Features &
Interviews

Chocolate Weasel
DJ Cam
DJ Method One
DJ Stratus
DJ 3D
Dwindle
Ed Rush
Electronica
Frank Lloyd Wright's California
Ganger
Gapeseed
Her Space Holiday
Holiday Flyer
ICU
Jungle Defined
Kim Salmon
King Rhythm
Laika
Latin Playboys
Lounge Lizards
Mark Robinson
Mixtapes
Monochrome
Most Secret Method
Music Appreciation 101
Pressure Drop
Terrastock II
Third Eye Foundation

Cadillac Blindside Read the Book, Seen the Movie CD
One of the greatest things about debut albums, is the fact they are, unlike other bands, are the best thing to compare a band to – themselves at their most optimistic immature stages. Watching growth like the yardstick movements up the kitchen wall as the rugrats become men and women, debut long-players measure the maturing, albeit not as hormone-dependent, of a band in talent and approach. In Cadillac Blindside’s case though, they are being compared to the chunky riff-core of their first singles on Read the Book, Seen the Movie – and the conclusion is obvious: More of the wonderful hardcore fueled rock ‘n’ roll. With the fury of At The Drive In, yet the tenderness of Boys Life, Cadillac Blindside reside in a world tired of Get Up Kids and Sunny Day Real Estate comparisons, searching for that next great cliché description. Erase that all and consider this the album to compare the next 6 months worth of rock recordings to – and of course sit home and listen. See them live and listen. Follow their tour (with Appleseed Cast) up a coast or across a state and listen. And with each go -‘round compare their songs to their other songs and the simpler life will be yours to revel in and rock-out to. (Soda Jerk POB 4056 Boulder, CO 80306) – Keith York

Calexico Hot Rail CD
Calexico and Mexicali hug the US/Mexican border tightly as they stare in mirror-like reflections of one another across the geo-political dirt. In this arid region, mariachi trumpets and guitars sing the anthems of celebration, despite the exhaustive conditions. On their third album, Hot Rail, John Convertino and Joey Burns document this lifestyle in a romantic, atmospheric hour-long narrative. The marimba, vibes, cello, organs and bass lines venture into Chicago-via-Louisville domains without being caught up in any formal structures that disrupt the cool vibe. In the hazy guitar lines and relaxed percussion, one can hear John and Joey spending quality time reflecting on the region's motifs: the heat and the passion. Get the iced-tea out, curl up under a shady tree in a butterfly chair and turn up the stereo. (Quarterstick POB 25342 Chicago, IL 60625) – Keith York

Califone s/t CD
Filled to the brim with twangy guitars, sad loping beats, and hammering pianos, this is the soundtrack to a fictional circus sideshow run by Will Oldham (but actually played by Red Red Meat's Tim Rutili). You sit staring at the twin-headed boy, the bearded woman, as acoustic guitars strum like backwater tides. Folky instrumentation and languid tales from the songwriter fit this comfortably between the bookends of Red Red Meat and the rest of the Perishable label alums. While the cavalcade of garage rockers and beat-junkies jockey for the spotlight, it is the respite provided by lovers-of-the-kicked-back-vibe like Califone that make your hard day at the office bearable. Essential listening for all employees of the front porch squad. (Road Cone POB 8732 Portland, OR 97207) – Keith York

Calliope (in)Organics CD
Quiet water tones cascade like gentle waterfalls from moss-softened stones in the shade of cloud-soaked skies. The bubbling movement of water moves the sands further downstream where men mine the flow for golden nuggets. Bathing in the quiet industry-free zones at the water's cleanest, purest setting is Calliope. In Ui-like movements they glide treading water in gravity-free buoyant slow-motion with percussion barely interrupting the glassy sheen of the still shores. Bathing and frolicking at the pace of a Labradford pop song, the machinery in the distant becomes a comfortable din and gold comes to the surface without any effort by the swimmers who are one with the water's elegance. Dive in and see what you find. (Thick 409 N. Wolcott Ave. Chicago, IL 60622) – Keith York

Calvin Krime You're Feeling So Attractive CD
Bursting forth with the misanthropic stare of Brainiac and the gated anger of Johnathon FireEater, Calvin Krime don the new wardrobe of skewed rock. Cryptic keyboard passages dance around the strange, yet beautiful, mayhem as if Vertigo had settled for a diet of lithium. The smartly dressed 'Kriminals dance on your skull. With every sign of derision or exhaustion, Calvin Krime lift you by the collar for one more go-'round on the circus' main stage. Animals and their waste may clutter the sawdust encrusted grounds, but because You're Feeling So Attractive , you don't recognize the filth that surrounds you. You are pleasantly alone in the urban sprawl as you walk amongst the circus-goers and flame breathing, sword swallowing mutants in an endless sideshow walk from one avenue to the next. (Amphetamine Reptile 2645 1st Ave. S., Minneapolis, MN 55408) - Keith York

Camber Anyway, I've Been There CD
Camber/Kid Brother Collective split-7"
Having left the sound of their Beautiful Charade for a new-found love, Camber is bubbling with glee in honeymoon-dom. To describe the characteristics of this new relationship would stunt its impact on the virgin listen. Detailing the purposeful restraint and subsequent explosive urgency in this arena only attempts to get at what a poet would likely better commit to words. It is rock 'n' roll. They are known as medal-winning athletes in the emo olympics. This is an album that displays a sound and approach that is the end-product of the guys standing back from themselves as they assessed how to make Camber even more important in their listeners lives. Barry, Joey, Corby and Chris have indeed sketched out a plan and rendered it successfully in recording the songs comprising Anyway, I've Been There. It is evident here, as well as on the split-single on Doom Nibbler, that eloquently, Camber means everything to those of us growing up while we grow old: Who else would poetically admit "Wear a body marked with years and days, soft for the kindness of a word, starved for emotion never heard, hard to a world that seems absurd" as guitars ring the stillness from the night. Not to dismiss Kid Brother Collective's composition, the piano-laced "Sketches of Spain" works wonders on the cortex trying to assess whether the spine should relax in a prone position or flex wildly in-synch with the snare drum. Wonderfully evocative Jawbox-tinged chugging rock from Flint, Michigan. (Deep Elm POB 1965 NYC 10156, Doom Nibbler 838 East High Street, Lexington, KY 40502) – Keith York

Camera Obscura To Change the Shape of An Envelope CD
So what if bands break up anymore. Who cares where you were from, your pedigree and the fantastic accomplishments and glory of who you used to be (in this case Shortwave Channel, Interstate Ten, Spanakorzo). The here and now is all that impresses – after all what have you done for me lately? Camera Obscura (not to be confused with the record label of the same name) is part and parcel of band members’ resumés but the album confounds the writer with every listen. Angular early 80s post-punk, meets the angst of Clikitat Ikatowi-era post-hardcore, while the love for layered melody rekindles My Bloody Valentine-isms (most notably “Glider” period stuff). Posturing in tight pants and smug looks on their pale faces, the quintet is arguably the most profound envelope-pushing statement made this year. (Troubleman Unlimited 16 Willow Street Bayonne, NJ 07002) – Keith York

