeneral, I don't like bands that try to be funny. It's a bad sl.g~. OMJ ~mainstream , Space-Cadet-like pop-rock that becomes funk In Smellyis terribly self-congratulatory. www.o/ Davldla~,Unpurlfled: Davidian played Localized in Jan. on the strength of thlsCD. The metal's a bit all-up-in-your-face trad, but the doub le bassandeveryth ing else-is tight, and this i~ n ' t the type of m~tal wh~resacrificing virgins is cool (yaaaawn) ; egging the Ogden police stationis. skap213@ao/.com

Iknow there are lots of hardcore punkbands in Salt Lake like AmericanStatistic, Repeat Offender and TheFictions, and I want to start reviewingthem on a regular basis. Send yourrecordings to SLUG Magazine, cloWasted Life, 222& S.500 E., Suite 206,SLC UT, 84106. I will review as many as Ipossibly can. My tastes in indie rock beginand end with Fugazi, so if you like cryingabout your ex-girlfriend instead of screamingfor change, send it in and maybe thegeneral local CD review section will reviewit but I won't.Speaking of Repeat Offender, they'll beplaying on Wednesday, March 24 at thenewall-ages space between Blue Katsand Orion's on 2110 S. 1100 E. The showstarts around 8 p.m. and costs $5.00.Harvest of Discontent, No MoreExistence and All Systems Fail will alsoplay..American Statistic will be playing onFriday,April 23 at Kilby Gourl with VitaminX, all the way from The Netherlands( .American Statistic plays rad skatecore likethey were time-warped from HuntingtonBeach circa 1981. Vitamin X reminds meof Youth of Today (R.I.P.) but of my favorite hardcore bandsthat hasn't been gone for 20 years. I'llhave more details about this show in nextmonth's column.BURY THE LIVINGTwitch of the Death Nerve CDThese crazy fucks from Tennessee soundlike Negative FX at the speed of Infest.They have the message, the rage and thechops to become a legendary hardcoreband, that is, if they don't break up tomorrow.Their singer, Pat, is an amateurwrestler who's battled it out on thumbtacksand light bulbs, and he's been hit with aflaming baseball bat wrapped in barbedwire. He's one of the funniest characters inhardcore today, but at the same time, youcan tell he's mad. To paraphrase him in arecent Maximumrocknroll interview,"Apparently, Sex Pistols were the onlypunk band that existed, until three yearswent by and there was Nirvana. Thenthere was the Offspring, Green Day andBlink 182. Punk rock is like what theMonkees were in the 60s. It's a fuckingjoke, and we're not doing a damn thingabout it." BURY THE LIVING is not one ofthose bands that throws around the word"hardcore" when they think it will sell themsome records and throws around wordslike "hard alternative" or "emotional metalcore"when they think it will sell them evenmore records. BURY THE LIVING is defiantand sincere hardcore fucking punk.Song titles like "White Picket Graveyard"and "Your Colors Don't Run But I Bet TheyFucking Burn" ought to let you knowwhere they stand. No sweaters, no trends,no emo, no friends. (3549 Douglas Ave,Memphis, TN, 38111, orKangaroo Records,

Prices SO HIGH ...It J lie0 sty0 U a n arm and a Ie.9!.',.Steve just putdown hisha lf-deposit...

10 t inBy ChU~iJ\a, ' .Vall"Y9fJ~' .9Iants a~ :: L,> At ··AnthphY sJekof.~halabJ Effe~t .BrendallCannJtigof Broken soelal~~"ne . . I P9nverge on an overwhelmll]gly hon~l /apop tune. It frees you up a lot."i · album, it soufl!:lsnk~this'Xl'llJey of the Glantl,lwa~ written. . " ". ;

seemed that The Liars, along with bands like Radio 4, theSeconds and Ex Models, were creating an empire in theirlittle neighborhood of Williamsburg built upon an unprecedentedfoundation of originality, flare and a list of blatantlyobscure influences.I no longer ..... wanna be a manI want to be a horseMen have small heartsI need a tailGive me a taileTell me a tale ...In 2001, The Liars released They Threw Us All in a Trenchand Stuck a Monument on Top on Gem BlandstenRecords. On the 24th of last month, in front of a sold-outBrooklyn warehouse crowd comprised of their friends andfans, they proceeded to playa set of songs off of their newalbum, They Were Wrong, So We Drowned, that seemedto share about the amount of similarities to the songs off oftheir first album as a horse's silhouette shares with aman's. Casual listeners were baffled, dedicated seenesterswere offended and the press went up in arms. A lothappened to the band and the scene they helped createbetween the Monument and Drowned-albums that causedLiars to create such a stir-allow me to attempt to fill insome of the gaps.At the turn of the millennium, hardly anyone outside of thestate of NY had heard of Williamsburg, Brooklyn. In SaltLake, to mention that town's name would draw hardly morethan vacant stares and muffled, confused mutterings.Mentioning "The Liars," however, would entice a strikinglymore definite series of responses : "art-punk," "nee-wave" oreven, "Those crazy, tall Australian dudes from NYC whoflopped around on stage to funk grooves and minimalistbeats before The John Spencer Blues Explosion went onlast year at ova." Little do most know, however, that tomention "Williamsburg " should logically spark thoughts ofone word, one band-The Liars.Around the time that the Monument album was released, itAll too soon, bands like The Liars and Ex Models, whoseonly previous association had been through the fact thatthey were friends and lived in the same neighborhood,were scooped up and set in boxes marked "dance-punk,""art-punk," "nee-wave" and a number of other c1everlyhyphenatedgenre labels. The same old "spawning of genuinecreativity that was immediately recognized, imitated,masked and marketed" story ensued-rent increases andfashionable drinking establishments flooded Williamsburgand a sizeable nook of new American culture was dilutedby fashion and capitalism , and everything started to seemthe same. ."That's the thing that started it all [in the Williamsburgscene]-we were all doing different stuff, and that's whatwas interesting about it," says Liars frontman AngusAndrew. "All the bands we knew were trying to go in separatedirections, but somehow it got amalgamated into oneand became very predictable."Angus knew that drastic action had to be taken in order tocreate something more than "just another record from oneof those post-punk bands from Brooklyn," so he took whatseemed the only logical step-he moved to New Jersey: Hesays, "We'd been touring so much and a lot of the bands wegrew up with in Williamsburg had been touring as well, sowe didn't even get to see that much of each other inBrooklyn. I wanted to isolate ourselves and make somethingthat would stand on its own rather than incorporatingelements that we already knew would work."He didn't find refuge in Newark, however, nor in Hoboken,but deep in the New Jersey woods (up until the point Iactually spoke with Angus, I wasn't aware that there wereany woods in New Jersey, but whatever). There, he andhis band (which parted ways with bass player Pat Natureand drummer Ron Albertson and recruited drummerJulian Gross; Aaron Hemphill is still the guitarist) livedand worked isolated not only from any semblance of thescene they had helped create, but from civilization as awhole. It was there that they created They Were Wrong,So We Drowned .The album could loosely be described as a concept album,but Angus qualifies: "I think Britney Spears writes conceptalbums inasmuch as marketing is a concept. This album isPag

