october 2004
play st. louis pop culture
ack
john waters interviews: th’ legendary shack*shakers, now it’s overhead, the faint, dan stolar, cameron mcgill reviews: interpol, sloan, bumbershoot previews: badly drawn boy, tv on the radio, william gass, camper van beethoven
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Raceway l a n o i t a n r way Inte e t a G t a G ctober 16 ’ O , y a d r u t Catch PD a ity, IL on S f their new C e t i n a r G in elease o r e h t g n ning. i t w o r D e h celebra t r lothes fo C y r D ation. m u b al show inform om .pdgrocks.c w w w k c e h C
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OCTOBER 2004 True Independents
Playback St. Louis loves to chronicle their stories and promote them to you. In some ways, we feel akin to them. We work tirelessly to bring you a better magazine each month and we try to promote and expand Playback using any method necessary (though we haven’t yet tried a large transvestite). To promote Playback St. Louis and the personalities who populate our pages, we have begun to build our distribution list across the country, with distribution to indie record and book stores, including 50 locations in 15 states. By the end of next summer, we hope to have locations in all 50 states.
MOLLY HAYDEN
Waters, as well as several other subjects in the October issue, are true independents. They are tireless people who have a vision of what they want to do and a persistence and willingness to work their asses off to get that vision out there. Many of them have little money to work with and tend to survive on faith, friends, and t-shirt sales. They spend months on the road, in the studio, or at their computer to bring out their vision.
MOLLY HAYDEN
This month, Pete Timmermann talks with John Waters, the undisputed master of bad taste films that leave unforgettable images in your head. Starting in the late ’60s, Waters assembled a cast of characters and started making short, “sweet” films that challenged what we accept as humor and, in some skewered way, drama on film. Thirty-plus years later, he is stronger than ever with a new film, A Dirty Shame, and a retrospective at Webster University later in the month. In his book Shock Value, Waters often talks about the variety of ways that he found to get his ideas into reality (there are also some hilarious pictures in the book of extremely tacky sets, cover-ofdarkness illegal access filming, and desperate PR bids). Is it weird to say John Waters personifies the American dream? No; he is a living, breathing example of what you can do with some cheap film stock, one large drag queen, and a true sense of style.
Each month, Playback staffers review far more festivals and shows than we can fit on these pages. Be sure to check out www.playbackstl.com every month for Web-only photos and reviews. Clockwise from top left: Hot Club of Cowtown at the Walnut Valley Festival, Butterfly Boucher at Blueberry Hill’s Duck Room, and Courtney Kaiser with Benjamin Cartel at the South Park Music Festival.
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Contents Profiles
Th’ Legendary Shack*Shakers....................3 Now It’s Overhead ...................................4 The Faint .................................................5
Play by Play .................. 7
Interpol, Björk, The Clash/Radio 4, The Faint, The Features, The Legends, Mastodon, Brown Eyed Handsome Man, The Velvet Teen
Quick Hits.................... 12 Action Action, Charmparticles, Karate, Neptune Crush, Target Market
Backstage Pass............ 14
On the Cover ............... 22 John Waters
Now Playing
Cinema: I Am David, Nicotina, Ladder 49 .............................................. 24 Profile: Corey Haim/Corey Feldman ........ 26
Festival........................ 27 Bumbershoot
Local Scenery ............. 30 Elliot Goes.................. 32 The Play’s the Thing... 33
Sloan, The Killers, Wilco
Triple Espresso
Three to See ................ 15 Come Out and Play...... 19 You Are Here ............... 20
Take Five ...................... 34
Takashi Horisaki
Cameron McGill
Page by Page................ 36
Reviews: James Wood, Patrick McGrath, Julian Barnes Profile: Dan Stolar ................................. 35
Delirious Nomad ......... 39 What’s Going on Here?....................... 40 Badly Drawn Boy, Captured! by Robots, The Decemberists, Brendan Benson, TV on the Radio, A Celebration of William Gass, Liars, Camper Van Beethoven
Good Sounds................ 44 Rock Blocks
Henry prepares for a little shock theater as he and the boys prepare for a “Divine” Halloween in Elliot Goes — page 32
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Playback St. Louis Pop Culture Publisher Two Weasels Press LLC Managing Editor Laura Hamlett Associate Editor/Art Director Jim Dunn Contributing Editor Bryan A. Hollerbach Book Editor Stephen Schenkenberg Film Editor Bobby Kirk Live Music Editor Brian McClelland Editors-at-Large Rob Levy, Kevin Renick Editorial Assistant Kimberly Faulhaber Creative Consultant Christopher Gustave Contributing Writers Amanda Lee Anderson, Tyson Blanquart, Jim Campbell, J. Church, Thomas Crone, Jim Dunn, Jessica Gluckman, Jason Green, Laura Hamlett, Dan Heaton, Bryan A. Hollerbach, Byron Kerman, Bobby Kirk, Carey Kirk, John Kujawski, Rob Levy, David Lichius, Brian McClelland, Sean Moeller, Wade Paschall, Kevin Renick, Jeffrey Ricker, Martin Rues, Andrew Scavotto, Stephen Schenkenberg, Pete Timmermann, Ross Todd, Michele Ulsohn, Tony Van Zeyl, Rudy Zapf Contributing Photographers Lori Bettelyoun, Jim Dunn, Molly Hayden, Amanda Kruel Contributing Illustrator Jessica Gluckman Interns Carey Kirk, James Macanally Advertising Sales Color Rates Now Available! Jim Dunn • 314-630-6404 or Advert@playbackstl.com Distribution Two Weasels Press LLC Playback St. Louis is published Monthly. Current circulation:18,000 ©All content copyright Playback St. Louis 2004. No material may be reproduced without permission. For advertising rates, submissions, band listings, or any other information, please check our Web site at www.playbackstl.com or send e-mail correspondence to Contact@Playbackstl.com. Submit calendar information to Events@Playbackstl.com. Manuscripts for consideration must be typed and e-mailed to Editor@Playbackstl.com. We want your feedback! write to Contact@Playbackstl.com. Subscriptions are available for $35/ year (12 issues) prepaid and include a free T-shirt. Send check or money order and T-shirt size to: Playback St. Louis P.O. Box 9170 St. Louis, Missouri 63117-0170 314-630-6404 Y Y Y We’re Online! Check out our Web site at www.playbackstl.com
OCTOBER 2004
TH’ LEGENDARY SHACK*SHAKERS
PBSTL PROFILE TH’ LEGENDARY SHACK*SHAKERS
or, LIZARD MAKES NICE WITH NASHVILLE’S TWO-BEAT CAVEMEN By Brian McClelland hen Th’ Legendary Shack*Shakers busted out of the blow-dried Nashville scene with their blistering 2002 debut Cockadoodledon’t, enamored critics were befuddled at how to categorize the band’s unique sound. Because these are nice southern boys, the band helped out by labeling it themselves: “Southern gothic rock ’n’ roll.” Critics responded with a resounding, “Yes, but…” and continuing scratching their soul-patches. A combustive mix of rootsy Appalachian hoedown, gut-bucket blues, polka beats, wild-west guitar and dark, folklore-based imagery—led by the vaudevillian tornado that is carnival-barking, harmonica chewing frontman “Colonel” J.D. Wilkes—the Shack*Shakers is more punk than punk and inherently uncategorizable. Through word-of-gaping-mouth live reviews, the Shack*Shakers have also built a reputation for incredibly entertaining live shows. Jello Biafra called Wilkes “the last great rock ’n’ roll frontman” for good reason—his slithering kidfrom-Deliverance-who-grew-up-to-be-Iggy-Pop shtick is inspired. Whether he’s preaching, cursing, talking to Jesus in the venue’s rafters, assaulting fellow band members—including stand-up bassist Mark Robertson and two Charleston, North Carolina, boys, guitarist David Lee and new drummer Paulo—or blowing snot-rockets at kids in the crowd, this man was born to demolish a stage. After a succinct but overwhelmingly successful European tour last spring—most memorable for their hero’s reception at a Bergen, Norway, music festival, where the papers raved five stars, the venues were packed, and the city’s mayor sported his very own Shack*Shakers T-shirt—the band’s notoriety reached an all-time high when Geico started using Cockadoodledon’t’s “CB Song” in one of their ubiquitous lizard-in-the-car ads. Riding this new source of income and exposure, the band returned to Europe for a proper monthlong tour in September. We reached Wilkes in his hometown of Paducah, Kentucky—where he was visiting his folks and preparing for the European tour—to discuss their new album, Believe (due October 5 on Yep Roc Records), and upcoming stateside tour. What can St. Louisans expect from a Shack*Shakers show?
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Absolute brilliance. No. Lots of flop fluids and airborne dander from my vintage lederhosen. Have your folks seen the show? Not as it is today. I wouldn’t want them to be privy to my primal scream therapy. It’d be like having them walk in on me during a bowel movement, or worse, if you know what I mean. Believe’s ”Agony Wagon” sounds like the coolest, most rocking, old-school bar mitzvah band ever. What led to these more eclectic arrangements? I really enjoy klezmer and polka music. I’m interested in drawing connections from American roots music to older forms of worldwide folk music. Polka gave us the two-beat heard in modern hillbilly music. And lyrically speaking, why not also draw similar comparisons from American folklore to more ancient archetypal stories? It’s a marriage of Southern Gothic and Brothers Grimm. I call it Black Forest Polka meets Agridustrial Punk. Will the band be attempting to bring the newer, fuller arrangements to the stage? Absolutely. We’re working on ways to play tractor engine samples to set the tone and tempo. It was an integral part of the making of the record. Instead of having the recording try to capture the live show, we’ll let the live show capture the studio experience. When writing lyrics, do you prefer embellishing fact or creating fiction? Embellishing fact, definitely. But not too much. I like to write in the tradition of the old murder ballads...most of which were true accounts passed down through the oral tradition of balladeering troubadours. So was there a Pamela Bailey, or are the lyrics in “County of Graves” fictional? They’re true. Find out more about it at your local library. I’m Scott Baio. Where did your unique onstage persona come from? There’s a southern archetype of the flimflam man who jumps up on a soapbox and lets the audience have it, giving you a wink while he’s selling you something you don’t need. That kind of huckster’s always intrigued me. It’s just bluff, flimflam, and pure entertainment. What’s a Kentucky Colonel? It’s an honorary title given to you by
he governor of Kentucky. Usually you’re nominated, n secret, by another Colonel. s a loose, honorable society of people related in some part to the goings on in Kentucky. I’m really pro-Kentucky, and I write a lot about Kentucky folklore in my songs. They typically give these titles to entertainers or people in some sort of spotlight…someone notable. It makes for good shtick. How has the Geico ad helped? It’s getting us a whole new fan base. Our star has risen, as they say, and we keep profiting off those royalties. It’s funding the band right now. It’s how we’re able to continue on, going back to Europe in September and touring the entire United States for three months this winter. It’s doing us really good. Right now we’re Bloodshot Records’ top-selling record. Quitting your day jobs? None of us have had day jobs for years. We’d rather be poor and “going for it” than give in to the nine-to-five. No matter what it costs. That’s what being a Shack*Shaker is all about. Th’ Legendary Shack*Shakers appear October 21 at Off Broadway with The Silvermen. Read a longer interview online at www.playbackstl.com.
PBSTL PROFILE
NOW IT’S OVERHEAD
NOW IT’S OVERHEAD: A LITTLE NIGHT MUSIC By Laura Hamlett ndy LeMaster may be small, but he’s mighty. The frontman/founder of indie rock gem Now It’s Overhead had the right approach to the music business: he built a career for himself. After attending college in Athens, Georgia, LeMaster and two friends— David Barbe and Andy Baker—formed Chase Park Transduction Recording Studio. There, LeMaster toiled as a sound engineer, working with such respected names as REM, Amy Ray, and Azure Ray. LeMaster’s early band played with Conor Oberst pre–Bright Eyes, and the two became friends. LeMaster couldn’t have then known how he was guiding his fate, laying the foundation for his Omaha connection. “My connection with Saddle Creek began pretty randomly,” LeMaster admits. “My band at the time, about eight years ago, played with a band that Conor and several other people in Saddle Creek were in, and we just really hit it off and liked each other’s bands. We started playing more shows together and I would come up there. That was about the time Conor was just starting Bright Eyes, and I started recording on that stuff, and started playing on tours with him. I became great friends with everyone and liked all the music.” When the time was right, he began writing his own material. Word is that LeMaster spent two years of nights—following long days working on other people’s recordings—in the studio, crafting his own songs. When it came time to lay the tracks, LeMaster recruited Azure Ray’s Orenda Fink and Maria Taylor, as well as Athens drummer Clay Leverett. Now It’s Overhead’s self-titled debut was released in September 2001 on Saddle Creek. Despite the band members’ demanding schedules, the four managed to tour in support of their album. When it came time to write and record a follow up, LeMaster says, he was a little more selfish. “I always felt a little guilty taking up [studio] time, but this time I just went ahead and took it for myself. But I did always record in the middle of the night, which is a way to step out of taking business away
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from the studio, and that definitely influenced the way the music sounds. There’s kind of a nighttime feeling to it.” What emerged from the second round of nighttime sessions was Fall Back Open, NIO’s critically acclaimed sophomore effort. The new disc is far-reaching in scope, musically rich and lyrically probing. Guest vocalists Michael Stipe and Oberst add a voice to both musicial communities of which LeMaster is a part. “It’s like a similar petrie dish or something,” LeMaster says with a laugh of the two cities’ cultures. “They’re very, very different cities, but there is a similar vibe within the music communities. There aren’t as many distractions as there would be in a large city. Athens is just so small, and Omaha is…there’s not anything else to do as far as cultural enrichment goes other than try to make your own music. In order to have any music that they like, they have to make it themselves. It just happened that this group of similarly aged people were all talented enough and happened to be there.” With all of his musical entanglements, LeMaster ends up dividing his time between the two cities—when he’s not on the road, that is. Though his home base is Athens, he’s frequently found in Omaha. “I’m here now, actually,” he says. “Orenda and Maria moved here after our first album, and I’ve come here
a lot to either record their band or to have rehearsals for our band, which that’s what we’re doing now. I’m an engineer-producer, also. I end up coming here to the studio to record some of the bands on Saddle Creek, as well as [back in] Athens.” Bands he’s produced include Azure Ray, Bright Eyes, Beep Beep, and the Good Life. LeMaster grew up in a Georgia town smaller than Athens. Asked about the myth of the city as depicted in Athens, GA Inside Out, he admits there’s something special about the town. “It’s definitely small enough where everyone is aware of everyone else, and everyone’s friendly. It’s affordable living, and the South in general is kind of slow. It’s liberal enough because it’s a college town, not a close-minded place or anything.” Currently, Now It’s Overhead is on tour across the U.S. Five of those dates will be with REM. How on earth did this little indie band snag an opening slot on one of the hottest tours of the year? “By the grace of REM,” LeMaster says. “They asked us to do it, and we said yes. It will be the biggest tour we’ve been on.” But his awe goes even deeper. “When I was growing up and really falling in love with music, they were one of my favorite bands. They were the first band that I ever saw in concert, also. It’s just great to be involved with good people.” Now It’s Overhead opens for REM at the Fox Theatre October 19.
OCTOBER 2004
PBSTL PROFILE THE FAINT
ALL WORK AND NO PLAY WITH
THE FAINTBy Sean Moeller here I went to college, the university was the city. The population swelled when school was in session and went back to ghost town status once it wasn’t again. The five two-block-long streets that crissed to compose our downtown area, just across the green from the cluster of lecture auditoriums and classrooms where we spent out mornings and afternoons, were lined with bars, record stores, and book shops. And there were no further options. It’s all there was to offer. At the far end of one of those streets sat the seedy rock ’n’ roll club that shared a wall with a many-storied retirement home and was the ideal stopover between Omaha or Minneapolis and Chicago. Because of the lack of breadth of our humble town full of Hawkeyes, it wasn’t uncommon to see Jonathan Richman, Vanilla Ice, or the entire Dismemberment Plan thumbing through bins of used records before a 10 p.m. show. The Faint, those tellers of the danciest tales of dark-nectared high drama from Omaha, the pride of Nebraska, wouldn’t have the luxury of such dalliances were they to pass through. They couldn’t pick up a dusty jacketed copy of a Vonnegut they’ve yet to read, take in a postsoundcheck movie at the nearby theater, or even have a dinner that consisted of anything more extensive than a couple bags of Chili Cheese Fritos and a draft beer to wash it down. They’d be a little too fucking busy for playtime, thank you very much. Oh, and after-parties—forget about it. No time. “I wish we lived it up on the road. We tend to take on a lot more than maybe we should,” bassist Joel Petersen said recently before the band left for a European tour. Bringing along an elaborately impressive light and visual show—designed, erected, and
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operated by the band members themselves— with no help but what they can give with their own 10 hands adds considerably to a load-in time that usually entails unrolling some cables, plugging in the amplifiers, and rehearsing a song or two. “We’re not going to bring more people out with us because that starts to cost a lot,” Petersen said. “We’re showing up at venues at two or three and sound-checking for three hours. We kind of lose that whole live-it-up attitude after a show because we have to tear everything down and load it up again.” But it’s odd hearing them tell of the work-a-day rigors of the traveling life, as their latest release, Wet From Birth, seems to revel in the adventures and misadventures of time outside the crowded van of men. It begins with “Desperate Guys” and the story of a romance—believed to be achingly hopeless—that lies in the wings for lead singer Todd Baechle as he applies black eye makeup at the merch table and later sees the fem in question at a party on a yacht. Replete with a violin necking with the juggling drums and signature, though readjusted synthesizers, it’s a powerful way of saying, “Hello, we’re back, and we don’t feel like the same people despite familiar appearances.” There’s a misconception commonly adhered to by those familiar with the band that they might have personalities that shift, but slightly, from gloom to a state narrowly gloomier. Baechle’s lyrics rarely suggest at an agreeable seemliness. His are the words of the lost nights and the empty early mornings that the band swashes with bass lines and synthesizers to make a sea of sound that nears the level of thickness that a pot of Campbell’s tomato soup would have were it to sit out, cooling on the counter all day long. But unlike the over-the-
top, wave kissing wave of monstrously dense keyboard action that could be found throughout every fiber of 2001’s Danse Macabre, Wet From Birth moves away from the sound of a sect of gravediggers with Texas Instruments exploding from their instrument-playing fingers like ink emancipating itself from its pen in the washing machine. “I was under the impression that the general Faint listener had the opinion that we’re darker and more depressed than we actually are. We’re not,” Petersen said. “We’re all just sort of easygoing people. “The darkest part about us is that [guitarist] Dapose has some scary tattoos, but he was in a death metal band, so I think he had to get those as an initiation.” On Birth, The Faint show their humor, an enhanced and seasoned storytelling ability, and the mischievous wit of Baechle. Petersen said that the band got interested in sounds that happened in real life and went about cashing in on them. They let the heavy layers of manufactured sound take a nap. “It was something we were going for—something different for us,” Petersen said. “And yet it’s still us. We didn’t, all of a sudden, become amazing jazz musicians in the last year. It was just spending more time on the little things. And [Saddle Creek Records producer extraordinaire] Mike Mogis did an outstanding, amazing, amazing job. We were happy with what we had when we were done. It was a good way to go out of the studio. Generally you’re happy, but you’re generally reserved about it. You’re always thinking, ‘If only we had another week.’” Looking for a place to write and test out video projections for live show fodder, they eventually holed up in an old warehouse they affectionately named The Orifice. Located a handful of blocks from the cute Old Market portion of Omaha, The Orifice—which found itself particularly messy on the day Petersen and I spoke—sits above a Lutheran thrift shop where old, moth-balled continued on page 33
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PLAY BY PLAY
MUSIC REVIEWS
INTERPOL: ANTICS (M
ATADOR)
INTERPOL: ANTICS (Matador) Charcoal wardrobes and comparisons to ’80s goth bands aside, Interpol is a reasonably content band. Wouldn’t you be happy if your first album became successful and your favorite band handpicked you to join them on tour? Despite countless Joy Division references, nobody in Interpol seems destined to hang himself with his Armani belt. Clearing some of the monotonous gloom from Interpol’s music at this point in their career is only natural and welcome. Because, fortunately, monotonous gloom was not the best feature of Turn on Your Bright Lights. Was there anyone whose favorite song was “Hands Away?” Or was that the song you sat out while preparing for Ian Curtis-esque robot dancing to “Obstacle 2”? On Antics, some of the brooding, atmospheric drones have been traded for tighter melodies and sharper hooks, even (heavens!) major keys. Banks’ vocals have been airlifted out of the mix and out of his lower register. Tempo remains more consistent from song to song. Yet the major components of Interpol remain: Daniel Kessler’s pet guitar effects, Carlos D.’s syncopated basslines, Sam Fogarino’s clean snare-tapping, and Paul Banks’ homage to the greatest singer the ’80s never knew. The changes seem organic, as if the music evolved on its own, without forcing faddish elements. No cheesy electroclash beats show up. Thank God. “No Exit” opens the album with a warm organ and a tambourine highlighting a rhythm that could belong in an old Ronnie Spector song. That voice, however, could not. A simple bassline and a tentatively uttered “Rosemary” launches “Evil.” Major key or not, “Evil” imparts a sense of alienation. Banks punctuates
its fast, garrulous nature with an isolated vocal, asking, “But, hey, who’s on trial?” A slower number, “Take You on a Cruise” eloquently floats headlong into its explosive, layered chorus, but shifts directions perhaps too many times before its end. All is forgiven by the misleadingly named “Slow Hands.” If you’ve already downloaded this mp3, you know it’s great for dancing. There’s even a brief, organ-filled lull where you can do fancy, new romantic handwork before you resume bouncing around. Is there a dance club on Washington Avenue that plays songs like this? There should be. Retaining the soundtrack-like appeal of the first album, “Not Even Jail” finds its emotional center in the conflicted, rising progressions leading to the title line, and ends with a strangely joyful instrumental fadeout. “Public Pervert” starts deceptively with slow metronomic swaying, but don’t trust your CD player’s ten-second preview feature (why do those exist, anyhow?). “Length of Love” is another entreaty to hit a dance floor, guiding the listener along a sinuous bassline that, if it’s not insulting to say so, recalls the best basswork of Duran Duran’s John Taylor. Banks offers more private notebook poetry of troubled relationships, with occasionally baffling lines (“Make money like Fred Astaire,” he instructs on “Take You on a Cruise”). Banks would do well to abandon rhymes or at least stop ending lines with “else” and “self.” The chorus of “Narc” repeats the word “love” to laughable excess, but no matter. Legions will still borrow lines for their Livejournal entries. It’s not like you listen to Interpol just for the words, anyhow.
