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

Jammin’ Unit Deaf, Dub and Blind CD
While taking time away from his work as Air Liquide, Cem Oral, devised several new strategies to foil synapses and eardrums alike. Deaf, Dub and Blind is like a dream one cannot escape from. My first introduction to Jammin’ Unit was many months ago with Cem’s Plug-remixed track on Lost in Space Drum ‘n’ Bass - and I have since been eagerly awaiting my next meeting with this digi-beat explorer. While elastically stretching an affection for dub into new beat dimensions, Jammin’ Unit begs borrows and steals your attention to focus on his experimental studio alchemy. Taking trip hop, downtempo ideas and flipping them on their side, Jammin’ Unit relaxes your accumulated tensions and gets the head a’bobbin. “Lots of Marijuana” is a track worth sharing with every stoner/hessian in your ‘hood. (Instinct Electronica 26 W. 17th Street #502 NYC 10011)

Japonize Elephants Le Fete du Cloune-Pirate CD
These guys are wacky. They want you to know that. I mean, we’re talking midget Greek wedding marches scored by Raymond Scott and chanted by deranged hill-folk and played by monks from Carpathia. There’s a lot of influences being melted down and recombined here, everything from European traditional ethnic music to klezmer and skittery 20’s jazz. Lots of emphasis on the stringed instruments, banjo and violin mostly, as well as nonstandard percussion and a gaggle of woodwinds too. Actually, there’s a lot to like here, and the Japonize Elephants aren’t to be taken too seriously, though their musicianship doesn’t reflect that. The lyrics, however, are simultaneously nonsensical, scatological and juvenile (imagine that!), but don’t detract too much from the proceedings.
One thing that sets these guys apart from a lot of other bands who went this route (and currently are, Alva and their ilk coming to mind) is the fact that they’ll dabble in things that a lot of others shun. I’m thinking bluegrass fer one thing. They fearlessly mix hill-pickin’ banjo and saxophone skronk, as in “Chinese Howedown.” This isn’t my usual cup of tea, by any long shot, but it’s a heck of a lot of fun. I’d imagine that their live shows are pretty freaky and chaotic, too. Probably worth checking into if they show up sniffin’ around your town.
Close your eyes while listening and I double-dog dare you to not see cartoons. Go ahead. (Secretly Canadian 1703 North Maple Bloomington, IN 47404) - Matt Maxwell

Jay-Z Life & Times of S. Carter Vol. 3 CD
Thinkin' I am so hip, I wandered into the living room this evening and asked of my housemates "you folks ever heard of Jay-Z?" And having not witnessed the print, radio, or television onslaught marketing this MC to the American people, I was ashamed to think that this was up-n-coming, underground, or even that my media-savvy roommates would not be able to lend some insight. In my ignorance, I realized that validity and commercialism can be mutually exclusive AND go hand-in-hand as long as the product quality is beyond criticism. Embarassed at the tone in the voice of reply, I scurried back to my headphones and realized that Mariah Carey of all folks lent a hand in the creation of this album (her vocals can be found on "Things that U Do"). Well, now that I have witnessed first-hand "Big Pimpin'" on the radio and heard it emanating from passing cars, there's plenty of egg on my face. Not only is "Big Pimpin'" my favorite track because of its unparralleled (and now often co-opted) delivery and tone, but in thinking it was unknown I realized how pathetically teenage it is to think one has the exclusive cool-factor on any band in their record collection. (Roc-A-Fella/Def Jam 825 8th Ave. NYC 10019) – Keith York

Jazz June Breakdance Suburbia CD
Gathering together songs recorded through '96-'98, most of which have been released on compilations, singles, and other vinyl outings, Breakdance Suburbia, stands erect like skyline architecture, proud of itself. The Jazz June's inimitable emo/rock riffing coupled with the constancy of their drumkit pounding builds tensions as strong as concrete bunkers as well as the skyscrapers that sit atop. In constructing these monoliths, The Jazz June display the ironic frailty of those that dwell within such shelters. Essential. (Initial POB 17131 Louisville, KY 40217) – Keith York

