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dadastic! sounds

sights . sounds . visions

Updated: 2018-03-23T10:00:06.444-07:00




NEW STYLE BY RAPID-I This five-song EP is as fresh and fun as it was when it was first recorded in the late 1980s.  It’s full of unexpected twists and turns, while retaining the beat and a playful sense of joy.   rapid-I were one of the few jazz-punk bands to emerge from the West Coast during the 1980s, which makes the EP even more of a bright spot for collectors and fans of that era; It’s sort of Barney Miller crossed with James Chance, New Style pulls you into the groove and occasionally spits you back out, but never leaves you too far from getting back into the beat.  It never takes itself too seriously....this is No Wave that's on the funkier side . The music is full of percussion, sharp guitar hooks, bass-heavy bottom with a sense of precision while remaining loose and spirited.  The EP contains a full-length version of the title song and a shorter radio version that stands on it’s own.  This is another of the long-lost gems of Seattle proto-grunge that deserves to be heard and enjoyed

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THAT'S DADASTIC! VISIT THE WEBSITE! CLICK HERE DOWNLOAD AVAILABLE NOW! AMAZON.COM I-TUNES New stuff. Old stuff. Paris.   Martha's Vineyard. Seattle. Jakarta. London. Portland and Buenos Aries. Rock. Funk. Folk. Garage. Wierdo. At dadastic! sounds we don’t let genre or language or location stand in the way of the music we love. Neither should you. So here are twenty turned-on hits by the original artists that cross all those boundaries. Of course their not all by the original artists. We’ve included two cover songs that completely transcend the originals. All of the songs here are favorites of ours. No internet contests, no paid inclusions no hype beyond trying to get you to pay attention and support some of these artists. Go ahead; buy a CD or download from these artists…or us. The music on That’s Dadastic! ranges from a forgotten teenage garage band recorded almost 50 years ago to music that is not quite back from the CD plant. And how could we release a compilation without including some old pre-grunge favorites from Seattle? “on the backs of giants“ and all that stuff, as somebody said. Along with those unknown artists there’s a few well known producers, sidemen and engineers here too; but we’ll let you figure out who those people are rather than tooting our horn. Some of the songs are so strong we didn’t mind that they were recorded with no production qualities to speak of. We’re more interested in having you a listen to a song you like and sticking around to discover some new stuff. There’s way too much to mention and too many people to thank. That’s why we’ve set up a website to give you details, let you know where to buy songs from these artists and download bonus tracks. We’re even updating the site from time to time…news, freebies and all kinds of glamorous stuff. Isn‘t all this mind-bending? Sure. Just so you don’t forget. THAT’S DADASTIC!    [...]



THE FUGITIVES COME RUNNING OUT OF OF PORTLANDS PAST Over the decades there’s been many bands calling themselves The Fugitives. The mid-60s group from Portland may have been the first-but it didn’t stop the record pressing plant from misspelling the name on the bands first single, ‘We Gotta Run’. Though it was labeled ‘The Fugatives’ Portland Oregon kids already knew who they were. The Fugitives were a popular band on the Northwest music scene at the time. In 1965 they'd won the city's Teen Fair battle of the bands and were on their way to national prominence. Today there are barely a footnote alongside the great bands that are associated with Portland during that era, the most famous being The Kingsmen and Paul Revere and The Raiders. The Fugitives were and are every bit as good as any band working in the Northwest at the time, so it’s an honor to be able to re-introduce them to 21st century listeners. Somewhere along the way we discovered an anonymous teen journalist  writing in one of the local Portland newspapers. We thought we'd share it here since it such a step into the past!  The article:BAND OF THE MONTH Although the oldest member in the group is only 19, The Fugitives with Ann and Rhonda are an all-around professional group who can put on a great show to please a variety of audiences. Managed by John Hillsbury, who’s noted for his contributions to live theater in Portland, The Fugitives are winners of last year’s Teen Age Fair, winning over 96 other combos, and Rhonda (Rhonda Anderson) is a Miss Teen Talent contest winner in Long Beach California. Band members can play anything from 4-4, hard rock to western and jazz, to formal dances. They prefer ballad rock. They have written much of their own material. A current disc “We Gotta Run” is on many jukes and is being played regularly by KGAR. The flip ballad is ‘Don’t Pretend’. On the Tork label. they are recording six new songs which were proven popular at numerous dances at which they have played. When the group appears, a technical man, Dann Egan, travels with it to stage the show. The group is well-organized, talented, versatile and conscientious.From March 10 to 19th The Fugitives with Ann and Rhonda will tour several cities in Canada, including Vancouver and Victoria, with even more exciting schedules coming up this summer The group includes Bob Bentz, electric organ and sax; Mike Walker, lead guitar; Steve Evans, bass: Larry Burton, drummer; Rhonda, jet-dancer;: Ray Walker, lead singer; Ann Scott, blonde bombshell.Steve and Ray attend Jefferson, Rhonda goes to Marshall and Ann to Wilson. The remaining boys have graduated. The A-Side of The Fugitives debut single is included on our compilation THAT'S DADASTIC!  Listen to 'We Gotta Run' below. [...]