Unfortunately, the closer, “A Time to Be so Small,” risks monotony, particularly compared with the other songs It is also notably far less dark than the ominous “Leif Erikson” that concluded Bright Lights, but such a song would’ve been out of place on Antics. While it may not be an instant favorite, the song satisfactorily bookends “No Exit” and complements the overall sense of lessening despair evident on this album. And less despair is good. If Bush wins re-election, though, maybe the next album will get really sad again. But this isn’t “the happy Interpol album.” Comparative adjectives are probably best to use. Antics doesn’t suggest the words “poppy” and “upbeat” as a stand alone work in the context of most pop music, but compared to its predecessor, this album is poppier, faster, and generally more upbeat. But it properly resides in the home of Interpol’s sound. You could still mope through this album. Or you could dance to it. You decide. —Jessica Gluckman BJÖRK: MEDULLA (Elektra) Björk is not like other people. She’s not even like most of her fellow Icelanders who, with rare exceptions like Sigur Rós and Mum, remain in their glacier-laden land and keep it local, rarely breaking through to international attention. Björk, though, has some primal force driving her; she’s a Pagan continued on next page
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goddess: earthy, sensual, hyperaware, passionate beyond the norm. Creative rules are there to be blissfully trampled over; Björk would rather make up her own rules, thank you. Ferociously energetic and ambitious, answerable to no one but herself, Björk is an international artist of head-scratching originality, a self-made icon both praised and ridiculed, neither influencing her career moves much. In an already willfully eccentric career, Medulla stands as an even bigger surprise than expected. It consists almost entirely of vocals: swooping, sweeping, startling, spastic, fantastic, freaky, flamboyant vocals. Some are just Björk, some emanate from heavenly choirs, some include guest appearances by renowned musicians like Mike Patton and Robert Wyatt, and there’s even a performance by an Inuit “throat singer” who adds an atypical sonic element. But except for a few beatbox rhythms and scant keyboards, this music’s solely made by human voices. That doesn’t mean it’s nice ’n’ purty a cappella music, either. Although the exquisite “Vokuro” (sung in Icelandic, with a celestial choir in the background) and hauntingly spare “Desired Constellation” (with a pinging synth that’s rather beguiling) feature some of Björk’s most emotive singing, this is far from easy listening overall. On “Where Is the Line,” Björk builds up layers of frenetic weirdness, seeking something more primal and demanding than mere prettiness with Rahzel’s throbbing beats and her own restless delivery. “Mouth’s Cradle” (searingly eccentric and outward looking), the untamed “Ancestors” (one of the weirdest things put on record lately, blending quiet piano and utterly freaked vocal noises), and “Submarine” are strident and hypnotic in equal measures, and will likely test the patience of
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less adventurous listeners. “Oceania” (used for the opening day of the Summer Olympics) and “Sonnets/Unrealities XI,” a lovely, spirited collaboration with the Icelandic Choir, are more typical Björk fare, and would be a good place to start. But the sonic adventure here is best experienced as a whole, especially when it peaks with “Triumph of a Heart,” a gloriously uninhibited track that is certainly a triumph of Björk’s heart. With inspired sounds by the “human trombone” Gregory Purnhagen, and Björk laying it all on the line stylistically, this is a great example of where adventurousness and passion can lead to in a music landscape that tends to favor conformity. “The triumph of a heart that gives all/Smooth soft red velvety lungs/Are pushing a network of oxygen/Joyfully through a nose, through a mouth,” sings our favorite elfin chanteuse, barely containing her ecstasy. However odd she may seem, Björk unquestionably does give her all—using all her body parts, all her disciplined creativity and every inch of her Icelandic soul. Medulla fairly shouts with joyful abandon and celebratory spirit, the sound of a woman roping the cosmos, and ridin’ it with eyes ablaze. Björk’s ultimate lesson is, no matter how far you care to journey, the grandest adventure is fully exploring your own human potential. This recording is another provocative diary of the trip. —Kevin Renick THE CLASH: LONDON CALLING: LEGACY EDITION (Epic/Legacy)/R ADIO 4: STEALING OF A NATION (Astralwerks) Welcome to two ends of an equation. If the Clash are a train traveling at 175 miles per hour and Radio 4 are a train traveling at 103 miles per hour, at which moment will they collide and
OCTOBER 2004
where? Trick question; they are leaving from the same station, albeit decades apart. Two releases— Radio 4’s Stealing of a Nation or the Clash’s The Vanilla Tapes—within days of each other bring out the political: one historical, the other a living, breathing, of-the-moment document. The Clash, as with most punk, grew out of the dissatisfaction, lethargy, and boredom of an underemployed nation. Staid Britain raised a nation with impeccable manners and a blossom of fantastic music talent. The ’60s taught them how to swing with The Who, the Kinks, and The Beatles. By the ’70s, that swing had a paunch and a bloat that gave way to bands like Yes and Genesis. The revolution came with the birth of bands like The Sex Pistols, The Stranglers, and The Clash. These were bands that revolted against the system (as much out of want as desire) and stripped down the message to its essentials. Some of the members in these bands could barely play their instruments, but for a few years, they were able to force their message on the edge of a blade of pure aggression. As time passed, the messages diluted, these bands became bloated, and most broke up. The Clash, however, lasted into the early ’80s. You can’t capture a moment except on tape, and then it is no more than a snapshot. (Johnny Rotten, at a late PIL performance, shouted at an audience member in full punk regalia, “You bloody fucking cliché!” probably well aware
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that he was trying to escape his own entrapment.) As snapshots go, The Vanilla Tapes is a pretty good one. The Vanilla Tapes (released as part of a three–CD/DVD set called the London Calling: Legacy Edition) are the supposedly lost cassettes made of the Clash’s early practices for London Calling. Over the years, people have bent over backward to praise London Calling as perhaps the best rock album of the last 30 years. It ranks in my top 20, though I am partial to the earlier Clash albums that so eloquently spit venom. By the time they began preparing for London Calling, the band was a little savvier, aware of what was out there (they had already toured America), and a little jaded. They decided to move the band into a recording studio located in a still-active garage (where car repair went on each day), where they hammered out many of the songs that would eventually end up on London Calling. What you get with The Vanilla Tapes is a raw but, interestingly enough, complete sound. It points to the brilliance of The Clash that this many songs were ready to go for the album and that a song with such an intricate multiple message as “Lost in a Supermarket” sits on this disk pretty much complete. That said, people having grown up with London Calling might consider it a curiosity and little else. But listening to this CD tends to ramp up your appreciation of their masterpiece. It gave me some insight and further appreciation for an album I thought I had memorized. Radio 4’s third full-length CD, Stealing of a
Nation, solidifies their place as a political band. Speaking with lead singer/songwriter Anthony Roman around the first anniversary of 9/11, he said, “We are not a political band.” I always found that statement a little hard to believe and a bit disingenuous. Perhaps it was the times, modesty, or just a hidden way to state that what they were saying then and now is sentiment that should be universal. Roman and company (Greg Collins, Tommy Williams, Gerard Garone, and P.J. O’Connor) have always offered a very pointed view of society, human activities, and the uses and misuses of government. Their previous albums (all recorded prior to 9/11) centered on living in Giuliani-era New York City. When disaster struck, the albums took on a second meaning and the live shows took on the feel of rallies around the revolution. Previous albums were danceable affairs to a certain point, but you could just hear the beat wanting to move around more freely on both Gotham and New Song and Dance. The future sound of Radio 4 was heard on the EP Dance to the Underground (which came out in between the first two CDs; the title track was re-released by Astralwerks last year). The band, already tight with a sound that harked back to Gang of Four, was augmented in 2002 with O’Connor on percussion. O’Connor is a big man who adds an unmistakable sound to the band and sets the music in to overdrive. Stealing of a Nation offers a fully fleshed out Radio 4 sound. It is one of the best dance albums continued on next page
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to come out in years and now it is apparently OK to embrace the revolution…perhaps even write the theme songs. Stealing of a Nation addresses everything from digital recording heroes to the fears of a nation. Roman describes it as an NYC album, but really it touches on issues that cross state lines, international borders, and political consciousness of all kinds. On this album, Radio 4 take on a world view that may in part be fueled by their observations in Europe, where the band is vastly popular. The CD addresses the souring of the promise of an artist’s Brooklyn (“Party Crashers”), the culture of fear (“State of Alert”), and the joys of music (“Transmissions”). The album title is a gentle play on Jacob Miller’s 1979 song “Healing of the Nation” and focuses on a changed world. Not necessarily judgmental (nobody is specifically mentioned in the songs), the album tries to find answers in the increasingly complex world. As all good albums do, the meanings are multiple just as the beats multiplies. The reggae-influenced Radio 4 (like the Clash before them) strive to make statements in a world that they feel is out of control. Both seek understanding and use the confines of percussion to bring order out of the chaos. These albums share one other similarity; both were recorded away from distractions found in “normal” recording. The Clash chose to go to Pimlico’s Vanilla Studios, far enough from London that they could be left to their creative ventures in peace (give or take some auto exhaust). Radio 4 made a similar choice by recording Stealing in their Brooklyn neighborhood. They made a deal with a new studio there for 7/24 access and the ability to record when the muse struck. Both choices paid off handsomely. —Jim Dunn THE FAINT: WET FROM BIRTH (Saddle Creek) There’s something about The Faint’s retro synthdance pop that just works for me. Sure, it’s dated, and sometimes the lyrics are nonsensical. But it makes me groove; I actually feel the music when it plays. It makes me feel good. The band’s last CD, 2001’s Danse Macabre, was so good, it was remixed by Astralwerks and
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re-released in 2003, essentially earning itself a second radio life and a whole new audience. The major labels came a-courtin’ this little experimental Omaha band—and this little band said, “No thanks.” Admittedly, I put on Wet From Birth with high expectations—expectations which, I’m pleased to report, were met and exceeded. Truly, this is one of the best hybrid dance-rock albums of the year. Recorded as producer Mike Mogis and his wife welcomed their first child, the album’s emerged as an homage to the process of birth. (Trust me. Listen to the closing track, “Birth,” for The Faint’s interpretation of the miracle of life.) From the outset, The Faint shows it’s matured with the generous incorporation of strings into its music. A solo, aching violin kicks off the album before Todd Baechle’s familiar nasally voice, coupled with a trancelike beat, lets you know you’re in for one hell of a ride. On the intro track, “Desperate Guys,” Baechle tells the tale of a guy wanting not to appear too desperate in getting a girl: “In the evening I saw you/you were warming a bass up/you hair covered your face up/I was acting indifferent at the merch booth, putting on makeup.” Effects such as echoing, repeating, and full pauses heighten the dance-ability of the track. A galloping beat defines “How Could I Forget,” with its eerie swells and haunting instrumental breaks. Bass-heavy romps and hard-hitting drums are the foundation of “I Disappear.” Though the album’s solid from start to finish, “Southern Belles in London Sing” has emerged as my favorite track. Its quiet string intro sounds more suited for church than rock before exploding into a rapid orchestra of sounds, angelic background vocals (courtesy of Azure Ray’s Orenda Fink and Maria Taylor), and fuzzedout keyboards. Baechle is the man impatiently awaiting his overseas lover’s return: “Carving up the lobby seats/pushing down the caffeine drinks/checking the arrival screens for yours.” The echoing handclaps in “Erection,” along with an eerie, moaning keyboard, lend a forboding feel to the campy song: “You know it’s not only love, dear/I can flip the switch up.” In “Paranoiattack,” a direct response to our country’s government-imposed environment of fear, Baechle enumerates the ways we’re under attack, then admits, “The propaganda’s working now/I’m falling for it hook and reel/I’m stocking up on medicine/buying tape to seal ourselves in.” “Drop Kick the Punks” is a hardhitting, drum- and guitar-heavy number. The
“Phone Call” Baechle doesn’t want to get is the blow-off from his girlfriend; rather, he had hoped, “If I could open up to you/maybe I could open you up.” Finally, I’d be remiss if I didn’t share with you my favorite line from “Birth.” With its guitar intro, the song deceives you into thinking it’s a standard rock song—and then Baechle begins to recreate his birth, starting from the moment of his conception (“In the beginning there was semen/in a deep mouth of flesh”). At the conclusion of the beat-heavy tale, ending with his emergence into the world, he reflects, “I should have noticed the beauty and not how it hurt/wet like a cherry in the bloodbath of birth.” Classic. Though it’s short—Wet From Birth’s 10 songs clock in at just over 34 minutes—this album’s an instant classic. Just one spin and you too will experience the miracle of rebirth. —Laura Hamlett THE FEATURES: EXHIBIT A (Universal) The Features could easily replace my happy pill. And, thankfully with their first full-length album—Exhibit A—topping out at 33 minutes, there is no danger of overdose. I’m afraid there really should be a warning label, though: giddiness may ensue. This band will make you dance; these songs will make you sweat. The American dream never looked as appealing as it does when Matt Pelham sings about it. His story is usually colored by simple domesticity, and he brings it to the table accompanied by three of the strongest musicians in the greater Nashville area—creating a sound that is loud, chaotic, and so unique, it easily stands by itself as the listener reaches for comparisons. Pelham describes the collection of songs on Exhibit A as his favorites from the past few years. Verses and melodies are tailored and accompanied by Pelham’s startling guitar hooks and Parrish Yaw’s thick, curious keyboards that create a roller coaster of song. Take “Blow It Out,” a magical regression to playground days with the simple rhyme “if you’re happy and you know it…”—where merry-go-rounds were out and boom boxes in—“…turn the volume up and blow it out.” continued on page 28
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QUICK HITS
ACTION ACTION: DON’T CUT YOUR FABRIC TO THIS YEAR ’S FASHION (Victory) Meshing highly danceable new wave with crunchy guitars and keyboards, Action Action, like The Faint and The Rapture before them, reinterprets ’80s wave. The result is an uneven but mostly enjoyable 13 songs. “This Year’s Fashion” begins the disc with a dark, electronic buzz. The droning “Drug Like,” with synthesizers reminiscent of Real Life’s “Send Me an Angel,” is another strong track, but it’s “Photograph” that is Action Action’s ready-made single. Irrepressibly upbeat, “Photograph” is almost a little too tight— almost. You’ll be singing along in no time. “Instructions on Building a Model Airplane” is another nice ’80s-driven song with an ’00s edge. Kluepfel’s voice is strong and versatile: He easily alternates between lazy, laid-back delivery and full-on anguish. Action Action is a band with obvious talents; it will be interesting to see if the four can focus their sound and find their own direction. (LH) CHARMPARTICLES: SIT DOWN FOR STAYING
12 (Childstar Records) Portland, Oregon’s Charmparticles file their sound under “shoegazer.” The six songs on the ’Particles’ sophomore effort have plenty of contemplation to go ’round. But it’s not all drone and introspection; there are some good hooks, great vocals, and splashes of pop sentiment. Sit Down has a nice, subtle tension buried under the layers of sound. There are more than a couple of high points, the best being the counterpart to the title, a track called “Stand Up for Leaving.” Here, Adam Wayne’s vocals are at their infectious pop best, backed by the ringing jangle of seemingly a thousand guitars. On “Gas Gauge,” the harmonies are the star, along with a beautiful guitar outro reminiscent of a more subdued and proficient Kitchens of Distinction. “Solvent” alternates between ethereal layers of guitar and driving slashes of chunking chords. And “Phone and Finder” serves as a showcase for Wayne’s vocal gymnastics over a sonic wall of layered guitars. This is a great collection of songs, most of which will occupy that little corner of your brain that gets you singing for seemingly no apparent reason. (WP) KARATE: POCKETS (Southern) Karate. The word evokes visions of broken boards, colored belts, and Ralph Macchio’s boyish good looks. Still, the word also brings to mind a talented Boston-based three-piece
to fans of the post-punk underground. On its latest album, Pockets, Karate finds a happy medium between their punk-tinged roots and free jazz experimentation. Singer/guitarist Geoff Farina led the band through a pair of ranging 10-plus minute songscapes on 2002’s Cancel/Sing EP and continued in that same vein on that year’s Some Boots. But Pockets finds Farina mixing the freaky and straightforward for a solid, down-to-earth record. The rhythm section—Jeff Goddard on bass and Gavin McCarthy on drums—does a good job of keeping Farina’s soloing grounded. The band kicks through eight songs in 38 minutes, and only two tracks cross the five-minute barrier. The album’s bouncy opener, “With Age,” finds Farina showing his jazz chops with clean guitar tones and lounge-laden vocal delivery. McCarthy maintains the order with understated snare fills on “Cacophony” and “‘The State I’m In aka ‘Goode Buy From Cobbs Street Park.’” On the album’s highpoint, “Tow Truck,” Farina does what he does best: spins a slice-of-life narrative into a political statement. Farina takes a confrontation with an immigrant-hating tow truck driver and uses it to ask talk-radio listeners everywhere, “I already know your opinion, when you gonna hear mine?” All the while, the simple guitar riff gives the narrative a toe-tapping giddiness that keeps the song out of the realm of the polemic. Karate is a post-punk rarity. All three members attended Berklee College of Music and it shows. They make leaps that many of their contemporaries would never dare try. On Pockets, they make music that is literate without being overtly intellectual, soft without being sweet, down-tempo without being a drag, and emotive without being emo. (RT) Karate will play an all-ages show at the Rocket Bar October 16. NEPTUNE CRUSH: AN EVENING IN THE STARLIGHT (self-released) Neptune Crush has all the ingredients necessary to achieve major success. They’ve got a distinctive singer in Eric Lysaght, whose clear, high voice and sincere delivery are undeniably compelling. They are attentive to the textures of their compositions, which are often dense and intriguing, and they sure as hell can rock out. But NC are apparently courting the mainstream with their new album. Starlight builds a convincing case for Neptune Crush as confident, radioready rockers less interested in the gender-bending weirdness of old and more interested in the