Candy, David Playpower CD
David Candy (AKA Ian Svenonius of MakeUp and Nation of Ulysses) performs on a tight budget, walks on a tight rope wearing tight shoes and clothing. Closely cropped, his persona glitters through analogia (I made the word up) of recording studio warmth. The existentialism employed through keys and vocals exudes a fondness for Syd Barret and subdued Mr. Beefheart…yeah ,it’s pretty psychedelic. Dig the groove baby… well the grave that is… (Jetset 67 Vestry Street NYC 10013) – Keith York

Cannanes Short Poppy Syndrome CD
Confidently wistful, the Cannanes strum their pop wares with the knowledge and certainty that what they create reaches us as end products of unique human insight. The light airy songs on Short Poppy Syndrome communicate a command of instruments, an ease of song writing, and an effortless formulation of what manifest as mini masterpieces. Within a realm close to the Cats Miaow, Mecca Normal, Beat Happening and the Go Betweens, the Cannanes have been refining a thoughtful award-less process of pop craft that should be inspirational to musicians and non-musicians alike. (Ajax PO Box 805293 Chicago, IL 60680)

Canoe Native Resistance CS
High-steppin’ ultrafunk-ulicious 4/4 fun with both oars in the water. From breaky-house to speed garage, Canoe lights up the night (whether you are indoors or outdoors) the second you hit the PLAY button. Heading down the house-born rapids, Canoe’s paddle skills force your hips to sway in–synch with the white-water that surrounds you. Ride the crest of Canoe’s builds with a life-vest and crash helmet nearby. (bookings – 626.810.7603)

Canyons/t
For those feeling separation anxiety from their therapist, cheap counseling is available. This collection of nine Canyon songs is likely to be the best return-on-investment look at oneself on the streets of the free market economy we rejoice over. Anticipating greatly the live interaction with the quintet of post-Americana solemnity, I have listened to the disc dozens of times enjoying the lumbering weighty epic tones. Again this morning as the fog rolls across the back lawn, the thunderous energy of Canyon’s (ironically) fragile melodies befits the loneliness in the heart. Performed live, the album takes on an otherworldly character as the band reverses the patient/therapist dynamic by taking the couch themselves. The sweat falling from the brow of all members, the byproduct of every pore channeling post-Clintonian Americana and a side-order of reverbed vocals. For those with Will Oldham records collecting dust in their closets, a passion for introspection, and not the checking account balance for professional help, Canyon delivers. (Slowdime POB 414 Arlington, VA 22210) – Keith York

Capsule Giants Hello Heroes CD
It was not until track seven, "Red Stone," that Capsule Giants meant anything. Fifteen minutes passed, I had nothing. As optimistic I was, reading Dustin Reske's name on the sleeve, Rocketship this ain't. Outtakes
off last year's Pop Jingu compilation CD is closer to the mark. Defined, Capsule Giants are a Japanese quartet with Ride, Swervedriver and Slowdive records in their bedrooms. This in itself is nothing to raise a fistful of
cash toward a cash register over. Without hesitation though, I am confident that Rocketship fans will be curious to hear a band that Dustin recorded. Kids subscribing to the indie-pop list will probably seek this out to feed
their addiction for crush-weighted guitar bands in this post-Sarah world. There are redeeming moments for those that can't find their Velvets-inspired Ride clone records under the pile of anoraks, cardigan
sweaters and copies of Scootering. These "giants" have an EP's worth of material somewhere in here between tracks 7 and 9. (Cardinal Records Tokyo c/o Darla 625 Scott Street San Francisco, CA 94117) - Keith
York

Carlos Bigger Teeth CD
With the requisite bay area power-pop sound, Carlos stretch out their paw-tipped limbs scratching at the noisey amps and effects pedals with the grinning faces of tax refund recipients. Going for drinks with members of the Meices and Overwhelming Colorfast has to rub off a little - what with them sharing Noise Pop stages and west coast tour itineraries over the last couple of years. I know it’s hard to imagine. It was hard to imagine a few years back that the number of bands copping a Husker Du or Replacements feel would be on the decline in the late 90s but with Carlos we have evidence that their energies and legacies have been tested over time.
(Headhunter 4901-906 Morena Blvd. San Diego, CA 92117)

Cars Get Crushed Warped Speed 7”
Laying their weary heads to sleep near a resting Boys Life, a restless Seam, a slumbering Bedhead, and a snoring Slint, Cars Get Crushed combine math- and emo- together producing a dramatically emotional rollercoaster. Though only two songs are present on this little disc, it may as well be an album’s worth of ideas. Following their albums Drag Explosive and Blue and West, this single encapsulates all the worthwhile moments this band has, in its brief history, accomplished. Don’t mistake their solemn demeanor as disaffected, impish young upstarts, Cars Get Crushed are as important and mature as anyone out there. Worth every ounce of strength you have to carry it home. (Deluxe PO Box 14205 Berkeley, CA 94712)

Cars Get Crushed Evolution to Thrust CD
Lingering like daydream stares forcing the thoughtful to remain still, Cars Get Crushed songs restrict movement and distraction. Like any prescription mood stabilizer, Evolution to Thrust curbs anxiety, depression and hyperactivity as it numbs the spirits, slows the body's hormone production, while keeping the patient on a level plane. Where that is, is different for each consumer, but lacking an interactive component this album produces inactivity as there is nothing to do beyond ingesting its beauty. The slightly atmospheric reversioning of a shoegazer Slint hits the stereo with "Polyfreeze" and refuses to give up until album closer "Corsair." The daydreams evoked by the passion in these guitars, keys and percussion are from somewhere distant (as well as criss-crossing the paths between our past and future) and at times appear blurry on the horizon. It is the clarity of the reflections that appear in their songs allowing, amidst the drone, to see ourselves in a dream-like state. Trace your own path from evolution to thrust. You can hear it in here. (Mod Lang POB 10111 Berkeley, CA 94709) – Keith York

Cash Audio Green Bullet CD
With more than a name change evident on their third long-player, Cash Money have added a third member: Harmonica Dave from Milwaukee. Now under the Cash Audio moniker, the collection of songs from seven different recording sessions reveals a trad-blues direction the band is taking. The core duo of Humphrey on over-the-top manic Gretsch guitar and Giampano on Slingerlands and bacon skillet is still at its most extreme spine-crushing enthusiasm (GodHeadSilo of the blues arena) and the song writing is frenetic as one would hope. A couple of odes to Hound Dog Taylor and the Yardbirds, round out their usual homage or covers charm and you've got the definitive rock 'n' roll that you've come to expect from the C$ crew. (Touch & Go POB 25520 Chicago, IL 60625) – Keith York