Jazz June The Medicine CD
Having recently spent a great deal of time with The Jazz June’s last release, the singles collection Breakdance Suburbia, I felt comfortable in my definition of their sound. The Medicine shook that, and many other pre-ordained feelings apart. This most, their most recent, 11-song document from the Pennsylvania quartet (including former members of Atari), does nothing short of forcing the listener to stand still in any room this plays, to soak up their gifted energy. At times, The Jazz June may invoke memories of Promise Ring, Joan of Arc, Cap ‘N Jazz, but the J. Robbins recorded full length sets a new standard for future rock records to be measured by. Brimming with toxic emotion and antidote melodies, The Medicine only puts the listener in a bind – to keep it on the stereo or listen to something else? I, only after six listens, realized the grip this sonic magnet had on my entire being, and by that time much of the afternoon had come and gone. The sun set and The Jazz June became the soundtrack to another day reworking definitions of all at hand. (Initial POB 17131 Louisville, KY 40217) – Keith York

JBondy Coming Down CS
In picking up 12”s by FSOL, Coldcut, Propellorheads, Uberzone, Beastie Boys, Chocolate Weasel, Soul Oddity, Bass Kittens, and Xpando, even the dance-perimeter novice should label the strategy as breakbeat. Surgical precision allows Jbondy to cut, scratch, and sew together tracks unlike any set I have witnessed (outside of a DJ’s bedroom). Choice cuts combined with a zen-like understanding of a good break’s impact on a crowd, yields one flawlessly entertaining run. (contact: Native Vision @ 510-477-0524, Jbondy @ 323-878-0627, or jbondy@worldsite.net)

J Church/Discount split 7”
As I expected, the first J Church track is one of their Ramones-ian power pop eye openers. Their second song “What Will I do” was slower and more purposeful. Reminiscent of bay area neighbors Red House Painters, this track really threw me a surprise coming from J Church. Well done. Discount once again delivered the goods with their power indierock pop - they really are a treat. Once again I avoided reading the lyrics - lyric sheets are still too punk for my blood - keep me in the dark, make it mysterious - let the song display itself don’t give me a manual to follow along. Bless you. (Liquid Meat PO Box 460692 Escondido, CA 92046)

Jealous Sound s/t CD
This could be blaring from a car stereo three blocks away and you would know… Blair Shehan is singing for a new band. He of Knapsack, along with Pedro Benito (Sunday’s Best), Tony Palermo (Ten Foot Pole, Pulley, Good Riddance), and John McGinnis (Neither Trumpets nor Drums) are off to a fantastic start with this debut 5-song disc that whispers while it runs sweatily toward the finish line. The chunky guitar lines don’t hide the connections listeners are going to make to Knapsack and Sunday’s Best, but this new context allows a freer wider-open listen as breezes blow between six- and four-string instruments. Storm clouds of drums are never too distant from the scene. And in my neighborhood sometimes it’s difficult to tell the difference between an oncoming storm and an oncoming car stereo. (Better Looking Records 11041 Santa Monica Blvd. PMB 302 Los Angeles, CA 9025) - Keith York

Jejune/Dignity for All split-7"
Jejune/Lazycain split-7"
Whether listening to the epic 6-minute "Record City Afterworld", or the cover of the Smiths' "A Boy With a Thorn in his Side", the songs of San Diego's Jejune on these singles only make me wonder why they aren't ecstatically embraced the world over. Unsure if it's their post-shoegaze heavenly pop or the curiosity of their personal lives, Jejune capture much of what Ride and Swervedriver extended to this side of the pond. Japan's Dignity for All is stylistically more chunky riff-rock, but makes for a fine compliment to the elegance of Jejune. Richmond, VA's Lazycain share a Smiths tribute split-single as they offer up a version of "Handsome Devil" in their unique post-punk style. Sounding as if Magazine and Jawbox had collided, Lazycain exhibits a sound firmly rooted in short punchy chord-statements that cling to the inside of your skull for days. (Big Wheel Recreation 325 Huntington Ave. #24 Boston, MA 02115) – Keith York

Jeremi@h Hazy Thoughts Suddenly… CS
Hailing from Rota, Spain, Jeremi@h appears courtesy of F(X) Productions and the fashionable genre of progressive house. Having recently toured the grottos and beaches of Ibiza (pronounced Ee-Bee-Thuh by the residents of the tiny Balearic isle), hard driving prog-house is the Ibiza sound. What with the record stores set up on the street corners with make-shift listening stations and a CD-DJ spinning mix-CDs, it’s hard to steer clear of the latest in the “local” sound. Jeremi@h spins with confidence and an agile hand as the measures tick by metronomically. Bringing back fond memories of sun-kissed summer beach-going, my car stereo was transformed into the sweaty island nights of club life in Spain. (bookings - F(X) Productions dj_jeremiah44@hotmail.com)