kind of genre-transcending inclusiveness that will sell more CDs and widen their audience. On one hand, these guys can deliver a powerhouse tune like “Chrysanthemum,” a potently catchy rocker. “Gasoline Rainbow” is a stellar essay from the Rock ’n’ Roll Songwriting master class. There’s also the inspired “Amy,” a memorable song in which Lysaght truly shines, especially with the haunting repetition of a descending major third and a surge of gorgeous cascading guitar. “Sugar-Free” sounds a tad like White Album–era Beatles. And for fans of that distinctive, distorted falsetto, there’s the churning “Dinosaurs in the Garden” and the sublimely introspective nine-minute “West of Eden.” Songs like “Neverever,” “Dead Air,” “1000 Roses,” and “Alligator Clips,” though, are a bit too cookie-cutterish for my taste. On “Nightingale,” the band splits the difference between its two approaches and comes up with a truly well-crafted, charmingly pleasant song anyone could enjoy. (KR) Neptune Crush holds its CD release party at Blueberry Hill’s Duck Room October 23. TARGET MARKET: CONCEALER EP (Aim and Fire Records) Target Market has struck gold with its debut EP. Universally solid from start to finish, Concealer has a sound steeped in mid-’90s emo but shows a wider range in style, muscle, and instrumentation. The addition of the electronic ivory into their sound doesn’t hurt, either. “Bird and Planes Engines Don’t Mix” and “Flip the Switch” are heavily rooted in said sound, but both are catchy and inventive, with the latter incorporating keyboards. “We Screamed Lights Out” has a more harsh and angular tone and is the most conspicuous song on the record—it’s good, but a step behind the others. “Sounding Off, Gaining Clearance” gets back into the groove with the added bonus of an opening hook punctuated with some insanely catchy “woo!”s and later followed by a round of “doo doo doo doo doo”s. It will be rolling around your head for days. Closing out this short affair is the moody “In Stellar Orbit.” Equally catchy, it’s the highlight of the record and a stellar closer. Target Market has hit the ground running with this record. Don’t be surprised if the band becomes a national commodity in the not-toodistant future. Not to get too heavy in platitudes, but it’s been a while since a local band has impressed me this much. (DL) Contributors: Laura Hamlett, Kevin Renick, David Lichius, Wade Paschall, Ross Todd
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The Gargoyle, September 14 It’s tough being a power-pop fan in St. Louis. Far too regularly, the stars of the genre skip by on their way to or from Chicago, leaving those of us with a taste for loud guitars and three-part harmonies sorely wanting. All the more reason to relish the return of Canada’s patron saints of power-pop, Sloan, to their first show in St. Louis in five years. Much like Big Star soared from the contrast between Chris Bell’s hard-and-fast rockers and Alex Chilton’s urgent ballads, Sloan thrives on the creativity and variety of not one, but four songwriters, each contributing songs (more or less) equally. The result is an eclectic yet compelling mix of ’60s pop harmony, ’70s rock power, and ’90s indie attitude. The show got off to a rough start for openers Robbers on High Street when their singer accidentally punted his guitar onto the stage with a deafening clang, and their set slowly devolved from there. The Robbers borrow extensively from fellow New Yorkers The Strokes’ sound and songbook, with angular, percussive garage rock augmented with the occasional keyboard. Technical problems on stage—and general sloppiness—left several songs careening dangerously close to falling apart. Sloan, fortunately, fared much better. This show was thrown together at the last minute—the second date in a mini-tour bookending their Austin City Limits Festival appearance—and with the band still getting their road legs runnin’, the resulting performance was just short of the transcendent rock spectacle Sloan’s famous for. Nowhere was this more evident than on the opening song, “Ready for You,” from Action Pact. On album, the song explodes right out of the gate. Live, however, the pace was considerably slower, turning a SLOAN PHOTO by AMANDA KRUEL
punchy, up-tempo rock song into a sludgy behemoth that never quite got off the ground. When a soggy beat also stilted drummer Andrew Scott’s otherwise rampaging “Sensory Deprivation,” guitarist Patrick Pentland joked dryly to Scott that he needed to “pick a beat and stick to it.” These are seasoned performers, though, and after a few songs, most of the problems had been shrugged off. Much like their latest album, the setlist concentrated on the harder side of Sloan’s catalog, with guitarist Jay Ferguson’s duo of songs being the only hint of a lighter touch. Pentland turned in countless blazing guitar solos throughout the set, as well as solid renditions of his own compositions like the stomping “Friendship” and the bouncy classic “The Good in Everyone.” Scott was an absolute beast behind the drum kit, and contributed one of the night’s many highlights with his lead vocal turn on “People of the Sky.” Ever the jester, bassist Chris Murphy (who sang the majority of the evening’s songs) kept the—as he joked—“literally dozens of people” in attendance enthralled with his constant rock star posing. Sloan’s perfect marriage of all these disparate personalities was best exemplified by their heavenly take on Smeared‘s “500 Up,” which expertly interwove separate lead vocals by Pentland, Murphy, and Scott—plus immaculate group harmonies—over a bed of driving dream-pop guitars. After an encore that began gently with “I Can Feel It”—with assistance from a female fan on vocals and Beatle Bob on the tambourine—the show wrapped with the band’s most unabashedly fun song, the shout-along classic “If It Feels Good, Do It.” Before leaving the stage, Murphy assured the crowd that they wouldn’t have to wait another five years for a St. Louis visit. Cross your fingers. —Jason Green
The Killers Mississippi Nights, September 13 The Killers are a hype machine with a solid debut album, and I was anxious to see live versions of the some of the standout tracks on Hot Fuss. I was also curious as to why the show started early, at 6:45. This question, however, was answered when I stepped inside and saw the throng of teenagers packed into the front of Mississippi Nights; the dance floor seemed more like a high school party facilitated by vacationing parents than a rock concert, and I was waiting for the Abercrombie & Fitch promo van to pull up any second. That’s not such a bad thing, though—it’s good that teens are gravitating towards bands like The Killers, Modest Mouse, etc., even if everyone just wanted to look cool, hear a hit single, and get home before curfew. Speaking of looking cool, Ambulance Ltd. opened the show with a short set of tight rock songs, including their current single, “Primitive (The Way I Treat You).” They seemed more concerned with their appearance than their sound, however; the mix was a little off and lead singer Marcus Congleton’s voice tended to get lost under layers of heavy guitars. Fortunately, this became irrelevant as the band closed the set with the hard-rocking instrumental “Yoga Means Union,” which would turn out to be the surprising highlight of the night. Simply put, The Killers came out flat. They opened the show with a slow, lethargic version of “Mr. Brightside,” effectively ruining what should have been the evening’s biggest rocker. It was painful, because it’s very easy to envision them bringing down the house with a song that will rank as one of 2004’s top singles. As they plodded along, however, I found myself wishing that I could have gone backstage before continued on page 17
OCTOBER 2004
Three to See Here are just three of the great original St. Louis bands that play around town on a regular basis. Check them out as soon as you get a chance. Walk the Earth—Walk the Earth is a great name for this new local band because going to a club to hear them play is a journey well worth taking. The group is made up of two guys from Union, Missouri, who employ a distinct, low-tuned guitar sound and a heavy drumbeat to create a haunting set that draws listeners in. The fact that there are only two members in the lineup is by no means a handicap—it’s easy to forget that they don’t have a bass player or even a second guitarist. A lot of metal riffs can be heard in the mix, as well as a bit of early ’90s grunge influence, but the result is a set of songs that is sure to satisfy anyone who has an addiction to power ballads. The melodies are truly spectacular and the vocals fit in perfectly with the low guitar riffs, making the distinct sound all the more effective. This is certainly something different for the local music scene; add Walk the Earth
to a list of local acts such as Gassoff and Tory Z. Starbuck who have unique and original sounds and have played some great shows in the St. Louis area. Iron Doves—Iron Doves is a new band fronted by the former lead singer of Asia Minor, who just goes by the name Dan. This time out, he’s picked up an electric guitar and has found a great rhythm section to form a powerful rock trio. Anyone wondering if St. Louis is a town with great rock ’n’ roll in its clubs should take note of this band. Dan is a more confident performer than ever, now that he has his guitar in his hands. He plays through several great guitar riffs and chord patterns while he moves frantically around the stage, working up a sweat after just a few songs. Though there are currently no ballads in the set, the songs vary from hard-hitting hooks to complex instrumentals thrown into the mix without warning. The tunes remain interesting and have strong melodies while still giving audience members a solid beat they can “rock out” to. In addition, audience members should take note that if the band is playing a small venue, Dan is likely to go into
the audience and play right in front of them. One way or another, Iron Doves is certainly able to draw audiences into their energetic shows. The Curb and the Grip—Many of the members in this experimental indie-rock group are still in their teens. Anyone skeptical that a group this young can be really good needs to do their homework and check out The Curb and the Grip. This band offers a great mix of high-energy guitar and keyboard sounds as well as a great live show. While the music is a bit like fast-paced and super-loud new wave, the performance style of singer Frunze Alai matches the energy of any hardcore band. He makes full use of the venues, often running around the bar area in the middle of the set. Alai uses his microphone stand as a prop while guitarist Cracker McBiscuit dishes out great guitar hooks and bassist Pervona Dice keeps everything sounding solid. Although the music moves at a frantic pace, the melodies are still there, the songs are catchy, and the band is a must-see for anyone who wants to hear something new and exciting. —John Kujawski
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OCTOBER 2004
Backstage Pass the show, just to feed them some stimulants, play some AC/DC or DMX, make them watch the Ray Lewis Under Armor commercial, whatever—anything to fire them up a bit. The Killers started showing signs of life with “Smile Like You Mean It” and “Midnight Show,” and when they tore through “Jenny” and “Andy You’re a Star,” they began to show why they’ve generated so much hype. The band has written some powerful songs, and they have the ability to create a thick wall of sound, especially when lead singer Brandon Flowers steps to the keyboard. The sweetness was short, however, and the band concluded their set after about 35 minutes. They didn’t deserve an encore, but The Killers gave one anyway, ending with a decent version of a great song, “All of These Things That I’ve Done.” Throughout the night, every song was basically reproduced note-for-note to match the album versions, and the band didn’t have a lot of stage energy. Would it have killed them to play an interesting cover, or to extend some of the songs a bit? With a cameo slated for the new season of The O.C., the hype will only get bigger for The Killers. Hopefully they’ll get some work done between now and then and create a set that justifies the buzz. —Andrew Scavotto
Wilco The Fox Theatre, September 15 Early in Wilco’s Fabulous Fox Theatre debut, the everyman’s frontman Jeff Tweedy—dressed up for tonight’s gig in tight green pants, a black button-down shirt, and gray suit jacket—said, “I don’t wanna make a big deal about it, but who would have thought we’d ever be playing here, huh?” If the band was sweating about playing such a prestigious venue, they certainly didn’t show it during their incredibly assured—and nearly two-hour—performance. And the setting was perfect. While Tweedy’s small (but somehow grandiose) songs have outgrown beerand-chatter rock venues, and are far too delicate and nuanced for arenas or summer shed amphitheaters, on this night, this band and this room seemed custom made for each other. Playing an eclectic mix of songs spanning their ten-plus-year career—albeit with a bias for newer stuff, and missing the hits “Heavy Metal Drummer” and “Box Full of Letters”—the band played with an amped-up, slow-burn intensity that would often explode into a fiery, noisy jam. Not afraid to give a song breathing space, Wilco doesn’t waste a single note. The songs’
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simple, interweaving arrangements—deftly adding texture without overplaying—kept the seven musicians on stage from stepping on each other’s toes and made each song sound like a grand statement, as if this were the first (or maybe last) time it would be performed. When the band’s live secret weapon, bassist John Stirratt, sweetly harmonized with Tweedy, the results were devastating. Though the crowd was mostly respectful of the performers—when Tweedy brought the music down, leaving only his guitar and voice, you could hear a pin drop—there were a few beered-up dolts insistent on whoo-ing in the most unlikely places, like after “At Least That’s What You Said”’s seriously sober opening lines, “When I sat down on the bed next to you/You started to cry.” Whoo? Really? Are you even listening? And when Tweedy feigned nervousness, ummm-ing several times into the mike, an intensely entertaining (and unbelievably smelly! Girl, dance with your arms down.) whirling dervish of a hippie chick standing in the aisle near me shouted, in voice that could cut glass, “A nugget! Give us a nugget! Come on man, throw us a bone!” After Tweedy announced a song from the post–Yankee Hotel Foxtrot free online EP, an audience member yelled out, “You should have made us pay!” to which Tweedy dryly responded, “What, you don’t like free stuff? No? Duly noted.” After playing the song, Tweedy deadpanned, “Well, now you paid for it.” The sound mix was superb, until mid-set when an assortment of snaps and crackles began popping up in the stage right speakers. And during a raucous late-set Crazy Horse–ish jam, the stage right speakers cut out all together for a couple of minutes. When the sound kicked back on, the crowd went apeshit. Tweedy dedicated the rollicking “Casino Queen” to his father—after pointing him out to the crowd—and the performance was a revelation. A million miles from the strained-vocals and rough alt-country of their debut record, A.M., the local fave featured a powerhouse vocal from Tweedy, reminding the hometown crowd just how far he’s come as a performer in the last ten years. After closing with one of his saddest songs, Summerteeth’s fragile life-on-the-road lament “The Lonely One,” Tweedy took off his guitar, said a heartfelt “I love you Mom and Dad, thanks,” and walked offstage. —Brian McClelland
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OCTOBER 2004
COME OUT AND PLAY
THEATER
By Tyson Blanquart
POSITION OPENINGS/AUDITIONS HYDEWARE THEATRE PRESENTS THE WOMAN IN BLACK
If you have an audition, show announcement, or other news of interest to the theater community, please e-mail theater@playbackstl.com no later than the 15th of each month. Also be sure to visit www.playbackstl.com for updated announcements throughout the month.
SHOWS OPENING New Line Theatre will open its 14th season with the dark and moving chamber musical Man of La Mancha by Dale Wasserman. The show runs Oct. 1–23. This stylistic musical was written during the turbulent 1960s and explores not only the roles of actors and audiences, but also more volatile themes such as the dangers of mixing politics and religion, violence against women, and government oppression of dissent. Scott Miller directs, with performances on Thur., Fri., & Sat. at 8 p.m. at the Art Loft Theatre, 1529 Washington. Tickets through MetroTix at www.metrotix.com, or by calling 314-534-1111. www.newlinetheatre.com New Line Theatre continues its “New Works Series” with a two-night production of the new musical comedy She’s Hideous! Tues. & Wed., Oct. 12 & 13 at 8 p.m. at the ArtLoft Theatre, 1529 Washington. The production will be directed by the author, Eric Dienstfrey. She’s Hideous! tells the absurdist story of a reclusive, expressionist painter and his chance encounter with the world’s ugliest woman in 1920s Vienna. Tickets $5 at the box office. The New Jewish Theatre will open its 2004–2005 season with Lanford Wilson’s Talley’s Folly. The show will run Oct. 14–31 at the Sarah and Abraham Studio Theatre in the Jewish Community Center at 2 Millstone Campus Drive. Tickets $18–20. 314-442-3283, www.jccstl.com. The Repertory Theatre of St. Louis will open William Shakespeare’s Twelfth Night on the Virginia Jackson Browning Mainstage; the show runs Oct. 13–Nov. 12. Twelfth Night, Shakespeare’s most enchanting comedy filled with intoxicating poetry, is a masterpiece of mistaken identity, blither romance, and rowdy humor. 314-968-4925, www.repstl.com The Repertory Theatre of St. Louis will also present Jeffrey Hatcher’s A Picasso in Oct. in the Emerson Studio Theatre. In 1941, Pablo Picasso is summoned to the catacombs beneath Paris by a beautiful Gestapo agent who makes mysterious demands that he authenticate his work. When she presents him with a devil’s bargain, the controversial artist finds himself locked in a duel of wits to save his work and life. The show runs Oct. 27–Nov. 14. The Repertory Theatre of St. Louis continues The Crucible by Arthur Miller at the Loretto-Hilton Center
for the Performing Arts at Webster University through Oct. 8. The show is directed by Steven Woolf. The Clayton Community Theatre is presenting the Tony award–winning play The Real Thing Oct. 1–17 at The Little Theatre at Clayton High School, 1 Mark Twain Circle. Tom Stoppard’s Broadway hit about love and infidelity will be presented on Fri. & Sat. at 8 p.m.; Sun. at 2 p.m. Directed by Milt Zoth, the show is one of Stoppard’s most compelling works. Tickets are $12 evenings, $10 matinees. Tickets through MetroTix at www.metrotix.com, or by calling 314-534-1111. 314-854-6646. ACT, Inc. closes Diana of Dobson’s by Cicely Hamilton Oct. 1–3 at Fontbonne University. Directed by Steve Callahan, this is the story of a young woman struggling to make ends meet when she finds that she has inherited a large sum of money. When love unexpectedly finds her while vacationing in the Alps, questions about money and real worth come into play. Fri. & Sat. 8 p.m., Sun. 2 p.m. Tickets are $15 adults, $12 students/seniors. To order tickets by phone, contact either 314-725-9108 or MetroTix at 314-534-1111. www.act-inc-stlouis.org Hydeware Theatre will be presenting the chilling tale The Woman in Black, adapted by Steven Mallatratt from the book by Susan Hill, Oct. 15–17, 21–24, and 28–31, with a preview Oct. 14. This show will be presented at The Soulard Theatre at 1921 South 9th St., 8 p.m., tickets $10. Thursday performances are buy-one, get-one free. www.hydewaretheatre.com The NonProphet Theatre Company continues its run of the signature sketch-comedy show The Militant Propaganda Bingo Machine every Thursday night at 9 p.m. at the Hi-Pointe Café, 1001 McCausland. The show consists of 24 original sketches performed in a random order, chosen by the audience. Tickets $5–8, 21+. www.nonprophets.com City Improv Comedy Club in Union Station offers live improvisational comedy throughout the week. Tues. – Phat Tuesday, hosted by BET’s Darius Bradford, with national and local comedians at 8:30 p.m. Thur. – Laffupalunga with performances by various improv and sketch-comedy groups at 8 p.m. Fri. & Sat. – Comedy Feud at 7:30 and 10 p.m. (early show all ages). Tickets $10/$8 groups, two-drink minimum. Mikey Manker presents his one-man sketch comedy show Definitely Mikey Oct. 9 at City Improv, 11:45 p.m. Manker, ex–Left at the Light, brings his blend of improvisational comedy and sketch writing to center stage. www.cityimprov.com
New Line Theatre has announced audition dates for its production of The Robber Bridegroom to be produced in March 2005. Director Scott Miller is looking for a multi-racial cast of actors who are also strong singers. Audition dates will be in October, on two successive Monday evenings. The first audition will be Monday, Oct. 11, and the second on Oct. 18, both at 7 p.m. at the ArtLoft Theatre. Performers only need to come to one of the dates. Cast members are guaranteed a 10% cut of the box office. No appointments necessary. For more information, visit www.newlinetheatre.com/robberpage.html.
