CMJ 2000 Oct. 19-22, by Ment... My first afternoon at CMJ 2000 was spent watching folks register then wander around the second and third floors looking for the event... which didn’t really start till the next morning, unless you include the music – and that’s what it’s all about, right?
But I opted out of the unknowns in the Thursday line up, though I would have enjoyed P.J. Harvey and spent a quiet night with a shepherd’s pie.
Years ago at these conventions, you knew the folks at Tommy Boy records were “comers” because their names were on the shoelaces holding up everyone’s badge. But in October, it was Audio Ramp. - a personal audio content manager for news, music – whatever. With it, you can manage files from all sources and play em back whenever - kind of as your own DJ, but seems like a lot of effort, when you can just pop a CD in and press play. I dunno – better mousetrap. The company, a recent start-up, also served the best mid-day snacks.
Best anecdote I heard during the event, per singer songwriter Brook Fox a recent Nash-Vegas transplant: Clerk at the dept. of motor vehicles, upon receiving a New Mexico driver’s license. “We don’t honor foreign birth certificates.”
CMJ 2000 Panels... On Friday, I buzzed through the panel Emp3ty panels for a few minutes and heard them say, essentially, “you can still be viable, even if you only sell 10,000 units.” Not exactly grass roots, eh? That’s why I got out of the record biz.
Sure, Online marketing can be the great leveler, has been for some, but in its own unique way. It’s not a campus push or street campaign. It’s, like, digital.
“Writing on the Walls” drew a full house each eager to learn the future of music journalism, where panelists touched off a debate about a 53-year-old music critic at the Washington Post – supposedly fired for being out of touch.
These same incredulous panelists then proceeded to crucify older writers and exploit the generational gap between 20 or 30-something writers and 40+ somethings.
They also whined about embargoed records, or listening sessions at record companies, where four songs are played for a critic’s ears while promoters gush in the background. Most blamed it on bootleg digital distribution via Napster, I blame it on -Geesh, who cares? That music’s lost its taste, so try another flavor... Ant Music...
CMJ Film... “Wonderwall” a truly psychedelic flick about Penny Lane and her suicide attempt, with music by George Harrison, Eric Clapton, Ravi Shankar, and Ringo Starr. The madman peeking through the walls at Penny becomes fully submerged in her life when he rescues her from a pills and gas suicide attempt – if that even happened. It would probably be more watchable under the influence. Of what, I’m not sure.
Sunday morning cartoons, complete with breakfast cereal was real cool. Mostly by knowns including Drink by Patrick Smith, with a few surprises like (Dryer) Lint People by Helder King Sun. Don Herszfeldt’s “Rejected” a collection of supposedly rejected promo spots for the Family Learning Channel. Most impressive? “More” by Steve Kalafer with music by New Order. This one? Well about a tired inventor in a dreary passionless world.
Two surprises for me were about boxing. Shadow Boxers, about the rise of Dutch sensation Lucia Rijker - who trained in New York’s Hudson Valley. The rise to stardom, and challenges of making it in a man’s sport made for fascinating real life story viewing; and Our First Fight, which was amusing sparring short about a couple that works their problems out in the ring.
CMJ Music...
Christine Darling @ The Living 
Room Fri. Oct. 20, 2000 - A self-admitted rock biography addict, Darling, delightfully short in stature, plays a rickenbacker. Her voice occasionally cracking sings about pavement.
She said she was a little bitter and a graduate of the guided by voices school of song writing. Did I mention small in stature – but big in guts.
Adrianne @ Meow Mix Fri. Oct. 20, 2000. A song worth $24,000 I don’t know what she was talking about. This opening act played, competently – competing with Sarah Greenwood on the upstairs stage (more musicians, more sound) and she held her own with a songstress attitude.
Despite the fact that she couldn’t see her guitar, or probably her self, she played a solid set. “Adeline,” I think it was the first track off her CD? was about two women in love facing disapproval. “I never wanted this,” it went... fitting for this east side hang out. Best line? “Strap on my bible belt” In my opinion, one that separates songwriters from hacks. Drawback? Many of her songs fell back on that high-pitched too emotional stuff that I think detracts from the content – leaning toward those acts that are more about vocal gymnastics than lyrics - even if she wasn’t
Faith @ Meow Mix Fri. Oct. 20. From a somewhat fragile and vulnerable place - Turnerville (Atlanta) Faith was second up with a lower voice than the warm-up, Faith strummed more softly warm and inviting, but stull competing with the upstairs lot. I plan to review her CD for the next issue. It’s excellent. The upstairs din was so loud that she bypassed her finger-pickin’ tunes. Fortunately they’re on “record,” right?
