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

Galloway, Grant Progressive Trance Mix CD
Grant Galloway toys with alchemy as he turns vinyl into a golden audio stream. Sparkling kick 'n' snare tumbles from the sky as the turntable technician mixes myth, fantasy and real-world kick-ass progressive trance tracks together into one solid 4/4 narrative. While storytelling has little to do with thumping your spine and hips into a dream-state, Grant's precision on the decks creates a flowing narrative by joining tracks together effortlessly. In his absence this can be put on any P.A. for a virtual Galloway dance floor takeover. (www.wyshrecordings.com) – Keith York

Galloway, Grant Shine CD
Grant maxes-out the storage capacity of a CDR, burnt individually for the hi-fi consumer. What you get is over an hour of boom, boom, boom, hiss, boom -- yeah, the 4/4 kick ‘n’ snare lightning and thunder storm that envelopes the house DJ. Trance and progressive synth washes cascade and collide in rainbow colors as the breaks calm, and drops excite the glow-stick waving partygoers. (Contact: Mystic Productions 303-878-0778, or 303-546-0775)

GameFace/Errortype:11 What's Up Bro? Split-CD
After spending some time together touring, bands get the idea they need to collaborate on a split release. Much like the culturally accepted hetero- engagement ring, the split release makes a statement, brings a relationship into the physical realm, and in this case is a damn good dose of punk rock energy. Gameface's driving melodic energy is evidenced on two originals and a cover of Tom Petty's "Change of Heart". As an intermission, someone taped Drunk Tony calling from a party rambling about how "fucked up" he is. Pretty damn hilarious Orange County Jeff Spicoli-like rant. New York's Errortype:11 release a great deal of chunky punk rock guitar energy in their two originals and cover version of "I Got You" by Split Enz. (Revelation PO Box 5232 Huntington Beach, CA 92615) – Keith York

Gang Wizard/Monotract split-7"
I sincerely believe in the hypothesis that most split-releases or co-releases are attempts to broaden a band's reach by incorporating more folks to spread the word-of-mouth or aid in distribution by means other than a solo release and/or touring. I suppose some artists and labels feel that two bands belong together on the same document (in this case a split 45), but as a heavy consumer of music I frequently fail to see the value and relative merits of this exercise. When was the last time you discovered new good music by flipping over a vinyl split-release or by rapidly indexing forward on a split-CD? If I had heard of one of these two artists prior to this I could possibly be swayed as a completist to pick this up, but in this case (as always) Blackbean has foraged forth beyond our musicology to find obscure artists that will become relavent to our musico-conscious soon after release (afterall look at the label's discography). Both bands skronk along in the free-rock domain – some call it progressive while others label it post-insert-noun-here. It's just skronk though. Meandering guitar lines, some with flangers, others without, pass at ankle level and crawl around the room for lengthy periods of time until the needle escapes their grasp heading toward the inner sanctum of the label art (of which there is none in this case). No packaging, no liner notes, no explanations, just skronk. Since "free jazz" is the hot tip these days, I assure you Forced Exposure will be all over these two bands in a week's time. (Blackbean 14847 Septo Street Mission Hills, CA 91345) – Keith York

Garlands Just The Verses/Genius 7”
Who knows but the band whether the name stems from the Cocteau Twins’ release of the same name, musically it’s not evident where their ideas come from. They certainly don’t cop the vibe from any other NYC bands as the closest thing to their lush sound is Providence, Rhode Island’s Purple Ivy Shadows. Garlands richly texture their guitar sounds with effects in the studio as I assume they also do live. A texture which invokes that whole 4AD sound we used to refer to and no longer really exists. I remember Pale Saints and Lush records having a similar feel as those produced by Garlands on their debut single. From the note inside, they also have a cassette and plan to release their own CD soon. With that in mind the least I can say is they seem to have embraced the DIY ethic as not many bands of this sub-genre do...they expect everything on a platter. Stay at home and record on a four track, get it right, the kids will follow when the songs drive them to. Garlands have a nice sound, a melancholy, yearning sound. A sound that’s upside down. (band: PO Box 653 Cooper Station NYC 10276)