THEATER NEWS The Center of Contemporary Arts will be holding a series of workshops for actors that will include Movement, Voice & Speech, and Working as an Actor. Workshops will be held at COCA in the Loop. Oct. 2 – Movement for the Actor; Nov. 6 – Voice and Speech for the Actor; Dec. 4 – Working as an Actor in St. Louis; all workshops are 1–3 p.m. Admission is $40. Workshops offered separately or as a series. For information and registration, call 314-725-6555. St. Louis Shakespeare will be hosting a 20th Anniversary Auction Oct. 23 with a buffet dinner at the Regional Arts Commission, 6128 Delmar in University City. Jim Connett of KFUO-FM will be the celebrity emcee for the evening, and Blue Daddy will provide musical entertainment. Items to be auctioned will include a St. Louis Rams football autographed by Kyle Turley; a copy of The Crucible autographed by Arthur Miller; a week in Marina Vallarta, Mexico; and a walk-on role in an upcoming Magic Smoking Monkey production. Admission is $75 per person, and includes dinner, drinks, and valet parking. All proceeds go to support St. Louis Shakespeare. For more information or to make a reservation, call 314361-5664, or email infor@stlshakespeare.org. HotCity Theatre will start its 2004–2005 season with The Exonerated by Jessica Blank & Eric Jensen Nov. 12–Dec. 4; I Love You, You’re Perfect, Now Change, with book and lyrics by Joe DiPeitro and music by Jimmy Roberts is presented Nov. 17–Dec. 12; Adult Entertainment by Elaine May will debuts in Apr.; Filumena by Eduardo de Filippo will take the stage in July; Valhalla by Paul Rudnick in Sept.; TBA in Nov.–Dec. 2005; and To Whom it May Concern by Carol Hall in Nov.–Dec. 2005 at the Chapel at St. John’s. An original play by local actor and HotCity co-founder Margeau Steinau in collaboration with B. Weller and Rachel Jackson will also be produced, with dates and locations TBA.
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P O A
h f o D in a s in M a 1
YOU ARE HERE
TAKASHI HORISAKI Takashi Horisaki
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Birth Rite (live performance) Elliot Smith Gallery, September 3 Like your average American, I normally avoid performance art. Unfortunate encounters with it have brought forth negative descriptors such as “pretentious,” “self absorbed,” and “contrived.” It brings out the Homer Simpson in most people—they feel as if some young hotshot with an overextended education is just taking the mickey out of them, putting on some vaguely Dadaist show that ultimately does nothing more than highlight the intellectual inferiority of they, the audience. Our friend David Sedaris describes with great sensitivity the burdens of being just such an artist in “Twelve Moments in the Life of the Artist.” So the idea of going to see a performance piece after putting in a long day of work was not met with great enthusiasm. Upon arrival, it was clear that the conditions in the Elliot Smith Gallery were not the most conducive to making the audience comfortable. But then again, this was performance art. The gallery was overcrowded and the air conditioning was turned off, so that intimately close strangers learned all too well their neighbors’ dining, smoking, and bathing habits. Hanging in the already stifled air was the heavy chemical odor of latex paint. All these factors asked much of the audience, yet the performance turned out to be a visual treat. During the performance, artist Takashi Horisaki created a latex mold of his skin, which served as both a physical document of the performance and as a contemplative piece of art in its own standing. In the first part of the performance, a configuration of copper tubes dripped latex paint onto t h e
PHOTO:
TIFFANY
SUTTON
prone body of the artist, effectively creating a second skin. The latex needed time to set before it could be peeled away, and the process of preparing it for removal was as ritualistic as any embalming or birthing ceremony throughout history. Horisaki’s familiarity with traditional craft was evident as he repeatedly dusted each sticky area with a spongebath of powder. There was patience in each movement as he lacquered the body with layers of talcum and latex, each action another step through a slow ballet, his face a Buddha’s mask of serenity, focused not on the outcome, but only on the process. His history, schooling, and influences became The Way in which he proceeded through the ritual. Peel an orange, and the shiny rind tears away from the body, revealing white pithy veins and seeds, as sugar-sweet juice runs down the fingers like blood. Naked, without its glossy skin, the fruit is raw, vulnerable. This is its essence—flavor, fragrance, nourishment, sustenance. Stripped of its armor, it is almost alarming to look at—like an exposed brain bulging at its membranes. It is beautiful; it is itself. This, or any other number of evocative metaphors, came to mind while Horisaki painstakingly removed his artificial skin. To de-skin a body without ripping the sheath to shreds requires a delicate touch, so the slowing of time allowed for the mind to make all sorts of associations while the disclosure continued. Discarding skin creates the opportunity to objectively examine a body’s own history, while its removal leaves the body rejuvenated, at the point of emergence. The skin itself, once removed, is a document of the past. It impels one to see the influences that society and environment lay upon the body—the accumulated layers of human interaction. Very few artists could pull off a performance like this. Done by almost anyone else, the maneuvers would be ungainly, the movements lethargic rather than languid, the pace lugubrious rather than liquid. Horisaki’s body is perfectly conformed for this piece. There was something preternaturally foreign about the length and leanness of the limbs, as if he were the man who fell to Earth. As he glaciered his way out of his skin, our own transience and possibilities for renewal emerged from the synthetic casing. Even without the performance, the latex skins are meditative works on the overlap between humans, consciousness, and their technology. But after having seen Birth Rite, the terms for inspection have become legion. —Rudy Zapf
OCTOBER 2004
EVENTS AND CLASSES AT THE CRAFT ALLIANCE
CRAFT OF ISRAEL Through October 24 TRUNK SHOWS AT CRAFT ALLIANCE
“Bracelet” by Lia Kirel. Silver, Banknote
Jewelry by Uncommon Threads, Inc. artist Randi Chervitz Saturday, October 22, 6 - 9 p.m.
WORKSHOPS Wearable Arts Studio October 27, 6-9pm
Visit the Craft Alliance on the Web:
Don’t miss our Saturday Spooktacular classes on October 30!
www.craftalliance.org
Opening of Wearable Arts Studio with Skif International showcasing a line of Sweater Knit designs custom made for Craft Alliance
HAPPY HOUR Every Day from 2-7pm Open till 3 am every night 10/15
Number One Son 10/13: Merauder, Agents of Man, Pound for Pound, Step on It 10/15: Tony Danza Tap Dance Extravaganza, Rusted Skin, Small Town Tragedy, One/Cycle/Occur, With Childlike 10/23 Eyes, Boy Turned Robot 10/16: Jucifer, TBA 10/17: The Independents, Fifth Row Felons 10/18: Goatwhore, Cattle Decapitation, Ornament of Disgrace, Profayne 10/19: Beerzone, Bad Ending, River City Rebels, Seven Shot Screamers, The Horrowshow Malchicks, Bad Ending 10/20: Q and Not U, El Guapo, Dancing Feet March To War 10/22: The Brian Jonestown Massacre, Syblline, Tone Rodent 10/23: The Beautiful Mistake, Park, Tokyo Rose, My New Life (6pm), UK Subs, Ultraman, Warthog (9pm) 10/24: The Murdocks, Genre 10/28: Starlight Mints and Pleasant Grove
412 N. TUCKER - ST. LOUIS, MO 63101 314-851-0919 - www.creepycrawl.com
ON THE COVER JOHN WATERS
Internet Movie Database’s daily poll asked what was the best John Waters movie. I was excited at the free fodder I could use for the interview. My guess for most popular Waters film was his 1988 release Hairspray, which is arguably his biggest critical success to date, as well as one of his higher grossing movies, and, of course, was recently turned into a successful Broadway play. I guessed wrong; receiving 46.5 percent of the total votes was the answer, “I’m not a big John Waters fan, sorry.” “You didn’t tell me that was an option,” Waters chuckled when I informed him of the results—he guessed his breakthrough film, 1972’s Pink Flamingos, would’ve taken top honors. The results of this poll, although discouraging to someone like me, are wholly unsurprising considering that Waters’ films have a tendency to be a little extreme. Something about having your characters raped by giant lobsters (as happens to Divine in 1970’s Multiple Maniacs) or the reversing of sex change operations with a pair of scissors (as Susan Lowe does in 1977’s Desperate Living) tends to alienate much of a film’s potential audience. Non-fans notwithstanding, the highestranking film in IMDB’s poll was 1990’s PG-13 Johnny Depp vehicle Cry-Baby—not surprising, seeing as how it’s trendy to be in love with Johnny nowadays. “More people have probably seen that than any of my movies because of television…[IMDB] doesn’t sound like it’s a cutting-edge independent film thing.” Although I don’t hate his family fare (Cry-Baby and Hairspray), I became a huge fan and remain
one today because of Waters’ run of revolting movies from the ’70s, such as the aforementioned Multiple Maniacs and Desperate Living, 1974’s Female Trouble, and one of my favorite films of all time, Pink Flamingos. For those of you preferring Waters’ ’70s movies to his ’80s or ’90s films, there is good Shame, Waters’ first film in has been billed as
Second, Waters himself is
(home of the Webster Film Series) October 29 to speak to anyone who can stomach a screening of Pink Flamingos. Female Trouble and 1981’s Polyester run the following two nights, but Waters won’t available for them. The apparent lack of Waters’ fans is too bad, because now is a good time to be one. A Dirty Shame centers on Tracy Ullman’s Sylvia Stickles, a sexually repressed Baltimorean who is involved in a traffic accident, gets concussed, and finds that her new head injury leaves her prone to sexual urges, especially those brought on by her savior from the accident, Johnny Knoxville’s tow truck–driving Ray-Ray Perkins. There are other feats of sexual deviancy going on in the background, from Sylvia’s husband Vaughn (Chris Isaak) who wishes Sylvia weren’t so sexually repressed, to her go-go dancing, pendulously breasted daughter, Ursula Udders (Selma Blair). The casting of Knoxville as Ray-Ray is particularly exciting, as it finds the first crossover from Waters’ old-fashioned gross-out of the ’70s to its resurrection in programs like Jackass.
“In a weird Hollywood way, we courted each other,” Waters explains regarding Knoxville’s casting. “Johnny got a lot of other big movies around this time…but he stayed with us, and made sure that he made our movie. He made sure that we did get to make this movie.” It’s nice to see that Knoxville acknowledges, wants to work with, and ultimately stands by his forefathers in the disgusting. Oddly enough, there is a lot of respect for the elders of the genre in gross-out films, especially Waters. For example, his childhood friend Mary Vivian Pierce has a role in A Dirty Shame, as she does in every single other Waters film, including his little-seen short films from the ’60s (which were just released upon unsuspecting audiences for the first time in almost 40 years at Waters’ recent art exhibit, “Change of Life,” at the New Museum in New York City). If you like trying to spot Pierce Waldo–style, she can be found at the sexaholics meeting—she’s the one who turns around at one point and says, “We don’t judge others here, Madam.” Also included in A Dirty Shame among Waters’ longtime favorites are Mink Stole as Marge the Neuter, Patty Hearst (yes, that one; she’s been on Waters’ team since Cry-Baby), and Channing Wilroy, who is best known as the “rather fertile” servant to the Marbles in Pink Flamingos. After seeing A Dirty Shame, it’s fun to go back and watch Stole, Pierce, and Wilroy when they had their best Waters roles. Between these three, Mink gets the best role of the films showing in the Webster Film Series’ mini retrospective as the outright iconic antagonist Connie Marble, with her flame red hair (“dyed” each morning of filming using magic markers) and horn-rimmed glasses, spouting such quotables as, “I guess there’s just two kinds of people…my kind of people, and assholes. It’s rather obvious which category you fall into,” and, “I love you even more than my own filthiness, more than my hair color.” Aside from the fact that you will be seeing three great films, there are many more reasons to attend the Webster Film Series’ mini retro-
spective. Let’s say you’ve seen Pink Flamingos a gazillion times already. Unless you saw it during its original midnight run in the ’70s or at the Tivoli for its 25th anniversary, it is probably a safe bet you have never seen it in a theater, let alone a theater with a sold-out crowd, as Webster is sure to be. Audience reaction is about the only thing capable of making a great film like this even greater—just imagine the shrieks of disgust from the uninitiated. And if you are one of the uninitiated, don’t be scared: remember, this film became as popular as it is today largely because of the communal experience of watching it for the first time with a bunch of high midnight moviegoers. This is about as close as you can come to the original experience. Female Trouble is a worthy follow up to Pink Flamingos. Polyester, showing Halloween night, began Waters’ digression from the disgusting films that made his career. Even so, it will be great fun to see in the theater because Waters released it with a gimmick as an homage to one of his favorite filmmakers, William Castle—those attending the screening will be given an Odorama card, that consists of ten numbered scratch-and-sniffs, which are to be scratched and sniffed when the film stipulates. Now come on, you won’t get that from renting the video. Ultimately, the real reason to go, though, is to see Waters himself speak. Anyone who has read his books Shock Value or Crackpot (the latter of which was recently re-released with additional material) knows that Waters is overfull of the best anecdotes ever told, and anyone who was at November 2002’s Human Rights Campaign fundraiser at Windows on Washington (or anyone who has seen the Independent Spirit Awards recently, a regular hosting gig for Waters) knows what a great speaker he is. St. Louisans are lucky Waters has made it to town twice in two years. Since Waters is arguably the best-known champion of Baltimore, I thought he might have a weak spot for St. Louis because he likes trashy cities. “Didn’t William Burroughs come from there?” was Waters’ first reply when I asked him if his St. Louis fan base was particularly large. “And didn’t Tennessee Williams hate it there?…I have all of these different, weird memories about writers I like having weird or great experiences there, so that’s good enough for me.”
A Dirty Shame: Just your average John Waters cast
LOOK BACK IN POLYESTER If I were forced to choose three John Waters films to show to accompany his newest release, A Dirty Shame, and to commemorate his appearance in town, I’d be pretty hard-pressed. Pink Flamingos would make it for sure, but the other two are wild cards. Do you go with Flamingos’ predecessor Multiple Maniacs, with its “rosary job” performed on 300-pound transvestite Divine (above) in a church? Or the first Flamingos follow-up, Female Trouble, where the highlight is Divine raping him/herself? If a print were available, 1969’s silent Mondo Trasho would be a good addition, because it is both reasonably hard to come by, and because it was Waters’ first feature-length film. Hairspray or Cry-Baby would probably draw in larger crowds, but that is a moot point, as it seems likely the films will sell out regardless of which are picked (particularly the one accompanied by Waters himself). Anything post–Cry-Baby would be a waste of time, because they are all readily available on video. Mike Steinberg, the new programmer of the Webster Film Series, went with Pink Flamingos, Female Trouble, and Polyester, a decision that is hard to disagree with. Pink Flamingos is as John Waters as you can get: the plot involves Divine and her clan warring with Connie and Raymond Marble for the title of “The Filthiest Person Alive,” which is an ingenious vehicle to get to the disgusting scenes and to actually make them correspond to the plot—more than most gross-out films can accomplish. Female Trouble works off of the common Waters theme of crime-as-beauty, with Divine as a teenage runaway who eventually gets knocked up and falls in with Donald and Donna Dasher, who tutor Divine in the ways of crime and beauty. And finally, Polyester is a sort of old-fashioned melodrama, where Divine’s put-upon housewife, Francine Fishpaw, gets humiliated by her amok-running children and cheating husband, until Tab Hunter’s Todd Tomorrow shows up and solves her problems. Of the three, Pink Flamingos is an absolute classic and milestone of American independent cinema, and is therefore unmissable. Polyester’ll be fun because of the Odorama gimmick, and the movie is funny without it—when else will you get a chance to smell flatulence simultaneously with several hundred other moviegoers? Well, more often than you’d like, probably, but at least this time it will be voluntary and integral to the plot of the film. And as for Female Trouble, if the above mention of the Divine rape scene didn’t sell you, you should still come for the classic John Waters dialogue, such as Divine shouting, “I’m so fucking beautiful I can’t even stand it myself!” or for Mink Stole’s Taffy Davenport, Divine’s Hare Krishna daughter who resulted from the rape. And if all of this doesn’t sound like your thing, I don’t want to hear about it; it will be your loss. —Pete Timmermann
PLAYBACK
ST. LOUIS
NOW PLAYING CINEMA
I AM DAVID (Lions Gate, PG)
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I Am David is the kind of film that excites me about movies. The film combines solid storytelling and strong characters with a mature, innovative cinematic style to create a spectacular work of art. David is a 12-year-old boy who has lived the bulk of his life in a Bulgarian prison camp. The film chronicles his escape and flight across Europe. I Am David is a beautiful film depicting not only a boy’s exciting physical journey, but also his discovery of the world and himself. David may be a neophyte to society, but he is far from naive. He has never bought food, stroked a cat, or smiled, and the filmmaker allows the audience to experience all these simple pleasures along with the boy. All the while, the authorities and the lingering nightmares of his time in the camp chase David. The travel keeps the action moving while David takes a quieter journey inward to discover himself and to learn to trust. The film offers a stark contrast of the vicious camp and the freedom of the road. The lighting and set design complement the mood of every situation perfectly. Cinematographer Romin Osin is not afraid of shadows. The dark is used both symbolically and aesthetically. The world of port-war Europe is created wonderfully. The script starts with David’s escape, and the camp is mostly seen through flashes of David’s memories. The plot, pacing, and structure of the story are pitch perfect, but where director Paul Feig triumphs is in creating moments. Moments of tension, horror, and love are all played with exquisite subtly. These moments are the touchstones of David’s life. Feig understands the importance of those moments and creates them amazingly, while never overplaying them. David’s journey is simultaneously sad and life-affirming, and the subject matter could easily become trite, but Feig avoids all the pitfalls to produce a truly moving piece. Feig is helped by his cast. Ben Tibber imbues
David with sadness, distrust, and wonderment. His stoicism plays perfectly, and his transformation as David journeys is slow and artful. When the impassive boy finally lets his guard down, there is both relief and apprehension. The woman who pulls David from his personal prison is Joan Plowright, as Sophie. Sophie sees the torment in David, reading his inaction and quiet perfectly. David needs someone, and as he finds himself he learns to trust his instincts and, in turn, Sophie. Jim Caviezel and Hristo Shopov, Jesus and Pilate, respectively, in Mel Gibson’s The Passion of the Christ, turn small roles into memorable ones. They inhabit the prison David escapes, and they are remembered vividly. Tibber, Shopov, and Caviezel share a moment where narratives are silently told in seconds. It is the kind of moment actors, directors, and film lovers dream of. —Bobby Kirk NICOTINA (Arenas Entertainment, R) Connecting the lives of a diverse collection of movie characters has become a common tactic in recent years, and this pattern occurs especially often in crime thrillers. Screenwriters revolve everything around a botched business deal and attempt to generate humor and surprises from this formula. The best versions (Snatch, Jackie Brown) construct the situations uniquely and draw us into the story with original individuals. Unfortunately, the majority provide derivative moments that generate more tedium than wonder. Nicotina falls closer to that category, as it includes a few enjoyable scenes, but mostly depicts an all-too-familiar atmosphere. Lolo (Diego Luna, Y Tú Mama Tambien) takes the term “stalker” and raises it to an entirely new level. His obsession focuses on his neighbor, Andrea (Marta Beláustegui), an attractive musician with many gentleman suitors. Utilizing technical skills acquired as a computer hacker, Lolo observes her apartment
through an array of surveillance devices. He’s also involved in a small-time criminal transaction with Tomson (Jesus Ochoa) and his much-younger associate Nene (Lucas Crespi). This duo spends their time prior to the meeting arguing about the merits of smoking, a common theme throughout the picture. When the simple business deal goes predictably wrong, they scramble to locate the elusive stash of diamonds. Director Hugo Rodriguez (In the Middle of Nowhere) expends considerable energy on the stylistic aspects of the story, but he forgets to develop any of the characters sufficiently. The events shift among a significant number of people, but none of them generate more than a passing interest. Goyo (Rafael Inclán) is a hard-working barber who faces constant nagging from his wife regarding their meek financial status. When they encounter a difficult situation involving a dead body and possibly locating expensive diamonds, their dilemma is intriguing, but the overall result is far from satisfying. Rodriguez and writer Martin Salinas obviously are trying to focus on humor over substance, but the jokes seem tired and rarely generate much enjoyment. Another duo is pharmacist Clara (Carmen Madrid) and her difficult husband Beto (Daniel Giménez Cacho), who also bicker almost incessantly. After quitting smoking cold turkey, he’s irritated by the smallest things, including his wife. Their scenes are mildly interesting, but they never progress beyond the most obvious. Nicotina does provide at least passing entertainment during its brief 93-minute running time, but it feels especially hollow once you reach the final destination. Luna has appeared in several high-profile movies lately, and he brings humanity to a possibly creepy figure. The comely Belaustegui also helps make his obsession more believable. The entire cast does its best to sell the material, but they can only accomplish so much with Salinas’ commonplace screenplay.