Jesus Lizard Bang CD
Nailing the coffin lid shut on their decade-long career, Bang collects together twenty songs from various releases for the uninitiated and fans alike. Tracks from 7"s, concert give-aways, a compilation album, a bootleg, an early demo, and a special treat (Trio's "Anna" with Big Black's Santiago Durango on vocals!), present a version of The Jesus Lizard's illustrious discography only known previously to turntable-owners. Very worthwhile as some of their best work ("Mouthbreather," "Wheelchair Epidemic") in addition to some rarities are here in crystal-clear digital hi-fi quality sound. (Touch 'n' Go POB 25520 Chicago, IL 60625) – Keith York

Jetenderpaul The Woolen Spires CD
Quirky lo-fi pop used to be a staple of the Inland Empire diet made famous by labels like Shrimper and bands like the Mountain Goats and Nothing Painted Blue. Somehow the quirkiness of Soul Junk and The Danielson Family have creeped into the SoCal power supply and we get a mixture of frenetic indie rock ideas in a jumbalaya of the quartet modality. Short songs burst upon the stereo, fleetingly noodle around, and escape long before one can grasp their meaning, leaving you always wanting more. (VBM/Burnt Toast Vinyl 9121 Atlanta Ave. Ste. 237 Huntington Beach, CA 92246) – Keith York

Jimpster Martian Arts CD
Licensed from Freerange, Instinct brings Manchester’s beathead jazz prophet, Jimpster ( via his debut Martian Arts), to the U.S. Though Cubase-ing most of the beats, Jamie O’Dell (AKA Jimpster) is assisted by others on bass and flute, adding texture and intelligence to the beats. Having a similar experience with Martian Arts as with a Warp-released Squarepusher 12” from a year ago, I listened repeatedly (and intently) to the fluid dynamics and manic programming that unfold on this disc. With little in common with Omni Trio’s brand of academically branded drum ‘n’ bass, Jimpster’s downtempo beats and breaks are delicately crafted and refined. Highly addictive, Martian Arts is the welcome on cloudy (almost Mancunian) afternoons, late nights after the bars close and weekend mornings while shrugging off the week’s stresses. Fluid, baby fluid.
(Instinct Electronica 26 W. 17th Street #502 NYC 10011)

J. Majik Silicon Valley/Liquid Velvet 12”
What I really love to hear is the unexpected. J. Majik’s introduction made via his Platinum Breaks contribution, was a welcome one and his return visit, Silicon Valley, extends his legacy by volumes. Embracing the ideology behind intelligent drum ‘n’ bass, these two creations are craftily concocted products of a genius. Twisting ‘round mountain roads, these drums drive wildly as the tires screech and the occasional whisper of a woman’s vocals carries you above the tree line, above elevations of easy and safe breathing. Snare rattling drives your heart rate up and then...suddenly...the brakes are thrown and you make a sudden left turn - again with no headlights and no warning. Stunning in its mathematical complexity, this 12” shoves you kicking and screaming into a blissful bobbing dance frenzy - something most rockers really need; let your hair down, take off the leather jacket and let the throbbing bass and screaming snares & cymbals take control of your shell and move it across the room. J. Majik records are able to do just that. (Infra Red Recordings c/o Vinyl Distribution Ltd. 70-72 Kings Road, Reading, Berkshire RG1 3BJ)

Johan s/t CD
Bright, shiny Weezer-like guitar tunes abound on the European landscape these folks mine. Shimmering, these songs are, illuminated by the candor and boyish charm of daybreak and early morning walks; digging your feet in the wet sand as the cold sea brushes across and splashes your ankles. Hitchhiking a ride from Sportsguitar and Guided By Voices, these power-pop kids have their sights on stardom, their phasers on stun, and their confidences in abandon. They are spreading their wings. (SpinArt PO Box 1798 NYC, NY 10156) - Keith York