Garnier, Laurent 30 CD
The French. The French have been providing some exhilarating beats as of late. The French Djs come to America and spin the party kids into a swirlie Latte’ with foam atop. Laurent Garnier is French and it doesn’t count against him. While Americans may be in disfavor with the French people en masse, Laurent Garnier stands as beacon of international relations by creating a master work, 30, for those of us disenfranchised from rich historical tapestries of European culture. What we get is mutant house and electro rhythms inside an aural palette that extends beyond the limiting bounds of ambient techno with rich moody ‘scapes of samples and orchestrated 303, 909 and 808 chatter. Though known as a DJ, only a handful of Laurent’s tracks on 30 are for the aerobic (dance) enthusiast. The remaining content allows a soundtrack to multitasking, romantic episodes, and dining alone. With the proper perspective, the owner of this CD can exploit its many dimensions across many activities and moods. (F/Never/Proper 121 W. 27 St. #401 NYC 10001)

Garrison A Mile in Cold Water CD
Rarely, if ever, the mind calms its hormone-fueled rapidity and chooses not to think. The mind takes a break and barely concentrates on its duties as life-support battery and analyst. In these times, it is likely music or a naked person is within arm's reach. And in these times, let me state clearly for the record, it is not likely to be naked people as often as we would like. I know this because as Garrison's latest recording package plays aloud from across the room, I failed to get caught up in the personal monologue of who they sound like, and what of the latest crop of descriptors to use in writing about them. The quartet's honesty brought them from past bands, to gather together collectively, and meet me in the living room on a sunny afternoon. Play this loudly and jump up-n-down on the couch, get the hormones cycling through your body, and wish that someone naked would knock on your door. (Revelation POB 5232 Huntington Beach, CA 92615) – Keith York

Gauge I CD
Chronicling Gauge's two-year existence as a midwest-centric punk band, I, collects together 23 songs from demos, singles, etc. spanning their brief career. As the most definitive view of the band, I expresses the hardcore foundations of the quartet while the "emo" thing starts spreading its wings wide toward the end. Approximating Fugazi's strength, the energy exhibited by Gauge is amazing to witness. It's hard to believe the book was closed before it was really read thoroughly. (Tree POB 578582 Chicago, IL 60657) – Keith York

Geezer Lake James Dean b/w Sages Picture Disc 7”
Two more songs from one of the most original bands anywhere. James Dean rocks steady with the pushing and pulling of bass and drums. Trumpets peck at the soundscape like angry little birds. One swoops beneath the mix and heads for the ankles, while another bleats the listener behind the ears. Guitars add a metallic scrape. The flipside opens with a quirky off-time melody that eventually settles into a fuzzy groove. Layered vocals lend a pop sensibility. Need I even mention the meticulous designs laid on both sides of this heavyweight vinyl? (Thick Records 1013 West Webster #7 Chicago, IL 60614) - Steven Brydges

Gentle Waves The Green Fields of Foreverland... CD
I suppose the sticker that reads "featuring players from Belle & Sebastian" on the jewel box's exterior, is enough for people to understand the temperament of the Gentle Waves. Admittedly it wasn't enough for me to judge, good bad or indifferent, but the sticker did grab my attention. What we get is somber, while giggly, post-country folk-isms wrapped in a Sarah Records pop kiss, and a Courtney Love (they of K Records, not Cobain's ex) weepy gentleness that I have longed for in every aspect of my life. Bel's vocals are heaven-sent; piano accompaniment or lack thereof. Stunning in its simplicity and form. (Jeepster PO Box 14153 London SW11 4XU UK) - Keith York

George, Joshua Locus of Control 12"
Lift's debut entry into the hotly contested, wildly competitive trance label circuit is a noble effort with stunning results. Known in some circles as the man behind Oracle Full Moon, Joshua George represents his knowledge of trance from in front of- as well as behind the bassbin. Elegant, masterful atmospheric trance lifts up the spirits as it commands the attention of your spine 'n' hips, fitting comfortably in any set of premiere UK or US trance. (Lift PO Box 475281 San Francisco, CA 94147) – Keith York