OCTOBER 2004
This picture was Mexico’s highest-grossing film of 2003, and it should please audiences looking for simple entertainment. However, it lacks the depth or inventive sequences necessary to inspire repeated viewings. —Dan Heaton LADDER 49 (Touchstone Pictures, PG-13) Joaquin Phoenix and John Travolta star in what is billed as a comedic action film about Baltimore firefighters. Ladder 49 is actually a heart-rendering drama about family, friendship, and responsibility. The film follows the career of Phoenix’s Jack Morrison from rookie to hero. Along the way he experiences love, birth, and loss while balancing his family’s needs with his calling to save lives. Based on a true story, and executive produced by Travolta, Ladder 49 is so much more than an action comedy, and more than the story of a fireman’s career. It is a touching portrayal of the lives of the men who stand ready to risk their lives to save others on a daily basis. The film opens with Morrison becoming trapped in a violent inferno after a climactic rescue. Morrison reflects on his career as his comrades attempt to track him down in the chaos. The flashback structure allows the film to not
Dr. Feel Good, Gordo
10/2 GRAND OPENING Dr. Feel Good, Angryland, Gordo
10/7 Musical Illusions 10/8 Malcom Blitz 10/9 Randy’s Birthday Bash 10/14 Hazzmatt 10/15 Zach Perry Band 10/16 RIP 10/21 TBA 10/22 Strutter
only start with a bang, but to also visit Morrison’s life in discreet segments, focusing on the most touching and important moments. The sophisticated structure also creates a continuing tension throughout the film as Morrison’s predicament becomes more and more desperate. Flashing between the current fire and the past allows Director Jay W. Russell to use the spectacular visuals of a major blaze throughout the film without the contrivance of shuffling the characters from one major fire to another. In fact, as the film shows, the least spectacular situations can be the most deadly, creating dramatic situations that the film thrives on. By returning to a single breathtaking fire Russell brilliantly breaks up the slow pace and straight drama of the flashbacks with action and wonderful shots of silhouetted firefighters battling to save their fallen colleague. The cinematography is a major strength of the film, but Russell wisely does not let the visual tapestry carry the movie. He uses the flaming backdrops to highlight the exquisitely drawn characters and rich performances. Phoenix is quietly becoming one of the
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best actors of the new millennium. He chooses roles with real depth and fully inhabits his characters, knowing when to play the drama quiet and when to throw his considerable charisma behind a moment. Usually overshadowed by his high profile costars, this appears to be Phoenix’s year to shine with star turns in both Ladder 49 and The Village. Travolta, who can either play a perfectly affected interesting character with shades and subtleties or an over-the-top blowhard—but nothing in between—selects the former. He is excellent as Captain Mike Kennedy, Morrison’s mentor. Robert Patrick, Morris Chesnut, and Billy Burke provide quality turns as the men of Ladder 49 and Morrison’s life. Much of the credit has to go to Russell because the entire cast chooses their notes perfectly throughout. While the advertising campaign is a bit misleading—the raucous ads are not representative of the actual film—it will hopefully mislead people into the theaters to see this quiet gem. —Bobby Kirk
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PLAYBACK ST LOUIS
PBSTL PROFILE
COREY FELDMAN/ COREY HAIM
WHAT’S THE STORY, COREY & COREY? CATCHING UP WITH LOST BOYS COREY FELDMAN AND COREY HAIM By Rob Levy
S
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ince its release in 1987, The Lost Boys has remained popular. The film not only helped make Kiefer Sutherland and Jason Patric box office stars, but also featured the most successful onscreen pairing of two of the decade’s most recognizable teen actors, Corey Haim and Corey Feldman. Haim, a Canadian born actor who scored huge box office success in the ’80s with The Lost Boys and Lucas, has been away for a while but is poised to make a comeback. In fact, The Thrills recently penned “Whatever Happened to Corey Haim?” in his honor. Feldman is a wildman. He was arguably the most prolific child actor of the ’80s, starring in Dweebs, Goonies, Stand By Me, and The Lost Boys. Although he used to run with Michael Jackson and recorded a hip-hop record, he loves his rock ’n’ roll. Although he stills acts a great deal, this son of a songwriter primarily focuses his attention on his music. Playback St. Louis was fortunate enough to catch up with Haim and Feldman in San Diego as they took a break from promoting the new Lost Boys DVD at Comic Con. These two stalwarts of ’80s teen culture were laid back, relaxed, and in stride as they discussed their film careers and their lives away from the spotlight.
What have you been working on lately? Corey Haim: Nothing. I’ve been out in Toronto for five or six years now. I had to go home; there were some health issues. How did you get involved in The Lost Boys reissue? CH: Everyone flew in from Lost Boys [to work on the DVD]. This is like literally 16 years later and I got to do my first special-edition DVD. I had a great time. Do you like the DVD process? CH: It’s a whole process that’s like making the movie after the movie. I have a double standard. I think it makes it more complicated, but I think it’s absolutely well worth it. Do you have any other DVD projects in the works? CH: Not at the moment. License to Drive we’re hoping next year will be kicking.
Corey [Feldman], do you want to tell us what you’ve been up to lately? Corey Feldman: I knocked up a woman; I’m pretty proud of that. [Laughs] Got a kid on the way, a chip off the old block. She’ll be spitting him out in about a month. CH: I’m the godfather!
CF: I heard about this great opportunity to do this Lost Boys thing and I was like, “They remember me!” No, I am doing a new Disney TV series, Super Robot Monkey Team Hyper Force Go—that really is the title. It’s gonna be the biggest friggin’ cartoon in the history of cartoons. It’s like Mighty Morphin’ Power Rangers, Transformers, Ninja Turtles, all those things thrown together into one big teriyaki soufflé. The cartoon will premiere on ABC Family and Toon Disney and the Playboy Channel, all simultaneously. I’m working on my fourth album, really good stuff; I’m working with The Wizards, who are brilliant producers. That’s my solo stuff. My band, The Truth Movement, is starting to write the next record. I just finished a movie in Barcelona. I was there for three months working on this movie called The Birthday. CH: We tried to get him into the Olympics but he just didn’t have it. CF: I’m training for the shot put. [Laughs] The Birthday is an epic film. Actually, it is one of my favorite films that I’ve done in my career. It’s a movie that’s all in real time. They shoot the lead character, which is me, in every single shot of the film. So, basically you go with this character on this journey for like an hour and a
half and it’s insane. It’s a black romantic-comedy-slash-psychological-thriller. It’s like if David Lynch and Steven Spielberg had a baby; that’s who this director would be. When did you guys meet and become friends? CF: We met 17 years ago and we’re still not friends, but we’re working on it. We just happen to run into each other all the time. Sometimes he just happens to be sleeping at my house. CH: It’s all about credit. I’ve got plenty; he’s got none. Was it hard being famous in the ’80s as opposed to being famous now? CF: I prefer to be famous now. If I could have not been famous in the ’80s, I’d be happy. You alluded to getting License to Drive out on DVD. Is that something you’re really working hard for? CH: We’re hoping to. We still have all the connections. CF: I’ve been panhandling out on 20th. [Laughs] CH: Once we both panhandled out on 20th. Honestly, it’s a great movie. It was Heather Graham’s first movie. [Corey and I] had great chemistry together; we always have. That’s why we’ve done seven movies together. Why does Lost Boys remain popular? CF: I think Lost Boys is one of those timeless movies that will live on forever because it’s a great movie. It’s funny, it’s scary, and it’s got all the elements that make a good movie. CH: I think it’ll go on. We’ll have a 30thyear, maybe 40th-year, edition. CF: What’s not to like? It’s got Corey Ian Haim starring in it. [Claps] Despite their reputation for sleeping all day and partying all night, Corey Feldman and Corey Haim remain very close friends. It makes sense; they have each gone through the wars of fame and emerged intact. Despite all the rough ways and rowdy pasts, the duo is older and wiser now, focused on their lives and careers. Fortunately, their reckless youth lives in infamy through the endearing re-release of The Lost Boys.
OCTOBER 2004
FESTIVAL
BUMBERSHOOT
MUSIC, ART, & MORE MUSIC BUMBERSHOOT 2004 By Tony Van Zeyl and Martin Rues girl shouts at the top of her lungs, offering free haircuts. A guy sits behind a cardboard box that reads, “Listen to me talk about myself for $1.” A person in a wheelchair uses a computer to sing robot-like songs, all while rhythmic world music is performed on the stage behind us. Around the corner is live comedy, a short-film festival, and break-dancing/MC battles. Diversity is everywhere. Old festival stand-bys like a Ferris wheel, elephant ears, and bratwurst coexist alongside booths selling hand drums, henna tattoos, and hammocks; all in the heart of one of modern music’s greatest cities, Seattle. This is Bumbershoot (a fancy word for umbrella—it rains a lot in Seattle, get it?). Sponsored by local nonprofit One Reel, Bumbershoot has been the northwest’s biggest annual music and arts festival since 1977. Every Labor Day weekend for four straight days from noon to midnight, art is celebrated in all its forms: music, movies, dance, posters, photos, poetry, comedians, and literary lectures—over 2,500 artists in all. To summarize this experience completely, one would need to create a book or documentary. Despite its eclectic nature, music (over half of which is local) typically brings people to Bumbershoot. But this festival is about much more. It’s about people-watching, layering your clothing to adapt to 15-degree tempera-
A
FRANK BLACK of THE PIXIES
PHOTOS: LORIE BETTELYOUN
Death Cab for Cutie played their somture shifts, feeling over-stimulated, and being ber, yet inexplicably energetic and bouncy patient with huge lines. Many performances run concurrently, so the sounds for their fellow Northwesterners. The crowd is in constant motion. In a quiet audito- Presidents of the United States of America rium, you’ll hear occasional rustling as people stimulated head-bobbing and laughter with rush off to another show—or rush in to check surreal lyrics delivered with deadpan earnestness and catchy melodies against a out that one. Seeing everything is backdrop of rock. Seal made Tony physically impossible, so planning forget how much he hated “Kiss From pays off. However, on crowded days Martin’s Top 5 a Rose” by playing a memorable, mini(e.g., Monday with the Pixies) the Bumbershoot malist acoustic version of the overprolines can be so long for the indoor 2004 Music duced, overexposed hit. Liz Phair, the venues that your planning can be Highlights: for naught, so it pays to be flexible. 1. The Black Keys only woman playing on the main stage this year, closed out her tour as a pop No worries—there are plenty of 2. The Clumsy star to a supportive afternoon crowd. performances to be discovered on Lovers The Marley Brothers and Toots and the outdoor stages. You have the 3. The Killers 74 acres of Seattle Center, Seattle’s 4. Plastina Mosh the Maytals brought out the dreadlocked Rasta crowd for a refreshing city fairgrounds, to find something 5. Soullive reggae sunsplash. The flamboyant interesting to see. Flava Flav whooped it up with Public This year we attended about Enemy as Chuck D wielded powerful 45 shows on 12 different stages. However, three stages caught most of our messages (such as “Fuck George Bush!”) filled with anger, passion, love, and rhythm. attention. On Monday, the main stage wristbands ran Main Stage out a couple hours into the day; a rare occurThe main stage is set up in a soccer stadium. Corporate sponsors and local radio stations rence. All the hipsters in Seattle came to see foot the bill for bringing in the bands. Each day the newly reunited Pixies on Monday. The you must obtain one of a limited number of alterna-crowd yelled their punky melodies back free wristbands to see the “headliner.” The vibe to the stage while smiling, moshing, surfing, changes with each show, but there is always and bouncing in the right places. We weren’t dancing on the Astroturf. SEAL
continued on next page LIZ PHAIR
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PLAYBACK ST. LOUIS Bumbershoot
from previous page
EMP—a surrealistically shaped music museum and home to Sky Church. Small horizontally and huge vertically, watching a performance in the Sky Church is like being in the front row The Bumbrella Stage We kept returning to this stage because of of a stadium show. On the ceiling, disco balls its groovy ethnic jam-ergy. Never mind that surrounded by gossamer material create the food vendors surrounded it on two sides or illusion of jellyfish gesticulating to the music. that it had our favorite beer garden with a clear Behind the band is the screen that U2 used for its Pop Mart tour (remember, view of the stage—this stage made it is a museum) flashing images, Tony’s Top 5 your booty shake. It hosted Latin words, and colors in time with the Bumbershoot American, reggae, island, and African rhythms. 2004 Music beats: Tangletown, Michael Shreive’s This year, the EMP was home Highlights: (Santana’s original drummer) local to West Coast new wave and punk 1. The Pixies endeavor; the Dub Champions, bands like Mon Frere, The Briefs, 2. Presidents of who praised Jah with reverb-y reggae; Quasi Nada, with their world the United States The Catch, Kuma, Hint Hint, Halou, and The Turn-Ons. Each of America music dance party; and Barkra Bata, band was new to us and worth 3. Kuma who had men performing as pregnant paying to see again. Our hearts beat 4. Seal woman in a traditional dance. Funky the hardest for Kuma. With an early 5. The Drive-by jam bands like Galactic and Soullive afternoon show, the female fronted Truckers with guest Reggie Watts (lead trio shook the crowd until it danced singer of Seattle new wave soul band with to their difficult-to-categorize Maktub) kept the crowd feelin’ the grooves. With their beats and flow, Plastina electronic-ambient-punk-new wave-pop-jazz Mosh and Control Machete made us forget (whatever that is). we couldn’t understand the words to their Final Snapshots Mexican rap and hip-hop. This stage consisCeltic bluegrass from Canada’s Clumsy tently energized us throughout the day. Lovers got people frantically dancing. The line was around the block to see The Killers with The EMP (Experience their Duran Duran–meets–New Order synthMusic Project) At the base of Seattle’s answer to the rock. The twosome called The Black Keys Gateway Arch, the Space Needle, is the showed everyone that The White Stripes are not the only ones who can rock a drum and guitar. Drive-by Truckers threw their southern rock guitar solos into the night. Bumbershoot is a fantastic, hectic, and difficult-to-summarize experience, but always worth the price of admission. Check it out next Labor Day and see for yourself. huge Pixies fans until we experienced this show…believe the hype. Is this the beginning of classic indie rock?
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Bumbershoot 2004 Non-Music Picks Harvey Pekar—Comic book writer and movie inspiration (American Splendor) spoke with humor on making comics and having a movie made about his life. Breakdancing competition—Some of the craziest and most exciting dancing ever witnessed live. If this is not in the X-Games, it should be. MC Battle—Straight out of 8-Mile—without the dark basement and trailer park. Flatstock—A showcase of artists and concert posters throughout the years.
Play by Play
from page 10
Sharp beats delivered by Rollum Haas on drums and Roger Dabb’s faultless bass lines create the backbone for most all the songs, each capturing the gentle swell in Pelham’s voice and his constant need to define the little things as the most important. And Exhibit A is full of the little things—handclaps, “woo oohs,” and an energy that seeps through your stereo out of the speakers to your veins. This band not only creates intelligent songs but invigorating music. The Features are surrounded by an energy that most bands so obviously strive for. This is the kind of music I’d create if I could—the kind of sound I’ve been searching for all my life. It’s fresh, captivating, and, above all, guarantees a smile or two. —Carey Kirk THE LEGENDS: UP AGAINST THE LEGENDS (Lakeshore) The Legends are already being saddled with the quicktriggered comparisons that any fuzzy, garage-rock band has to deal with. They are almost assuredly already being asked to answer probing—in a strict journalistic sense—questions like, “Do you guys really love Lou Reed or what?” or “Why are you so nonchalant and aloof? Is it because of the excessive amount of hard liquor you drink without regard simply to emulate your obvious hero, Robert Pollard?” It must get tiring for The Strokes to explain over and over again that they don’t really listen to any new bands, even though that’s what is expected of their headphones. This band from Sweden, made up of nine players, bring their music from a place where influence might be sought, but exact duplication or homage is next to impossible. The band picked up its instruments the same way a small child picks up a set of car keys for the first time. They jingle them around—loving the noise—but are incapable of doing anything else with them. Slowly they come to recognize that these keys belong to the car out front but, with limited coordination, can’t fit them into the locks or get any use out of them. There comes a time when those keys start to serve a purpose, when they’re finally figured out and the car can be started. It was a faster evolution for this band of discovered acquaintances that
OCTOBER 2004
formed just over a year ago without ever having played their instruments before. They got together and felt out their guitars, organs, drum kit, and tambourine, not knowing the first thing about them. That they could make a debut record that transcends the prerequisite boundaries held for a rock ’n’ roll song to be a substantive beauty. What The Legends do is retro in concept, but wholeheartedly futuristic by their own terms and limitations. Only one year of musical experience should not be enough to pull songs like “Call It Ours” or “Right On” out of their hides as accidentally as a baboon yanks a burr from the shag on its arm. But that’s as slick of a procurement as The Legends make, melting together a world of distortion and the clear-skied pasture of the breeziest indie pop. Whether it’s beginner’s luck or an example of divine intervention, The Legends are haloed, practically immune to poor taste or the transgressions it leads to. It all seems like make-believe—they probably haven’t even changed guitar strings more than a half dozen times in their life—and you begin to think that these guys and gals aren’t even supposed to be bad. They’re supposed to suck ass. —Sean Moeller MASTODON: LEVIATHAN (Relapse) Jazz, I’m afraid, is not a musical genre for which I have a great affinity. Not that I don’t recognize brilliance when I hear it, but at this stage of my life, I don’t really consider myself a fan of the genre as a whole. Metal, while not having quite as an egregious gap in my musical cadre than jazz, falls more or less in the same group. Oh, I’ve tried to like it, but much like my numerous attempts to start smoking, it just didn’t work out. I listened to Slayer’s God Hates Us All and was thinking that I could be down with it. That was until Kerry King’s first guitar solo. Then there was the time that I believed that I was going to enjoy Today Is the Day at the Hi-Pointe. Didn’t happen. I could talk about my Neurosis experience, but the scars go too deep. Therefore, it is rather strange that I would stumble upon Atlanta’s Mastodon. Even more strange is that Mastodon has two ex-members of TITD steering the ship in drummer Brann Dailor and guitarist Bill Kelliher. Forgoing the experiment and extreme of TITD, Mastodon belts out sounds that have been described as metal mish-mashed prog, stoner, hardcore, and math rock. They even have been tabbed as the second coming of Metallica in several publications. Regardless of whatever the hell Mastodon is, the one thing they are is amazing. What can I say? They just grew on me. It took some time, though. Following their debut EP, Lifesblood, came 2002’s Remission. Suddenly, word of Mastodon swept through the ranks of the metal world. Eventually, whispers were overheard from Fred’s Music Lounge to the Rocket Bar: “Have you heard of Mastodon?” Soon after, they played the Hi-Pointe along with High on Fire. My first impressions were mixed; I didn’t quite know what to think. I picked up Remission and gave it multiple listens. Gradually, my appreciation grew until I flat out loved the record. Now comes Leviathan and does it ever hold up to Remission’s excellence. “Blood and Thunder” opens with a menacing guitar riff, a foreboding indicator that things are going to get loud when the band jumps in on the fun. Leviathan definitely has a different flavor than the first two records, although “mellow” wouldn’t be quite accurate. As a whole, Leviathan has more diversity in the volume that Remission had. Slight differences aside, it really doesn’t matter, as this record is easily Remission’s equal.