less of a concept and more of a story," he says.By writing all of the songs on an album around a centraltheme, the work becomes more focused and the album asa whole more cohesive. Angus says, "It became reallyimportant for us to make songs that related and wereimportant to each other and not just be random, cool songs.It's a really good way to work on a record."With the need for change as readily apparent as their determination,all The Liars needed was something on which tofocus. In New Jersey, the band was fooling around layingdown the basic tracks for the first song on the album and,for no apparent reason, Aaron was adamant that it shouldbe called "Broken Witch." Angus, less adept at typing thancreating music, fumbled trying to type this title into an internetsearch engine and entered "Brocken Witch" instead.The results of the accidental search led him to sites aboutWalpurgis Night on Brocken Mountain in Germany. Thewheels began to turn. Angus explains that, "On April 31 st[Walpurgisnacht] all the witches gather on BrockenMountain for a sort of last hurrah before spring. It is saidthat they would steal children from all the farms around thearea and take them all up there on that.night and it was likea huge party."There is an entire body of work and obsession focused onthis night. Though the tradition is centuries old, it is still alivetoday and Angus said he found sites that had live videofeeds from the top of Brocken Mountain, as well as internetgift shops dedicated to Walpurgis Night that were somethinglike you'd find in Diagon Alley. From that moment on,it was decided that They Were Wrong, So We Drownedwould be centered around witchcraft, its folklore and traditionsand more specifically, to the story the album tells: theactual accounts of the Salem Witch Trials.The more they researched and learned about witches, themore immersed in the subject the band became. Angussays, "One of the most alluring aspects is the duality of allthese grim and macabre facts of people being put to death,and then on the other side of the coin, the really humorousway that people look at it in folklore."Liars definitely wanted to induce the element of fear withthe album, so they purposely created that element in themselvesand let it drain into the songs they wrote. "We'd bealone in the woods in a house by ourselves recording in thebasement for hours, and then at night we'd take walks inthe woods . We'd do things like split up and leave eachother alone and hide from each other and set fires."One can literally hear that fear in each of the songs onDrowned, which are all written from different perspectives(the witches, the bewitched and the terrified colonists) ; itis a genuinely creepy album. Even though I had heardthe Monument album, after three weeks straight of listeningto They Were Wrong, So We Drowned, it became difficultfor me to remember that The Liars were three artsydudes from Brooklyn arid not some freakish , animal -sacrificinggoths.Angus accredits their ability to pinpoint this unnatural perspectivesimply by immersing himself in the literature aboutit, as well as having a sense of humor."You've always got to take yourself and what you're doingwith a grain of salt. There's always a humorous side toeverything: If we'd only focused on the grim side, it wouldn'thave been as good."It has been said in other reports about The Liar 's drasticmetamorphosis that they are isolating their fans and don'tcare about what they think . Angus simply sees thechange as a natural progression that occurs in truly imaginativeartists."We're interested in not repeating ourselves. Somehow,most bands still get a kick out of repeating their sound. Forus, it's so much more interesting to change and to alwaysbe evolving. I wish other bands would take the time to forgeteverything they know," he says.When I ventured a guess at the future of The Liar's styleand told Angus that if the gear-shifting between theMonument and Drowned albums was any signifier, I wouldbe expecting something completely different from anythingthey've done on the next record. He just sort of chortled andsaid, "I think you may have just spelled out the clues yourself.I don't know. Maybe if everyone expects that we'll dosomething different we might do something similar. It's aninteresting position to be in. I enjoy the fact that no oneknows what to expect."No one knows, indeed. What is known, however, is that TheLiars have not only produced two completely amazing fulllengthalbums (they also have several EPs), but have doneso in completely different fashions, which is something veryfew bands can claim. Furthermore, if there is one thingmore incredible and captivating than the actual music theyplay, it is watching them play it in person. Do not miss themwhen they come to Albee Square with Young People andthe Goldfish on March 24.lJYtarsl· S1.1Xi1lki.c:oN • Pat}' 2J

~~.~~url-doLIVES•tedfromthepurr Bats cr~ ntvcultbandashes of Utah ou~ ~by Rebecca Vernon. u rl -d o , precursor of current-day Purr Bats, wasne of the most influential bands of the Utah.,;. underground. They existed in a weird, dark crawlspace underneath even the underground, and wereknown only to those who needed-and sought after-thetwisted, whimsical, disturbing and honest art they had to offer.Kyrblr, mastermind behind Purl-do and now Purr Bats, has had a life thatmakes Pippi Longstocking look like a boring suburbanite. Born inCalifornia and raised in Pleasant Grove, Kyrbir got hooked on the art-gothnoiseproject the Virgin Prunes-chronies of U2-when he was in hisearly teens. His first band was Screaming Yellow Manifestations (SYM),which he formed with his sister. They used invented instruments like potsand pans and whatever else they could get their hands on. They producedsome cassette tapes and a powerful message that spread to friends scatteredthroughout Utah Valley: that they, too, could form a band.Soon followed Mary Throwing Stones, a project Kyrbir fonned withfriends Lincoln and Eirth. All band practices took place at Kyrbir 's family'shouse-which was haunted-a house that was a huge influence onhim socially and musically."II was a weird sanctuary," says Kyrbir. "A lot of my friends would comeover, friends running from bad home situations. My mom was a surrogatemother for everyone-we even ended up adopting one ofJhe kids. There'sa song about the house on \iVhat Calms Me Down called 'Weed Patch.'The house spawned tons of creativity ."Kyrbir and his family, considered outcasts by the townsfolk of PleasantGrove, turned that ostracism to their advantage. "It didn't seem too big ofa stretch for the kids to start shaving our heads, dying our hair different colors,and starting bands . My friends and I created our own world, becausewe didn't fit into the world we were surrounded by," he says .Kyrbir moved into a house in Provo in his late teens called Sam Hill. andthere he met many lifelong friends, including Cin Hag, or Cinnamon. thebeautiful girl who the illustrator for Neil Gaiman's Sandman series fashionedhis "Death" character after. After Sam Hill, Kyrbir moved to Victoria ,Canada, then to Seattle at age 22. Eirth and Lincoln soon joined him andMary Throwing Stones started playing shows in Seattle. Their practicespace was situated between those of Nirvana, The Posies and Hole from1991 to 1992."We were completely not part of the scene," says Kyrbir. "We played withFaith & Disease a Jot. and Prayers for the Ravens. We were associatedwith the goth scene and were ridiculed."Kyrbir spent two years in Seattle, when, on Oct. 3, 1992, a "mad rush ofsongs came out," says Kyrbir. "It was a weird psychological landslide. Iwas mad at the church, which had made me feel worthless grOWing up. Ifinally was like, 'You don't have that power over me.''' This first group ofsongs eventually became Purl-do's first album, Perpetu8 Reel and OtherTales of Mormon Youth Erotica .Dav, i , '., '"e, Kyrblr, Dill Eli Ti i ' .r ,ony, &PaUlofP .un-do c'Kyrbir migrated back to Utah , lrCa 1997where his new project grew. Matt Barlow, Tony andDerwood soon got involved. Exactly a year later, on Oct. 3,1993, a secondbatch of songs flooded out. This lot dealt with "people's weird need tobelieve in something, and to feel worthWhile," says Kyrbir. These songswould become \iVhat Calms Me Down.At age 25, Kyrbir was diagnosed with endocarditis and underwent openheartsurgery. The doctors didn't expect him to live."The experience really helped me change perspective," says Kyrblr. "Ilearned not to be so serious, and not to wait around to do projects, but justto do them."Pookah was the next Purl-do album, which Kyrblr created for his sister'!birthday. II's also where Dave Payne (Red Bennies) and Ell Morrlsson(Wolfs) finally appeared with the project."We did Pookah in the spirit of SYM," says Kyrbir. "Bipolar goofiness to thedepths of despair."Kyrblr is surprised by how much response Puri-do gels. "It started out asa thing for friends, really," says Kyrbir. "Now people are doing covers of oldPurl-do songs and saying it had an influence on them. II's weird ."The next album, Red-Sequined Spirituality, came after a bleak period inKyrbir's life. "RSS was joyful. It was about everything that made me laugh,"he says. Quality S/eeptime. Kyrbir's favorite Puri-do album, was next . "II'slove songs for boys; all the boys that have meant something to methroughout my life: says Kyrbir.As far as shows go, Puri-do really didn't play too out too much, but whenthey did, they always left a bewildered crowd in their wake . "People didn'tknow what to make of us: muses Kyrbir.After making Quality S/eeptime. Kyrbir moved to London for five-and-ahalfyears, finally returning to Salt Lake about six months ago."I liked London," says Kyrbir, "But at the same time, image there was veryimportant, and the music scene seemed comprised of isolated people Inrooms with their computers making music. Here , it's more of a community.There's something magical about Salt Lake:Purl-do's back catalogue is finally being reissued . Ask .,~Kyrbir for it at Purr Bats shows or e-mail him at fc\\"