Geraldine Fibbers Butch CD
I remember when Steve Fisk released his own cassettes and did the occasional K Records recording/producing and rocked out with early incarnations of Pell Mell. Now he is “producing” grand records like this for well financed companies - what a Cinderella story! Butch is a folky/rootsy “American” sounding record from a well-seated Los Angeles collective that used to release stuff on Sympathy if I recall smartly. Some of the songs had the No Depression post alt country feel, a mood approved by some friends of mine. While other songs melded the Eitzel, Idaho, Walkabouts introspective pop flavors into some massive banana split of songs that no more resemble ice cream than a Butch girl, a Butch haircut or Butch Vig. Sweet, sometimes rockin’ and a fine first-date-tape-player-in-the-car driving around town kinda disc. (Virgin)

Getaway Cruiser Instrumentals CD
Atmospherics and sensuality lay naked in the room. Without the exotic vocals heard on their other recordings Instrumentals is handicapped but completely important nonetheless. This Michigan combo blend sampled sounds with guitars and an affection for hip hop drums to stir up our senses and confuse our hips. Throughout the five instrumental songs Getaway Cruiser introduce the listener to their curious, jaded views on ambient sound, on tension, on noise and on release. While “intuitive” to some, others may vote this as the next thing Thrill Jockey should look into. Atmosphere is what they create. Sensuality is what they elicit. Laying naked in your room with the headphones on is probably what your parents will catch you doing. (Mind Expansion PO Box 725161 Berkley, MI 48072)

Getaway Cruiser s/t CD
Donning the used attire cashed in at the local thrift shop by the likes of Velocity Girl, Morcheeba, Suzanne Vega and even some of Propellerheads-like bigbeat folks floating around on 12"s - the Michigan collective, Getaway Cruiser, have compiled an album ready for your local alt-rock radio station. Especially those radio stations still hesitant about playing records without guitars up front. While the album contains a bit of rapping, a smidgen of scratching and some nice breaks -- it is not acid, breakbeat, techno, trip-hop, downtempo etc. This is not a hip-hop record. Well adorned, the album has its odd moments of brilliance -- but then again so did their instrumental EP on Mind Expansion. Keep it real or lose it. (Sony) - Keith York

Gibbs C. Sincerity’s Ground CD
I am not quite sure if New York City’s Morning Glories still exist, but C. Gibbs has been fooling around with “Country tinged blues rock” on the side, releasing this CD on the same label that his more intense rock combo has also recorded for. I can’t really dive in and appreciate this in much the same way I can’t appreciate speaking Japanese or reading Sanskrit - the skills needed are not in my repertoire. For me, listening to records like Sincerity’s Ground is akin to reading children’s books aloud to toddlers. The kids’ impassioned praise for the simple phrases of books bought at the supermarket is due in part to the relationship between a product and its target audience, especially if it is effectively targeted/marketed to a receptive audience. As much as I listened to this and tried to think of quirky obtuse language to describe my impressions, honesty won and I admittedly don’t care much for C. Gibbs, his Review or whoever’s Ground, but especially Sincerity’s. (Headhunter 4901-906 Morena Blvd. San Diego, CA 92117

Gilberto, Bebel Tanto Tempo CD
As with a regrettable loss of connection to long-term friends and lovers, Bebel Gilberto (daughter of Brazilian bossa legend Joao Gilberto) warmly welcomes us into her home. Examining the photographs displayed on her mantle, we find her career of collaboration documented: pictures of David Byrne, Towa Tei, Arto Lindsay as well as Tanto Tempo assistants Mario Caldato and Thievery Corporation. Once comfortable in her living space, Bebel treats guests to a bossa nova romp that makes it impossible to stand still. Soon the dinner party, and Bebel's house, erupts into one extended dance floor. Friends and relatives over for dinner, dance in the bathroom, the living room, bedrooms, patio and yard. The fusion of jazz, bossa nova and electronica kindle the spirits of 60s spy films, black strappy dresses, shark skin suits and well-shaken martinis. Why travel to Brazil, when your apartment can readily be transformed into a swingin' hipster hoedown. (Six Degrees 602 20th St. San Francisco, CA 94107) – Keith York