Rachel Loshak Fri. Oct. 20. Back to the Living Room for one of the classiest acts of the night, a melodic celebration, perfectly syncronized” Garden ... flowers... daffodils, showers” lovely! – very sweet and quite perfect. Loshak is the kind of performer that makes you wish for long sets. It’s rare that anyone makes me want to dance. Loshak did. But the standing-room-only crowd made that impossible.
Two-thirds of the way through the set, she switched from bass to guitar and apologized for the redness of it and it strap. She struggled slightly through the finger picking but her voice never wavered. “Don’t stop breathing child...” beautiful.
Rachel Sage @ The Living Room Oct. 20., 2000. Still more... Why the make up and pencils in her hair? Who knows? During the most enjoyable set, Sage posed the question “If sex were illegal, like most things, would I be a criminal or would I be a star?.”
I stopped at CBGBs for a few minutes later that night. When my girlfriend on the other end of the cell phone said the band on stage sounded like they were playing backwards and I agreed, I decided to call it a night.
Jim Reid’s Free Heat was playing at the Knitting Factory. I got my ass down there in a hurry when I realized only the first so-many badges would be admitted, so I made it up the mezzanine and rode out the opening acts. What an excellent booking – Jim Reid of Jesus and Mary Chain fame, in a room the size of some sport utility vehicles.
The first band, five guys in suits that sorta sucked, well o.k., like the gal sitting next to me at the time said “They suck.” Nuf said. Well, o.k., a little more. You know you’re in trouble when before the set begins, you mistake the band for a gaggle of drunk yuppies lost during happy hour.
Sing Sing, the singer, in a suit worthy of Diana Rigg at her 60s best led this refreshingly nostalgic band into a very body moving song and from that moment on had the crowd in the palms of her hands. Decidedly English, she was reminiscent of a higher-pitched Deborah Harry. Who but the English would play steel drums via synthesizer.
Their “number one hit,” “Feels Like Summer” was very, very, nice. Very nice indeed. Mrs. Peel, We’re needed.
“Hello. We’re Free Heat,” said Jim Reid, decidedly more friendly than in his earlier musical incarnation. Then a familiar chord progression, heavily feedback laden, took me right back to 1986.
Wearing a Pepsi delivery man’s jacket, Reid sang lines like “I pissed my money right down the drain,” with the same melancholy heart-felt manner that got me through the end of my teenage years in one piece.
“Don’t worry be happy,” sang Reid – later manually counting the frets of his six string to determine where to clamp the capo.
It’s been years since I watched a band where the guitarist spent an equal amount of time facing his amp as his audience – and it was the same guitarist. Yet, wiser.
I figured I’d get my hands on the CD that week, but after the set Reid told me the band had nothing. No CD, no recording deal, nothing.
Nothing but a gift and shitload of talent, if you ask me.
Cleaning up was Lupine Howl, a mighty fierce band obviously meant to entrance the audience – right down to the lighting and video projections over their heads. A logistics error, the fan seated next to me said it’s usually behind them. That might have meant for interesting viewing. This was just weird
NY Underground Music & Poetry Festival Nov. 10-12, 2000. I confess I missed just about all of this shindig, but I did catch Genesis P. Orridge at the Luna Lounge. Here are the highlights:
“It’s o.k., if you don’t know what you wrote, to call it a poem,” he said, in between praising his accompanist. “He’s the only guitarist I know that doesn’t mind not playing.”
“Forever can exist. It’s a state of mind,” he said. “But not my mind, because I don’t expect to live forever.”
Genesis had a sort of Liza Minelli thing going on. He was more philosophical, with a bead you could follow, than I’ve ever seen him. - Ment
Various artists, “Left of the Dial” - Facedown Records. When it comes to music of the year Y2K, I’ve heard people say that it was a miserable year. Well, not everybody. Apparently If Christina Aquilera or those boys from Backstreet/N-Sync rock your boat, it was a great year. Also, with the Rolling Stoner AARP boys taking the year off, Tina Turner and the Beatles somehow rocked the charts... But for most of us in that minuscule age bracket known as 18 to 60, there wasn’t much for us. And then there’s “left of the dial.” If you’re a Replacements fan, or once was, then you’ll immediately know this is either a new compilation or a tribute album.