Cash Money Black Hearts and Broken Wills CD
Armed with a mature ferocity Cash Money, a guitar and drums duo, export their sound out of their Chicago base with a new full length. At times unbelievably, this album elicits the drama and tensions of a full quartet of instruments and notions without studio trickery. These two men and their instruments create the illusion through confident mastery of song form and function. Certainly displacing popular conceptions of blues rock is important when examining the validity of Black Hearts and Broken Wills is a must. By inserting Cash Money into a vacuum we can examine their unique abilities devoid of context as easily as we can compare them to the latest blues-swagger combos that fiendishly dot the tired genre landscape. Cash Money’s power is their form, a functional utilitarian entertainment form. Their power is a derivation of their sincerity, the honesty elicited from each analog guitar chord, each Gretsch snare slam and each Memphis-stylized vocal. An uncompromising collection of egoless rock and roll. (Touch and Go PO Box 25520 Chicago, IL 60625)

Cash Money Black Hearts and Broken Wills CD
Drag Delta bottom, stirrin' up murky cloud of silt and debris. The essence of the mighty Mississip. A blues tradition. Homage paid. '72 Gretsch Tennessean makin' enough noise to awaken the blues legends buried along the river banks. Beat struck solid and square to provide impetus for toe-tap. Mr. Cash at the pipes. No shtick, just solid rock action. No punker preachin’ atop a stage monitor to kiddies about searchin’ for their soul. This music has history. Knows findin’ the soul isn’t like headin’ off to the 7-11 to buy treats. Takes pain. Takes feeling. Takes winnin’ and losin’. Like life, it takes a poundin’. And if ya come out the other side still standin’, perhaps you got enough cash money to buy a shack for yrself along the banks of the river, where you can hunker down with a good partner to accompany you the rest of yr days. (Touch n’ Go Records PO Box 25520 Chicago, IL 60625) - Steven Brydges

Cash Money Halos of Smoke and Fire CD
Boiling away the unnecessary (and consequently healthy) vitamins and residues from fresh produce usually yields an unflattering approximation of what one expects from a healthy bite into the lands' gifts. Separating
themselves from the chaff, or the grease from the bacon in their case, Cash Money distill Americana - or more accurately American roots rock 'n' roll - down to its more primal groove. Unlike duo compatriots Godheadsilo, Cash Money's guitar & drum banter waves respectful banners, rather than lighting them afire. Cash Money reverently pays homage to history rather than scoffing at its institutions with shaking fists and spit balls. All that British psychobilly intended to do, Cash Money actually realize. In effect, by drawing from the emphatic surges in rock's history like Jerry Lee Lewis, Robert Gordon, Johnny Cash, Link Wray and/or Dick Dale, Cash Money distill the vitamins and healthiest portions from the crop to create something rich to gnaw on. Something to ingest as part of a regular regimen, not as a dietary supplement. How else can I paint a picture of a sinisterly astute, mature, confident, American-ized and academized Thee Mighty Caesars-era Billy Childish? (Touch and Go PO Box 25520 Chicago, IL 60625) - Keith York

Casino Versus Japan Go Hawaii CD
The sophomore album of Casiotone symphonies presented by Erik Kowalski (Roommates, Charles Atlas) is nothing short of stunning. Go Hawaii weaves downtempo tones, 80s Factory Records electronica, and a bit of Martin Denny kitsch together into a tapestry of color and rich texture. From needlepoint to loomwork, lumbering beats alongside ebbing/flowing keys make for an introspective body of work. Across his other projects, Erik has demonstrated the same keen awareness for downtime, the living room listening, the lounge & hi-fi demonstration of his creative output. And this is how his work needs to be experienced – relaxed, quenched and ready for anything his sampler can throw at you. Well on in a lengthy list of releases, Casino Versus Japan is only at its infant stage of maturity, we can expect more of this important work to touch our lives in the near future. Essential for anyone who needs a break in this fast-paced existence. (Wobblyhead PO Box 511256 Milwaukee, WI 53203) – Keith York

Cassius 1999 CD
With resumés of steel, Philippe Zdar & Hubert Blanc-Francard deliver another phat notch in their bedpost as audiences and record buyers are consumed by their beat currency. Mixing up the vibe of Daft Punk's house beats, LA old skool electro, Air's lush grooves and tonal curtsies to speed garage, trance and hip-hop - Cassius make a bold statement about the end of the millennium. Mostly known for their influence as La Funk Mob (downtempo smoky groove hip hop on Mo?Wax) and Motorbass (house thugs), Cassius have also been providing broken beats and pop-song melodies behind MC Solaar's inimitable French hip-hop. With the recent attention being paid toward French disko, hip-hop and house, Cassius will likely take the honors for diversity and strength in all 4/4 categories at the end-of-the-millennium Beat Awards. (Astralwerks 104 West 29th St., NYC 10001) - Keith York

Catapult The Architecture of a Year CD
Harnessing the magic of motorik percussion and guitar riffs, Catapult resurrect the storm clouds of Yo La Tengo, and 18th Dye from years past. The oscillator flutter and guitar melody is heavily rooted in the last decade of Tim Gane's discography while strangely sounding like Catapult is mining new territory. Gazing at their shoes, their hair draping beyond their chins altitude, Catapult play in a dimly lit corridor of your mind – a crowded club you can picture as your eyes succumb to sleep, but one that alludes you in the reality of your urban life. Unlike the numerous cliché miners, and coattail draggers-ons Catapult have captured a curious response from the listener and should spark the same magnificent awe that we held for Lawrence, Kansas, T*Shirt a year or two ago. The Architecture of a Year is simply captivating (Blackbean & Placenta 124 Ventura Avenue, Oxnard, CA 93035) – Keith York

Cats & Jammers After School Special CD
The newspaper headlines are true -- Cats & Jammers have sold over 9 copies to date, have had well over 9 hits on their website, and continue to foster new fans beyond the 9 of their relatives already sharing their appreciation for this Chicago powerpop trio. Self-effacing humor always works in the indie rock world; ya wouldn't hear those stats from Brad Pitt's publicist that's for sure. I may be going out on a limb here, but After School Special has the ability to grab a few more interested parties into its fold as they move forward with their new-song-every-month subscription singles club. Check 'em out. (Beluga POB 146751 Chicago, IL 60614) – Keith York

Caulk Love American Style CD
Part of the League of (Dallas) Superfriends, Caulk resemble their kin Baboon, Brutal Juice, and the Toadies in their little applauded brash, ambitious rock collective. Love American Style exhibits raw hormone power at times and is delicately intimate at others - the combination of the two making for a well-rounded collection of Caulk’s thoughts, words, and point of view. Using the standard “rock combo” setup, Caulk have imagination that pulls from the outside, pushing the boundaries of their approach to a realm few young white collectives can. While the band joins the listener in their home, they coach us through the songs placing context to every word, every drum hit and each guitar string bending eclipse. (One Ton PO Box 1991 Dallas, TX 75221)