Girlboy Girl a 4-track EP 7”
We fans of rock music go through phases (sometimes weekly) that we seek out something new and fresh and exciting to quell our disenchantment with the latest crop of touring acts and vinyl releases. Then comes along a 4-track (both literally and figuratively) 7” from a Bristol combo we have never heard of. Add a bit of surf-guitar reverb underneath a bubbling current of Boyracer and Hood pop/rock with blistering guitars and a vocalist that puts Gedge on the edge and voila! Girlboy Girl are defined. No clue is present as to their future or past - but things are looking up across the lands that witness these four songs. As inviting as a sunrise, these songs are July 4th sparklers and New Years Eve champagne glass tinklers. Fabulous! (Orgasm 36 rue Victor Hugo 94220 Charenton-le-pont FRANCE)

Givens, Daniel Age CD
If dub was an available aesthetic ingredient to bongo playing beat-poets in basement speakeasy-style rooms of the 60s, Daniel Givens and his collaborators would have soundtracked the movement. While Ginsberg may be separated from Givens by decades of influence, the spirit of anything-goes lust defacing the boundaries of established artforms is apparent on Age. Despite much of Age working within the context of R&B/soul, the clash of cello, flute and bass with Daniel’s ambient-electronica brings to mind Tricky or DJ Spooky simultaneously with Lee “Scratch” Perry’s discography. With Givens’ background as a DJ, and Casey Rice’s (Designer) mixing style, Age is as much a home at Aesthetics as it would be a Naut Human produced illbient disc on Asphodel. It’s strange and wonderful inside this basement as words fly across the walls amidst cigarette stained audience smiles drinking dry martinis served by an unlicensed proprietor. Now it’s time for the headz to snap junkie’s fingers to the beat. (Aesthetics POB 577286 Chicago, IL 60657) – Keith York

Giving up the Ghost 7"
Over-the-top damaged post-hardcore settles, organizes itself around a keyboard line or guitar part, then suddenly all mayhem breaks loose. Giving up the Ghost harkens back to the days of VSS, Mohinder, and Clikitat Ikatowi in their confidently executed musical anarchism, of which audiences, mouths gaping in astonishment, knew every lyric and oncoming trainwreck explosion. Hardcore never felt so fresh, exciting, and new. (Sunney Sindicut 915 L Street PMB #C-166 Sacramento, CA 95814) – Keith York

Global Communication Pentamerous Metamorphosis CD
Dramatic echoes of percussion underscore serene vistas of sunset-stretched shadows holding captive only the sounds of wind. While occasionally brushing tree limbs together, or snatching leaves from their mothers' arms to cradle aloft for brief periods of spring time, the winds remind us of nature's complexities. Something we cannot touch, something invisible, the wind combs our hair and blows the dust from our worn bodies each day along our treks.
As Future Sound of London has done to me on many occasions, Global Communication soothed an aching mind and body after long days in cubicle-land. The audio massage of Pentamerous Metamorphosis is actually a re-version-ing of Chapterhouse's "Blood Music" which today, seems like a distant near-forgotten memory. Global Communication's evergreen restructuring of what would stand as dated today, allows Chapterhouse to extend their life: Extend their musical legacy to other ears, new countries, and wider boundaries than the pop group could have tackled on their own.
Ambient inaccurately infers the utility of music as background. While Global Communication may harmonically lull the listener with soothing tones of drone 'n' blip, they illuminate the vastness of the horizon you face. Staring at the setting ball of flame, your synapse-firings mimic these earth-originated signals. These sonic equivalents to complex organisms have lives of their own separate and distinct of the parents that conceived them. (Dedicated 580 Broadway NYC 10012) - Keith York

Gloria Record A Lull in Traffic CD
Years ago Echo & The Bunnymen infiltrated the minds of Austin's youth. Later reinvoked by Radiohead listening, these early memories of melodic keyboard-adorned pop songs would startle upstart rock musicians into forming bands. After the demise of kitsch revelry in 80s pop songs, and song writing leaned-out by emo paths, The Gloria Record can create something as quietly evocative as a Seam song. As the band has grown past their self-titled record, the keys have grown to be a more significant force/influence upon song structure where we now find more melody texture with string arrangements that force outward the song architecture allowing the songs to breathe a bit more. Very nice. (Crank! 1223 Wilshire Blvd. #823 Santa Monica, CA 90403) - Keith York