“Left of the dial” is a pop tribute to The Replacements, and if you even think you even might enjoy genuine Rock n Roll, then you should buy this album. Hell, you should go out and buy all the Replacements albums, but minimally get this one now. With the possible exception of Bender’s “Don’t ask why” (I’m not at all acquainted with “Bender” but apparently he/they think they’re Johnny Rotten) This album is an auditory treat. All of a sudden songs have new meaning with the comprehension of lyrics fully grokked for the first time.
You don’t have to take my word for it. Go to Napster, which is still free at this writing, download some songs, say, “Kiss me on the bus,” “can’t hardly wait,” “bastards of young,” “Alex Chilton,” or one of my favorites, “waitress in the sky.” Once you have discovered or reaffirmed that you are achin’ to own this album, (and perhaps all The Replacements albums) You can try gettin’ this CD from Facedown Records. -Steve Ment
and now... FemVox. I need your feedback, got it?
FemVox is a zine of emerging women in music debuting here. Though not strictly about feminist issues in music, FemVox is sure to touch on more than just the sounds. FemVox will focus on women who front bands and female singer songwriters. If the response is good, I’ll spin FemVox into a free standing zine by winter - Ment.
ROCKRGRL Music Conference, Seattle, WA 11/4-6/2000. Although the life of a music reviewer is mainly sex and drugs and rock-n-roll, I do occasionally stop and wonder why I spend so much time in smoky, lowly lit clubs watching men play stringed, electrically amplified instruments. Are women under-represented or given auxiliary roles in music? Do serious-minded musicians with paired X-chromosomes face barriers in the biases of a male dominated US music industry? This conference raised those and many other issues - and showed that the girls can do what the boys can. When Rockrgrl Magazine founder and publisher Carla DeSantis called for demos for this 1st annual confab, she was overwhelmed with 700 CDs and expanded the event to encompass over 200 performances. De
Santis started ROCKRGRL magazine when she found she was not the only female musician to be asked if she was one of “the girlfriends” of the band when she showed up to play gigs. Attendees here did what we expect at music conferences - discussed promotion strat, talked shop in the exhibition space, and the showcased of talents at over a dozen venues around town but also had some unexpected doings such as panel sessions on touring with kids or sharing harrowing tales of encounters with stalkers. Themes of frustration, hope, and solidarity were lowered a few notches in the mix to share the stages with instrumental elements as the showcases started each evening.
Women on stage showed talents comparable to male counterparts in a broad spectrum of indie rock, hard rock and singer-songwriter formats with a generally higher quality of vocals. Standouts included NYC’s Lourds - who fuels 80s style metal upgraded with steely violin and a Rocky Horror sized slice of theatricality, luv punks Battershell pumping out a Ramona’s own rawk, and the funny ranter and singer-songwriter Esmirelda.
Acts represented many parts of the US, Europe and Canada, which contributed the silky sounds of Torch Diva Katrein. Some bands seemed ready to blend into the Seattle scene - Boston’s Chapter in Verse would fit in to the indie-pop slots which crop up on KCMU’s playlist, The Lift (GA) and Simon Stinger (CA) seemed as if their indie/hard rock sounds garnered them regular opening spots at the Crocodile Cafe; while other bands imported sounds from home - Mother of Mayhem’s take on blues with a Texas twinge was flavored with the Big Apple’s melancholic sense of tension.
The most famous, and most puzzling, performer of the weekend was Exene Cervenka who only played a half hour of her signature honkytonk punk vocals and songs about “lies and people I don’t like” before she became frustrated and stormed off the stage a few times, apparently due to what she deemed an inadequate audience response. -EAK
that’s it for FemVox want more? Let me know.