BAD THINGS NOBODY KNOWS Los Venenos Tells It All What if Jacques Brel got ass-pounding drunk and started a fist fight with Johnny Cash? Imagine Jacques broke his good hand in that fight and ran off to Buenos Aires where he ended up homeless on the streets playing for coins to buy the cheapest rot-gut liquor he could find. If all that happened the resulting sound might be like Los Venenos. Los Venenos was formed in 2010 by Gabriel Perez, a much nicer guy than the sound, not the band I'm describing. Perez’s original vision was supposed to be a solo project. but soon he was joined by his sister, Mariana Teo. The Perez y Teo combination worked so well that the two began making at-home demo recordings…the kind of simple, expressionistic, ham-fisted recordings that no studio recording could compete with. “Our influences are 60s rock, country, rockabilly, old school punk, new wave and alternative music” Gabriel tells me. “The idea of the band is being a bit different in comparison with other music. Our inspiration is simple things that happens in life and the things that bother us. Many people live with those situations, so we use the resource of the raw sound to express them. We like to be more direct with the lyrics“. Maybe the lyrics sound more direct because English isn’t Perez or Teo’s first language. The lyrics are starker than Americans are used to, but they’re still poetic. Everybody knows-or should know-that the Spanish language has a profound tradition of literature and poetry. “Our idea is a cultural exchange too. To create the feeling of music of all the world that is expressive and from the very inside of people's heart. That’s the music that e that deserves our ears. So with Los Venenos we try to express that things that are annoying in the society…cruelty, poverty, selfishness”. What Gabriel Perez doesn’t mention is that ultimately Los Venenos’s music is filled with a kind of desperate hopefulness. “Mariana plays bass and sings chorus. I play guitar, do vocals and play drums. This formation allows the music that we want to do. It’s critical music. It expresses something that is not right“. "The name "Los Venenos" comes from a tale by Argentine author and social critic Julio Cortázar. The meaning is similar, but not exactly the same as the English word 'poison'. As we know, this means something bad or dangerous. Our songs are a little bit like that. They’re about things not many people want to know about. That summarizes the whole thing. People telling other people things they already know but things they don't recognize. Things that they would rather not know". “We’d like to do live performances if it's possible. Meanwhile we continue writing and recording songs. That what Los Venenos believes, want to do and to express“. Los Venenos have released their first single and video of the song ‘Return’. They're also featured on the recent release ‘THAT’S DADASTIC! (available The 20 song compilation includes their version of Leonard Cohen’s ‘It Seems So Long Ago, Nancy’. It/s much more raw, gutsy and powerful than the original. The duo are also recording their first full length album, appropriately titled ‘Males Que No Todos Conocen’ roughly translated; ’Things Nobody Knows’ allowfullscreen="" frameborder="0" height="720" src="" width="960">[...]



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'ayaya' is the first digital single by Inframe Project from Jakarta Indonesia. It's
available on the dadastic! sounds compilation album THAT'S DADASTIC!
The band is fronted by one of Asia's up and coming guitarists, Achman Ananda &
vocalist Fajri Rusani. With Mean Sibarani on bass guitar and Jessi Mates on drums.
The video was created by Dirk Prophet.

Indonesian Lyrics
Bulan, Belum Terbelah dua
Bintang masih bercahaya
bukan akhir dunia
kalau hanya karena putus cinta

ayaya.. untuk apa, sakit hati karena cinta?
ayaya.. mau bilang apa
jika putus bercinta, yasudahlah

wakakakaka.. tertawa sajalah
wakaka.. itu hal biasa
wakakakaka.. karena kita
hidup di dunia diberi cinta agar bahagia

English Translation:
The moon has not broken into pieces yet
The stars are still shining
It's not the end of the world
Just because your heart is broken

What is the heartbreak of love?
What can you say
When your heart is broken. Just get over it.

Wakakakaka...let's just laugh

Songwriters: Fajri Rusani/Achmad Ananda
(p) & © Rusani/Ananda/Inframe Project 2011
Fajri Rusani / Vocal
Achmad Ananda / Guitar
Jessi Mates / Additional Drums
Mean Sibarani / Additional Bass

Recorded at Inframe Studio, Jakarta Indonesia
Producer/Engineer: Fajri Rusani / Achmad Ananda