Keepers? Try the entire album. It is that solid. Get up and buy this record now. I’m not preaching to the choir or the converts because, trust me, they already have this record. I speak to my brothers and sisters—you can continue to fear the metal, but make no mistake: Mastodons do not come around very often. Give it a chance. Sure, Leviathan may look strange alongside the new Interpol record in your hand when you hit the cash register, but what does that whisper-thin, four-eyed swamp prick know about music anyway? Uh, jazz excluded. —David Lichius VARIOUS ARTISTS: BROWN EYED HANDSOME MAN (Undertow) A double dose of philanthropy, Brown Eyed Handsome Man constitutes both a tribute disc and a benefit disc; more specifically, the Undertow Records CD salutes Chuck Berry, and all proceeds from it will support local radio oasis KDHX (FM 88.1). Such virtue would matter little if any, of course, if the disc didn’t rock—but happily enough, it rocks aplenty, even as it avoids the bane of too many tribute discs, excessive reverence. Musician Kip Loui conceived Brown Eyed Handsome Man, organizing 19 local acts to cover songs from Berry’s seminal catalog, and the CD reflects the degree to which everyone involved viewed this as a labor of love. From Fairchild’s sultry “Almost Grown” to Jay Farrar’s bluesy “Why Should We End This Way” to Magnolia Summer’s woozy “Around and continued on page 32
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PLAYBACK ST. LOUIS
LOCAL SCENERY
EDITED BY J. CHURCH
30
With all the local CDs coming out, it appears Christmas has arrived two months early. Kip Loui and KDHX have put together Brown Eyed Handsome Man: St. Louis Salutes the Father of Rock & Roll, a CD featuring 19 local artists celebrating Chuck Berry. The CD is available at retailers nationwide on October 5. J. Christopher Hughes has been a busy lad. He has just finished mixing Missile Silo Suite’s new EP, Companion Fare, which includes live tracks as well as new studio material. Hughes also has been mixing Lord Baltimore’s fulllength CD with help from LB’s Dave AlanS; the band will be on hiatus as they complete the project. And don’t forget to check out his board skills on the already released Silent Page sophomore effort, Chapter 2. Other recordings being prepped at Sonic Temple Studios (www. sonictemplestlouis.com) include Sophomore (Jason McEntire producing), Wescott, Last Flight Home, 3JC, and Louisville rockers In the Clear (Malcolm Springer producing). There seems to be a lavish amount of “L” bands promoting new material: Lost to Metric will be printing their debut soon; Lojic’s new CD The Manual is almost complete; and Lost Parade’s Beautiful Addiction CD release party is October 1 at Mississippi Nights. (K-SHE 95 debuted Lost Parade’s song “Snakeskin” last month; call the station to request it.) And let’s not forget Lungdust, who may not have their CD out until the start of next year. Ben, who plays guitar and sings for the group, has joked that they are going to be a bit like Boston and only put out recordings on occasion. SevenStar’s everything isn’t everything CD release show is October 9 at Mississippi Nights, as well. The all-ages show starts at 8 p.m.
Stand For Something Steve Bequette has teamed up with matchbox twenty guitarist Kyle Cook in hopes of raising $20,000 for spinal cord injury and stem cell research. The pair kick off a 40-date tour here in St. Louis on Friday, October 29 at the Pageant with a show featuring Earl, Bequette, and Cook’s side project, The New Left, along with a 99Dealers fashion show. Following their STL performance, Bequette and The New Left embark on a two-month tour, culminating in the raffle of a $3 million home in Florida. More info: www.stevebequette.com or www.gatewaytoacure.org.
Drummer Erik Garrett has joined Steve Bequette’s band, which will be in the studio shortly with Jason McEntire, Brian Kunitz, and Kyle Cook. Nothing Still (www.nothingstill.com) is recording a new EP, which will be out by the end of the year. Also in the studio is Brain Regiment, who will be performing on Friday, October 15 at Lemmons and on Halloween night at Three-1-Three. Core Project has not broken up but has parted ways with emcee WIK (who moved to Chicago) and bassist Todd Miller. WIK is replaced by MATHIAS (Jive Turkey, Art Thugs). Core Project will begin tracking new material in October. Book of Lies have decided to close the book. The local rock band has officially broken up. Cricket O’Neill (ex-Photo by Husband, The Impuritans), host of “Etiquette of Violence” on KDHX, can now be heard live at Lemmons every Wednesday night. Sofachrome had a hot performance last month at the Creepy Crawl when the band’s lead singer lit his microphone stand on fire during the set and watched it burn. The band is also working on a new CD. The St. Louis Artists’ Guild has opened four exhibits: Photography: A Moment in Time (traditional and electronic images); Golden Age of Illustration: Bill Vann Collection (institutional and advertising art); Mentors: Inspiration, Influence, Expertise (exhibit of relief prints by contemporary printmakers); and Monsanto’s Children’ s Gallery (artwork by children from Valley Park Elementary School). Happy 25th birthday to The Magic House, which opened to the public in 1979. The anniversary celebration is Saturday, October 16, from 9:30 a.m. to 5:30 p.m., and special guests include Clifford the Big Red Dog, Fred Bird, and Norton the North Star Penguin. Jeff Schneider from Murder City Players is coordinating a St. Louis reggae all-star show. The event is slated for Saturday, November 13 at Blueberry Hill’s Duck Room. Various singers from St. Louis reggae bands will be backed up by The Murder City Band. Confirmed artists include Desirae (Yardsquad), Russ Rankin and Drew Gray (Dubtronic), Ashaka, Christy’O, Ras Roland, and Easton. The National Endowment for the Humanities (NEH) has awarded a grant to Washington University’s Gerald Early, PhD, for the purpose of promoting music education. Phil Valencia (ex-Summerhouse, Benji)
THE HATCH
is back with Banging Bride, a project he cofounded with Jesse Lancaster. Check out the new sound online at www.bangingbride.com; heading into fall, the band is preparing to record new tracks and assembling its lineup. Supercrush has added bassist Dan Martin to support singer Ryan Hoelting and guitarist Ronnie Day; they are still seeking a drummer. Interested parties should send an e-mail to info@supercrush.net. Infierno, home of the best burritos on Washington Avenue, has closed. You can, however, get your groove on at Rock Island, scheduled to open October 1 at 8658 South Broadway. The Hatch has nearly finished recording its debut EP; watch for information at www.thehatchmusic.com. Side of Fives has released a three-song EP, available at their shows. Cleveland’s hottest rocking band, Leo, is moving to St. Louis. They have completed recording their debut LP with J. Christopher Hughes (Malcolm Springer producing) and are shopping it to labels. Look for a buzz coming out of our town in the near future. Preview tracks from Pennington’s upcoming release online at www.purevolume.com/ pennington. The band played a tight, attentiongrabbing set at Cicero’s last month when they opened for Leo and Missile Silo Suite. Columbia, Missouri, is home to the Women in Tune Festival October 7–10. Based on the premise that art can—and does—change the world, WiT will bring more than 100 nationally recognized and local visual and performing artists, musicians, songwriters, filmmakers, authors, poets, and social service agencies to four venues over four days. Proceeds benefit the Missouri Symphony Society and American Cancer Society. For more info, visit www.mosymphony.org or call 573-875-0600. Interested in seeing your name in print? Please send news items to events@playbackstl.com.
PLAYBACK ST. LOUIS Play by Play
from page 29
Around,” the disc forms a primer to the work of some of St. Louis’s top musicians, filtered through the work of the man who defines the city’s rock pinnacle. Included are Bennie Smith and the Urban Express, Bob Reuter and Palookaville, Earl, The Gentlemen Callers, Gumbohead, The Highway Matrons, The Orbits, The Phonocaptors, The Skeletons, The Soulard Blues Band, and Tinhorn. Otherwise, The Rockhouse Ramblers reprise “Tulane” with their customary verve, and The Trip Daddys rip into “Johnny B. Goode” as if they were gigging on the eve of Armageddon. Moreover, Fontella Bass’s vocals on the title track prove she’s lost none of her power and panache and testify why, in music reviews, the phrase the great customarily precedes her name; at the disc’s Pageant release party in late September, seeing Bass backed by The Bottle Rockets (who cover “Come On” here) verged on a sonic epiphany. Finally, Waterloo’s interpretation of “No Particular Place to Go” rolls into the headphones with the majesty of a summer squall, a reconceptualisation of that song strong enough to induce gooseflesh. Buy! This! Disc! —Bryan A. Hollerbach
Elliot Goes
(It Doesn’t Mean Much).” “You could never go where I couldn’t follow,” Nagler tells his love over gently plucked strings and a swelling chorus. The keyboard intro of “A Captive Audience,” tentatively upbeat, is one that will replay in your subconscious long after the disc’s spun. Clocking in at 12:50, “Chimera Obscurant” is the disc’s epic track. Halfway through, the band echoes, “We are all the same,” as Nagler leaps into a rapid-fire delivery of life as he knows it. An echo reinforces his words, making them all the more relevant to the listener. Behind his vocals, the music surges grandly. “Poor Celine” is a fine example of Nagler’s versatile, honeysweet voice. He seems to wrap his mouth lazily around the words as he sings, lending an otherworldliness to his style. And when he launches into a high or extended note, his commitment to the sound is akin to Jeff Buckley’s; you feel lucky to bear witness. (Buckley’s mother, incidentally, is a fan of the band.) “We Were Bound (to Bend the Rules)” is another stunningly gorgeous track. As Nagler lazily delivers his lines, the keyboards billow upward, straining against the beat. Another experimental instrumental track, this one short and untitled, closes the disc. “These may be the very last songs you will ever need to hear,” The Velvet Teen proclaims on Elysium’s press sheet. Self-assured, yes…but they may be right. —Laura Hamlett
by Bosco (with illustration help from Jessica Gluckman)
www.mentalsewage.com
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THE VELVET TEEN: ELYSIUM (Slowdance) The Velvet Teen is a hard-working Bay Area trio who has struggled for years under the guise of indie rock. With their latest effort, the stunning, slow-building tempest that is Elysium, they have created their masterpiece. This album will be atop many critics’ lists come year-end. On Elysium, The Velvet Teen has thrown aside the guitars and added orchestral arrangements and strings, alongside its standard keyboards (vocalist Judah Nagler is downright Ben Folds–able at times), drums (on LP, provided by cofounder Logan Whitehurst, who has recently left the band to pursue other musical endeavors; the beatmaker slot is now filled by Casey Deitz), and bass (Joshua Staples). The result is pure magic. Elysium has a knack of filling rooms with its beautiful orchestrations. Following a questionable instrumental intro track filled with odd computer bleeps segueing into gentle piano is the slow-building “Penicillin
VELVET TEEN
Halloween AND John Waters in the same month...could life get any better? Trick or treat!
OCTOBER 2004
The Faint
from page 5
clothing and expired candy and chips are sold. It’s not pretty, but the price was good. “We were looking for a place we could afford with relatively high ceilings,” Petersen said. “Todd found this place, but we couldn’t afford it, and as he was leaving the guy told him, ‘All, right, I’ll cut [rent] in half.’” And what came from between those warehouse walls was a record that suffers in no area. It has a handle on the typical Faint sound that would have prompted a riot among believers had it been abandoned and it’s gone beyond safe replication. They refused to let their reputation precede them, straying from the simple autopilot, doing-what-wealways-do method of record making. And they manage to make time to attack the current state of punk rock, or at least the bands—Good Charlotte and Yellowcard—seen as punk rock on the song “Drop Kick the Punks,” where Baechle drops in with a, “What the fuck is this?” near its completion. God bless indignation. “I generally steer clear of that,” Petersen said of even listening to those faux punk bands. “I don’t think we really put it into our lives. We’re more, ‘Let’s learn from what we imagine are the mistakes here.’ We just try to learn from the things we don’t like. This doesn’t appeal to me, but why?” But really, there’s not much available free time for any of the Fainters to check out the shit they don’t like. They’re got a light show to set up and tear down. The Faint appears with TV on the Radio October 26 at the Blue Note in Columbia.
Triple Espresso Written by Bill Arnold, Michael Pierce Donley, and Bob Stromberg The Grandel Theatre The Grandel Theatre adds another feather to its cap with a daring production of Triple Espresso. The show chronicles the story of three performers—Hugh Butternut, Bobby Bean, and Buzz Maxwell—exploring how they met, what each contributes, and, more importantly, how they manage to destroy the group one step at a time. Utilizing a cabaret style, the characters of the play are free to incorporate any member of the audience into their own personal story line. It didn’t matter if you were in the front row, or 12 rows back; these men found ways to make almost anyone part of the show. The play is a sort of reunion of the three characters, allowing each to display his extraordinary talents while they relive their glory days. Butternut (J.C. Cutler) was a singer/piano player who could never admit defeat. His musical abilities matched his outstanding acting ability as he welcomed the audience to his “25th Anniversary” of playing with Triple Espresso. His goofy demeanor and
“yuk-yuk” type of comedy set the bar for the other performers. Playing second banana to Cutler’s character was Bobby Bean (John Bush), an entrepreneur at heart, always seeking to get his trio to the big time. Bush’s performace was, in a word, marvelous. Not only did the man get the audience to sing “Home on the Range,” he also taught them a new original song, and persuaded them to sing both—in unison. Bush kept the comedy rolling with a wicked shadow puppet show during the production. I don’t want to give any of the secrets away, but I can tell you, the man does a mean Bambi that must be seen to be believed. Rounding out the bunch of coconuts is Buzz Maxwell, played by Patrick Albanese. Albanese’s character first appeared to be playing the bitter straight man to the other two’s funny punch lines. But in retrospect, Albanese actually had the most comedic role in the production. His talent as a deadpan comedic actor is fabulous. He was able to get just as many guffaws out of the audience with his stern demeanor and stone-like glare as the other two did using their own style of “inyour-face” comedy. The other talent Albanese
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THE PLAY’S THE THING
THEATER
brought to the production was his art of illusion. His character was a magician—not a very good one, but a magician nonetheless. As the show progressed, his illusionary skills become more and more amazing. How he got a shotglass (of espresso) to appear under a steel cup will bewilder me for days. The show has a tagline of “a highly caffeinated comedy.” I had no idea how much this statement would actually be true. The amount of energy these three actors create on stage is remarkable. They were able to feed off one another and keep the show rolling at an amazing pace. By the end of the production, I was exhausted just from all the laughing this trio forced upon the audience. Triple Espresso gives you triple the laughter, triple the comedy, and triple the fun. Tickets are $30–42. Call 314-534-1111 or visit www.fabulousfox.com/attractions. Triple Expresso runs through December 28. —Jim Campbell
PLAYBACK ST. LOUIS
TAKE FIVE
CAMERON McGILL
By Jim Dunn and Laura Hamlett Chicago-based singer-songwriter Cameron McGill recorded an album (Stories of the Knife and the Back) of lyrically rich pop-bordering-on-alt-country gems. “Home is where the heartache is,” he sings—and there isn’t one of us that hasn’t known that feeling. Watching him live is captivating, as he comes off as one of those borderline geniuses. A talented musician—McGill plays both piano and guitar, often both at once by looping the guitar sounds—he’s entirely absorbed in the act; eyes closed most of the time, it’s as if the audience has ceased to exist. Talking to him, though, is another story, as he is always conscious of being both interesting and entertaining.
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Do you tour with a full band? I’ve done a couple different setups with the past record. I was playing guitar and piano, and had a cello and violin player occasionally. That works really well for some of the songs on the last record. I wasn’t always able to afford them for out of town stuff, so mostly it was in Chicago. Most touring has been either solo or with a keyboard player. You seem to be able to create your own band onstage when you’re alone. I was like, OK, I’m going to be having to go out right now and can’t really afford to bring people with me; what are the things that I can do to make it more interesting instead of just being the classic straight guy? You know, a guy walks up with an acoustic guitar, whatever people expect a singer-songwriter to be. I don’t feel that the songs I’ve been writing lend themselves to that kind of treatment anyway.
I’m trying to make it more spastic—the energy that I feel the lyrics have, and the vocal melodies—and just build a little bit more of the melody and structure. I’m starting to play more piano, just to change it up. How do you describe your music? When people ask me that, the first thing I will say is that I spend a lot of time on what the songs are about, on the lyrics. The kind of melodies that I like came from listening to a lot of Bob Dylan, Beach Boys, Simon & Garfunkel, Neil Young—basically my dad’s records when I was growing up. It just has a real emphasis on melody and lyrics. It’s pop music in the original sense of the word. When you say the word “pop” these days, people immediately think Britney Spears. It’s kind of blasphemous. When I think pop, I think Beatles; that’s the first thing that comes to my mind. You did a lot of your recording at a friend’s apartment, and then studio time at night or whenever it was available. How was this method on your creative process? It was a strain. We started the record at my friend’s apartment, doing a lot of the tracks like piano and guitars and stuff. We had a spec deal to do studio time whenever they had it available, which was very nice. But it was difficult to keep a lot of the continuity. I think, mentally and emotionally, I was just kind of strung out trying to keep everything going like I thought it should be going. When I make the next record, it will be completely different from how I made the first one. But at the time, that’s really the option that I had to take. Is there anything else you can see yourself doing besides music? No. I thought about that a couple years ago and came to the pretty quick decision that
PHOTO: JIM DUNN
there isn’t anything else that I would really enjoy doing nearly as much as playing music. I don’t really see it as something I want to even give myself an option to do. Next up for you is an EP, following which you’ll record your second full-length. Will it differ measurably from Stories? I’m going to have a friend of mine that played keyboards on the first record, Christian Cullen, produce this next one with me. We really work well together; it really feels like what I’m going for. With the first [album], I was all over the place, trying to get everything together. Musically, there’s been a lot more songs on the piano and lyrics are probably going to continue to be more in-depth with more story songs, more characters. It’s so seldom that you see those characters anymore. I don’t know where they are; maybe somebody kidnapped them. Cameron McGill appears with Rachel Yamagata—both as an opening act and playing guitar in her band—at Blueberry Hill’s Duck Room October 10.