JOI One and One is One CD
SoCal breakbeats merge with early 70s Verve jazz-funk, under the watchful eye of Krishna. Whether it's the Spacemen 3 guitar riff of "Asian Vibes," the Spring Heel Jack breaks of "ESY-SHJ;" vocals reminiscent of Ofra Haza, or the "asian underground" vibe permeating every track, something is gonna grab your hipsway attention. A strong, diverse, engaging debut album from this London collective should be on your shoppin' list soon. (Real World/Astralwerks 104 West 29th St., NYC 10001) - Keith York

Jolene In The Gloaming CD
Stunted by a lack of appreciation for the midwestern-pop aesthetic, Jolene had little chance to overcome my lack of enthusiasm for the medium they employ to present their works. Akin to why I never have understood whether or not I love or hate Elvis Costello, I have never really understood standard rock formula. Pop songs that make couples’ hearts flutter, songs that ring from radio speakers, songs that work as fluidly on a stage of a smoky bar room and as the soundtrack to a Miller commercial. Jolene reminded me of Mr. Costello’s sincerity and wit, REMs fascination with guitar melodies, and songs of old folks like the Dbs, Replacements etc. They reminded me of several things about who I am and what my tastes are. And for that I can’t see a fault in what they do, regardless of how little I like their brand of pop-rock. As shiny as In The Gloaming, is I wouldn’t pick it up out of the gutter and place it in my pants-pocket, but I would look longingly into its sun-given glisten and smile, then continue on my path. The sparkle would make my walk towards an unknown address that much more memorable though it wouldn’t make me stray from the destined path. (Sire 936 Broadway NYC, NY 10010) - Keith York

Jonah's Oneline Drawing Sketchy EP #1 CD
Left in the wake of Far's demise, is Jonah's solo outing. First recorded as a cassette-only release to neighbors, friends and attendees of his live show, Sketchy EP #1 and #2 break from the angst that fueled his former outfit, instead releasing heartfelt honest pop songs. Unlike Will Oldham, Simon Joyner or Jason Molina's (Songs:Ohia) morose emotional outbursts, Jonah's songs distill friends talking amongst themselves about stuff like work, love and daily living. (Crank/Old crankthis.com) – Keith York

Jones , Brad AKA Alias Uncivilized Poise CD
Steam rises from the street’s openings. The sewer gratings, act as the earth’s vents allowing for the release of molten rock and subway noise alike. Alias, here represented as an octet, release the passions of jazz musicians searching for perfect cross-over. Funk and R’n’B highlight the album with vocals by DK Dyson and Beans, as the players and their sax, trombone, guitars, drums and keys read one another’s minds constructing one of the most organic jazz-pop records to date. For those readers afraid of dipping a foot in the jazz-ocean for fear of rip currents, this is as fine a place (without being a shallow baby pool) as any to start. (Knitting Factory 74 Leonard Street NYC 10013) – Keith York

JonLee Fully Equipped CS
A mixer that packs a quad-speed house punch like no other. Calculated, almost mathematical, in its delivery, JonLee’s set is a powerful force for the dancer and car stereo audience to reckon with. Jon steers the crowd through every choice track’s twist, turn and gurgling bubbly synth line with his fully-equipped record case, mixer skillz and a few other tricks up his sleeve. (bookings – 206.609.4994)

Jordans Katydid CD
Who are The Jordans? One guy that’s who. Shouldn’t it be The Jordan then? Shit this stuff baffles me time and again - plurals. This yellow-heavy release is the product of 4-tracking the thoughts of a former member of Australia’s fine pop combos the Steinbecks and Sugargliders. Both bands using the plural thing too. Most of this is strummy, quiet, melancholy singer-songwriter stuff - I guess its pop ‘cuz it‘s sad. (Sonorama PO Box 25952 LA, CA 90025)