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Synth-heavy epic metal has never really had its moment in the sun.The world of music seems to have less room for bands like DreamTheater and Amorphls everyday. If one wants ambient andpassionate electronics, they go to Sigur R6s. If one wants progressivemetal, well, there are dozens of bands to choose from. I have no ideawhat these guys are trying to accomplish. Each song seems entirelytoo long, anti-progressive and thoroughly stale. Over-dramatickeyboards and background effects swirl through clean-channeled andtacky guitar riffs. The extended intro of every song is almost too muchto wait through to hear the moaning and tortured vocals of singerDarren Vllhite. The album and label say that this is a gothic/metalhybrid, but there is absolutely nothing that sounds metal here. This isultra-ambitious, pretentious new age by boring musicians who want tosound talented and passionate all at once.Choosing the "Greatest" Palace music was left up to fans via DragCIty's website. Fittingly, the fans chose songs ranging from LPs andEPs to singles. Although the songs were all written by Will Oldam,being re-recorded by "Prince" Billy with a cast of Nashville friendsturned the songs into entirely different, new and beautiful creations.'Ohio River Boat Song" turns from a dusty black-and-white sorrowfulsong into a honky-tonk pop country NO.1 hit. "Gulf Shore" retains thatsoft drift of Caribbean music, only brought to the panhandle of theMexican Gulf. "Cinematographer" turns from Mono to Super-Audio.Each song takes on a few more pounds and raises up its heels incelebration to the brilliance of the originals. This record is a coveralbum in the sense that an entirely new man added his own style tosome amazing songs. It's already one of the year's best."Saw her Standing There," the first track on the album, is unforgivablycheesy, but has such a delicious little dance beat and fun synthesizer itworked itself into my head for about a week straight. Like a more poppunkReggie and the Full Effect, it was good even though thehardcore indie rocker inside you hated yourself for liking it-and thencame the rest of the album. Gone were the fun synthesizers and dancemusic, instead enter 10 songs of terrible prog-punk that really bummedthe ever-living shit out of me. Lacking any charm or energy, thisaverage attempt at math-punk is dismal as it struggles to achievesomething greater than status as filler.The sticker on the CD cover says 'A crushing blend of primal emotionfor fans of GlassJilw, The Juliana Theory, Finch and Thrice," butthey don't need band name-dropping to sell records-their musicspeaks for itself. Plus, the songs on The Waiting Room are a little toooriginal for cheap comparisons. Mike Coasey handles the vocals verynicely,·perhaps a little too nicely for the harder roots of the music itself,but the contrast is somewhat intriguing. There is some furiousbackground screaming that might throw a "hardcore" label on themusic to virgin ears, but as the band states repeatedly, "we're not ahardcore band." The songs and lyrics are vivid in their imagery, skimpyon their pretenses, and I like that. "This Could Be" and "Countdown tothe End of the World' are my favorite tracks, but honestly, the weaksongs are few and far between. Reading the lyrics, you can tell thatArmsbendback is highly influenced by film, and I like that too.The nearly new Chucks on the feet of singer Nick C. and keyboardistEvan Foster on the back of the new Boss Martians says a lot. It's not adig at their music or credibility, but just to note that everything is aboutfashion now. Punk rock just doesn't mean what it used to. That said,there are scores of bands on MTV that this is better than. Vllhereasmost American punk kids emulate Green Day, this combo's garagepopsounds like they have listened to their share of Buzzcoc ks, earlyElvis Costello and even latter-day bands like Superdrag. "I Wanna BeYour Addiction," with its nervy vocals and rattly guitar, could be aShelley-DeVoto composition. Production help by Jack Endlno meansthat there's the proper amount of sparkle as well as combustion. Oneof the top in the genre of late.1 •One vital thing to consider about Devendra Banhart is the life he livedand by whom he was discovered. This offers insight into why his voiceand music is a cut above the typical drool that poisons today'sairwaves. If you pride yourself on knowing anything about music, youwill appreciate the importance and beauty of the Swans and itsbrainchild, Michael Glra, who produces fresh new talent with his labelYoung God Records. Gira, in a quest for new talent, stumbled upon adisheveled, homeless Banhart, who evoked the same raw emotionthat hadn't been heard since the days of Nick Drake, LeonardCohen, Robert Johnson, or Marc Bolan and T Rex. The music is assimple as it gets; only a few acoustic guitar 'tracks at most, tocomplement Banhart's honest but not too overly sentimental voice.The only true criticism I could offer is that Banhart sounds a bit toomuch like Robert Johnson-as if he were doing it on purpose-andhe is not exploring anything too innovative musically, but the ethos ofthe album is still strong. Banhart's story is of the artist's struggle toovercome poverty. His life is proof that if you are talented anddedicated, it is within your reach to achieve success. An artist mustsuffer for their work, and the truth of beauty that is a result of thissuffering comes through in Banhart's remarkable voice.Back once again is the incredible OJ Babu from the World FamousBeat Junkies with the second installment of the Duck Season mixtapes. One word, F-R-E-S-H: 'This cat is fresh. From Krs One's"Underground' to the "Street" that Showbiz and AG speak of, Babuflexes his DJing skills with ease, helping you understand why he andhis crew are world famous. Like every dope mix tape, Babu givesprops to his emcees. Def freestyles from Defari, Phil Da Agony, andDilated People's Evidence and Rakaa add flavor to an already hotset. Add an all-star lineup including the likes of Planet Asia, SlyBoogie and Tallb Kweli,and you are going to "Raise the Bar" for yourfellow DJs to emulate. Good luck, fellasl Before he bounces like a badcheck, he brings in fellow Junkies Rhettmatlc, J Rocc and Melo 0 tokill all the ducks he missed. This one has it all, from gangsta shit to theboogie-down basics-he covers all the bases and leaves you waitingfor next season. Word up, Babul~This split showcases two up-and-coming bands, one of which is alright,and the other is pure dynamite. The first band is The Break, who openwith "We Live Without Sleep," an O.K. scream-core song with illusionsof being a revival rock anthem. Sorry guys, not quite. The' secondsong, "Alone With You." is a little bit worse; it sounds like something onX96. Moreover, The Break can't decide what they really are. Like theguys who hang out at Todd's Bar, growing their dyed black shaggy,wearing a RaN T-Shirt, carrying themselves with a pompous altitudeand claiming their favorite band to be Thursday and AFI because they"Rockl" Like these guys, The Break need to stop being posers andrealize what rock really is. Let It Burn is pure powerhouse music.Imagine Clv in a rock band. "Guzellugh (Celebration of the Sun)" is abeautiful masterpiece of fiery and energetJc vocals and blistering andhowling guitars and drums. Apparently a member of Rye Coalitionplays with these guys and it shows. I would definitely buy a full-lengthdisc from these guys. Let It Burn is a band that needs to get out thereand show the world that they have the stuff of pure high-energy music.