MENTION JOSIE COTTON to anyone familiar with the pop music of the 1980s, and they're bound to think of her minor hit 'Johnny Are You Queer?'. The song was a pitch-perfect example of new wave. Fun, danceable, ironic and with a reverence for the bubble gum music of the 1960s. No matter what other great contributions Josie ever makes to pop music she'll always be remembered for her fun and audacious first single. Of course Josie has released albums since then, notably 2005’s 'Movie Disaster Music' and 'Invasion of the B-Girls' in 2007. Both are natural extensions of a genre that Josie helped define with 'Johnny Are You Queer?' and her debut album 'Convertible Music'. It seems a role she was born to. Now forget everything you think you know about Josie Cotton. Frightened By Nightingales was first released in the mid-1990s on the French Silences label. It was a sharp departure from the sound Josie Cotton fans had come to expect. Keeping that in mind she chose to temporarily revert to the spelling of her family name and release it under the name Josey Cotton. The CD was almost impossible to find in the US, so Cotton and husband Geza X released a small pressing on their own Roxco Records imprint. The album never got widely distributed, so for over a decade Frightened By Nightingales has languished and is hardly known outside of a core of Josie Cotton devotees. The songs are more expansive and haunting but always accessible and engaging. The material allows her usual upbeat delivery to visit melancholy, drama and depth in a way that seems perfectly suited to her voice. Musical styles include alt-pop, tango, fiddles, ballads, lonely guitars and mysterious keyboard washes. They’re combined with lyrics about lost love in the Himalayas, empty spaces and empty hearts in the high desert and self-exploration of a very personal nature. There’s even a bit of Esperanto thrown in. This album is proof positive that Josie is a serious artist that belies her being pigeon-holed as a nostalgic new-wave pop diva. This is, as one critic says, this is “spooky, arty, dream-pop“. The album was written, arranged and largely backed by Bill Rhea who co-produced Frightened By Nightingales with Geza X. The instrumentation and mixes are artful, but unpretentious with vocal and musical surprises at every turn. This album may provide more detail and nuance, but it’s not overly dense or beyond the enjoyment of fans of music Josie is better known for. But if listeners hoping for chirpy, recycled 1980’s kitsch they will be disappointed. Everyone else will be amazed to hear a side of Josie-Josey-Cotton that they were totally unaware of. We’re thrilled to once again offer this overlooked gem! BUY THE CD OR MP3DOWNLOAD Click Here Listen to ARMADILLO BLUE and DEEP DARK HOLE from the album FRIGHTENED BY NIGHTINGALES [...]



NOT JUST ANOTHER PREACHER'S KID Bill Bell's latest CD The Vicar's Son delves into traditional and contemporary Irish, Scottish and American fiddle music...but that's only a small slice of Bell's musical interests. His musical resume includes work with iconic underground pop stars, film, the avant-garde and Rai and Raga music. Bell’s early musical influences were church hymns and Country/Western music. These influences were, according to Bell due to his father being a Southern Baptist minister and an accomplished Western songwriter and singer. Bill was also introduced to classical music and started lessons on the violin at age 12. He later lost interest to pop influences with the invasion of the British and the Beatles. Bell majored in choral composition in college and in the late 1970s but his later interests found him concentrating on electronic music, focusing on “Musique Concrete”. “I spent years with razor blades and magnetic reel to reel tapes“ he recounts. One result was “The Sirens of Galilee” a four years-in-the-making composition of found, recorded and manipulated sounds. His influences at the time were Morton Subotnik, John Cage, Karlheinz Stockhausen and Walter Piston. Living in Los Angeles afforded Bell the opportunity to meet other electronic musicians like Bob Moog, Tom Oberheim, Serge Teherepnin and Don Buchla. Bell worked with some of their earliest synthesizer modules. Electronic music and its frontier possibilities led Bell further into a period of experimentation with microtonal, non-twelve tone composing systems. This came in handy when ten years later he met and worked with kitch icons The Del Rubio Triplets. “While living in Long Beach I met the amazing Del Rubio Triplets at a bar/lounge on Pacific Coast Highway. At this time they were playing lounges and rest homes. It was the beginning of a long friendship and collaboration as I brought them into the pop world as an opening act for the Fibonaccis at the Masonic Temple in Long Beach in 1988. We recorded the album, “Three Gals, Three Guitars,” and their career was launched into the Hollywood underground. After the initial success of their first LP I produced “Whip It” and “Jingle Belles,” both CD releases in 1991. During this same time period Bell also studied film composition with Earl Hagen and Jerry Goldsmith. “ I assembled a recording studio in Long Beach and recorded projects with some early Southern California bands including, the Suburban Lawns, Su Tissue and Rhino 39. Bill also contributed violin tracks to bands he says he respected; the Fibonaccis, Electric Sheep, Non Credo and Giant Ant Farm“.   In 1992 Bill Bell contributed tracks to the film score of “Kafka” with Jeremy Irons and wrote and produced “Frightened by Nightingales,” with Josey (Josie) Cotton in 1993. His later work with Josie Cotton resulted in the co-production of another Josie (Josey) Cotton CD, the popular “Invasion of the B-Girls.” As a matter of clarification he often used his middle name ‘Rhea’ instead of ‘Bell’ and much of his 1990s music was credited as Bill Rhea. After the completion of “Frightened by Nightingales” In 1993 and 1994 Bill began recording orchestral and mandolin tracks on an international music project with the Algerian Rai singer, Rimitti. These recordings were produced by Jean Benoit Vauxelaire in Paris, France and with Geza X in Hollywood. Other musicians contributing to the two CDs were Robert Fripp, Flea, Geza X, East Bay Ray, and the Fowler Brothers. Bill has also written and produced the mockumentary, “Mysteries in Midgetville.” He is also a member of the Intercontinental Philharmonic Orchestra and contributed multiple tracks on the 2007 release of “The Pillory,” by Jasun Martz. Since the late 1990's Bill has concentrated on American and Celtic fiddle music, having produced two CD‘s. “Under t[...]