Cave The Golden Age of Home Computing CD
Dipping in and out of Kraftwerk-isms, and IDM-isms, Cave toy with electronics, as they toy with the listener. With an eye on Germanic minimalism, Cave celebrates a kinship to Slicker, Mouse on Mars, Seefeel, Laika as well as Aphex Twins’ alter-egos. Clean lines, bold shapes, and entertaining with every index mark, The Golden Age of Home Computing is as disturbing as it is playful. (Elemo #2, no address given) – Keith York

C-Clamp Longer Waves CD
Warm tones in warm rooms recorded by Dave Trumfio exist now as a document entitled Longer Waves. During the Autumn of '98, Frantz, Tom and Nick came together as one unit with a seven-song agenda to capture the C-Clamp energies on drums, guitar, keys, melodica and bass. Clearing away the litter, the clutter, the microphones and mixing desk reproduced the passion that fingers, hands, wrists, and vocal chords produced at rehearsal, during performances as well as to tape at King Size Sound Laboratories in Chicago. The mural-esque circular patterns that stare back from the jewel case separated from their disc compatriot, swirl in your eyes as the bass notes drop from the ceiling above. It was already warm in here, and C-Clamp have now made it as hot as a summer sidewalk. (Ohio Gold POB 25441 Chicago, IL 60625) – Keith York

Ceiling Fan I’m Not Metal Anymore 7”
“Lawn Dart” by Ed’s Redeeming Qualities was the last song I chuckled to. Ceiling Fan’s “I’m Not Metal Anymore” is a new runner-up contestant in the putting-humor-into-rock category amongst the pageant attendees at White Boy Rocker of America. The track even includes a sample from Motley Crue’s “Shout at the Devil” as the singer shares his woes of hiding aging metal records away as he asks for forgiveness for going through his adolescence growing up into an indie rock sophisticate. “God Made the Flowers” on the flip exhanges a few bars of quirky lo-fi country with monstrous Melvins/Karp riffs. The back and forth works for a little while but the composition lacks tension between the two, putting their attempt off as “this is all in fun” attitude. Athens? Who’dathunk? (Big Lick c/o Dusty Blades PO Box 2601 Athens, GA 30612)

Cerebus Shoal Elements of Structure/Permanence CD
Aaaah, now I'm back more in my element. An EP of wonderfully understated ambiance and forthright directness at the same time. Which is something that is missing from a lot of ambient music. My problem with a lot of this stuff is that it just doesn’t have any teeth. This does. The first track actually reminds me quite a bit of Labradford, with a more distinct emphasis on eastern pipe sounds, rather than guitar. Distant and subdued clanging percussion sets the pace, filled in with drum hits that sound like they’re coming from right next to you. There’s a real sense of depth here, in terms of space. Not space as in gobs of reverb (which isn’t a bad thing), but instruments/musicians actually arranged in a 3-dimensional environment.
The tenor of the music is quite comparable with Labradford, though I'll have to say that it isn’t as powerful (which isn’t an easy thing, and shouldn’t be taken as a slam). There is a sense of longing to the piano line here, driving the rest of the proceedings along like someone driving back home to their wife and family after a long absence and perhaps wondering if things are the same as when they left. Quite tasty. “Elements of Structure” builds and fades in waves, but slowly and patiently, finally winding down to minimal low keys and slowly insistent percussion/guitar. Another thing that I get is a sense of completion, not of simply stopping. There’s some composition going on, but its not so much in the forefront as to be distracting, or getting in the way of the song sounding good.
“Permanence” takes a lot of the same building blocks and works a similar magic, though perhaps a little more in tune with a drone sensibility that really gets to me. From there things get a little more, how should I say it, “adult contemporary?” Not that bad, really, but there’s a feeling of maturity, for lack of a better word. The music here isn’t confrontational or deliberately breaking down any barriers, but is really quite engaging all the same. Again, I'm thinking of bands like Labradford and Lanterna (minus the omnipresent guitar) as I listen, yet Cerebus Shoal manages to keep an identity all their own. That alone is commendable. The fact that the music is quite beautiful in and of itself is gravy on the side. (AudioInformation Phenomena 1625 Oakwood Drive San Mateo, CA 94403) - Matt Maxwell

Chachi Jones Mode Switch CD
Donald Bell AKA Chachi Jones is up for a challenge. Give him a sampler, some free time and tell him to blow your mind, and he does. In skirting around several genre boundaries, Chachi and his software piloting sound similar to Tom Jenkinson's Squarepusher releases, while clinging to a mutating personality of Luke Vibert (Wagon Christ, Plug etc.). Opening up the affair, "Funk Me Gently" offers a dissonant, skewed breakbeat and sinister droning key line that Squarepusher and the drill 'n' bass followers love. "Wen5" is "Funk Me" on steroids as the attack pattern is more dramatic and drawn out. "Gibolomo" starts out as a quiet little roller that toys with a groove refusing to settle on one of 'em – again, the Squarepusher theme is evident. "Funk Me Hard" marries a Digital Hardcore gabber break with acid-laced synths for one stirring little stomper. "Muji" drops the mood to delay/reverb heavy dub sounds. Keeping the dropped beat mode for another few minutes, "Just Funk Me" is a Mouse on Mars IDM track on lithium. The closer is the best reason for pursuing a relationship with Chachi. "4555" is a structured, fierce drum 'n' bass track that once again switches modes and keeps the feet movin'. What could it hurt to jump on that new-fangled internet and give him a listen. (bell@csus.edu, www.mp3.com/Chachijones) – Keith York

Chappaquiddick Skyline s/t CD
Somber seems to be the key emotion in indie rock at the millennium's turn. Discs by Bright Eyes, Simon Joyner and Pernice Brothers (Joe Pernice is the guitar/vocal heart of Chappaquiddick Skyline, and ex-member of Scud Mountain Boys) have been laser-lit by CD players in the household a lot lately. With the recent offerings from labels like All City, Jagjaguwar, and Secretly Canadian among others, the heartfelt singer/songwriter has never been better displayed in its simplest format – small pressing,high intimacy. Chappaquiddick Skyline sits nearly still at times like soft gentle waves leaving the point where the stone disrupted the stillness of water and air. Joe Pernice's vocals caress the lobe and tired brow as bass,keys, and percussion take us for small hikes throughout the pond's neighboring forest surroundings. We continue to return to that restful spot on the calm sandy shoreline listening to the chaos of humanity whispered like a gurgling stream in the tree-lined gardens of our lives. (Sub Pop POB 20645 Seattle, WA 98102) – Keith York