Journeyman National Hijinx CD/LP
Journeyman's second album, National Hijinx, takes on some admirable qualities of a film soundtrack, with its insertion of bizarre samples, slick drum breaks and orchestral melodies. But on a first listen, one catches on to its mastery of fast and furious beats above anything. With its pairing of female vocals and rich strings on tracks like "Spy," Journeyman's work recalls the thematic styles of Portishead and Skylab. What sets Journeyman apart from trip-hoppers is its more adept sense of rhythm, which are built up on tranquil melodies and seemingly creep out of nowhere. The album's first track, "National Hijinx," takes a surprising turn, as it begins to rip in and out of a shuffling drum loop. Following a smooth transition into the album's second track, "National Hijinx 2," Journeyman utilizes a drill 'n bass artillery of choppy, shifting beats. National Hijinx will probably appeal to fans of FSOL, Squarepusher and trip-hop alike, with its layers of pulsating, inextricable rhythms which seem to melt into each other in new and unexpected ways on each track. Journeyman's Paul Frankland and his formidable eclecticism definitely come through on National Hijinx, and is also featured on a handful of concurrent projects - including a remix on the Coldcut/Hexstatic single "Timber." (Ntone/Ninja Tune 1751 Richardson, Suite 6109, Montreal, Que, H3K 1G6) - Esther Yoon

Joy Electric Robot Rock CD
Sailing the same seas as early-80s techno pop pioneers Silicon Teens, Depeche Mode, Telex, Heaven 17, and Human League, Joy Electric sing of love, sugar and mono-synths. In the same manner They Go Boom! tried to single-handedly reawaken the spirit of the original techno-pop definitions (the very same eloquence that recently pushed White Town to the top of the charts), Joy Electric are trying to banner-wave a new revival. Whether or not they are successful, several tracks like “Sugar Rush,” and “Monosynth,” will stick with us for some time to come. (BEC 810 3rd Ave. Seattle, WA 94104) - Keith York

Joyner, Simon The Lousy Dance CD
Ameri-folk blues for the urban kids starving for tangible emotional connections with music after weening themselves off a diet of cold electronica. Whether it's the similarities in tone to Palace, or the seductive verse of Billy Bragg, reasons for joining Joyner fireside are not worth debate. Once you've warmed up next to the horns and percussion that couch the lyrical landscapes, your troubles fade away. The Lousy Dance represents a new Americana as breathtaking as an Edward Hopper painting. (Truckstop 2255 S. Michigan Ave. Chicago, IL 60616) – Keith York

JSplat This Is Speed Garage Volume 2 CS
The Splatser lets go on this hearty mixer. The “Speedy” side is liquid with the drum ‘n’ bass derived b-lines, 4/4 snare ‘n’ cymbal, and well selected femme vocals. The infectiously melodic choice of tracks coupled with an attentive approach to maximizing builds and JSplat’s own scratchin’ makes for a welcoming entry into the genre for the novice. The “Stompy” side cradles the droney bass between wicked stylus manipulation ok knowns like “Girl I’ll House You” while the synth lines and breaks make for lots of hands-in-the-air action. A comprehensive showcase of the latest Speed Garage anthems with the added bonus of JSplat’s scratchin make for a worthwhile business card to put in your rolodex – assuming a headliner is needed for the Speed Garage event you are planning. (Hipnotic/Monkey Business 310-823-1622)

Juliana Theory Emotion is Dead CD
From emo to breakbeat, The Juliana Theory’s Emotion is Dead effortlessly debates the need for hearts on sleeves in singer and guitarist alike. While the samplers cool, the guitar, bass, and drums heat the room, filling it with tension and passion that rivals the latest Elliott and Jazz June releases – yes, high energy. Calm, cool and collected the tenderness of the band is evident on tracks like “Don’t Push Love Away” – yet the listener knows of the forthcoming amplifier storm. Confident in their envelope pushing abilities, the quintet toy with stuttering post-Digital-Hardcore breaks with good effect. RIYL good bands. (Tooth & Nail POB 12698 Seattle, WA 98111) – Keith York

Jumbo “Peppering the Absurdity” b/w “No, I Don’t Sink So, Asso” 7”
Vocals, amassed from deep within the gut, deliver a power punch amidst a bevy of timely changes, tight, angular riffs and anti-melodies that run throughout the song. The bassist works his entire instrument, bringing a range of tones into the fracas. The two guitarists run at virtually the same pace throughout the first song, with one burning low while the other pealing the high end.
The flipside opens with a tolling, metallic chime that slowly unravels- a countdown to the tense and spiraling rhythm that follows. The rhythm builds before unleashing its pent fury with a scathing riff, power drumming and strategic changes. The feeling is heavy; the catharsis, powerful and beautiful. Pained screams reveal a search for freedom, a respite from an eternal struggle that rages within the soul. There is power in their powerlessness. (Peas Kor PO Box 81116 Pittsburgh, PA 15217)