In November of 2000 seven musicians who had never performed together walked into a studio in Buenos Aires to conduct an experiment. The engineer set the tape rolling and the band began to play. There was no rehearsal, no charts, no previously agreed on strategy. This project was the brainchild of Roberto Pettinato; author, social commentator, TV personality and one-time member of Sumo, the most influential rock band ever to come out of South America. During the initial session and another the following week the players came up with ten solid tracks; all of them improvised and mostly without overdubs or mixing. The result is El Yo Saturado (I Am Saturated) by Pettinato and The Pessi-Mystics. The music is unapologetic, chaotic, beautiful anti-pop. It combines spaced-out psychedelic dirge and a free-for-all atmosphere unbounded by pop conventions. But El Yo Saturado is more than noise or intellectual meandering. It’s a solid slice of the beauty of process that satisfies as any polished product. It was the vision of Roberto Pettinato that brought these performers together. Pettinato was already a well-know figure in the Argentinean underground, avant garde and alternative rock scene at the time of this recording. Pettinato had made his name as a journalist in the late 1970’s. He was also known as the on-again-off again saxophonist for Argentina’s most well-known alternative band Sumo. Luca Podran the founder of Sumo was an Italian who had gravitated to London and Manchester England during the rise of post-punk. He had hang out and become friends with the likes of Ian Curtis of Joy Division, Mark E. Smith of The Fall, members of Gang of Four and A Certain Ratio. It was with this musical and cultural background that Padron found himself in Argentina to kick a heroin habit. Sumo’s mark on Argentine rock is as undeniable as it is indelible. Roberto Pettinato who was an asiring member of Argentina’s underground music scene became riends of Podran, and in 1984 Podran invited Pettinato to become part of Sumo. Pettinato remained with the band until it disintegrated with the death of Pod ran in 1987. By then Pettinato had begun to venture into television as a late night music presenter. Pettinato continued to pursue his career as a musician by forming various groups and overseeing several experimental productions. His interest in both paid off and by the mid-90’s Pettinato began hosting a series of popular late night television shows in Argentina. His shows completely revolutionized Argentine television with their mix of music, interviews, humor and acidic political satire. Along the way Pettinato exposed his audience to artists that had largely gone unnoticed in Argentina. Artists like Van der Graff Generator, John Martyn, Nick Drake, The Velvet Underground, Ian Dury, and Joy Division with whom he had the connection to through the late Luca Prodan. In November 2000 a chance encounter between Pettinato and Jose " Pepe" Navarro led to a discussion of how music is created. Within a couple of weeks Navarro and Pettinato set out to form an ad hoc band-The Pessi-Mystics-that included Pettinato, Navarro, Javier Saiz and Salvador “el Rojo” Agustoni. Ultimately Peter Bearish and brothers Gonzalo and Coco Rainoldi collaborated in the recordings. The resulting album would be “live” and without any rehearsal. The goal was not so much to “jam” but to spontaneously create the music even though the musicians had not rehearsed-in fact most of them had never even met-prior to the sessions there are clear shared influences in the music. Chief among them is the post-punk of Luca Prod an, the kraut rock of Holgar Czukay (Can) and contemporary psychedelia. In a departure from his normal role as saxophonist, Pettinato took on vocal duties and played guitar. The best of those experimental recordings were culled from two late night ses[...]



(image) THE GALS ARE BACK IN TOWN! In the mid-1980’s The Del Rubio Triplets became an overnight success-after 40 years of playing around the world, being chased by Abbott and Costollo, opening for Victor Borge and entertaining in every Nursing Home in Southern California! Three Gals Three Guitars made The Del Rubio Triplets household names-if your household happened to be in Hollywood-during the mid to late 1980’s The look-alike sisters went from the D- list to opening clubs from Tokyo to Brussels; they appeared with everyone from John Waters to Nathan Lane. At the height of their career Millie, Eadie and Elena were everywhere. They showed up on TV shows like Married With Children, Night Court and The Golden Girls. They did a classic turn by singing “Walkin’ In A Winter Wonderland” for Pee Wee Herman’s 1988 Christmas Special. They became the Queens of Kitsch and icons for outsiders who didn’t quite fit into the typical mold of pop glamour and pre-packaged talent. We here at dadastic! central are pleased to be able to offer the original 12” vinyl recording of the ladies’ first album. The treats on Three Gals, Three Guitars include standards like Besamo Mucho to The Neutron Dance and Walk Like an Egyptian…all performed in that inimitable Del Rubio style that made them the Queens of 80’s Kitsch. Go-go boots, hot pants, good cheer and unlikely covers by The Del Rubio Triplets make this collectors item. This LP is from the first, original 1988 vinyl pressing on Cabazon Records.
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GIVE US SOME SLACK!  "Bigger than Breakfast is the 1988 debut album by Slack, a white funk quartet from Portland, Oregon. The album conjures an 11-song spell pulled from rap, fusion, punk, psychedelia, jazz, and croquet. Put an Oregon moontan on a skateboard, give it a dance beat and a groove so scorchin' it can dehydrate a fern bar, and you've drafted Slack. From the comedic temporary amnesia of "Brain Toast" to the tater-tot frustration of "Out to Lunch" to the gentle contemplation of "Spiders," Slack's varied stand-up attacked not only shoots to your soul, it could alter your DNA“. Bigger than Breakfast was the first LP produced by trombonist Bruce Fowler, a veteran of Captain Beefheart and Frank Zappa’s recording and performing bands. It’s a perfect antidote for those who pine for the days when alt/funk/jazz was fueled by erratic horns and clumsy lyrics instead of highly polished synthetic, soul-less sounds. Slack were indisputable masters of the kind of sweaty, alcohol-fueled live sets that often resulted in hangovers and poor choices in sex partners. Bigger Than Breakfast might not result in a trip to rehab, but it captures the essence of whiteboy funk perfectly.