Charles Atlas Two More Hours CD
With remixing work by Budda on the Moon and Alan Sparhawk (Low), one would guess this to be drone-alific fun and you'd be right. Sweeping ambient tones and numbing percussion relax the mind and body. As if Her Space Holiday had set up camp in Milwaukee, the Erik Kowalksi empire (Casino Versus Japan, Roommates) is making a vibe present in a city built on brewer's yeast. Nouveaux bedroom electronica superstars (Fingernail, Holland, Flowchart) at home on Darla have nothing on the rich textures herein – key and vocal tones of sweeping electro-acoustic emotion rain down from the heavens on this 7-track experiment. Delicious. (Star Star Stereo POB 7762 Milwaukee, WI 53207) – Keith York

Charming Hostess Eat CD
While some of this is a bit much in the way of world-music-via-pretentious-art-school (the sometimes chintzy bass guitar sounds, songs sung in foreign tongues (yes, women, I know the world outside my window is a big place. Leave it there.) and their preference to spell "women" with a 'y'. We're all equals here, but just in case, I'm prepared to spell "men" with an 'x' in place of the 'e.'), this album is fairly enjoyable, provided the remote is kept nearby. Using a violin, horns, a plethora of splendid female voices, and a strong dose of confidence in addition to the traditional bass/guitar/drums format, Charming Hostess create a fun, upbeat atmosphere suitable for the next Take Back the Night rally. Charming Hostess draw upon the traditional music of various cultures and subcultures, including Bulgarian, Yiddish, Judeo-Spanish and African work songs from America's slave-period to broaden the horizons of their listeners. (Vaccination) - Steven M. Brydges

Chavez Ride the Fader CD/LP
Gone Glimmering CD/LP
Pentagram Ring CDEP
“Repeat the Ending” b/w “Hack the Sides Away” 7”
With the insignia of power emblazoned upon my chest, I march confidently onto stage, where I strap on my instruments and fire-up the rocket-fueled jetpacks. Dizzying in weight and patterns of flight, I, with my air guitar, rock swiftly with the riffs and angular patterns of trajectory. Thrusting my fist into the air between short breaks, I quickly wipe the sweat from my brow with my undershirt sleeve and return to rocking. My soft voice, higher pitched than most, but infinitely more powerful, soars above the fracas my sonic assault and rhythmic battery wreaked upon the sonic landscapes. I am the greatest rock band on this planet. On this night, I am Chavez. (Matador 625 Broadway NYC 10012) - Steven M. Brydges

Chisel Set You Free CD
While listening to this album I was awestruck by the trade imbalance caused by the many waves of British rock over the past 3 decades. Currently we Americans are using our consumer purchase power to support entities like Oasis, Blur, Gene, Menswear etc. while there are domestic products available that equal and at times surpass the within-genre availables. Chisel just blow me away. They are so inimitably, diversely entertaining they are at times indescribably good. While Chisel’s songs emulate past moments by Blur, The Jam, and “Teenage Kicks”-era Undertones, there are 17 songs on this album, all different. All have their fields of resonance. All are not without influence. Joy. These songs’ keyboards, horns, and guitars stir that inside me. My favorite of all the tracks was the motorik “Privileged & Impotent” that drove a wedge between my understanding of how the first nine songs were building, and what to expect for the seven songs that were to follow. Nicholas Vernhes (he who has worked with many good bands including Ruby Falls) did a stellar “big” production job - highlighting all the important sounds and more than likely discovering some on his own that the band may have otherwise overlooked - great job Nicholas! While I have mentioned too many reference points already, let me add that I heard a Loop-ish guitar drone in there somewhere as well. Damn the list could go on from my vantage point. It is so very hard for me to contain myself when I get this excited about an album. I bet at least one of the band members is left handed. Damn this is nice. (Gern Blandsten PO Box 356 River Edge, NJ 07661)

Chris Kozmik A Trip to Hardcore Hell & Back! CS
Don’t let the frightening artwork fool you, this is no gruesome slasher film soundtrack. Culling my latest faves from the hardcore tekno bins, Chris has put together the craziest set of tunes to hit your spine in months. Fielding a lot of vocal sample infused tracks in his set, Mr. Kozmik toys with your head. Telling you that skulls are crushing, the tempo is increasing, that house beats are out, and variety of other anthemic choruses, the sped up rap vocal samples hit good and hard (never shying away from a good expletive). Chris’ hands are subtle on the decks, but the timing of his slide technique is inimitable. This is manic heart-rate BPMs at their finest. Good show boy! (Contact: 714-358-1071)

Chrome Cranks Live in Exile CD
Chrome Cranks certainly live up to their image, hair, lifestyle and choice of clothing on this disc. They’re raw, dirty, brutal, greasy, smug, distraught, sleazy and all over the place. Peter Aaron has that Jon Spencer cool with David Yow’s spit and spew. Sorry for the name cross-checking, but it fits in this situation. Guitars blaze, slamming out blues riffs, while leading the music into awesome twists and turns. Harrowing slide work slithers through “Dead Man’s Suit.” W.G. Weber’s sliding and bleeds the strings dry of their blues-soaked blood. Bob Bert is, well, Bob Bert, pounding, shuffling and carrying on in rollicking fashion. Low and rumbling just barely a smidgen above ground, rides the stand-up bass of Jerry Teel, his side saddle plucks and basslaps resound like the audible whip of raw leather on a horse’s hide. (Augogo (via Autotonic) PO Box 524d Melbourne Vic 3001 Australia) - Steven M. Brydges

Class A Quiet Life CD
Someday Stephen Merrit's ghost will haunt dwellings and individuals with his timeless solemnity. While still alive we find evidence of Merrit's drama in contemporary music – take the duo of Peter Green and Leigh Tsai (along with the host of remixers on this release) for instance: deadpan vocals, 4/4 downtempo beats, and a watercolor wash of synths. Class also takes cues from Ben Watt and Tracey Thorn as the Brave Captain Remix of "Strobe Light" hits your player (the 4th version on the EP). While the jury is out on the new remix venture, the 7"s that comprise the bulk of this material have been judged since they were released as important works from this noteworthy coupling. Listen after listen new glistening jewels emerge in the synth constructions and the remix work adds a new perspective to their sound, definitely one of those "sleepers" that folks will tuck away in their record collections and years from now be constantly amazed at the frequency they dust it off and share it with friends at a cocktail party, and reminisce with the age-old question "where are they now" – enjoy them while they are still here with us in the hear-and-now. (Double Agent POB 400082 Cambridge, MA 02140) – Keith York

Claudia Malibu We?ll Find You CD
Having played shows with members of the Elephant 6 rubbed off a bit. Claudia Malibu, featuring former members of New Radiant Storm King and The Caroline Know, are a quirky bunch of pop songsters seeking a 12-step program and a healthier disposition. Delightful in its uniqueness, We'll Find You is by- and for those trying to solve the questions surrounding their known and unknown psychoses. A dose of reality would really kill the wonderful vibe in these songs. For daydreamers, inventors, and the silly at heart (which arguably is all of us). (Wormco POB 266 Northampton, MA 01061) – Keith York