Break The Silence isn't about to keep their feelings bottled up.They're here to let their high-energy music speak at the highestvolume, and the band's first full-length (and Hopeless Records debut).Near Life Experience, does just that. Fonning from the ashes of ahandful of Chicago bands such as 88 Fingers Louie , SKG, All ElseFails, Mike and Every Light Red, the members (which also includeRise Against founding member Dan Precision) all bring different ideasto the creative table, helping shape the unique sound that BTSdelivers. In a style of music that is overpopulated with flimsy pop-punkposers and holier-than-thou elitists, BTS is a loud, fresh breath ofoxygen. Even a cursory listen to a song like "Six Foot Revolver"reveals a keen knack for melody woven tightly into a distinctappreciation for metal and hardcore as well. A nationwide tour willfollow the release of this album; keep your fingers crossed for a stop inSalt Lake.Hailing from Boulder, Co., Deviant played their own Colorado DarkArts Festival and the Dark Arts Festival in Salt Lake last year. Theycombine lush synths, supreme fuzz guitar distortion, wailing leadguitar solos and the poignant, strong, sexy, tuneful female vocalstylings of London. Deviant recalls a more accessible SwitchbladeSymphony, with toms that tone down verses before exploding intobig, crushing choruses, and surging melody hooks that draw you inlike the arms of an octopus. Some of the sorter parts and backgroundmelodies even remind me of NIN's The Fragile, and Deviant's mysticalfeel recalls the majesty of Jay of.Orgy 's Queen of the Damned track,"Slept So Long." (Once again, I boldly overstep the mainstreamcomparison limit.) Deviant could hide behind the steel mask of synthsand drum machines, but instead venture out wearing a human face inthe form of London's all-too-mortal lyrics, and live guitar and piano.www.deviantmusic.comRiding that retro 80s revival movement being spearheaded by suchgroups as The Epoxies, Ima Robot and Red Planet, this band takesthe whole "bubble gum post-new wave" movement into a fun, catchydirection. Bouncy girl vocals about fun boy toys, bad girls, commentaryon fucking ugly people and other anti-social humor are all becoming oftheir female vocalist. The guitars, bass and drums are full of beefyhooks that are never cheesy. As the music world starts to shake itselfout of the stalwart sounds of nu-emo-punk-metal, it's good to seebands trying to mine the depths of influential older music. Granted,what The Checkers do is not exactly something new or original.However, take any band out there right now, including the indie sceneand try to tell me what they are doing is original. At least The Checkersare fun and not beaten into the ground like so many other bands outthere. The band definitely packs one helluva punch, with enoughbounce to get any casual listener pogo-ing around the house.It's a crime, but I'm going to make a local comparison. The DirtyProjectors unequivocally remind me of a bit faster. weirder version ofThe Coyote Hoods, from the 30s- and 40s-style music which would beright at home on a phonograph with the satisfying click of the needle asit falls gently onto the vinyl, to the rich, expressive baritone voice ofDave Longstreth. My favorite tracks are the second, "My OffwhiteFlag." and "Boredom is a Product." Unfortunately, the album startspetering out after about the sixth track, many of the songs thereafterfading into out-of-tune, pointless wandering. Case in point: "ThreeBrown Finches."Signify comes to the playground carrying big guns. A member of the1200 Hobos , Signify first surfaced producing tracks for Antlcon. SageFrancis and Buck 65 rap over seven of Sleep No More's tracks.Though the album's flow has a very DJ Shadow-influenced sound, theoverall tone is more akin to Mr. Dibbs's The 30th Song. The beatssound surreal and haunting, relying on bass-heavy drums and metallicsounds. Expect to hear snippets of this album in future DJ mixes.Signify is able to complement Buck 65's surreal narratives, as well asSage's complicated introspections. This is no small task for a singlealbum, and more than that, the music sounds seamless. It's as ifSignify wrote the entire album himself, then asked the emcees toperform the lyrics. Overall, it is impressive, because he does not allowthe emcees to dominate the listener's attention.1Nh0'da thunk It that the Shins in their brief lifespan could have alreadyspawned imitators? Or maybe it's just a case of great minds thinkalike. In any event, the combination of casually brushed guitar strings,retro keyboards and breathy vocals takes the mournful melodies of aShlns/Beatles influence that will have you tapping your toes andholding back tears (and maybe a grin) at the same time. Hooks likethose on "Will We Ever Know lNhy?" and "Revolution" are the likes ofwhich a songwriter would sell his soul to come up with. "I cannotcontain the joy I feel at the simplest thing: he proclaims on "I KnowYour Name: and the same could apply to the 15 gems herein; thoughthey just appear simple, they are as finely crafted as diamonds.First off, I have to commend whoever it was at Rodent PopsicleRecords for finally seeing virtue in a band that isn't just doing their bestCasualties impression. I don't understand what the gross overuse of .the letter "Z" in the liner notes is about, but Czolgoz can play somegreat hardcore punk. With crazy vocalS and wild melody lines, they'vemanaged to put danger in music (something I'm always craving).They're pissed off at American arrogance, displayed best in Americans'seeming belief that we're entitled to govern the world by the standardsthat best suit those in charge. Czolgoz are putting the attack on thosewho destroy others simply for political and financial gain.It's art rock from Seattle. Lots of fuzz and ethereal effects layered withMatt Duss' liquid vocals anchors most of the album. But lest we forgetthey are still "rockers: "Brand New String" provides an example oftheir Sea and Cake-moots-For Stars style. The first couple of trackskeep the pace up. but the album on a whole tends to drag. It seemsthe latter half is the "art" part. And as for the "rock" part. there's lots ofguitar (think swirling guitar) and drums to go around, complete withgroup harmonies. And it's all wrapped up in that melancholily-tingedyet-happysound that Death Cab does so well. Track one, "MorningSun: is perhaps the best treat.

Stunning, absolutely jaw-dropping elegance. This is the record SunnyDay Real Estate should have made after their magnificentmasterpiece How It Feels To Be Something On, instead of the so-soThe Rising Tide. This is basically the same band as SORE, except forthe absence of guitarist Dan Hoerner. However, the presence of theoriginal three members is here. Their original bass player, NateMendel, is back after his stint in the Foe Fighters, and his exquisitework fits perfect with the jazz-oriented beats of. \lVilliam Goldsmith.Some people would complain that The Fire Theft is not as good aspink album SORE or that they don't like the direction of the band.However. listen to ·Chains· and "Uncle Mountain· and tell me thosetracks are not absolutely stellar. Lead vocalist and guitarist JeremyEnigk continues to stagger the senses with lavish lows and majestichighs. I would safely say that Mister Enigk is one of the greatestvocalists of our time, right up there with Maynard of ToolIPerfectCircle . Different style of vocals, but same awe-inspiring vocals. Somemight compare them to Rush, and while I can see that, I feel they arein a category all their own. That category I would call "heavenly."Firewater has been around for quite a while and plays a kick-ass liveshow. Their latest release, Songs We Should Have Wdlten, would betruer still if the title had been Songs No One Else Has Covered. Allover the spectrum of musical influence, this time capsule has a little ofeverything, with liner notes to explain their selection: The Beat GoesOn by Sonny and Cher , Diamonds and Gold, covered with the samegravel voice with which Tom Waits first recorded Rain Dogs. You canalso hear Johnny Cash, The Beatles, The Roiling Stones, RobinHitchock. Firewater has recreated some originals with newinterpretations that no one would have thought of except them. To sumup, ·If that's all there is, than let's keep danclnq."•I thought this was going to be really cool when I first picked this up.The cover was all creepy spiderwebs, and chained-up hearts; the backof the case had three gruesome-looking girls, but after a listen, Iplainly saw that the artwork was the best part ot this release. Clichedlyrics like, ., will reign in hell, you will serve in heaven' are justnauseating. The songs become monotonous by the third track, andonly get worse as lead singer Squeaky's monotone drawl starts tosound more and more like a dial tone. The mix of guitar and bass getlost behind the vocals, and at times I couldn't tell what was beingplayed. I just hope there are better creepy girl punk bands out there.Heinl plays very humorous honky-tonk and ott-the-wall bluegrass thatcomes right from the same direction as Johnny Cash, Bob Moss andTom Walts. This is kind of a novelty album, with some listenersenjoying and participating along with Tom Heinl. The first 10 songs areHeinl crooning in his rich baritone while his band plays their wellcraftedmusic. They're hysterical tracks with lyrics that are very funnyand keep a listener in stitches. After a brief intermission, the albumcontinues with the first 10 tracks played over again without Heinl'svocals. The reason for this is in on the back of the album. Heinlexplains that he wanted to record what he calls, "a Stereoke album".The last tracks are meant for the listener to sing along to, karoakestyle.The lyrics are printed on the disc's sleeve so the listener can giveit a try. This might appeal to some but sound way too goofy for others.However, Heinl's singing songs are worth the price of admission; theStereoke is just for those who are really brave. Try putting this on at aparty and see what everybody does.This album is a weird amalgamation of low·fi rock ~ la Robert Pollard,the mock epic drama of Tenacious 0 , the psychedelic folk of aBrother JT (never heard of him? Look it up) or Daniel Johnston, andeven a little bit of the romanticism of Stephen Merritt (MagneticFields) . Steven Gaylord, joined by the Gay Tastee Players, createstunes both as fun and difficult to listen to as one imagines they were toplay. In line with the Pollard comparison, hallucinogenic lyrics andweird noises, including random conversations, backward guitar andhousehold appliances, abound. If you can get past the rough mix, thistwo-disc set is quite a romp. And not to be without his darker side,Gaylord lets loose with such profundities as ·1 know how to burn until Ishine/once I finish burning my brain to a crisp, I won't need to think towonder what fucked-up state I'm in:According to Craig Finn, singerlsongwriter for the Hold Steady, theeighties almost killed him. II's a damn good thing they didn't, though,because then I would have been 'deprived ot one of the best bands Ihave ever heard. If you're a sucker for brilliant lyrics and spent asubstantial portion of your childhood (or immediate post-childhood)partying and getting loaded, then you'll probably feel the same wayabout this band as I do. They sound like classic rock (citing Meatloafand Billy Joel as influences) with a dash of art, and no singleinstrument overpowers the others. They produce a vibe sort of like theViolent Femmes, but more casual and less direct. ·A thousand kidswill tall in love in all these clubs tonighUAthousand other kids will endup gushing blood tonightrrwo thousand kids won't get all that muchsleep tonighUButtwo thousand kids, they still feel pretty sweet tonight."My Top 10 list for 2004 starts here.This EP is compiled of eight murderous songs that never exceed threeminutes. Featuring Alexander T. (LickGoldenSky) on vocals andmembers of Turmoil and Nell Perry , this was expected to be, andmarketed, as a hardcore album. There are about 30 seconds on theentire record that actually sound like hardcore, though. The majority ofthe music is a riot of crusty punk rock with treble heavy-speed guitarsand blastbeated drumming. There are no crazy time signatures ormoshy breakdowns, but rather a multitude of energetic noise thatresembles the likes of lodina and a less polished Deadguy. Thevocals are Alexander T.'s signature incoherent screams of distorteddistress that sound like they're coming from a CB radio rather than amicrophone. This album will damage you and your stereo, and you justmight like it.Lola ... wasn't that about some lecherous old man and a prepubescentgirl in an Oedipul-complex-gone-awry story? Whatever; these guys cancall themselves anything they want. I raise my voice with the rest of theawed when I say I can't believe this is their debut. Sure, it's radiofriendlypop/punk/rock, but unlike similar counterparts who end upsounding gimmicky or stale (especially with debuts): these guys delivercomplexity and substance. Their tie to Good Charlotte is apparentlysomething to brag about, but if you're not a fan of plastic pop punk,have no fear. Lola Ray is much tastier. Harsh and angular "AutomaticGirl" is followed by the semisweet "Charlit Movie Star: giving thealbum that overall Jimmy Eat World "Bleed American' feel. It is track6, ' Preach On,· however, that is singularly different in a post-grungesort of way, and that completes their range of impressive musicianship.Nice job, fellas.