June of '44 Four Great Points CD/LP
"Math rock" - a popular reference to experimentation with oddly calculated time signatures and rhythms - only accounts for a smidgen of what makes June of '44 kinda special. It's their mastery and containment of noise and loaded messages which impresses a wary listener more.
Fred Erskine (formerly of Hoover) utilizes basslines as the guiding light of Four Great Points, most notably on songs like "Doomsday." Complementary guitars and a violin also open up an aura of space and melancholy, filled with unpredictable vocals which range from inaudible whispers to raging yells. Bells and other percussive tools beget ambiguity. It all dissolves smoothly, though, and manages to steer away from extreme dissonance.
While June of '44 still can't hold a candle to Slint, they sound better with each release. Four Great Points also marks a lateral progression, with extended dubby influences and ambient backdrops. (Quarterstick Records PO Box 25342, Chicago, IL 60625) - Esther Yoon

June of 44Four Great Points CD
In The Fishtank CD
Anahata CD
Appropriately, the liner notes to the In The Fishtank 6-song EP refer to the impromptu Amsterdam studio session as the (missing) link between Four Great Points and Anahata. While on tour through Spain, France and Italy, Fred Erskine, Sean Meadows, Jeff Mueller and Doug Scharin (all seasoned, well traveled, indie rock luminaries) wrote and recorded songs that express their adventuresome disposition. Shedding much of the slow-rock that embraced Engine Takes to the Water, June of 44 has created a deep and wide chasm of differentiation from bands like Rex, Slint, Rodan and For Carnation that they were compared to (for obvious reasons) upon launching their first songs into the tornado of public debate. Allowing for even more room to flex their song writing muscles, these three CDs (22 songs in all) each have unique personas that showcase the quartet's jazz-like quirkiness poised within the rock formulae. Whether it is the dub drum solo, the gurgling moog, the sinister viola and violin, the sampler, or trumpet, each ingredient adds to stew that makes June of 44 stand out in flavor and texture. While I believe Four Great Points is the quintessential piece of '44s noise, listening to all three back to back on this Sunday morning reveals the oeuvre that makes the quartet so inviting. (Quarterstick POB 25342 Chicago, IL 60625) – Keith York

June Panic Horror Vacui CD
During the three-year void of new material since his last full-length, The Fall Of Atom, June Panic has been wrestling with his relationship with god, and the resulting fear of open spaces, as well as the void-filling anxiety humans hold so close. Despite the ability to fill our emptiness with consumables at the local strip mall, June took it upon himself and his new backing band, Silver Sound, to get at the philosophy of god, mini-marts and dime stores full of empty souls. Recorded with the assistance of a whole host of characters (including members of Marmoset and United States 3), June's songs are now able to amble and breath before they settle on the floor. Crouched on the bean-bag chairs around a hooka are young Neil Young, Syd Barrett and Bob Dylan staring up at the stereo hearing a little bit of themselves. (Secretly Canadian 1703 North Maple Street, Bloomington, IN 47404) – Keith York

Junior Varsity Km Taking Care of You CD
Sampling whirling My Bloody Valentine guitar lines and the occasional vocal sample, San Franciscan, Kenric McDowell brandishes his newly polished sword Taking Care of You . Ambient analog melodies, hauntingly comprised of sampled strings and horns, underscore the tidal waves of cascading synths and the waterfall-repetitions of sampled drums. From smooth techno to intelligently stylized coffee table drum 'n' bass, Kenric's ideas are focused on creating mood not shaking hips on a foreign dance floor. Junior Varsity Km has an addiction to adding a few too many dimensions to each track; With layers upon layers of samples occasionally entering the fold, the drum break departs into a netherworld. His darkest track, "The Injury" shows promise of a forthcoming storma' if he decides to strip things down, simplifying and perfecting the raging break-storm he has in his Cakewalk or Cubase software. It's about to be discovered. Apartment listening. Driving coastal highways listening. Omni Trio are a reference point for most of the disc, though the anomalous "Brothers & Sisters" has a sideways-glance fondness for Squarepusher. (Darla 625 Scott Street #301 San Francisco, CA 94117) - Keith York