Clinton Disco and the Halfway to Discontent CD
Rump-shakin' diesel-sized boom gets the Daft Punk-like groove going, but the train jumps tracks many times on its way home. Making short stops in towns like Stereolab, Air, Chemical Brothers, Tranquility Bass, Beastie Boys, Pizzicato Five and Cornelius, Clinton takes you on a tour of disco, breaks and pop grooves. Of the dozen tracks, there's plenty to pick for the steering-wheel air-band drum solo for the road trip you are embarking on. Even more good tracks if you can rock this on your decks in its vinyl form. For fans of a good time. (Meccico/Hut/Virgin/Astralwerks) – Keith York

Cloudberry Jam The Impossible Shuffle CD
Eclipsing many of the same images in my head as Bettie Serveert and (the best of) Swing Out Sister, Cloudberry Jam cradle your evening in elegance. Your local newspaper arts critic will like 'em, just like he/she loved Rent. Music critic-speak abounds with the usage of terms like "mature", to somehow bridge the gap between a band's small label breeding and the viability of the same band's commercial success. While I genuinely disagree with such a notion, an album like The Impossible Shuffle is gonna be tagged as such by the oh-so-well-informed cultural analysts at Spin and Alternative Press. From the organ's seductive curtain call to the rhythm section's performance-closing bow, Cloudberry Jam perform thirteen exquisite one-act plays. An evening of elegance for sure. (North of No South PO Box 119, SE-901 03, Umea Sweden) - Keith York

Clouddead s/t CD
“It’s all the same shit but they call it clouddead,” calls out the trio. Embarking on yet another mutant collaboration (i.e. Greenthink), Doseone (Them, Deep Puddle Dynamics), Whye? and Odd Nosdam (not to mention contributors Illogic, Signify, Sole, Wolf Bros., Mr. Dibbs, Bay Area Animals), the trio tug the listener down below the tarmac in cavernous domains of lo-fi hio-hop. Gutteral tones, eerie bass quakes, slow undulating kick drums, and synths befitting an Eraserhead remake, create an atmosphere of hip-hop anxieties and poetic fear. Originally conceived as a collection of twelve 10” record sides, these tracks spanning 1998-2000 come together in one easy package for the mutant stereophile to nod off into spaceland with. (Mush/Big Dada www.dirtyloop.com, promotion@dirtyloop.com) – Keith York

Co-Ed/Pollen split-CD
Co-ed starts first in team Cool Guy's batting order. With only three hitters in their rotation, Mac, Kathy and Waleed have a lot riding on their shoulders. Bouncy line-drives skip melodically across the grass only to be scooped up by fielders soft-leather gloves. Team captain, Kath Cagigas, sparkles in her form-fitting pin-striped white uniform as she calls the shots from the mound. Trained in the summer heat by coach Velocity Girl, Co-Ed is poised for the World Series of pop. Hailing from Tempe, AZ - Pollen's quintet of musculature is considerably more developed with testosterone. Playing in the same league as Co-Ed's pop songwriting, Pollen whacks 'em out of the park with a great ummph. Summer wouldn't be the same without keeping tabs on league play by these all-stars. (Cool Guy POB 2361 Santa Fe Springs, CA 90670) – Keith York

Coldcut Let Us Play CD
While DJ team Coldcut-made up of England's Jonathan More and Matt Black-launched their own career by producing and remixing mainstream hits for the likes of Lisa Stansfield and Eric B and Rakim, the duo simultaneously maintains underground credibility through consistently innovative mastery of samples and dance beats. As if manning their own reputable record label, Ninja Tune, and DJing their Saturday show on London's famed Kiss FM weren't enough to keep them busy, More and Black continue to explore boundaries and technological innovations on their newest release Let Us Play. This time around, Coldcut releases a particularly enjoyable and worthwhile investment by throwing in a free CD-ROM. Loyal to their moniker "ahead of our time," the CD-ROM allows listeners to tweak sounds on their own, play games, view "videosyncrasy" in action (videos of eight of the album's tracks) and Coldcut's trademark toys. Let Us Play employs the most unexpected of sounds to achieve its level of playful, infantile contortion, intertwined with drones and bleeps. The album also features interesting collaborations with various artists (including Jello Biafra, a former member of the Dead Kennedys), and a pleasant surprise at every corner. (Ninja Tune 1751 Richardson locale #6109, Montreal, Que. H3K 1G6)

Colossamite All Lingo’s Clamor CD
Three guitars, one drum, no bass. Prickly. This album has a very thin sound that suits it well. Colossamite attack each song as if they were staving off their impending doom. Fear is a hell of a motivater. Some sweet time trickery and tweaked changes, per usual for Mr. Nick Sakes, who, not surprisingly, has turned out yet another magnificent orchestration of inflammatory squalor. (Skin Graft Entertainment Group PO Box 257546 Chicago, IL 60625). - Steven Brydges

Come Gently Down the Stream CD
I just hung up the phone. I just quit my e-mail software. I just shut myself down. Her voice has pulled me away from myself for the last time. As a country distances our bodies, phone lines and computer connections have
placed us side by side and fostered a kinship unlike any I have witnessed. She has said good-bye. From here I am not quite sure where to turn, but music is always the safe haven full of emotional stimulation.
Come's warmth surrounds me like a down comforter at a time when I am questioning my purpose. Is it possible that another person in my life could actually add a dimension to an already-healthy life? Is it possible that
she is that person? The answer is YES. Gently Down the Stream is the guidance I needed today. The collective of Bostonians led me by the hand through a litany of doubts, questions and fears. The tensions of guitars
dueling with rhythms, the voices calling from fog-blinded landscapes and the electricity-heat that warms the space between the speakers soundtrack the day. Recorded prior to this day, listened to repeatedly from here
forth, Gently Down the Stream is an artifact of explosive tensions and adult-mature rock. I know she is the ONE, Come told me so. (Matador 625 Broadway NYC 10012) - Keith York

Comet Gain Sneaky CD
After spending a lot of time with their last album Casino Classics (on Wiiija/X-Mas), I anticipated much of that same post-Style Council wishing The Jam were still together lament I encountered late last year. What I did get was no post-Mod pop record. I just got a Comet Gain record. A record with its own sound. Like the Makin’ Time, I love a 6Ts influence on pop/rock, but not the unnecessary posturing that comes with the aforementioned teen scene. Comet Gain just floored me with their girl/boy vocals, the groove of the rhythm section, and some tweaked out chords and notes from the guitars. Like the Girlboy Girl 7”, my faith is being restored in non-Glasgow produced British exports of guitar pop. Since reaching a high with bands like McCarthy and June Brides years ago, and making a second wave possible with the likes of Stereolab and yes, even Blur I have been awaiting a second coming. Comet Gain are reawakening the spirit inside me. A spirit that is usually held still awaiting new music rather than new people to enter my life. Music is, as one cashier recently commented, the only thing that is constant, the only thing that is always there. Despite your lover leaving you, your kids growing up delinquents, your car turning into a lemon, your dog not paying you mind, music is always there for you. For you there is Comet Gain as well. Take a listen. (Beggars Banquet 580 Broadway #1004 NYC NY 10012)