Glossary This is All We've Learned About Living CD
Lying somewhere between Lambchop and the Weather Prophets' honest song writing, is the self-released Southern humility of the Glossary quintet. Fans of the laid-back sunporch Americana that is Wilco, will likely hear a comforting vibe emanate from this gathering of youthful Murfreesboro, Tennessee residents. As guitar and piano melodies float across the room, you're going to have to fight the smile off your face. (Champ POB 10674 Murfreesboro, TN 37129) – Keith York

Go-Betweens Bellavista Terrace: The Best Of The Go-Betweens CD
Culling from the archives, or in this case the Go-Betweens' rich discography, The Best of.. represents some of the most listenable material, ever offered in one venue, by this important collective of Australian musicians. Collecting songs from their albums (16 Lovers Lane, Liberty Bells, Before Hollywood, Spring Hill Fair, Tallulah) as well as one single ("Man O' Sand to Girl O' Sea") to form a new album, The Go-Betweens are posthumously allowed to make one more addition to our record collections. Guitarist/singer Robert Forster eulogizes in the liner notes to Bellavista Terrace, "The songs, the fourteen on this album, form a chain. They stand in their own right, and lead one into the others, to give a chart of the times." This (sadly) sums up the beauty and creative energy behind one of the Eighties great pop songwriting forces. That their singles and album tracks were one in the same – they told the story, and charted the course for a band who's lengthy career evolved little because it started out so brilliantly. (Beggars Banquet) – Keith York

Go-Betweens The Friends of Rachel Worth CD
Senior year of college, 16 Lovers Lane accidentally became the soundtrack to a memorable chapter in my life. Amidst the wondrous noise released by Amphetamine Reptile, Sub Pop and Touch n Go during the same period that saw industrial become dance music and JJ Fad lit up commercial radio dials, Brisbane Australia’s Go-Betweens wrote memorable songs. Back together after a dozen years on hiatus, the core duo of Robert Forster and Grant Mclennan have written another collection of memorable songs for fans as well as and uninitiated alike. Tapping into the here-and-now, the duo employed members of Pavement, Sleater-Kinney, and Quasi as they recorded at Larry Crane’s (TapeOp, Vomit Launch) Jackpot! studios in Portland. Far from Brisbane and the legacy that left a much larger line-up and laundry list of record labels peeled away, the delicious fruit of guitar-written pop songs is left for our palettes to enjoy. (Jetset 67 Vestry Street NYC 10013) – Keith York

Godheadsilo Share the Fantasy CD
Heavy. Pummeling. Driving drums fire like cannons on a bass guitar-strafed battlefield. One can hear the screams of the half-dead. The terror of the mutated and wounded is visible from every angle; every perspective. As bodies are airlifted from the scene, we can hear a cover of Phil Collins' "In the Air Tonight" in the thump- thumping of the military helicopters' blades. It is still hard to fathom how much sound can emanate from a duo such as this. As if Godflesh wasn't satisfying the societal need for hate-rock already, Godheadsilo deliver ferociously cogent maelstroms of rock purposefully absent of melody. (Sub Pop PO Box 20645 Seattle, WA 98102) - Keith York

Godstar The Godstar Reminder...September CD
The label’s catalog refers to this release as Godstar’s “the long awaited final release.” I certainly hope that Nic Dalton & Co. haven’t resigned to hang it up after putting out such great songs! But alas it is to be their final document - all recorded during the month of September ‘93. The Godstar Reminder places a Taang! single, a Bus Stop single, some live (their last show) and radio recordings together to produce a full length album’s worth of stuff. Though not that consistent after song #10, the hits outweigh the misses as with any Godstar release. New to me was their cover of Devo’s “Mongoloid” (along with covers of songs by Richard Clapton and Sneeze) and as one would expect - entertaining as hell. For some reason I equate Godstar’s legacy to that of New Zealand’s Chills - not stylistically, but rather for consistency in pop song writing and that both share an expansive geographic distance from me. (Half a Cow PO Box 1100 Strawberry Hills NSW 2012 Australia)