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Take 3 teaspoons of the freshest samples, add a bundle of snares andkicks, 2 Ibs. of strings, a dollop of piano loops, and a pinch of bass.forflavor ... and voila, you have the recipe for making classic wax. It's arecipe that MF Doom has been following since his days as a memberof the dynamic duo known as KMD. His latest release is anothercollection of beats from past classics and new tracks not yet released,as well as a remastered version of Vol. 3. All 16 instrumentals vary,ranging from the extreme changeups on 'Star Anis' to the cyphainviting piano and bass loops found on ·Agrimony." For crowdparticipation, Victor also includes the effects his tracks will have onyou after listening. So, take some 'Lemon Grass' for your psychicpowers, a little 'Arebic Gum' for purification, top it off with the seda~ivepowers of 'Spikenard' for your health, and call me In the morning.Finally, an album guaranteed to make the breakers break, the emceesspit, the graff writers bomb, and DJs study ... Whether you're a fan ofMF Doom or not, this album is worth checking out, no matter whatyour musical taste.,.What would it sound like if a Slayer cover band hired a rapping PhilAnselmo wannabe for a vocalist? Stampin' Ground have managedon their fourth release to directly rip off the Seasons in theAbysslDivine Intervention~ra of Slayer's music and combine it withthe worst vocals they could have possibly found. They hail from theUK, and have released three albums prior to this one; I haven't heardthem, but I would rather not. Judging by their publicity photo, they arethe younger brothers of Creed who went astray and took too manysteroids. Honestly, there are people who will like this album. and theydeserve this band. This is the circle jerk of testosterone-happyshitheads and over-polished production that so many change-fearingtough guys fantasize about. These guys should be ashamed if theyever have the fortune to meet any of the bands they steal from.While his .friend Bonny "Prince" Billy was busy re-recording thatother band, Palace, we, the audience got another.dose of Will Oldam,..who we haven't heard from since Ode Music in 2000. Seafearer is a .documentary about the life of shore leave of four captains in the port of .Rotterdam, the world's largest seaport. Each story is unique and themusic echoes the remoteness and barren life they experience.Clocking in at roughly 25 minutes of 'silent music: Will employedbrother Paul and also David Bird to arrange the pieces with him.Even if you never see the documentary, Will Oldam has created somehaunting tunes to add to your collection.This six-song burner of an EP, recorded and released in 2002, waspreviously only available to the public via The Start's website and atshows. However,it was released through Nitro Records last December,.with a full-length anticipated through Nitro spring 2004. The Start waspushed to the top of the music industry Cracker Jacks® box about ayear and a half ago, and what a tasty surprise they were. They weresoon after left stranded when their former label folded; Cinderella backto the ashes. They returned to a DIY ethic-an ethic that never seemsto fail. They were easily the best band on the Girlz Garage Tour lastfall. This EP captures their 80s hyper new-wave, with Aimee Echo'sbegging, sonorous, multi-faceted vocal acrobatics glimmering like aruby against a black velvet backdrop of complicated bass attacks andsinister, sad guitar riffs. The Start's strength lies in an area where somany musicians fail: songwriting. They've got it down. Best tracks arethe title track, 'Los Angeles' and 'The 1234.'There is nothing really outrageous about this Detroit band's newcollection; as opposed to the garage rock the town is known for, theycreate pastiches that could come as easily from the ' PaisleyUnderground of the 80s as the original psychedelic heyday of the 60s.Alt their albums are pretty much interchangeable, but what they do,they do incredibly well: creating a sound from several yesteryears agothat is so precisely crafted that you are transported back in time tosomething that's really timeless. Standout tracks include ' Girt, YouHave Magic Inside You' (love songs tend to rise above, natch) and thetitle track. Though the band is named after a brand of hair dye, it alsosounds like some delectable ear candy. If" you are into this stuff,Rainbow Quartz is developing a whole roster of bands like OC andIsraeli combo Rock Four to dig the i"ew~old ~qw~~~rids . ';' ....We've all seen Subhumans patches at shows. Like the Misfits'crimson ghost or the Back Flag bars, the simple three boxes spellingout Sub-hum-mans is unarguably one of the most recognizable logosin the punk scene. I always wanted the patch with the logo on it for myjacket, but I didn't know who the Subhumans were, so I went out andbought Time Flies + Rats. well, I never got that patch, but I find myselffour years later still listening to that record. This, like the othernumerous discs from Fat Wreck's Live In a Dive series, is a crystalclearrecording of 26 tracks that span the band's entire career. Maybenow I'll finally get that patch.For a band that claims to play minimum R&B, I think these guys haveno idea what the hell they are really playing. One would expect thesounds of locals Red Bennles to come thundering out of the speakers.Instead, this sound like something Mathew Sweet would put out.Minimum R&B? More like lousy indie jangle pop. Furthermore, theindie sounds they compose are not even that great. It's so bubblegummyand syrupy sweet that even The Strokes would puke. Trying topass this off as 60s-style garage rock is just plain ridiculous. It wouldbe like The Atarl's passing themselves off as a rock bandl Oh wait,they already do that, don't they? well, Service Group is one of thosebands that are having an identity crisis. Moreover, their identity crisis isjust shit that is not 60s pop. Check out The Greenhornes, The Chainsor Mondo Topless , instead of this poser bullshit.Mark Kozelek has seemed like a one-trick pony. His work with RedHouse Painters painted musical pictures that, for all their beauty,seemed a bit monochromatic. But the past several years, he's beenbranching out. 2001's "What's Next to the Moon' covered AC/DCsongs, revealing in his acoustic arrangements a depth few knew wasthere. The strumming of 'Glenn Tipton' opens the album in his usualfine form, lyrically ranging from the Judas Priest guitarists Tipton andKK Downing to Kozelek's yearning for his father and the owner of alocal donut shop. 'Salvador Sanchez,' about the fate boxer, generatesa Crazy Horse-like groove that is positively mesmerizing. 'Carry MeOhio' is one of his lushest melodies in years. That's just for starters.It's impossible to rave too much about how stunning this collection is,even for the high standard Kozelek has set over the years.