Companion Trio 7"
Hands down, my favorite part of listening to jazz radio is how the announcers read every credit attached to each song they play. If the local jazz station had turntables still, they may read aloud "Evan Rapport on reeds, Jerry Lim played electric guitar, and drumming was Josh Blair..." or something along those lines, as I drive down the coast: The stars and moon illuminating the white foamy crests of the tide as if it were daylight. Within the "out-there" "Nona Lim," we find sax blasts fighting with guitars deconstructing as the drummer explores 4/4 time. The flip side, "Cluj," delights the "cool" sense in me. A ghost of Brubeck's "Take Five" takes command of the drum kit as Evan's and Jerry's instruments have sex center stage. (Mass Particles 1843 Irving St. NW, WDC 20010) - Keith York

Compound Red Always A Pleasure CD
Astonishing cover design, first off. Between the artwork and the gorgeous first song, where the singer's beautiful voice croons over a symphony of guitars and tolling rhythms, Compound Red set themselves up for a major fall from the outset. How can anyone not suffer a letdown over the remainder of an album, when they could replay the first song 'til the CD player's laser burns a hole in the disc? Well, I dunno, damnit, but I managed. Surging bass and guitar melodies arch over the drummer's sparkling fulminations like a jet
soaring above a fireworks display. I don't know whether to place my hand over my chest and pledge allegiance or to start running and jumping in my backyard. Either way, my heart is racing. (DeSoto PO Box 60335 WDC 20039) - Steven M. Brydges

Compound Red Peter Pan’s Shadow 7”
Loud whispers like search light candle flickers fly. They shatter the expected space in which they are, by definition, supposed to occupy. Rock bands have their place, they occupy space. On occasion delight hits the ears of the know-it-all that writes descriptive verse about the end-product of their existence, their space. Compound Red delight my ears as I stare at the silent phone that fails to erupt the quiet space I occupy. Rock bands do that to you. They exist in a semi-interactive plane to satisfy your needs, to gratify. It is by definition that two songs by these Milwaukee residents will shatter the expectations of what candles and search lights and whispers and rock songs are supposed to deliver on. (DeSoto PO Box 60335 WDC 20039)

Concretes Boy, You Better Run Now CD
Somehow The Concretes manage to simultansously present themselves as coy youth players and sensual adults causing plenty of cognitive dissonance in the listener. Thankfully hormones and endorphins have minds of their own. The body sidesteps logic and feels Boy, You Better Run Now with every sense; yes, touch, taste, vision and smell accompany listening to this innocent erotica . The cabaret act, armed with guitars, synths, harmonicas and coy sexuality explode brilliantly with each listen, their allure never fading with age. (Up Records) – Keith York

Concretes Boyyoubetterunow CD
Boy, you better run toward your stereo. Rush the stage, well at least the amplifier, and turn up the music. Creating a room full of sound even at the lowest volume, The Concretes are the swankiest of Stockholm's exports. Within the sextet of guitars, bass, drums, trumpets, and keys we hear a brighter, cheerier St. Etienne, a homey-feeling lo-tech Stereolab, and a bit of Americana in their pop songs. Reminding me of Lambchop, Magnetic Fields and Godzuki simultaneously, Boyyoubetterunow, is the most addictive pop confection in years. (Up POB 21328 Seattle, WA 98111) – Keith York

Connors, Loren MazzaCane The Little Match Girl CD
Despite recording Loren MazzaCane Connors live to two-track, The Little Match Girl (based on the Hans Christian Andersen story) sounds layered and therefore more textural than it really is (as recorded that is). Solemn, quiet solo electric guitar performances provide the much-needed warmth as the bitter cold from the outdoors creeps into your dwelling through every nook and cranny Mother Earth’s weather can navigate through. (Road Cone POB 8732 Portland, OR 97207, press@roadcone.com) – Keith York

Console Rocket in the Pocket CD
In his second solo outing to date (after the acclaimed debut "Pan or Ama"), Martin Gretschmann of the Notwist cracks open the electro-pop enigma. Following the chic trend of accumulating 80s-era equipment to reawaken the vibe of early Depeche Mode, Heaven 17, Kraftwerk, and Human League, projects like Console appeal to those in their 30s that still hold on to vinyl copies of Egyptian Lover 12"s and Howard Jones' "Humam's Lib" album. With the success of modern-day peers like Air, Console's track "14 Zero Zero" is well-equipped for the dance floor, the radio and chain-store CD soundtracks (Gap, Old Navy, Nordstrom). Brilliant euro-disco-pop through and through. (Matador 625 Broadway NYC 10012) – Keith York

Cornelius Fantasma CD
Cornelius does one thing very well - he displaces the notion of an artist having a static "sound" unique to their body of work. In place of this, Cornelius hands you an album containing as many different songs as it has
personalities. Each song on Fantasma is quite different from that preceding or following it. Cornelius: This young prodigy has built a sturdy empire of past releases - seemingly close to Pizzicato Five's residence. While extrapolating from Stereolab's affection for modular analog synths, Ride's pop-song craft, Fatboy Slim's disingenuous Woody Allen-esque wit, and Aphex Twin's love for manic beats, this Ape is gonna make an impression on you. According to press accounts, Cornelius' multiple releases in his native Japan sell quite
well. Almost too well. Through friends, I have witnessed this intense adoration (akin to the rabid fanaticism over acts like Oasis, My Bloody Valentine, Smiths, etc.) for this multi-instrumentalist acted out by paying
$30+ for import discs. It seems one disc is never enough. As Fantasma cycles through its thirteen moods, it is hard to exemplify each song with a catchy genre-ID, or witty critic's euphemism. Fantasma is about pop. It's about attending a party inside the head of a talented fan of the Beastie Boys, Kraftwerk and Pop Will Eat Itself, whilst towing a full compliment of vintage rock gear, a Speak & Spell® and a sampler. It is that difficult for me to describe. It is that profoundly enjoyable. (Matador 625 Broadway NYC 10012) - Keith York

Cosmic Psychos Oh What a Lovely Pie CD
The brash, unadulterated fun elicited by THE long-standing Aussie rawk trio is once again collected and sold in commodity form. Their abrasive guitar-dominant garage exercises continue to elicit white-trash fist shaking excitement from the likes of football fans trying to justify leaving the action to urinate or buy another beer. Leaving the scene of the action is difficult and must be justified. Cosmic Psychos’ raw male power is exciting to witness (hell, the CD graphics speak for themselves!), though at times hard to stomach. Oh What a Lovely Pie is the Married With Children of rock music; an unsettling examination simultaneously illustrated by human caricature, satire and honesty. Oh what a lovely time. (Amphetamine Reptile Records 2645 1st Ave. S. Minneapolis, MN 55408)