Golden Golden Summer CD
Trans Am Futureworld CD
At first glance one would think these two groups have little, if anything, in common. Shared between the two DC-area combos is Philip Manley, a man that wants to rock 12 months a year, regardless of which outfit he is playing in at the time. Trans Am have continued approaching new-wave-art-rock reinterpretations of an early 80s rock 'n' roll Kraftwerk rooting themselves in the short-list of Krautrock eulogists. Golden are in essence a blues-rock band with less of the sentimentality of late-90s interpretation and more of the mid-70s driving energy. For many fans of independent music they will embrace both sounds, both groups, despite being available from different distribution avenues - - allowing Mr. Manley to reach a diverse set of audiences. And if he isn't working hard enough between the two bands maybe he should consider a solo album as well. (Slowdime POB 414 Arlington, VA 22210, Thrill Jockey POB 47694 Chicago, IL 60647) – Keith York

Goldie Saturnz Return 2xCD
Left-field junglists seem to loathe the fame that Goldie has attracted. DJs have backlashed against the commercialization of jungle beats - a situation they blame Goldie for fostering. Dammit if Goldie can’t produce some leading edge tracks amidst the other clutter he allows into record bins. Saturnz Return is no exception; great tracks and some clunkers residing side by side on the digital landscape. The first disc entitled “Mother” is like an opera with its multiple movements and arias - the most entertaining of which lasts about 15 minutes hitting at the midpoint of the track. Other than that, “Mother” feels too ambient and over-vocalized. The second disk is comprised of ten tracks, all quite different: Ranging from the Nitzer Ebb-like manic screams of “Temper Temper” illuminated by 80s metal guitar riffs and solos all atop some damn fine breaks, to the pop vocal dependent “Believe,” which I would rather program out of the rotation. While I am at it, the soundtrack ballad-like musings of “Letter of Fate” were unappealing too. Goldie resurrects BDP’s KRS-One for rhymes on the track “Digital” - which musically is Goldie’s beats at their finest, it’s just the “One” has lost his edge, not to mention his rhythm. Malcolm Mclaren’s “Bop” from "Buffalo Gals" appears charmingly on “I’ll Be There For You” - once again another stellar Goldie amalgamation of kick & snare. For those diggin’ Adam F’s drum programming, “Dragonfly” is the next best thing to actually spinning 'F's "Metropolis" 12” on your decks. “Chico, Death of a Rockstar” is destined to hit PA systems with the most frenetic breakbeats on this whole album. Saturnz Return isn’t a stormer, but it beats sitting home alone...wait a second let me think about that last one... (FFRR) - Keith York

GoGoGoAirheart s/t CD/LP
Putting a finger on the elusive heartbeat of GoGoGoAirheart presents a challenge. This recently-formed San Diego outfit caps its jazzy drum loops and basslines with spacey effects, rendering robotica. Arbitrary explosions of pop, kraut and psychedelia abound, and add more interesting
dimensions to the music. While it ain't no Faust (or Neubauten), GoGoGo deserve major props for some of the free-form/long-form outtakes on its debut album. Incidentally, label mates and local synth-enthusiasts, The Spacewürm, also contributed to the recording. Known to toss its monikers and ideas around regularly, GoGoGo Airheart should be kept under close surveillance... (Vinyl Communications P.O. Box 8623, Chula Vista, CA 91912) - Esther Yoon

Grandaddy Under the Western Freeway CD
It is comforting to know that within a library’s millions of collected works, each title has a uniqueness that reaches a single member of its audience at a time. Reading is solitude. Evenings spent alone with a book, relishing in the one-on-one experience with the pages, the smell of ink. Readers immerse themselves in the stories, the voices of characters they create in their heads. Readers are dreamers and imagination dwellers. Grandaddy love books, stories, dreams and whispers. Through some tale of fate and favor the members of Grandaddy have come together in Modesto, CA to create a diverse body of tales for listeners to lose themselves within. The sleeper hit of ‘97. (Will 1122 E. Pike St. #511 Seattle, WA 98122)