OCTOBER 2004
DAN STOLAR WRITES ST. LOUIS By Jeffrey Ricker hen his first short story collection, The Middle of the Night, came out last year, Daniel Stolar had prepared himself for the rigors of self-promotion. He hadn’t been prepared to take on Harry Potter, though. As he related in a piece published in the St. Louis Post-Dispatch this June, the St. Louis–born writer had made the rounds of local bookstores in an effort to get sellers to stock his book—only to find that not only was it absent from the shelves at Barnes & Noble, but he couldn’t even get the time of day from the manager, who was fixated on preparing for the release, three weeks later, of the latest Harry Potter novel. When Stolar moved on to Borders, he encountered the same reception—as well as the Barnes & Noble manager, who was scouting the competition’s plans for promoting the boy wizard. Fortunately, Stolar says, the reaction from readers and critics has been much more positive. “I had some fears of making fun of a certain kind of St. Louis person,” he says. “I had some fears about family members potentially recognizing themselves, but everyone who’s said anything to me has been really generous about it.” While he can look back on that situation now with a healthy dose of self-mockery, Stolar says the process of getting that first book published was a learning experience for him, much like it is for every writer. (The paperback edition was released by Picador this summer.) Senses of loss and disconnection permeate these stories: In “Jack Landers Is My Friend,” a married man revisits the high school friends he never fit in with, as well as the romance with one who he never had, and discovers that their friendship may not have been as deep as he’d thought. In “Home in New Hampshire,” a man struggles with his infidelity to his paralyzed wife, and in “Crossing Over,” a white college student pledges a black fraternity at Boston University, but the sense of belonging that he seeks continues to elude him. Frequently, these characters find themselves sitting on the fence, and that’s a dynamic that holds Stolar’s interest. “They have ambivalence about totally fitting in,” he says. “They want to fit in, but something about inclusion is troubling to them. I feel that way a lot.”
W
PBSTL PROFILE DAN STOLAR
Likewise, the stories explore the connections of modern short stories tend to fade away into people make with each other—as well as the thin air, and I’m less interested in that than a connections they don’t. In “Marriage Lessons,” story that takes you someplace and hopefully a woman hears from the father she never knew, moves you,” he says. St. Louis is the setting for many of these stobut doesn’t want to know the answers to questions she’s always had about him and her moth- ries, and Stolar’s ability to capture the essence er. The loss of loved ones is a recurring theme of the city goes beyond mere recitation of place throughout the book, such as in “Mourning,” names, such as when the narrator in “Jack Landers Is My Friend” says: “I where a college student named loved my hometown. Loved its Matthew copes with the death of continually losing struggle to his mother through the help of leapfrog into the next tier of his friend Tim, who nevertheless American cities and the way keeps Matthew at arm’s length every civic undertaking could about aspects of his own life. be framed in that light. It was a “That story was a really ambimetropolitan area of 2.5 million tious story at the time I wrote it. I where people spent their entire think Matthew is trying to put an lives asking you where you went awful lot on Tim. In a way Tim to high school.” has pulled him through mournStolar’s writing exhibits a ing his mother’s death, and, signature style—understated, you know, nobody can hold that direct—even though his narraweight, and Matthew is bound tors couldn’t be more different to be in some way disappointed one another. Giving voice by him.” “They want to fit from to such diverse characters is not The satisfaction that eludes Matthew nevertheless provides in, but something easy for Stolar, but then, writing itself doesn’t come easy for him, a gratifying conclusion for the about inclusion either. reader; it’s a common trait “For me writing is difficult. through many of the stories in is troubling to Some people talk about these the book, and Stolar says he them. I feel that ecstatic experiences where seeks that sense of resolution they sit down and it flows…It’s intentionally. “I think that a lot way a lot.” hardly ever like that for me.” Stolar has just moved to Chicago to teach writing at DePaul University; previously he taught at the University of Arizona in Tucson, where he received his MFA in creative writing in 1997. At the moment, he’s working on a novel about an idealistic Post-Dispatch reporter and his family’s position in local politics, which comes into conflict with his own political views. “He’s a little idealistic in a jaded way about his politics, and I’m trying to capture that. And he really loves St. Louis and he’s not sure why, and that is like me.”
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PAGE BY PAGE
BOOKS
The Pleasures of the Page By Stephen Schenkenberg
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JAMES WOOD: THE IRRESPONSIBLE SELF: ON LAUGHTER AND THE NOVEL (Farrar, Straus, Giroux, 312 pgs, $24) Often the critics I enjoy reading most are those who flip on lights in the living rooms of works of art or, more generally, in the world of art at large. These illuminations often have one of three effects: They reveal new ideas about works of art with which I was already familiar; they point me to works of art I hadn’t yet known; or, often best of all, they produce connective beams of light—like those that zap on in mansions being robbed—that reveal the relationships between works of art I hadn’t thought to consider side by side. In critic and novelist James Wood’s fair and discerning recent book, The Irresponsible Self: On Laughter and the Novel, these three effects synthesize in a single rewarding volume. The thematic string Wood winds around the 22 essays in this book is, he says in the introduction, “a kind of tragicomic stoicism which might be called the comedy of forgiveness,” an alternative to what he calls “the comedy of correction.” Wood states that this comedy of forgiveness seems to him the creation of modern fiction (meaning lit from the late 19th and 20th centuries) “because it exchanges typology for the examination of the individual, and the religious dream of complete or stable knowledge for the uncertainty of incomplete knowledge.” Instability and incompleteness create—or, better yet, allow room for—the “irresponsible” characters of the book’s title, characters the reader laughs with, not at, and ultimately forgives. (Not surprisingly, Wood’s thesis might best be understood by reading his own well-realized, tidy novel, The Book Against God, reviewed in these pages in September 2003.) Interesting though this wrap-around thesis is, understanding it, or even approving of it, isn’t a necessary condition to finding reward in the book. In the individual essays, Wood tackles Bellow, Dostoevsky, Shakespeare, Tolstoy, contemporary writers Salman Rushdie, Don DeLillo, and Zadie Smith, as well as (if only to me) lesser or unknown writers like Giovanni Verga, Henry Green, Monica Ali, and J.F. Powers. As Wood calls the last of these “the writer’s writer,” I’d call Wood himself the ‘reader’s reader’; he brings to his criticism a keen sense of narrative style, an appreciation of humor and seriousness, an ability to draw compelling parallels, and a crisp writing style that shows his own gifts for metaphor and word choice. Examples abound of statements enviably phrased. There are the detailed comments—of one V.S. Naipul passage, “…how nicely the sentence docks at its final, rising word”; of Joseph Roth’s Empire of Signs, “The novel’s formal beauty flows from its dynastic current, which irrigates the very structure of the book”—but also larger statements that distill an author’s strengths: J.M. Coetzee’s novels are “intelligently starved”; Tolstoy’s characters feel so real to us because “reality appears in his novels as it might appear not to a writer but to the characters.”
It’s not all this sunny. Before publishing his own first novel, Wood gained a reputation as a tough critic unafraid of taking whacks at those already deemed critics’ darlings. In two of the book’s most interesting essays, “Hysterical Realism” and “Jonathan Franzen and the ‘Social Novel,’” Wood makes a case against what he calls the “big, ambitious novel”—specifically, Don DeLillo’s Underworld, Zadie Smith’s White Teeth, David Foster Wallace’s Infinite Jest, and others. His primary argument, that “[i]nformation has become the new character,” can be well understood in this passage: Again and again, books like these are praised for being brilliant cabinets of wonders. Such diversity! So many stories! So many weird and funky characters! Bright lights are taken as evidence of habitation. The mere existence of a giant cheese or a cloned mouse or three different earthquakes in a novel is seen as meaningful or wonderful, evidence of great imaginative powers. And this is because too often these features are mistaken for scenes, as if they constitute the movement or workings or pressure of the novel, rather than taken for what they are—props of the imagination, meaning’s toys. The existence of vitality is mistaken for the drama of vitality. He has a point. Zadie Smith herself (whose novel had the cloned mouse) has, since her novel’s success, voiced concern about its hyperactivity. And while I thought highly of each of the books previously listed (particularly Infinite Jest, a complex, brilliantly patterned masterpiece Wood conveniently under-treats here), it’s difficult not to start to nod at his many examples of excess. Wood probably could have taken the reader further—examining if it’s right, after all, that information has become the new character, three decades into the information age—though it would’ve dulled his point and dampened his nostalgia for a powerfully simple scene in Dickens, when two characters sit in a room and weep. (A note to Wood: Revisit page 916 of Infinite Jest. Gately stands in a room and weeps, and it’s incredibly moving.) Wood also gets himself into a bit of trouble in an essay on J.M. Coetzee, criticizing the writer’s “wary self-governance” and “fondness for intellectual and formal tidiness.” To carp on the excesses of Wallace et al and the tidiness of Coetzee would seem to leave a small sweet spot for writers to hit. And yet writers do, as evidenced by one of the overriding feelings felt in this book: Wood’s readerly gratitude. Of a Joseph Roth passage, Wood writes, “One reads this glorious passage as Roth intends us to, in the spirit one feels Roth wrote it in, which is childish wonderment.” Rereading Saul Bellows’ Herzog, he writes, “one encounters too many marvels to record,” though he gives it a go. “I recall first reading ‘Jeli the Shepherd,’” he writes in another essay, “led there by [D.H.] Lawrence’s enthusiasm, and sitting stiff in my chair with concentrated delight.” Should it matter that up until now I hadn’t heard of this last story, or even the writer? As a reviewer, I can’t vouch for Wood’s statement. But as a reader, I can’t wait to go find the story and experience it for myself. And this is one of the things I appreciate most about Wood: his understanding of and appreciation for what reading gives us—as solitary readers, but also as participants in the big conversation, seated at the
OCTOBER 2004
table, seeing more, and seeing more sharply, for the lights that have just come on. PATRICK MCGRATH, PORT MUNGO (Knopf, 242 pgs, $24) There’s a moment in the movie Wonder Boys when the commercially celebrated writer Q takes the stage for a packed-house literary-festival lecture; with all the pomposity necessary to make it a parody, he delivers this opener: “I…am a writer.” Patrick McGrath’s new novel, Port Mungo, feels like a whole movie of such self-righteous statements, but without the assurance that the work’s creator is in on the joke. The self-serious artists of Port Mungo are two hard-living painters, Jack Rathbone and Vera Savage, whose world seems to be a product of a bohemian’s handbook—ashtrays are set in the text like commas, liquor’s in the leading, and grave statements abound about one’s art coming first. Whether in New York City or the swampy Guatemalan town of the book’s title, the explosive couple is engaged in tracking the “grand pathos” of the artist’s life. (Here’s one of this book’s many frustrations: the characters mock this self-righteousness once, early on in the novel, but they go on sucking air from the idea for rest of the novel.) As narrated by Jack’s charmless, humorless sister Gin, Port Mungo is a novel about artists that seems devoid of real artistry. In addition to setting the scene with the broad strokes of cliché (“her shoulders were bathed in moonlight”, eyes were “shining with unwashed tears”, “relief was washing over him like a shower of rain”), the narrator doles out lines about the artist’s life that have little originality and, thus, no power for the reader. “It was the quick bitter riposte of a distracted man at an easel,” she tells us, describing her brother. And elsewhere, “He signed it with a flourish and she carried it off as though he had given her a precious holy object, the relic of a saint” and “Later he made a painting inspired by that long dark night of the soul…” Who’s to blame for this bland, overcooked prose? My initial frustration was aimed at McGrath, but in reconsidering the novel I couldn’t help but wonder if this established, well-reviewed author was playing some weird game with his choice of narrator. Handing this story over to Gin for narration seems as safe as asking that mallet-wielding comedian Gallagher to guard your watermelon. (It’s also, in the end, as fruitless.) So why did McGrath hand dibs on this story to Gin? If he was somehow making a humorous point—giving a story of two genuine artists to a non-artist who then mucks it up with clichés—it’s an odd joke indeed, and probably not worth telling over 250 pages. But if he’s serious, as I suspect is the case, and he wants us to feel something for these characters, he shouldn’t allow his narrator to cap a scene description with this one-sentence paragraph: “The pathos of it.” I’m all for pathos. It’s the scent I hunt through a bookstore’s aisles. But when a writer has to resort to summing pathos by name—an abracadabra of sorts—it doesn’t make it appear. If anything, it does the opposite. JULIAN BARNES: THE LEMON TABLE (Knopf, 241 pgs, $22.95) The patterns that connect the characters in this fine, contained collection are two: They yearn not for big dreams but for movingly small ones (what in one story is called the “timid victory”) and, having done most of their living, they have in view their own last chapters. A dying composer reflects on his music and silences. Two widows share their
monthly tea, but little honesty. An aging man takes the train to visit his long-time lady of pleasure. An elderly woman writes letters to an author she doesn’t know, feeling out answers to life’s big questions. A couple, with the one last push they have in them, separate at age 80. It’s surprising that a book with characters this sad—“His life, he admitted, had been one long cowardly adventure”, “He hoped…that the pain of cancer, the pain of dying, would drive out the pain of love. It did not seem likely”—doesn’t feel, in total, sad. Barnes’ prose, often with a touch of humor and knowingness, sets a stage strong enough to absorb, not wilt under, these characters’ struggles. And because the author’s interest is not grief but melancholy, these struggles are not grandiose,
but instead small and human and memorable. One example arrives in the story of the aging man riding the train to his mistress; recalling a few especially passionate, untamed afternoons with her, the man now wistfully calculates the amount of champagne their bodies will be able to withstand, and the amount of sex, if any, their bodies will consent to. Like several of the book’s characters (a paranoid concertgoer, an unhappy man in 40 years of barbers’ chairs), this man on the train now has diminished hopes—he wants a single glass of champagne with a warm, old body that welcomes him. And like those with whom he shares the book, the man gets scent close to realizing this hope, to finding a moment of fulfillment, of contentment. But then the wind blows.
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MONDAYS — Sessions Jazz Big Band WEDNESDAYS — Cryin Shame Blues Band THURSDAYS — Marcel Strong & The Apostles SUNDAYS — Live Reggae with Dubtronix and Yard Squad B.B.’s Jazz, Blues & Soups has been the home of St. Louis blues for over 25 years. We currently offer lunch starting at 11:00 a.m. (Mon–Fri) featuring St. Louis–style home-cooked and health-conscious cuisine. Music nightly by St. Louis legends and national acts until 3 a.m. B.B.’s—for the best in blues.
PLAYBACK ST. LOUIS PRESENTS
homegrownchampseptember2004
BAND: ULTRA BLUE SONG: XO Playback St. Louis is proud to support the River Home Grown show. Happy third anniversary, RHG!
Schedule online at www.riverhomegrown.com. Catch the River Homegrown Show every Sunday night at 9 p.m. and see the bands live every Thursday night at Lil’ Nikki’s starting at 8 p.m.
www.theriverhomegrown.com www.playbackstl.com/homegrown www.wvrv.com
MONDAYS — Soulard Blues Band TUESDAYS — Big Bamou WEDNESDAYS — Brian Curran (5–7 p.m.) THURSDAYS — Bennie Smith & the Urban Blues Express SATURDAYS — Brian Curran (6–9 p.m.) The Broadway Oyster Bar, a local favorite for over 25 years, offers the best Cajun-Creole food in the Midwest while offering live music seven nights a week. A great party spot, the Oyster Bar is “a great local dive that never changes — thank goodness.”
Be Sure To Check Out Kim Massie and the Solid Senders Every Tuesday & Thursday! Live Blues Nightly— See Web site for listings. Beale on Broadway is home to live blues, soul, and R&B seven nights a week. Catch St. Louis diva Kim Massie and the Solid Senders every Tuesday and Thursday at 9:00 p.m. 14 craft beers on draft. 35 Bottles. Full-service dinner menu everyday ’til midnight.