Typically self-effacing, the British singer-songwriter's newest effort istitled as though he just threw it together before heading out on theroad. But he also assumes the persona of a musical journeyman, andhis songs are somehow his means of survival. This makes sensewhen you reckon the fervor of a composition like "Gethsemane" or thebitter.irony of "A Love You Can't Survive" and "Jealous VVords." Theseare "Unguents, Fig.Leaves and Tourniquets for the Soul" as well asinoculations, a little preventative poison to ward off the pain thatalways comes later. The stripped-down accompaniments of bass anddrums highlights his voice that has deepened with age into a finelytuned instrument of its own. You owe it to yourself to check out hiscover of Britney Spear's "Oops I Did It Again" on his work, "1000Years of Popular Music: which starts out with Gregorian adaptations,for a second opinion on the talent or lack of same regarding thedancing diva.Crashing down hard like an out of control version of motorcity rock n'roll similar to the likes of Queen V, The Stooges and The Bellrays,the Vagiants have a ridiculously stupid band name, but they truly kickass. Like The Bellrays, They have a voluptuous singer who channelsthe passionate vocals of janis Joplin arid TIna Turner : However, TheVagiants play better music then The Bellrays. The guitar, bass anddrums rage with a raucous sonic ferociousness that will knock theuninitiated on their ass. For those crave 'their high octane streetsnarlin'rock with a high-spirited female vocalist, then seek this oneout. Just make sure to put their stupid name out of your head.I haven't quite figured out how this soundtrack pertains to basketball.Almost every song has a few lines on the subject, but for the mostpart, it seems more like the soundtrack to a new 2Pac flick. II getspretty thuggy at times, and if that isn't your bag, I suggest skippingright to track 17. There you will find B.Oogg delivering the goods withhis rendition of Snoop Oogg's "Gin and Juice." Sort of reminiscent toPhlsh's version, but with a twist of Tom Jones meets Billy Joelsomewhere in a lounge in Vegas-the track is a bonus for sure. Thefirst cut on this album is a Shaft-type theme song for the bailers ofRucker Park, Kevin Major's introduction gives off a different vibethen the rest of the compilation. Mainly because it's the only R&Btrack, and well, it's the only track that covers the basketballtournament theme. My favorite of this compilation is Prozack Turner 's"Bang It: or the other bonus track that makes this album worthowning. His witty punch lines are displayed right for the jump as hestarts off, "This beat is hot righVoh I forgoVyou're the soft typellhedumb kidlthat brought the dirt clogs to the rock fighVyou're not tightstop righVnow baby you 10sVI nailed Superman to a kryptonite cross."This soundtrack will probably bring out the thug in you after a fewlistens, so be warned. I'm not sure if it will improve your dunk, but youshould at least give it a listen.Why is it that when it comes to music and technology, the Japanesebeat the U.S. to a bloody pulp every time? At least we make better ...uh ... venison. Shit Associated Music Vol. 1 is an excellent compilationof prominent Japanese bands that takes you on a roller-coaster ride ofart-rock, punk (Electric Eel Shock), alternative rock (Catch Up) carefreepop and demanted surf, with a definite concentration in noisecore andexperimental. Said experimentation, ranging from playful to murderous,is refreshing. It may be the water that separates us from Japan, or itmight just be their genes, that makes this music feel, taste and sounddifferent from anything made in America. It's like we can't break free ofthe idea of what rock is "supposed" to be; while Japanese musiciansaren't so constrained. www.peelander-z.comLet's face it, guys. the Vandals are too old and washed up to write anynew material that's worth a shit. They are not, however, too old andwashed up to kick ass when they play all of their old, classic songs live.I've never been to a bad Vandals show, and as far as I can tell, thaI'sbecause there's no such thing. Energetic and hilarious as always,Dave, Joe, Josh and Warren turn up the juice whenever they get in frontof a crowd, and especially when they get in front of a crowd in OrangeCounty. This, however, is not the only live Vandals disc. If I were you,which, trust me, you wish I were, I would get Sweatin' to the Oldiesinstead of this album. It has even more zaniness than this one, andreplaces many of the newer crappy songs on this one with old coolsongs. This record's high point comes when vocalist DaveQuackenbush introduces the song "The Kid VIIIth the DisproportionateHead" and dedicates it to the lead singer from Blink 182.Vocalist Sonny Kay of Angel Hair and The VSS fame's newest bandYear Future lives up to the legacy of its predecessors by defining newboundaries for the genre they have etched for themselves. Any projectKay has even touched has gained a near-instantaneous cult following, .sending us all to Ebay in search of any 7" with his name upon it; andsuch shall be the fate of Year Future. Balancing between thewrenching hardcore of Angel Hair and the avante-noise of Subpoenathe Past, the work is refreshingly original and stands out (yet again)from the numerous Sonny Kay bands of the past. It will never escapecomparison with his previous projects, thanks to his irreproduciblevocals and warped take on punk music. This band should not beexcused as another link or side-project in the wide array of bandsparticipated in by its members, but rather, a grindingly distortedglimpse into the demise of punk, as we know it.•••A master at the control board with more than time on his hands, JohnVanderslice has taken to the studio for a record, laden with instrumentsand narrative with a simple scope of expressing emotions and motives.He relives his childhood ghosts as he has never before done. Insteadof opening the closet door, he has chosen the cellar door, whichinvariably let out more than he thought possible at first. Grinning ordepressed, John deals with all his family issues carefully plucked fromthe family tree, hoping to find some peace. In certain songs, like TheyWon't Let Me Run and White Plains, that's all he does. The FlamingLips sound inspired Heated Pool and Bear and the David Lynchreference in Promising Actress. It's a great melancholy record toremember our loved ones for all of their misgivings and accept the fatethat we have been dealt.

~~~f.t.~ ~ 'i\~ ,of Danse Orientale for seven years, and with national favorites suchas Dalla Carella, Azlza, Fahtlem, Fat Chance Belly Danceand Tina Sargent. II is her dream to study Middle Eastern dance inTurkey and Egypt."Belly dancing allows women to showcase their dance talent in a professlonaland artistic atmosphere," S'lephanie explains. "Most ballet 'dancers' careers are over at 30, but women can belly dance untilthey are 70 or 80. In fact, in most Middle Eastern countries,l!1 ':\J. older women are revered for their artistry as dancers and teach­'II .'1 ers, and are often the stars of the shows. Danse Orientale orbelly dancing is empowering for women because it allows us tofeel beautiful. vibrant and strong. And: she laughs. "I really lovethe costumes."'If you haverecently seenBaraka, Salt Lake'sEgyptian Cabaret troupe,you have had an opportunity tosee the fascinating, divine and exoticStephanie. She's the exuberant shortbrunette with absolute perfection of movementand an !rresistible stage presence. II's hard to miss her flashing smile.expressive eyes and some of the most fluid undulations in Utah. She isdefinitely a rising star in the universe of Middle Eastern dance .Stephanie's hip drops. pops and locks are drop-dead perfect. sharp andpunctuat~d, yet she can g!i~e across the floor as graceful and flowing as~ater while all the while flirting outrageously with her audience. We loveIt. and we love her. .Stephan!e, a native Utahn, started dancing at age five, studying ballet,tap .and Jazz. She. fell ,ma.dlY In love with belly dancing while attending afest~valto see a friend s sister perform. Fifteen years later, Stephanie is adedicated student of Middle Eastern dance and a truly gifted dance professional.She has studied under Azlz and Raffa at the Azlz School~s a.member of Bar~ka for the last six years, Stephanie has performedIn Anzona, New Mexico, Florida, Idaho and Utah. She is a member andc~-founder of Blue Lotus, a fusion-style belly dance troupe that performsWIth COSM , a local band. and at various events around Sail Lake City.~The local a~ community," says Stephanie, "does not regard belly dane­Ing as a senous art form. Utah Middle Eastern dancers have raised thebar nationally on technique and performance quality. Our dancers arerecognized throughout the United States as some of the best in the business,but we are not recognized in our home state. The art communityneeds to provide more opportunities for well-trained, professional MiddleEastern Dancers to perform in order to educate the public and create anawareness regarding this truly beautiful art form and the many differentstyles of the dance."Stephanie is currently teaching beginning and intermediate EgyptianC~b~ret cl.asses at the Aziz School of Danse Orientale. She will be performingWIth Baraka Sat., June 12, at the Hadia Show. sponsored byBelly Dancing by Thla ( and at theInternational Dance Gala, Sat., Aug. 21, at the Gallivan Center.sponsored by Sullsha Creations( Check out their websites for moreInformation on these events.I....' '[VEIY 1I0NUIAY SAl mAl $2IUlIIIIISI1WllII OROOUIIG DOGS ,/IICIEI OIA_,nmaWIllOS ONLY POlY 50C DRAfTS.-....~.FLATUNESYNDICAn~.wInllll_IN ,/17.1 kII.entr'/3DARSON&amJCEX ,ISIIASHY SIlSBY, 1be Ntnb6, BSLbG lAG LOCALIZED~ mmTOLCHOCIIRIO II fiR IIURIIUR~ CBAII1lIrn1IIIPm 01 ,muluI ,.1 ABSINTHIASHINCION GlNEULSOImSTARMY. FlFI MURMUR "SIX SIOEO BOX.BRANT BJORK w/ RED BENNtES_AFRO OMEGAPrJ,. 38• Sl1XiNMiLr»t • NarcIt 2004&DeBfuTE HODIIS'

words«mE MIUIII(Dphotos«mE MIUAI(DCon lned to the indoor training facility, andfrustrated with the snow, the 48 skate crewneeded a road trip to a warm destination.What better place than the nearby city of LasVegas? Andy Pitts, Greg Wrotniak, MikeHays, Dave Van and I loaded up Andy'sSaturn and took to the road uncomfortably, butwe did have all the luxuries of a modernAmerican family, a DVD player.Unbeknownst to the prostitutes, stripperpimpin' taxi drivers, and dice-rollers, we werethere to skate. With the new 48 video far fromdone, we wanted to get some fresh footage.full of new territory. Trip MVP, Mike Hays,killed every spot we skated. The list of trickshe threw down is endless, however, heseemed to be a little camera shy.We skated numerous places including awhimsical euro gap erected by Greg up to aloading dock with a perfect rail off it, two skateparks, a picnic table, bump to rail, and perfectledges. Despite many local shan kings, wefound ourselves looking for the elusive purpleledges in the depths of the ghetto. Searchingfor over an hour, we finally found them, and ofcourse, MVP Mike linked many astoundingtricks together.With not a lot of footage, and their thirst toskate not completely quenched, Andy, Greg,and Mike ventured back to the snowyWasatch Front, while Dave and I wandered tothe strip to meet some friends ... and gamble,of coLirse. Well, that last day and a half turnedout to be so eventful I could never fit it on thisone page. I could sum it up in two words,though: SIN CITY.