Frank Jordan, The Central, Seattle, 10/12/00. Fortunately, the name doesn’t belong to yet another singer-songwriter but instead to a former San Fran mayor who, among other things, tried to ban a music fest. A tongue-in-cheek diss on an uptight killjoy has since stuck as band members have not yet found anything better. The northern Californians have been together for 7 years but are just starting to expand their touring forays with the support of Skunk/Cornerstone R.A.S. The trio inhabits a pleasant region between punk and hard rock that avoids falling off into a disengaging sameness trios can fall into thanks to distinctive vocals that sometimes share a lounge singer’s bent for sustain. - EAK
J. Mascis and the Fog, The Crocodile Cafe, Seattle, 11/10/00. The stacks of 
Marshall amps and spectacle of two indie rock icons lit up what was a surprisingly young crowd, perhaps carryover from the preview of the new CD by the former Dinosaur Jr. main man (More Light, Ultimatum Records) held at the Croc earlier this year. J. has blended a teen guitar idol love of swirling, wailing, and smoldering guitar legerdemain on his fret board with a singer songwriter’s knack for writing riffs that are emotive, sweet and off-kilter enough to bar the prospect for mainstream commercial success. The combination gained him a credibility that has seen allusions to his work in the songs of indie rock bands from Boston to Seattle. His voice is still rough but the addition of the legendary bottom-end blast of Mike Watt on bass brightened up the sound which thickens the ether at J. shows. Caustic Resin served up gravid trainwrecks of metal and psychedelia and grunge vocals which droned beyond the point of repetitiveness a few minutes into each song, while the drippy longhairs in Beachwood Sparks lightened up psychedelia too much - creating a Monkees meets Merle hybrid with Hammond organs, vibraphone and slide guitar. - EAK
Wellwater Conspiracy, Sit & Spin, Seattle, 11/15/00. The core of this band consists of hard rock veterans John McBain (guitar, formerly of Monster Magnet) and Chris Cameron (drums, formerly Soundgarden). Branching off from their respectable roots, the pair collaborated in experiments as Hater; the group’s current incarnation was born on 7” single and full length recordings from Superelectro and Third Gear in 1996. WC has made a name for itself in the psychedelic garage rock genre with a sound that is tight and masterful if not as hard or catchy as the pair’s earlier groups. WC enjoys the talents of alums from several other established bands in the studio and on stage including Josh Homme of Queens of the Stone Age, Glen Slater of the Walkabouts, Ben Shephard of Soundgarden. The result which seeks to “tell the truth about the so-called modern rock movement” spans the gap between 60s and 70s references and indie credibility and appear most recently on wax on “Brotherhood of Electric: Operational Directive(s) again on Third Gear records in 1999. Also on bill: The Girls rocked liked a raunchier Rolling Stones with less blues while headliners the Kent 3 rocked a sparkling punk - fast rock rollick. - EAK
Brock Pytel, “Second Choice” Scamindy Records. I liked this guy better in his former incarnation as the drummer and singer for Doughboys, Montreal’s answer to Minneapolis with a likable and raw Replacements type sound. Now Brock is adding to the flood of singer-songwriters that threatens to overrun the soggy city of Seattle like the moss that creeps across the cityscape during the lengthy rainy season. It’s all there - “intimate acoustic tracks ... harmonium, E-bowed ambient guitars and Hammond organ” providing moody accents as his raw vocals wax emotive... - EAK
Yellow Machinegun, The Breakroom, Seattle, 11/18/00 - You might think an all-female band from Osaka (hom
e of Shonen Knife) might go in for the cuteness angle but these women ar
e very serious and very proficient when it comes to fast aggressive metal with a punk slant. Played a great cover of Kiss “Rock-n-Roll All Night” with more punch than the original. Also on the bill was Bloodhag which pumps out speed metal pink while advocating reading in what they call edu-core. Set opened with all band members reading simultaneously from different sci-fi classics. When the music starts, the guttural roar of vocals and blizzard of guitars are familiar but Bloodhag changes it up by tossing books into the audience and berating non-readers - “shut yer jaw and get to reading”. Song titles include the clever Appetite for Deconstruction and the names of distinguished sci-fi scribes. - EAK
Nine Inch Elvis, self-titled - Invisible Records. Not so much a band as a project involving a variety of industrial - electronica talent from the stables at Invisible Records, many of the players are ID’d only by first names or initials on the liner notes. The songs arefamiliar - the biggest hits popularized by ‘the King” played with the blend of hard rock and hard dance sounds from the label that has previously done tributes to Ministry and Dead Kennedy’s. Brilliant stuff EAK