Grand Island Fortune Cookie/Buckler 7"
Spitting confidence and strength, The Grand Island take the stage for an encore. After walking from the den to the patio, the hundred kids scream "GRAND ISLAND" until they cough. From where they drink bottles of water to replenish that lost in sweat stained shirts, Tony, Roy, Justin and John can't see their audience through the fogged up windows surrounding the rural farm house. A cloud of steam exits the doorway as the members of Grand Island return to the room of shouting, screaming teens. "Fortune Cookie," a song played earlier in their set, erupts from the amps. The room is full of sound absorbed by the sweat-drenched white t-shirt adorned bodies soaking up the volume. Guitars and drums roar. Grand Island stops suddenly. Quiet overcomes the room though its occupants' ears are buzzing from the hour-long volume fest. The foursome nod to one another and launch into "Buckler." Audience screaming the chanted chorus empower the band to extend the riff storm a few extra bars pulling the song past its normal four minute mark. "Buckler" becomes an eight minute reign of volume terror upon the kids lapping it up with open mouths. They scream. (Super 8 PO Box 4023 Boston, MA 02101) - Keith York

Gravity Wax Low Energy Particulate CD
Some released and previously unreleased gems from the Detroit basement of this sometimes trio always a duo collective of pop songsters. Approaching presentation of their ideas from the far left, Gravity Wax have the ability to serve a pop melody to an unexpected audience. Amidst sampling, moog oscillating and skittering drums - the 16 tracks (plus the hidden 17th!) stray from 60s Britpop charms, to 80s indie rocker struts, to Germanic noodlings, but always returning full circle to fun. Amongst the locals, Detroit dwellers Gravity Wax stand out like a sore thumb on a toddler’s hand. They are the sniffling nose of the kid next door. Amidst the drone output within their area code, Erik, John and Rob have finely honed a craft that raises the levels of expectation on them and their cohorts from those of us on the outside. (Mind Expansion PO Box 725161 Berkley, MI 48072)

Greengate Metaphysical Vibration CD
Metaphysical Vibration really threw me for a curve. What seems to be a Japanese duo, Greengate’s members are not as important as what they produce. Culturally, they are adding something new to our environment - which is a rarity by any measure. Taking from Magnetic Fields’ ability to craft moods with lullaby like sleepers, and country mandolin/banjo sound akin to Silver Apples’ “Ruby”, while holding a torch to the Neu! camp - Greengate explore a new form of techno pop. Unlike the Silicon Teens’ campy, quirky fun, Greengate offers much more knob twiddling, oscillator warbling, and twee vocals of honesty. Sincere, joyous, and yet strange enough to keep parents away from borrowing your copy. (Fuzzy Box PO Box 632 Mt. Laurel, NJ 08054)

Grifters Full Blown Possession CD
These disenfranchised blues dwellers seek reaffirmation from earlier successes by once again collecting recent musical idea-light bulbs onto a compact disk. While at times endearing to their craft’s youth, Full Blown Possession rarely lifts one from the chair to turn clockwise the volume knob. Songs flow from one to another as the digital index marker changes but little does the mood of the room evolve into something of awe. Full Blown Possession does exude warmth, a hearth warmth of southern hospitalities, cigars and whiskies. While the crops rotate, the suns and moons exchange ownership of the skies, the Grifters create and recreate their thoughts on warm passions and lukewarm manifestos of human emotion. (Sub Pop PO Box 20645 Seattle, WA 98102)

Grimble Grumble The Only Point of Entry 10”
I have had dreams of showering in guitar distortion and white noise feedback. I have been lulled to sleep by candlelight and soft tones. Grimble Grumble are moody. This trio of Chicago college-age upstarts create rooms of space with their slow ebbing harmonics and quiet girl vocals wrapped in innocence and intrigue. As they travel through their songs you are drawn into a gravitational pull you can’t hope to beat and decidedly you smile as you are taken control of. Soft and gentle at times, Grimble Grumble make an about face and wash your body with guitar noise. After wrapping you in a blanket of amplified washes, Grimble Grumble set you down with a mother’s tenderness. Mysterious and captivating, this encounter is built to last. (Burnt Hair PO Box 5519 Dearborn, MI 48128)