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DANCING DOWN CIVILIZATION Suppose Nino Rota got drunk with John Phillip Sousa in the back room of a Hollywood soundstage. Suppose they're joined by a couple of organ grinders from a failed traveling acrobatics troupe. Suppose they pick up an Asian chanteuse at the corner dive, and together stagger home to drink, sing, and dance till the light of dawn. The music produced from such a meeting of the minds (or mindless debauchery) might describe The Fibonaccis, a headshrinkin' espresso-fueled ensemble equal parts Berlin cabaret, Sicilian dirge, and hip-shakin' Watusi mating ritual. Hard to label? Yep. Hard to enjoy? Never! The Fibonaccis, who swiped their name from a thirteenth-century Italian mathematician, molded disparate exotic tastes into an act of musical chicanery, pleasing but deceiving to the eye and ear. Twenty-two years after it’s original release, their ground-breaking Civilization and It’s Discotheques sounds as confoundingly ahead-of-it’s time as ever. Make no mistake, this was no ordinary sideshow-barking gang of geeks. This was a band with entrails. Return to the future with one of the most remarkable underground bands of the 1980’s with this classic slab of vinyl. The Fibonaccis' traveling carnival will take the detour to your town, and hold you open-mouthed and spellbound with their sprightly tales and twisted oompahpah.



GNARLENE PULLS A FAST ONE The muddy Duwamish River runs through South Park, a grimy down-and out neighborhood south of Seattle. The river pulls chemical and industrial sludge from up-river as it passes through. The slow-moving water’s chemical content probably accounts for the oddball behavior of Gnarlene, one of one of South Parks oddest behaving residents. Gnarlene is proudly gay and/or lesbian and strives to confuse your gender conceptions and bedazzle your fashion senses. He combines black levis and Chuck Taylor’s with pink wiggage and jewel-encrusted sweater creations. So what music do you expect from this bearded, pink-haired former radical faerie? Striesand? Lady Gaga? Show tunes? Fuck you. How about metal with trashy Doll-esque licks, lyrics and looks? Gnarlene is the perverted offspring of post-grunge and punk rock bathed in the unholy waters of faggotry. Gnarlene even throws in a bit of Country-Western and twee folk music just to fuck-up the mix. Maybe it's the PCB's. Maybe it's the heavy metals. Maybe it’s the cool, artistic vibe that permeates the area, that causes it to reek with wanton self-expression. Whatever it is, South Park has provided the inspiration for Gnarlene’s best work to date. Blood & Treasure is her sophomore (and sophomoric) release and it rocks really hard. The album is filled with catchy punk/pop as well as a few totally unexpected turns. Recorded at Self-Adhesive Records in Fremont/Seatttle by Jon Goff and mastered by Barry, it combines the best traditions of Seattle rock with the vision only a queer lost among rockers is capable of. Think Mudhoney meets Flight of the Conchords meets gay Frankenstein. The music can be just as raw as it is polished, but Gnarlene has made poverty a virtue. The video clip of Blood & Treasure’s first single She’s Got A Fast One was made for less than forty bucks and it shows. It couldn’t be more perfect if it cost a couple million and was directed by George Lucas. Gnarlene is backed by old geezers, escapes from a rent-a-cop with a squirt gun a his prop and drives away in one hell of an art car! This is fun stuff…but it’s dangerous too. Blood & Treasure defies easy categorization. It’s aggressive but not angst driven. It’s not simpering queer-core by a long shot. You might do some head-banging on one song and scratch it and wonder during the next. It’s music from an outsider that prefers to be there. It’s juvenile, puerile, and totally rockin'…just how it’s meant to be. BUY CD HERE Watch 'She's Got A Fast One' by Gnarlene [...]