Last month, while Utah wasexperiencing an epic amount ofsnowfall (Snowbird passed445" of snow), I spent threedays at Stratton, Vermont,where the US Open is held eachyear, and wondered what all thehype was about. I have heardabout the icy conditions and bulletproofterrain parks that litterthe mountains, but found all myprevious misconceptions unjustified.The snow was actuallyrideable and the powder (twoinches) that the locals were ravingabout was pretty decent.Each mountain rose approximately3,000 feet above sealevel, which are consideredmountains to the East Coaster'snaive sense of mass. My nightswere filled with midnight hot-tubparties and underage danceclubs. Definitely a place to visit,but return for some real riding atyour local resort.forthethere is some steep terrain to behad if you know where to look. Ifyou have ever hiked Baldy, thanyou know what I mean. If youwould like to scare yourself andlook good doing it, Snowbird isalso offering a Steeps CampMarch 19-23. Call Snowbirdthe Brighton lodge from 8-9a.m.Have your mom wake you up soyou don't miss out on all the freeswag.Someone Else's Ride: ForumSnowboards will also be hostinga demo at Brighton the sameday, March 20, so demo a boardto win the contest with and saveyours for the rest of the season.Demo all day."l'm Pretty Wet": The Canyonswill be hosting their annualpond-skimming contest April 3­7. Contestants must dress incostume (the weirder the better)as they attempt to cross a 100­foot pond on skis or a snowboard.Registration happens theday of the event. The pond andthe excitement happen just outsideRed Pine Lodge. Followup the fun on the slopes with livereggae music by The ReggaeCowboys at 3p.m. in TheCanyons Resort Vi/lage.Park City Mountain Resortbrought the World SuperpipeChampionships back to Utahfor the second year running andKeir Dillon, who has beenabsent from the pulpit for sometime, took the win over Ross"the boss" Powers. KellyClark repeated her first-placefinish at Park City again sincethe Olympics. Check out thevideo from the contest or let's move on to thismonth's lists of events, which ispretty sparse.Stepping outside of. the actionsports for a few events, March13 is a busy day. If you didn'tknow by now, Wal-Mart sucks.For all you bargain hunters outthere trying to find the best sale,you are really only killing thecompetition and buying thirdworldgoods. Protest outsideJordan Landing all day andskip the RC Willey sale. VisitPa~ If(). SllXiNAG.rx»t· NarcJr 2004Dani Costandache (Switzerland) competes in ParkCity's World Superpipe Championships.Ride for Nature Day: Becauserecycling your beer bottles andthrowing 'your empty Camelpack in the trash does not necessarilymake you a Sierra Clubmember, Snowbird is helpingyou help the environment. Showup Sun., March 14 to buy a liftticket and a portion of yourmoney will benefit the NatureConservancy of UtahHoly Shit: If anyone who hasever ridden the Bird knows,Mountain School for info.SLUG Games Update: Due to4' of snow in three days at BrianHead, the first contest in theSLUG Games series was postponed.Rescheduled for March6,there was still a great turnoutand the best contest in SouthernUtah. Thanks to everyoneinvolved. The next contest is theSLUG "De-Railed" contest atBrighton Resort March 20.Register day of the contest atGetting out of the cold - Localsnow/skate shops are wrappingup the season with huge sales.Get your discount boards, boots,beanies and thermals for 40%­70% off. Bllndside is moving upthe road from their previouslocation; planned opening isearly March.For Those Who Like To Rock:March is also the unofficial startof the touring circuit, so look for- .ward to your favorite band intown soon. Some highlights forthe month include Death CabFor Cutie, I am the WorldTrade Center, The Unicorns,Holopaw and N.E.R.D with TheBlack Eyed Peas.The 03/04 season is wrappingup in a few months, so look forwardto the spring with skatearticles and warmer content inthe future. Happy Birthday,Angel.Any events or news that I needto know about? E-mail me

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DRIL.Y CRL.EnDRRSUBMISSIONS FOR TIlE SLUG CALENDAR ARE DUE BY TIlE tsr OF mE MONlll. FAX TO 487.1359 OR EMAIL·D1CKHEADS@SLUGMAG.COMFriday March 5Nobody Knows, Mental Floss-Burt 'sThe Virus, The Unseen,Endless Struggle,12t,h SI. Staggers- AlbeeShannon Froh's B-Day wiStarmy- Monk'sTheta Naught, Wolf Colonel,Aylah, My Friend Fox-Muse MusicThe Adolescents- SoundFucktards' final show wlAgape,OJ Shanty- Todd'sMoshmellows, 3% Hero,Foolish Pete, Ithaca Melody,Emergency Exit Plan,40 Days & 40 Nights- KilbyThe Body- Urban LoungeForm of Rocket, Hudson RiverSchool- Harry O'sSaturday March 6Dirty Birds- BurtsHoodroo Pone,Edgar's Mule- Ego'sThe Sounds, Kill Hannah,Ima Robot, Lola- In the VenueRajiv Patel, Single File, Tone,John Vanderslice,Okkervil River,Tolchock Trio- KilbyOp Girls Snowboard Clinic-SnowbirdThe Trauma Club,Books About UFO's,. Rated Hero, September-Starry NightsEmergency Exit Plan,Other Pocket,The Good Bites- Todd'sThe Switch, Morlocks,Red Bennies- KamikazesFlatline Syndicate, 3D Arson-Urban LoungeTeenage Heartthrob- AlbeeSunday March 7Sweatin ' Willy- BurtsMonday March 8John Lee Hooker Jr.- SoundOJ Curtis Strange- Burt'sOJ Rebel- Monk'sTuesday March 9Pagan Love Gods- BurtsJohn Lee Hooker.Jr.