Cows Sorry in Pig Minor CD
Leveraging utility for the information we possess becomes ever more troublesome as new data becomes available on the marketplace at a much faster rate than we can consume that which we already own. Jeopardy, crossword puzzles, Trivial Pursuit, and like-minded forms of entertainment gratify us when we find a usefulness for the mass amounts of minutia our heads contain. We read, we watch television, we attend films, we see countless advertising messages in the magazines we read --even at the dentist's office we can't escape data input. The Cows' ninth album is bordering on too much of a good thing. So much Cows data is tough to manage. New listeners, new Cows fans, are going to need some of the historical context to give meaning to this new birth. It has taken me a decade to digest their Taint Pluribus Taint Unum and Daddy Has a Tail LPs still lodged in the "C" -section of my room. I still can rock their "Chow" 7" on my Kenwood hi-fi. The normal bias dub of Peacetika fell apart long ago. Sorry in Pig Minor is my first Cows compact disc, the digital storage medium should allow for the abuse this thing is gonna get in the next decade to come -- I can't wait 'til their silver anniversary. Is that more information than you wanted to know? (Amphetamine Reptile 2645 1st Ave. Minneapolis, MN 55408) - Keith York

Croghan, Sean From Burnt Orange to Midnight Blue CD
Riding high atop the cresting wave of emotion, singer/songwriter Croghan turns his psyche inside out and crashes at your beach-sand encrusted feet. With nary a wimper or sigh in his voice, the seasoned veteran of indie rock (Crackerbash, Jr. High) confidently confides in we the strangers who spend time with his songs. In the confines of our own identities and living spaces we become much more than familiar with Sean’s strengths and weaknesses – likely more than he realized while recording this with Larry Crane (TapeOp, Vomit Launch) and a cast of players from The Minders, Freewheelers and No.2. While some may compare Croghan to Elvis Costello, I keep hearing Velvet Crush (as well as Bag O’ Shells, Honeybunch and the myriad of other sideprojects). (In Music We Trust 15213 Bevington Ave. Portland, OR 97267-3355, alex@inmusicwetrust.com) - Keith York

Crooked Fingers s/t CD
Eric Bachmann (ex-member of Archers of Loaf, solo recordings as Barry Black) joins forces with Brian Causey (Man or Astroman) in his latest foray into mature melodic song writing. For those familiar with his resumé, Crooked Fingers represents the missing link between Bachmann's earlier efforts – dissonant herky-jerky math-rock as well as quiet, slow meticulously orchestrated pop – will find this album fitting comfortably with their preconceived notions. With a great deal of flare and confidence, Crooked Fingers harnesses the ability to tip boats over, to cause wakes among placid pools, to shake up the mind with keenly aware lyrics and instrumentation that, like a sponge, pulls from the listener. (Warm POB 1423 Atlanta, GA 30603) – Keith York

Cub Box of Hair CD
While hoisting toasts to Tiger Trap and Emily’s Sassy Lime, Cub’s Canadian dialect calls out an unfamiliar drinking song. A dozen songs to be precise. With nary a sinister bone in sight, Cub claw and scratch at your nimble cortex with pop songs that shout and scream and cry and whisper. Cub are less like bears and more like kittens. Purring, their rhythms rise and fall like breathes from tiny kitten lungs while guitar tones claw at the air with newly found sharp claws. Obviously part of the twee-ist punk revolution, Cub alongside Heavenly have recorded some edgy, comedic rock manifestoes and have done so while staying out of the newspaper. Delightful. (Lookout PO Box 11374 Berkeley, CA 94712)

Cubanate Interference CD
Imagine, if you will, Ministry and Technical Itch toying with the "Amen, Brother" drum break whilst guitars and distorted vocals flew into the mouth of a windstorm. Interference: A maelstrom of noisy, angry beats and riffs
ripe with teenage-boy testosterone levels. Poster-strewn walls of a lip-pierced teen carry the odor of unwashed aging laundry and stories of smoking and drinking behind parents' backs. The studded leather jacket, a
symbol of biker-defiance stands strong. As if a raised fist were the flag of freedom, their uniform carries with it the masculinity of punk rock attitude and imaginations of industrial wastelands stolen from cyberpunk
stories. Mel Gibson is an actor. Mad Max is a film. It is not reality. As the "Amen" break continues to flourish, even reaching non-dance genres, listeners and CD buyers alike will meet up with these post-apocalyptic teen
angst progenitors with samplers: meet the new KMFDM and their peers. Tech Itch can still kick their ass on the decks, whether or not the tracks are instrumentals. (Wax Trax! 1657 N. Damen Ave. Chicago, IL 60647) - Keith
York

Cuckooland Oh Boy! 7”
Candy Floss has sure developed a sweet tooth for British sounding (and dwelling) power pop acts! Cuckooland (also on Damaged Goods along with Candy Floss label mates Honeyrider) hail their chunka-chunka-la-la-la banner from Reading proudly as they refine some fond memories of stuff like Talulah Gosh and releases on 53rd & 3rd and/or Subway from the late 80s. The female vocals aren’t a stamped trait of comparisons - I think some of Snuff’s record on K approximates the bouncy mood this 7” delivers. A starter kit for the post C86 anorak kids that think Heavenly are bit too soft. (Candy Floss 130 Sutter St. 5th Floor San Francisco, CA 94104)

Cursive Burst and Bloom CDEP
Destined to become a post-hardcore anthem, title track “Burst and Bloom” describes the explicitly the “marketing scheme” of the indie EP, and the sound that Cursive have developed over the last 4 years or so. Blistering, driving rhythm and melody explosions, laced together through the five tracks showcase the “DC sound” as the band states in the lyrics. Punchy, expressive, intimate (especially Gretta Cohn’s cello), Burst and Bloom is a fitting follow-up to last year’s Domestica which stayed in my player for months. Putting Omaha, Nebraska on the map. (Saddle Creek POB 8554 Omaha, NE 68108, info@saddlecreek.com) – Keith York

Cursive Cursive's Domestica CD
With a bit of Helmet in the stop/start antics, Quicksand in the guitar pick-ups, and Fugazi in the emotional range, Cursive have documented a wide range of human drama in Domestica. Fire-flicker discomfort opens wide into firestorms of rage only to settle back to the simple sex of a pilot-light within every song. One would expect this rollercoaster during the course of highly-strung relationships – such as those that have contributed to the players emotional states making such noise. From what we know, this Omaha quartet, and especially singer/songwriter Tim Kasher, has been through a lot in this short life – and with only 9 songs to document this discomfort we should expect another explosive full-length soon. (Saddle Creek POB 8554 Omaha, NE 68108) – Keith York