GARY HEFFERN GIVES CONSOLATION There's an Elvis Costello song called “Man Out of Time” and that title is always one I’ve thought applicable to Gary Heffern. His voice, his pensive songs, and his outsized personality suggest a simpler and earlier era. Like the struggling men and women in the short stories of Raymond Carver, or the figures sitting at diner stools in the paintings of Edward Hopper, the characters in Heffern’s songs exist in a noir-ish netherworld of an uncertain time but one that surely is not ours. They drift and struggle in a place where the simple concept of consolation exists as a salvation. Heffern is a songwriter’s songwriter, which is one of the reasons his work has always commanded so much respect from other musicians. Many stellar names contribute to Consolation including musicians from such noteworthy bands as the Screaming Trees, Young Fresh Fellows, Love Battery, Walkabouts, Built to Spill, Motels, Mad Season, and Tuatara, among others. Even when Heffern is singing with Alejandro Escovedo or Mark Lanegan, both of whom take vocal turns here, these collaborations come off as a further explorations of the Heffern’s worldview. Nine of the thirteen songs here are Heffern originals but even the four covers have a melancholy. On “All His Children” Heffern takes a forgotten song from the over-looked film “Sometimes a Great Notion,” and turns it into an anthem of longing. Considering that Heffern’s voice is at times reminiscent of both Johnny Cash and Nick Cave, it is no surprise to see him take on a Merle Travis song, or to take a refrain from Gram Parsons. Still, Heffern’s cover of Bruce Springsteen’s “Growin’ Up” is such a re-imagining that it now sounds like it came off Nebraska rather than Springsteen’s 1973 debut. In Heffern’s own songs there is a constant struggle between darkness and light, between failed dreams and reckless prayer, between a world where all hope is lost and one where a consoling friend offers a sliver of deliverance. Even on a song as haunting as “(I Am Your) Destroyer,” which sounds like Iggy Pop could have written it, there is still a core of sweetness among the ruins. “That’s the Beauty (Of the Little Things in Life)” truly rings with a ghost: It was written in Seattle’s Comet Tavern on the very night that Gits’ singer Mia Zapata went missing (and later turned up murdered). Not only a remarkable time piece, “That’s the Beauty” demonstrates Heffern’s skill at creating a story arc that celebrates the fragility of life at the same time it bemoans it. It’s the kind of re-framing that is uniquely Gary Heffern and part of what makes Consolation a career-defining album. Charles R. Cross BUY THE CD SEE THE VIDEO TO LA LA LAND BY GARY HEFFERN [...]



NANCY JEPHCOTE: SCHOOLING THE I-POD GENERATION TO LISTEN "I'm not setting out to start a career," says Nancy Jephcote. "I made the CD to honor what I was given. Every gift you have comes at a price. If a certain area of your life is compelling to you, you have to limit other areas of your life. "Garland of Rain" is an anthology of her career, and she admits to having spent much time and energy over the last two years designing a CD that would completely satisfy her. In making the CD, Ms. Jepchote traveled from her long-time Martha's Vineyard home to Texas to do the recording with a long-time friend of hers, Tom Prasada- Rao. She describes the recording process as a perfect meeting of the minds. In the recording process, Ms. Jepchote, who was raised in a family of classical musicians, was able to play multiple instruments on a single track, painstakingly polishing the performances until they had arrived at a finished product.The effect is orchestral. "Garland of Rain" is a two-disc set, each 35 to 40 minutes long. The songs sound full and nuanced. Ms. Jepchote has a wonderful voice that slides harmoniously through the songs. Ms. Jepchote has made her living teaching music, both privately and throughout the Island school system. Thoughtful and considered as she speaks, she lights up when she describes teaching music: "Music is magical in its ability to bypass the brain and reach a person inside. It can really help people's hearts. When teaching, I would think, 'Who is this person, what's important to them, and how can I help them reach it.' Whether or not the music was their real goal, working with music could help them reach it." With her emphasis on teaching comes a willingness to learn. "We are learning from the young how to be connected in this day and age," she says. "With the realm of computers, the way music is being listened to has changed greatly in just the last couple of years." The Vineyard community has changed since Ms. Jepchote started playing on the Island, but its appreciation of live music remains. "I miss the sense that the Wintertide brought in the winter," speaking of the former coffeehouse in Vineyard Haven, "but we still have events such as potlucks and fundraisers that capture that energy. There is a certain joy in seeing your friends and neighbors performing. In many places people don't have that." Perhaps the most frustrating thing about music with such richness, is trying to tack it into a genre. "Music is freer than genres," says Ms. Jepchote. "They don't ask visual artists, 'What genre is that painting?' But you have to associate. Folk is a vast area, and this falls into it somewhere. There is rock influence, Latin influence... We carefully arranged the order of the tracks. The goal was to make something unique, make it sound like good music.""I was told that no one listens to whole CD's anymore, that they take the songs they like and put them in an iPod on shuffle," Ms. Jephcote says. "I'm from a different generation. I like sitting down and listening to a CD, so I made my CD to the standards that I have and feel fulfilled for it." The music has a refined, resilient energy, a fullness that comes with the life experience of its creator and reflects her positivity that has come from hardship. "There are a lot of health quandaries that can hold people back, times when your life is shaping you rather than you it," Ms. Jephcote says. "I've learned not to take any degree of health for granted. When I was healthy enough to do this project, I realized I had no excuse not to, late as it feels like in my life." Having made a conscious choice to live a fulfilling life, Ms. Jephcote says, "It is much easier to observe loss than it is to obse[...]