The Kitty Vermont, “Wonderful You” - Motorcoat Records. If this reminds you of Magnetic Fields, that’s because KV’s main songwriter Mark Proksh had MF’s Stevin Merritt in mind when he penned these tunes. The two bands share an appreciation for musical styles outside of the mainstream with nods to Cole Porter and showtunes. Kitty Vermont differs in that this album is more produced and more electronic while MF’s 69 Love Songs has a raw, almost improvised sound to it (an element absent in MF’s live show). If you like quirky, upbeat music which is indie but not rock, Kitty Vermont will serve you as well as Mag Fields. - EAK
Various Artists, “Solesides Greatest Bumps” - Quannum Records. Quannum is a record label and artist collective which has taken over where Solesides, a LA-based indie hip-hop fixture, left off. The 2 disc set includes many rare or previously unavailable tracks from the Solesides days, featuring a typically west coast emphasis on top-notch vocal skills and a laid back but appealing way with instrumentals. Artists include those who have become major players such as DJ Shadow and Blackilicious. - EAK
Johnny Bonamassa, “A New Day Yesterday” - Okeh Records. A guitar prodigy discovered by BB King before he was a teen, Bonnamassa gets respect not only for being from Utica but for preserving and blending his influences from the 60’s and 70’s “joyous, blues-drenched heart of rock & roll.” The 22-year-old has worked with many music biz greats including Warren Haynes and Little Steven and played in Bloodline, which featured the sons of music greats, but has struck out on his own with this disc which features lots of Fenders and Marshalls and guest spots. Faithful to the blues-rock canon without being derivative. - EAK
Beenie Man, “Best of Beenie Man” - VP Records. Many claim the title of Dancehall King but measured on the scales of longevity, skill, and personality, few can touch Beenie Man, who started working with Kingston’s hallowed sound systems and released his first single at age 8. He has gone on to a career marked by occasional controversy, his signature shrieks, collaborations with the greats of reggae, and smash hits such as Girls Dem Sugar. The Best Of consists of 2 discs - one of ‘radio hits’ more familiar in the US and the ‘ghetto hits’ better known in Jamaica’s dancehalls. - EAK
Mrs. Fun, “The Best of Mrs. Fun” - Daemon Records. Sadly, I don’t like this as much as most Cds released by Daemon. It’s got a peculiar and very deliberate arty sound. It’s that Jazzy stuff that was so popular in April of 1986. Zany! Saddest part I s’pose is that I liked this stuff back in April of ‘86. Not sad that I liked it, just that I don’t anymore. Connie Grauer’s vocals are right on the money. Her piano playing, organ note bending and key-based bass work is all fine. I just don’t like it anymore. Kim Zick’s jazz drumming holds up pretty well regardless. But my threshold for all this is kind of limited right now. - Ment
Libertine, “See You in the Next Life” - SubStandard Records/New Red 
Archives. Would you expect poetry from guys that play in rooms with seven-foot ceilings and dress to blend in with the graffiti that covers the walls? Well that’s what you’d get if you gave this disc a spin. In the style of anthem-70s punk – complete with strained vocals and choruses like La, la, la... I see a dude named Belvy K is the singer. I knew a Belvy, about 13 years ago, that I didn’t expect to make it – or live this long. I wonder if it’s him. Anyway, cool stuff for those that like it. I’m sure the Rancid, Ramones, Green Day, Murphy’s Law crowd fits that last description. I think Libertine has criss-crossed the country on tour and on the festival rounds – I suspect they generate a lot more energy on stage than in the studio where the songs sound a little too tight. Don’t get me wrong. Good, but slick. - Ment
Spring Heel Jack, “Disappeared” - Thirsty Ear. Tap those toes and snap those fingers for the seventh-full length release by SHJ. Creating a quirky soundtrack with horns, reeds, and drums, the “band” creates what would have suited the minor characters of Twin Peaks just fine for recurring themes. Sometimes these themes become softer than one might want. – almost “new age” in their simplicity. Other times, very reminiscent of noise rock innovators of the past 30 years. I dig it. There’s always a shortage of stuff you can throw on while there’s a crowd about. Those who are deep in conversation won’t mind it a bit. Those left to themselves will explore the twists and turns they’re led on by the notes flowing from your speakers. - Ment