Guapo Death Seed CD
With the Ruins along for the ride in this session, the trio of Matt Thompson, Caroline Kraabel and Dave Smith (a.k.a. Guapo) design, build, tear-down, and re-build guitar rock. With jazz on the blueprints, the bass guitars, six-string guitars, samplers, saxophone and drums come together on the job site to out-do the jackhammers, front-loaders, and cement-mixers that audiences think are hidden inside Guapo's amplifiers. Improvisation is the greatest gift architects and contractors of jazz and noise/core could ever offer the public. (Free Land PO Box 106 95030 Grovina di Catania (Ct) Italy) – Keith York

Guerrero, Tommy A Little Bit of Somethin' CD
With a blues-taught acoustic guitar in one hand and dirty hip-hop beats akin to the Solesides crew in the other, Guerrero (who launched Real Skateboards) takes us off into the central California desert region – world famous for Bay-area wines and jeep-beats. As if DJ Shadow and the Ninja Tune posse struck up a loungey set at a sharp-dressed jazz bar, and invited Jason Molina to play guitar, A Little Bit of Somethin' is less L.A. than Beck, and less MoWax than its forbears. But it's a little bit of everything good, and whole lot of everything joyous about melodic kicked-back 4/4 loping beats and melodies that stick inside your head. (Beggars Banquet/MoWax 580 Broadway Ste. 1004 NYC 10012) – Keith York

GusGus GusGus vs. T-World CD
Prior to the formation of Iceland's GusGus, contributors Herb Legowitz and Biggi Veira recorded/produced as T-World (as early as '91). As a house and techno DJ prior to cutting plastic for GusGus, Herb's career has taken a couple of turns, and only now are his early deep house, techno and downbeat tracks surfacing. After some minor play in the mid-90s, the T-World collaboration shows an intimate side to the formative stages of what would become an international Reykjavik combo (aside from Sugarcubes and Bjork that is). Despite some of these songs being nearly a decade old, sone can hear Detroit techno that is likely to be on Derrick May's or Richie Hawtin's turntable. Icy cold but hot enough to melt you down. (Beggars Banquet/4AD 580 Broadway Suite 1004 NYC 10012) – Keith York

Guster Goldfly CD
Sometimes, amidst the piles of incoming mail and phone calls, I just throw up my arms and surrender to a good record. Sometimes I say because honestly captivating song craft becomes statistically insignificant as more labels and promotional outlets find my address. I am not complaining. What I am thinking about, is the surrender, the falling back on soft pillows of comfortable sound that wraps around my body in a maternal clutch. Guster yield that comfort. Their craft is not weighed down by extraneous noise, banter or posturing, but instead is supported by a stilt or crutch, or beacon of melodies and familiar tones. Goldfly is like that friend you take for granted, that radio station that you tirelessly complain about but nonetheless keep tuned to day in and day out. When bands produce this level of comfort we take them for granted, we file them away for days we feel blue, for those days we need a pick-me-up. (Band: PO Box 441818 W. Somerville, MA 02144) - Keith York

Gymicrae Execution of Karma CD
Cold mornings. Slow moving as the mid-day sun approaches . The heated sidewalks of summer burn the bare-footed street dancers as 4/4 punk rock snottiness blares from a boombox on the sandy boardwalks of Orange County beaches. Skateboarders ollie atop fire hydrants and curbs. Bikini-clad, punk rock girls talk about the new Epitaph releases with the enthusiasm of a new religion. Propositional "like, you know"s form the platform for important conversation. The fog rolls in, temporarily blanketing the inside break with a cotton-like thickness. Visibility is nil for the 'boarders that can hear the Biafra-ish vocals still audible from the sand despite the enormity of the crashing waves around them. Punk rock is full of ironies, Gymicrae's covering "Shoplifters of the World Unite" is no exception. (Insurance Scam PO Box 145 Northville, MI 48167) - Keith York