FROM PATAGONIA TO BUENOS AIRES AND NOW TO THE USA. OTHERNESS ARE GOING PLACES. OTHERNESS is a quirky alt/rock band that made their way from the furthest reaches of Argentina's Patagonia to Buenos Aires four years ago. Since then they have worked constantly, recording, playing. and touring. Now the hard work has begun to pay off with notice in their adopted city and as far away as London Seattle and New York . Their first South American CD titled Lite 2007 released in sold out almost immediately. A video of one of the CD's songs Once Begop went into rotation on MuchMusic Latin America. Now the band have set their sites on bringing their special brand of techno-punk to the US and Europe. It's a goal brothers Gonzalo and Martin Cativa have had since their days growing up in the cold desolate landscape of Comodoro Rivadavia Argentina. While growing up Martin and Gonzalo Cativa and Adrian Bersais took comfort in the fact that some of their musical heroes- Leadbelly, Arthur Alexander, Kurt Cobain-were able to escape the gloomy confines of dull grey backgrounds that offered very little future. Comodoro Rivadavia was a boom town gone bust in the 1990's. There was little time or opportunity to put into dreams of becoming rock musicians. But their drive led them to uncover the music of Nirvana, John Lennon, Elvis Costello and the Argentine grand master of tango, Astor Piazzolla. Paying careful attention to the craft of artists like these has helped Martin and Gonzalo Cativa to become the authors of hundreds of catchy, exciting songs that are entirely the product of their own talents. Along the way the three created their own sort of manifesto. It has become an outline of the way they view life in the 21st Century. The basics of this include observations such as; • The pilgrim needs to travel, if he stops he can die at the hands of what he considers the final learning-or perhaps adoration. • Everyone is addicted to something. • What is achieved with drugs can be obtained by other means. • Explore alternative knowledge. • Human beings are simply sexual. • Marriage is an obsolete institution that died in the 20th century. And just for good measure; • "El sexo y el dolor firman la identidad de la carne" - W. Burroughs If this makes the band sound like earnest young idealists, the fact is they are also full of fun and a sense of wonder. There's a sense of hope and positivity in their music and lyrics that make them seem ...well....happy. The addition of drummer Pablito Gaggioni in 2008 has rounded out the band and given the extra drive they had been looking for. They have made a commitment to write and perform their songs in English which goes against the current trend in Argentine rock. These days Argentine pop seems a bit doctrinaire in it's insistence to be sung in Spanish when in fact most of it is nothing more than a re-hash of older British and English sounds. The sound Otherness has created doesn't even fit easily into today's pop music pigeon-holes. It's a quirky, upbeat sound that pays serious attention to the tradition of intelligent pop music. It also honors sounds like the traditional choros of Northern Argentina and Brazil, as well as the tango...a tradition that rose out of the Buenos Aires slums to become one of the most recognizable musical genres in the world. The members of Otherness show great deference to the master of Tango, Astor Piazzolla, but never overuse the style . Thus avoiding the pitfall of sounding like twee "world music". They are the furthest thing one imagines from musical archeologists. In fact, the August 2009 issue of London's Rock Pulse says: "A fresh new rock group from Argentina are hitting t[...]



STUDENT NURSE SAYS: STAND UP STRAIGHT! By 1981 Student Nurse were a mainstay on the alterative Seattle scene. Their angular, slightly dissonant and dancey sound set them aside from the darker, the punkier, or the heavier bands they shared bills with. The best of their contemporaries honed-in on their sound. Student Nurse expanded outward, sending the band on a trajectory headed somewhere between subversion and art-damage. The jittery guitars of Helena Rogers, Tom Boettcher and Eric Muhs stood just a little out front of Johnny Rubato’s jazz-influenced understated drumming. Helena’s Roger’s singing was disjointed, pointillist and determined. The band put out the mutantly delightful “Disco Dog” as well as “As Seen on TV”, a one-sided EP with cover art hand-screened by Rogers. This is the kind of stuff collectors drool over nowadays, but Student Nurse wasn’t interested in the pre-manufactured collectible market that would later be a trademark of other Seattle artists and labels. For them the art was part of the ethic. In early ‘81 Student Nurse entered Triangle Studios to record two sides for Pravda Records. The choice of songs seems odd…both had a real pop element to them. But both were still subversive. The A side ‘Recht Op Staan’ was sung in a foreign language and the B side “Electronic Pop Smash’ was devoid of the synth sound that was becoming so popular at the time. Just as odd was the choice of producer, David Javelosa of NYC/LA techno jokers Los Microwaves. But dig a little closer and it’s apparent this was definitely an inside job. Two and a half decades later, it’s a lot easier to see just how the band sought to subvert even the most accessible music they could muster up. Although the band was fairly democratic, onstage Student Nurse belonged to Helena Rogers. Skinny but not a bit frail looking with piercing silver eyes with Phranc-ish hair. All shouts and smiles. Totally Lesbo-chic before Lesbo-chic was chic. She provided the caffeinated energy that led to them onto many of the best local bills of the era. They didn’t seem to mind that local promoters were unlikely to choose them as openers for touring acts. The were too oddball. Too difficult to pigeonhole. And let’s face it; promoters were scared by Helena Rogers butch dynamic. Student Nurse didn’t spend time calculating what would have been best for their career. Otherwise they never would have released this single. The title ‘Recht Op Staan’ is Dutch for ‘stand up straight’. The song’s lyrics extol the benefits of good posture. Not a likely way to get attention from the American indie audience at the time, but ‘Recht Op Staan’ is a bit of a collectors item these days. In fact all of Student Nurse’s vinyl releases go for a fair amount of cash. A recent Seattle citing of ‘Recht Op Staan’ had an asking price of $28. If you’re after a copy of their EP or of Disco Dog be prepared to spend more. Likewise, many of the silk-screens that came out of Rogers silkscreen/design studio during the 1980’s are in demand. Posters for shows by Audio Leter, The Fags, Red Dress as well as their own are easier to appreciate these days. Like Student Nurse’s music, they are shiny examples of being the unknowing architects of the future.LISTEN TO 'RECHT OP STAAN' BY STUDENT NURSEClick through to download [...]