- BrewskisThe Early November,Hey Mercedes, Spitafield,Limbeck- In the VenueRiver Panthers, Slump,Sophomore, Dusnt Malter,Ester Orang, Vista Four- Kilbyx-27- Starry NightsRed Bennies, The Downers,Fifi Murmur,Vox Carnage- VortexNo Star Jazz- Monk'sSlim Cessna's Auto Club-Liquid Joe'sSabrina Blackburn,X27 (Denver)- Urban LoungeWednesday March 10The Casualties- AlbeeRepeat Offender- Burt'sTheta Naught- Monk'sPushing Up Daisies,The Death of Us,EI Taro, Mammoth- SoundStories of Scars, Still Famous,Marko Powlo,Powerhouse of Rock,Juke Joint 45s- KilbyErin McKeown, Paul Jacobsen(KRCL benefit)­Huntsman AuditoriumMental Floss- HaloThursday March 11Walk Through Walls,1090 Club, Magstatic,Send No Flowers- Lo-FiKaraoke wI CaptainJack & McJerm- Burt'sCex, Smashy Smashy,The Numbs- Urban LoungeThe Body- Monk 'sOrange & Ugly, Gigi Love,Supersofar, COSM- SoundJupiter, The City Sleeps,The Decembrists, Tom Heinl,Brilliant Stereo Mob- KilbyEchoes- AlbeeFriday March 12Theta Naught- Electric TheaterNotabeme- Burt'sCoyote Hoods- Monk'sZeke, High on Fire, Nova-Liquid Joe 'sThe Pink Spiders, The LeitersOrganize, Seconds Fall-Starry NightsEdgar's Mule,Space Time- Todd'sThe High Strung,The Carlsonics, City in Ruin,My New Life, Postcards Home,3% Hero- KilbySLUG Mag Localizedw/SLAJO, Electoral College,TBA- Urban LoungeSaturday March 13Pre-St Paddy's Day party,Pagan Love Gods- Burt'sAllister, Never Heard of It,Hidden in Plain View,Over It- AlbeeKelly V- Ego'sGreat White IncompetenceTour- Phat TireLe Force, The Downers,Mico de Noche- Todd'sKelly V,Farewell to Austin Party- Ego'sTolchock Trio, Fifi Murmur,The Debonairs- Urban LoungePurdymouth- SoundWalMart protest, 10 a.m.­Jordan LandingTake the Fall, Vox Carnage,Mara Loko,Hi-fi Massacre- KilbySunday March 14Paul Galaxy and the Galatics,Sweatin' Willy- Burt 'sEchoes, A Form of Hope- Lo-FiTragic Black, Absinthe(Dark Arts fundraiser)- Monk'sPseudosix, Brownham- KilbyMonday March 15OJ Curtis Strange- Burt 'sOFFER Conference- SheratonStrike Anywhere, F-Minus,Silverstein,Fifth Hour Hero- Lo-FiEchoes, Until Further Notice,Four Minute Mile- Starry NightsOJ Matlock- Monk'sStudebaker John & the Hawks-SoundThe Catheters,Your Enemy's Friend,Books About UFO's- KilbyTuesday March 16Pagan Love Gods- Burt'sA Night of Bush Bashingw/Gino Sky, Ray Obermayr-Ken Sander's Rare BooksIchor, Necrophalus,Microphones,Pipidipdipidi Misou,Chubby Bunny- KilbyPushing Up Daisies,William Defoe- VortexMason Jennings,Beautiful Girls- Ego'sJazz/poetry fundraiser- Monk 'sCrank Caller- UrbanWednesday March 17Unmemntionables;SI. Paddy's Day Party- Burt'sWinston McCoy, Clovis Frank~KilbyThursday March 18I Can Lick Any the House,JW Blackout, Thunderfist- Ego'sKaraoke wi Captain Jack &McJerm- Burt'sSilence the Fall,Kill Bollicus, Clifton,Pushing Up Daisies- KilbyFriday March 19Total Chaos, Funeral Dress,Cheap Sex- AlbeeHarmonica Blowout-Hog WallowSleep Easy- Starry NightsFoil Kit Lampy, Layna- Todd'sThunderfist- Burt'sJerry Joseph & theJackmormons- Ego'sThe Switch- Monk'sKristagong & the Others- SoundRobbed, 3-Star Hotel,For the Moment, EI Taro,Morrisite War, Enex- KilbyOn Vibrato- UrbanSaturday March 20Devil Dolls- Lo-FiThe Numbs, The Agents-Muse MusicThe Church, Sea Ray- SoundA.M. Feed, Nova- Todd'sFirst Day of Spring party- Burt'sTracy Hall, Half Step- KilbyAbsinthe- Urban LoungeThe Salt Lake Showcase II:Day Two, Form of Rocket,The New Transit Direction,Contingency Plan- AlbeeAntix- Phat Tire SaloonSunday March 21Open mic, Sweatin' Willy- Burt'sJerry Joseph & theJackmormons- Ego'sThe 5th Utility,Touchdown Eagle- KilbyMonday March 22Death Cab for Cutie, + \-,Ben Kweller- In the VenueOJ Curtis Strange- Burt 'sOJ Rebel- Monk'sJohn Nameth,Rich Welter- SoundPoulain,Christopher Gino Dean- KilbyTuesday March 23Split Habit,H=!z '2rxJ4. SlJAjHkiIX»l • Pall' 44

DRII.V CRI.EnDRR .~tan''''.dm:kh (")f S& ~rrt;~r't~inPJ~trt;The Amazing Transparent Man,Contingency Plan,Old Time Relijun,Adam's Castle,Theta Naught- KilbyHollow- VorlexPagan Love GodsNo Star Jazz- Monk'sWednesday March 24The Liars, Young People ,Goldfish- AlbeeAvenged Sevenfold, The Bled,Alexis on Fire,Unsound Mind- Lo-FiDulcesky, Mona, Violet Run­Starry NightsAcoustic wI These Daze­Smashy Smashy- Monk'sDualesc, Matt Hopper- KilbyThursday March 25Egg & Dart, Ben Oman,The Velvet Teen, Aveo,Roots of Orchis- KilbyManfall- Starry NightsPlay- Kingsbury HallKaraoke wI CaptainJack & McJerm- Burl'sStarmy, Fifi Murmur,Six-Sided Box- KilbySunday March 28Sweatin' Willy- Burl'sTolchock Trio, Red Bennies,The Debonairs- Brewski'sOJ Wookie OJ Drown- Monk'sAshes of Fall- Monk 'sMonday March 29Decibully- KilbyOJ Curtis Stranqe- Burl'sOJ Matlock- Monk'sLady Bianca- SoundLamer Face, Glacial, Decibully,Gift Anon- KilbyTuesday March 30Love of Everything , Joan of Are,Make Believe- U of UWhat Remains, UH- VorlexDysrythmia- Burl'sJames Shook- SoundClarity,Until Further Notice- KilbyCoyote Hoods- Urban LoungeWednesday March 31Lover's Band,These Winter Days,The Unicorns, Actress,Beans- KilbyMC Coot- SoundPRE SEN T S,Friday March 26Goodbye Blue Monday,Comfortable For You,Still Famous- Starry NightsSLUG Magazine's ActionSports Night wi Day of Less,Clifton, Pushing Up Dalsies­Todd'sDead Kats- BurlsBooks About UFO's, Stiletto ,MOrlocks- Brewski'sSpork, Killstar- SoundStories of Scars CD release,Hello Amsterdam,I am Electric- KilbyBrant Bjork, Red Bennies­Urban LoungeSaturday March 27Remedy Motef- Porl 0 CallBlue Sky Mile, Gabrlel­Starry NightsSons of London- Todd'sRPG & Thunderfist- Burl'sThe Soul of John Black- SoundFairveil, Offset, Sherwood ,Low Flying Owls,Film School- KilbyAfro Omega- Urban LoungeBig Head Todd & the Monsters­SuedeThursday April 1S.OAR. Benefit wI Cherem,12th Street Staggers,Someone Else's Hero,DaisyWreckedlt- KilbyDirty Birds- Monk'sNine Inch Nails,Marilyn Manson, Mr. Fabulous;early show- Kilby CourlFi'lday April 2The Get Up Kids- Lo-FiBrownham,Coyote Hoods- Todd'sSaturday April 3The Cock Siurpees- Todd'sN.E.R.D " The Black Eyed Peas,The Juliana Theory, Anberlin,Bayside, Number One Fan­In The VenueSunday April 4Something Corporate,Yellowcard, Steriogram­In the VenueMonday April 5Adolescents- In the VenueGet your cat or dog spayed today.Finish your taxes. And pick up thenew SLUG-anyplace coollWWW.UTAHCONCERTS.COMYou can pur ch ase tlck ots a t Smlt hs-IIX, Grey Wha le CO. The Heavy Metal Shop, an d UlahC

Free wag. Helmet r qulr d. Still haY qu tion?Call u 801.487.922 1 25 with easPJtR~' , . ..35 withdutIT.H~~~m~ ~ ~,m~ ' Jliir"' ". , I!:

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