(image) NW PUNK ROCK : 30 PLUS YEARS OF PUNK ROCK For two years Dave Alexander searched attics, basements and various storage lockers to come up with live clips of some of the Northwest’s best punk rock. Along the way he interviewed people like Joey Shithead (D.O.A) and Mark Arm (Mudhoney) to help tell the story of 30 years of hardcore punk from Vancouver BC, through Bellingham, Seattle and Olympia WA and on to Portland and Eugene OR. Dave’s D.I.Y. production culminated in this 2 DVD documentary. It shows the passion and life-blood of NW hardcore punk through it’s infancy to it’s current incarnation. It’s a gritty, down-to-earth and totally chaotic celebration. It contains little-seen archival footage of some of the Northwest’s legendary bands shot at some of the Northwest’s most famous punk venues: The Metropolis and The Funhouse in Seattle; Satyricon in Portland, and more. An entire disc is devoted to live music and the other is documentary, with an incredible line-up of bands. The Dishrags, Subhumans, The Fartz, Maggot Brains, Hot rod Lunatics, Solger, The Rickets, The Meyce, Mr. Epp and the Calculations, Zipgun, D.O.A., The Slashers, Subvert, The Insurgence, The Rebel Spell, TBA, Leper, The Dreadful Children, Potbelly, Swads, The Furies, Flash, Fitz of Depression….and….let me catch my breath….more. The 2 disc DVD is available now through our mail order catalogue for only $9.98.…yeah, that’s right…less than 10 smackeroos. Just click on the handy link to your right >

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BY THE TIME CHARLES 'UPCHUCK' GERRA TURNED 17 he’d been locked up in juvenile detention for being gay, run away to Seattle, was arrested for offering an off-duty cop a blow-job in exchange for bus fare home and co-founded one or Seattle’s earliest punk bands. By the time he died in 1990 he’d left an indelible mark on everyone who’d ever met him or seen him perform. Onlookers were pulled in whether he was leaping around the stage like a psychotic elf or floating effortlessly in ecclesiastic robes and bishop’s miter. There were performances wearing a wig made of live squid. The poop head. The night he lip-synched on top of a pool table to Wayne County’s “Fuck Off” in his underwear, swinging the largest dildo mankind has ever seen. In Upchuck’s world Kabuki demons performed alongside malevolent gremlins and 18th Century dandies…and not just onstageFrom the moment Upchuck woke up every morning there was only one goal to work toward? ‘How am I going to be a star today?’ Life was performance whether it was on the stage of local clubs or riding a bus to the supermarket. Watching his single-mindedness thrilled everyone who stood by and watched it; especially since the people closest to him were living in a slightly more modest version of the same world.The theatrics of shock have become cheap gimmicks in today’s world of pop music. They no longer carry much more than marketing value. Outrage has become homogenized and commercialized to the point of being an embarrassing and cliché. Even in the 1970’s and 1980’s Upchuck’s antics wouldn’t have meant much if it weren’t for the a very important thing: He had talent and vision. It was almost enough to just hover across the stage, or stalk the audience. But the make-up and outrageous stage personae paled compared to the voice. Big and rich, just like Upchuck liked his men. It lay somewhere between a bass and a tenor, but he wasn’t afraid to teeter on the edge. It didn’t matter if he hit the mark or not. Most of the time he did. There was also the chance of a yelp, a howl or a caterwaul that betrayed his love of the work of Yoko Ono. Maybe a Toya Wilcox riff …or a Nina Hagen growl; all gutsy performers that Chuck admired, but never sought to imitate. He didn’t need to. He was his own creation and that was all he needed.Upchuck created his own drag that had nothing to do with the bitchy caricatures most people associate with men who dress up. His drag was genderless, but at the same time sexual. It had elements of punk, but rejected the nihilsm of the black-jacket crowd. He also had a filthy mouth and wasn’t afraid to say what he thought. Day after day he’d shout out the “chuckisms” that he never seemed to get tired of. “POTTY!” was a favorite. And the endlessly over-used punch-line “I had a date like that once”. They were expressions so old and played-out that they took on newer, funnier lives simply because he blurted them out so often.By the late 1980’s Upchuck had moved on from Seattle, like a lot of his contemporaries. The Northwest music scene was too limited and any chance of industry scouts showing up in Seattle was still unheard of. Upchuck with his band The Fags set off to New York City where they met modest success in the downtown scene that was exploding at the time. After a couple of years The Fags disintegrated as a band, but without the drama that usually accompanies that stuff. Everyone moved on to different pursuits, but still remained close friends. They remain friends still. Upchuck remained in New York [...]