DELIRIOUS NOMAD COMPILED BY BYRON KERMAN
The Mad Art Space Rock Opera Halloween Party — Oct. 30
Oct. 1–22: Contemporary Prints Invitational at SLCC Meramec Gallery (314-984-7632) Oct. 1–23: Haunted Hayrides at Eckert’s of Millstadt and Grafton, Ill. (618-233-0513, www.eckerts.com) Oct. 1–Nov. 6: Outlaw Printmakers and Michael Byron: A Decade of Work on Paper at Philip Slein Gallery (314-621-4634, www.philipsleingallery.com) Oct. 4: Left Bank Books welcomes author of Her Husband: Hughes and Plath Diane Middlebrook for reading and signing (314-367-6731, www.left-bank.com) Oct. 4–31: Halloween Spirit Search Tours at Lemp Mansion (314-776-4667, www.stlspiritsearch.com) Oct. 6–10: SLCC Meramec theater presents The Trojan Women (314-984-7500) Oct. 6–Jan. 15: Jill Viney: New York, sculptures in Plexiglas, on view at Gallery 210 at UMSL (314-516-5976) Oct. 7: St. Louis Science Center sponsors “Science on Tap: The Science of Brewing” at Schlafly Bottleworks (314-286-4633) Oct. 7: Readings at the Contemporary featuring poets Carl Dennis and Rodney Jones at Contemporary Art Museum St. Louis (www.belz.net/readings) Oct. 8, 15: Sci-Fi Film Fest with films projected on James S. McDonnell Planetarium roof (314-289-4444, www.slsc.org) Oct. 8–Nov. 5: Star Trek 101 class at SLCC Forest Park (314-644-9175) Oct. 9: Webster University Jazz Program presents Ptah Williams Trio alumni reunion concert at Moore Auditorium (314-968-7128) Oct. 9: Confluence Greenway Big River Rendezvous with riverboat cruise to confluence of Mississippi and Missouri rivers (636-949-2793) Oct. 9: Impact 4 Animals trivia benefit at the Kirkwood Community Center (www.impact4animals.com) Oct. 10: Harvest Festival with farmers’ market, live music, kids’ activities, food, drink, and wildlife tours at Shaw Nature Reserve (636-451-3512, www.mobot.org) Oct. 12: St. Louis Symphony Orchestra Chamber group performs at Tower Grove Park’s Piper Palm House (314-771-2679, www.towergrovepark.org) Oct. 12–15: Chris Jackson presents Gaslight Square: The Musical at Missouri History Museum (314-746-4599, www.mohistory.org) Oct. 13: Left Bank Books welcomes author of Magical Thinking Augusten Burroughs for reading and signing (314-367-6731, www.left-bank.com)
Oct. 14: St. Louis Science Center welcomes author Ann Parson speaking on “The Proteus Effect: Stem Cells and Their Promise for Medicine” at St. Louis University High School (314-286-4424) Oct. 14–30: Edward Jones Pumpkin Prowl kidfriendly Halloween experience at St. Louis Zoo (314-7810900, www.stlzoo.org) Oct. 15: Multimedia art show featuring works of Lyndsey Scott and LezLie Silverstein opens at the Commonspace (314-531-1707, www.thecommonspace.org) Oct. 16: Bulls vs. Cavaliers NBA exhibition game at Savvis Center (www.ticketmaster.com) Oct. 16: Frederick’s Music Lounge Band Scramble (314-605-7011, bandscramble@sbcglobal.net) Oct. 16: St. Louis Classical Guitar Society presents Duo Erato at Ethical Society of St. Louis (314-567-5566) Oct. 16–17: World Bird Sanctuary Open House with live birds, tours, and kids’ activities (636-861-3225, www.worldbirdsanctuary.org) Oct. 17: Bach Society of St. Louis presents Mozart’s Requiem at St. Francis Xavier College Church (314622-2224, www.bachsociety.org) Oct. 18: River Styx at Duff’s Reading Series presents novelist Cathy Day (The Circus in Winter) and poet Jeffery Thomson (The Country of Lost Sons) (314533-4541, www.riverstyx.org) Oct. 22–23: Historical Haunting at Faust Park (314-615-4FUN) Oct. 22–24: COCA Family Theatre Series presents Very Eric Carle (314-725-6555, www.cocastl.org) Oct. 29: Classic horror films screened at U. City Library (314-727-3150) Oct. 29–Nov. 7: Alton Little Theater presents The Laramie Project (618-462-6562, www.altonlittletheater.org) Oct. 29–Nov. 19: Mel Westmeyer’s Last Meals, photography of prisoners’ last meals, at SLCC Meramec Gallery (314-984-7632) Oct. 30: Trick or Treat Halloween Village at Shaw Nature Reserve (636-451-3512, www.mobot.org) Oct. 30: Edward Jones Boo at the Zoo costume parade (314-781-0900, www.stlzoo.org) Oct. 30–31: Wizard Weekend with Harry Potter themes at Missouri Botanical Garden (314-577-9400, www.mobot.org) Oct. 31: Hanna’s War screens at Holocaust Museum film series (314-442-3711) More listings online at www.playbackstl.com/Events/NOMAD
The University City Loop in Motion Arts Festival (Oct. 1–2, 314-727-8000, www.ucityloop.com/loopinmotion) features an outdoor art show, a kids’ art-making zone, a gallery crawl, and live music. Check out The Rubber Frame: American Underground & Alternative Comics 1964-2004 at the Des Lee Gallery (Oct. 1–30, 314-621-8735). Curator Philip Slein is trying to bring some of the comics legends to town for the Oct. 1 opening. Don’t get mad, go to the Demolition Derby at Tri City Speedway in Granite City. (Oct. 2, 636-947-7287, tricitymotorsports.com). You’ll feel better. The Ivey-Selkirk Toys & Collectibles Auction (Oct. 6–8, 314-726-5515, www.iveyselkirk.com) is a trip through a land of iron penny-banks, ray guns, and decoder rings. The St. Louis Scottish Games & Cultural Festival features the majesty of hundreds of bagpipers playing as one, a nifty British car show, and sheep-shearing demos (Oct. 8–9, 314-821-1286, www.stlouis-scottishgames.com). Dangerous Kitchen is calling it quits. The funk and soul combo lays down its final coloratura on Oct. 9 at the Broadway Oyster Bar (www.dangerouskitchen.com). The Great Pumpkin Chuck’N Contest means giant machines design to hurl pumpkins great distances. Stick around for the pumpkin pie–eating contest, too, at Eckert’s of Grafton (Oct. 9–10, 618-233-0513, www.eckerts.com) New Line Theatre presents a homegrown musical about a terrifically ugly lady, She’s Hideous, at the ArtLoft Theatre (Oct. 12–13, www.metrotix.com, 314-534-1111) Hydeware Theatre aims to scare the bejesus out of audiences with the thriller Woman in Black at Soulard Theatre (Oct. 14–31, 314-368-7306, www.hydewarethe atre.com). Comedian Doug Stanhope is so offensive and clever at the same time, you might actually consider driving out to the Funny Bone – Fairview Heights for his diatribes (Oct. 21–23, 618-628-4242, www.funnyboneusa.com). MOMIX might as well change their name to “Superlative.” The innovative dance troupe is all about creating awe and wonder at UMSL’s Blanche M. Touhill Performing Arts Center (Oct. 22, 314-516-4949, www.touhill.org) Ovations! presents the innovative Aquila Theatre Co. in a stage version of the classic Frederic March film The Invisible Man at Edison Theatre (Oct. 29–30, 314-5341111, www.metrotix.com). Cross-dressers own the night at the Central West End Halloween Party and Costume Contest (Oct. 30, 314-3612850, www.cweba.com). Finally, the Mad Art Space Rock Opera Halloween Party (Oct. 30, 314-534-1111, www.metrotix.com) is where satin, chrome and glitter collide in an October orgy of glamour, excess and, uh, yet more cross-dressing.
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BAHA ROCK CLUB
BADLY DRAWN BOY w/BRENDAN BENSON at THE PAGEANT October 22, 8 p.m. • all ages TICKETS: $15 • CALL: 314-726-6161 The stocking hat—like a misplaced, hand-knitted pot holder—that rides atop his head is the only attempt Damon Gough makes at keeping in his body’s warmth. What doesn’t escape from his top radiates out through whatever exposed skin it can, letting it be known that the only fight in this poorly rendered young man comes in his choice to make the world bleak or bluer. He’s a pessimist’s optimist, allowing his hopes of a loving, tranquil existence the appropriate treatment of “but-that-will-never-happen” primer to give a greater understanding to what it means when the turn is made from the sweet to the bittersweet.
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The title of his latest CD One Plus One Is One sums (yes, that was a purposeful and successful play on words) up his viewpoint. Though he’s able to join in the fun of the carefree every so often, what we’re led to believe from his catalog is that it’s hard avoiding being alone, even when surrounded by people. No man is an island, but it’s possible to get there emotionally. This multi-instrumentalist will likely show all of his different masks live, romping through his almost cheerful cabaret numbers and lightly whispering the cheerless life-suckers such as “The Year of the Rat.” It’s a lesson that offers the clearest witnessing of what Gough’s about. He knows of the shortfalls that trail a person from alarm clock to lights out, but he’d sooner there was a different progression—one in which the ending and the presentation were a little less unfavorable.
Gough’s the closest thing there is to having Elliott Smith back with us. He’s got a slightly sunnier outlook, and where Smith found his woes right at his fingertips, Gough attacks the sorrows and disappointments on a more macro scale. He’s the we-over-me version of Smith and he happens to write songs for motion picture soundtracks (About a Boy) equally well. —Sean Moeller
305 N. Main St. • St. Charles, MO 63301 636-949-0466 • www.baharockclub.com Original bands every Tuesday Every Monday: Karaoke Every Wednesday: Big Daddy Rob 10/1: Slap Dragon 10/2: Point of Origin 10/5: By Product, The Sauce 10/8: Freaks 10/9: Ben Wah Bob 10/12: Field of Grey, Tall, Funky Circus Fleas 10/15: Project 3 10/16: Sonic Tonic 10/19: Surreal 10/22: Dick Wiskey 10/23: The Rail 10/26: Alpha-Lyman Forrest 10/29: Knucklehead 10/30: Malcome Blitz
B.B.’S JAZZ, BLUES & SOUPS 700 S. Broadway • St. Louis, MO 63102 314-436-5222 • www.bbsjazzbluessoups.com 10/1: Leroy Pierson 7p, Arthur Williams Blues Masters 10p 10/2: Tom Hall 7p, Bennie Smith & Urban Blues Express 10p 10/3: The Yard Squad Reggae Band 10/4: Sessions Jazz Big Band 10/5: Pennsylvania Slim Blues Band 10/6: Alvin Jett & The Phat noiZ Blues Band 10/7: Marcel Strong & The Apostles 10/8: Leroy Pierson 7p, Boo Boo Davis Blues Band 10p 10/9: Leroy Pierson 7p, Big George Brock & The Houserockers 10p 10/10: DJ Ranx & Dubtronix Reggae Band 10/11: Sessions Jazz Big Band 10/12: John Nemeth Blues Band with Junior Watson 10/13: Eric Sardinas Blues Band 10/14: Marcel Strong & The Apostles 10/15: W.C. Spencer 7p, The Bel Airs 10p 10/16: Tom Hall 7p, Curtis Salgado Blues Band 10p 10/17: The Yard Squad Reggae Band 10/18: Sessions Jazz Big Band 10/19: Willey Johnson Blues Band 10/20: Cryin’ Shame Blues Band 10/21: Marcel Strong & The Apostles 10/22: Leroy Pierson 7p, Inner City Blues Band 10p 10/23: Henry Townsend’s 95th Birthday Celebration 10/24: Father Bill’s Music Benefit 10/25: Sessions Jazz Big Band 10/26: Rich McDonough Blues Band 10/27: Cryin’ Shame Blues Band 10/28: Oliver Sain Memorial Concert 10/29: Leroy Pierson 7p, The Soulard Blues Band 10p 10/30: Fab Foehners 7p, Bennie Smith & Urban Blues Express 10p 10:31: DJ Ranx & Dubtronix Reggae Band
BEALE ON BROADWAY 701 S. Broadway • St. Louis, MO 63102 314-621-7880 • www.bealeonbroadway.com Every Sunday: The MoonGlades Every Monday: Shakey Ground Blues Band Every Tuesday: Kim Massie & The Solid Senders Every Wednesday: Rich McDonough Blues Band Every Thursday: Kim Massie & The Solid Senders
BLUE NOTE 17 N. 9th St. • Columbia, MO 65201 573-874-1944 • www.thebluenote.com 10/1: Morning After
10/6: Stockholm Syndrome & Shady Deal 10/7: “We Always Swing” Jazz Series Annual Downtown Columbia “Jazz, Wine and Beer Pub Crawl” w/Chubby Carrier & The Bayou Swamp Band 10/8: Karl Denson’s Tiny Universe 10/9: Gomez, & Augie March 10/15: Blonde Red Head & The Liars 10/18: Incredible String Band & Joanna Newsom 10/20: The Decemberists, Apollo Sunshine, Norfolk & Western 10/26: The Faint, TV on the Radio, & Beep Beep 10/27: Ming + FS 10/30: Bockman’s Euphio & Spookie Daly Pride 10:31: KCOU Birthday Bash w/Rjd2, Prince Po & Hanger 18
BLUEBERRY HILL 6504 Delmar Blvd. • University City, MO 63130 314-727-0880 • www.blueberryhill.com 10/1: Split Lip Rayfield w/TBA 10/2: Dichotomy 10/3: BET Comedian Arvin Mitchell 10/6: Jesse Sykes & The Sweet Hereafter 10/7: Chloe Day CD Release Party w/Earth City 10/9: El Vez 10/10: Rachael Yamagata w/Cameron McGill 10/11: Rich Robinson 10/12: Ari Hest 10/13: Chuck Berry
10/15: Jackopierce 10/19: The Decemberists 10/24: Hackensaw Boys 10/28: Camper Van Beethoven
BROADWAY OYSTER BAR 736 S. Broadway • St. Louis, MO 63102 314/621-8811 • www.broadwayoysterbar.com Mondays: Soulard Blues Band Tuesdays: Big Bamou Wednesdays: Brian Curran 5-7pm Thursdays: Bennie Smith & The Urban Blues Express Saturdays: Brian Curran 6-9p 10/1: The Bottoms Up Blues Gang 5p, Cumberland Gap 9p 10/2: Bluesfield 6p, Jakes Leg 10p 10/3: Zonkeys 4p, Johnny Fox 8p 10/6: Naked Groove 10/7: Tom Wood 5p, Bennie Smith & The Urban Blues Express 8p 10/8: Tom Hall 5p, Hudson & The Hoodoo Cats 9p 10/9: Dangerous Kitchen 10/10: Melissa Neels Band 10/13: Papa Mali 10/14: Johnny Goodwin 5p, Bennie Smith & The Urban Blues Express 8p 10/15: Johnny Fox 5p, Baker McClaren Band 9p 10/16: Thos 10/17: Not Quite Nashville 3p, W.C. Spencer 8p 10/20: Tiny Cows 10/21: Tim Sessions 5p, Bennie Smith & The Urban Blues Express 8p 10/22: Johnny Goodwin 5p, Tyrin Benoit and Toofish 9p 10/23: Rockhouse Ramblers 10/24: Rob Garland & The Blue Monks 3p, Lucky Dan & Naked Mike 8p 10/27: TBA 10/28: Chic 5p, Bennie Smith & The Urban Blues Express 8p 10/29: Johnny Fox 5p, Zydeco Crawdaddies 9p 10/30: Gumbohead 10:31: Billy Barnett Band
CABIN INN THE CITY
TV ON THE RADIO w/THE FAINT and BEEP BEEP at THE BLUE NOTE, COLUMBIA, MO October 26, 8 p.m. • all ages TICKETS: $12/14 • CALL: 573-874-1944 Brooklyn’s post-punk sensations TV on the Radio released their debut full-length album Desperate Youth, Bloodthirsty Babes last spring. Before this, their 2003 EP Young Liars, released by Touch and Go Records, had built them a solid fan base and familiarized music lovers with their trademark brand of ultra-smooth, distant vocal harmonies over discordant fuzzy guitars and mechanized drum beats. All in all, it’s a majestic, sensational sound. Coupled with their delirious onstage energy, it makes for a show that’ll cause you to bob your head, bounce your knees, and shake your bum with a devil-may-care impulse. —Amanda Lee Anderson
16th & Delmar • St. Louis, MO 314-231-2489 Every Monday: Traditional Irish Jam w/Tom Hall Every Tuesday: Acoustic Jam w. Dave Landreth & Friends Every Wednesday: The Blackeyed Susies Every Thursday: The Sawmill Band
CICERO’S 6691 Delmar Blvd. • University City, MO 63130 314- 862-0009 • www.ciceros-stl.com Every Monday: Madahoochi & Friends Every Tuesday: The Schwag Every Wednesday: Open Mic 10/1: Jakes Leg 10/2: Shanti Groove & Speakeasy 10/3: Afternoon Show: Overdrawn 10/7: Battle of the Bands w/The Principles, Gunderson & Wesley Drive 10/8: Jake’s Leg 10/10: Afternoon Show: IQ22 10/14: Battle of the Bands w/Sac Lunch, Plum Tucker & Hazard to ya Booty 10/15: Jake’s Leg 10/16: The Feel Goods, Impala Deluxe & Dave Glover Band 10/17: Afternoon Show: We All Miss Gracie, Evening Show: Poetry Open Mic
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10/21: Battle of the Bands w/Evolutions, Remedy & The Jeremiah Bridge 10/22: Jake’s Leg 10/23: The Javier Mendoza Band w/TBA 10/28: Battle of the Bands FINALS 10/29: Spookie Daly Pride & Vitamen A 10/30: Frank Bang’s Secret Stash & Earl
10/21: Tab Benoit
HAMMERSTONE’S
CREEPY CRAWL 412 N. Tucker • St. Louis, MO 63101 314-851-0919 • www.creepycrawl.com 10/1: Lunasun, Sex Robots, The Reputation, Discount Firearms, The Contradictions & Commichung 10/2: Not Waving But Drowning, Calico System, Lye By Mistake, The Incredible Machine 10/3: Ivonovic, Shall We Dance, The Citation, Fireball Routine, The Curb & The Grip, Indus, Leaving Lincoln 10/7: Wick, The Scared and Thanatos Eternal 10/15: Tony Danza Tap Dance Extravaganza, Rusted Skin, Small Town Tragedy, One/Cycle/Occur, With Childlike Eyes, Boy Turned Robot 10/16: Jucifer, Syblline & TBA 10/17: The Independents & Fifth Row Felons 10/18: Goatwhore, Cattle Decapitation, Ornament of Disgrace & Profayne 10/19: Beerzone and The Horrowshow Malchicks 10/20: Q & Not U, El Guapo & Dancing Feet March to War 10/22: The Brian Jonestown Massacre & Tone Rodent 10/23: The Beautiful Mistake, Park, Tokyo Rose & My New Life 6p, UK Subs, Ultraman & Warthog 9p 10/24: The Murdocks, Genre, The Timmies, Escape Through East, So The Say, For the Taking, Sex Robots, Tonight at Seven, For the Moment, Haddonfields, Auk 10/28: Starlight Mints and Pleasant Grove
DELMAR LOUNGE 6235 Delmar Blvd. • St. Louis, MO 63130 314-725-6565 • www.delmarrestaurant.com Tuesdays: Industry Night w/Jim Utz Thursdays: College Night w/DJ Leon Lamont Fridays: Chris Hansen’s World Jazz Wuartet & DJ Alexis
FOCAL POINT 2720 Sutton • Maplewood, MO 63143 314-781-4200 • www.thefocalpoint.org 10/1: Pierce Pettis w/Micah Gray 10/2: Lil’ Rev 10/8: Susan Werner w/Tim Grimm 10/9: Brian McNeill 10/10: Tracy Grammer 10/15: Geoff Muldaur 10/16: Jack Williams 10/17: Bill Morrissey 10/22: Mark Holland, Petter Phippen & N. Scott Robinson 10/30: Clint Harding’s Live Showcase
FOX THEATRE 527 N. Grand Blvd. • St. Louis, MO 63107 636-534-1111 • www.fabulousfox.com 10/5: Pearl Jam w/Death Cab for Cutie 10/6: James Taylor and the Dixie Chicks 10/16: Tony Bennett 10/19: R.E.M. w/Now It’s Overhead 10/30: Tim Conway & Harvey Korman
FREDERICK’S MUSIC LOUNGE 4454 Chippewa • St. Louis, MO 63116 314-351-5711 • www.fredericksmusiclounge.com 10/1: Leadville, Dutch Henry 10/2: Boxcar Satan & Lost to Metric
A CELEBRATION OF WILLIAM GASS at WASHINGTON UNIVERSITY’S OLIN LIBRARY, WHISPERS CAFE October 9, 7:30 p.m. • all ages FREE • CALL: 314-935-8003 Who’s the coolest St. Louisan turning 80 this year? That’s right, the erudite but playful William Gass: longtime Wash U prof, founder of the International Writers Center, lover of language and style and philosophy, writer of literary essays that shimmer with smarts and liveliness, creator of experimental and demanding fiction hailed by heavies, metaphor-maker of dazzling skill, and a man not to count out when the Swedes make their Nobel announcements this fall. With or without the last, Professor Gass’s toast is well-earned. —Stephen Schenkenberg 10/5: Otis Gibbs & Daryn Brooks 10/6: TBA w/The Falling Martins 10/7: Oopen Mic hosted by Tommy Halloran 10/9: Miles of Wire, The Tripdaddys & Rowdy Cum Lowdies 10/12: Moot Davis & Aintry 10/13: TBA w/Long John Thomas & The Duffs 10/14: Open Mic w/Bob Reuter 10/15: Secret Cajun Band & Relapse 10/19: L.P. and Barn Burning 10/20: Rev. Glasseye w/TBA 10/21: Open Mic w/Brian Marek 10/22: Diesel Island 10/23: Two Cow Garage, Li’l Cap’n Travis, Rapid Nationals 10/26: Sterio 360 and The Dirty 30’s 10/27: Jeremiah Bridge & The Down Trunks 10/28: Open Mic w/Tommy Halloran 10/29: The Saps and Black Tiger 10/30: Frederick’s Halloween Bash
THE GARGOYLE Washington University Mallinckrodt Ctr. 1 Brookings Dr. • St. Louis, MO 63130 314-935-5917 • http://gargoyle.wustl.edu 10/4: Yo La Tengo
GENERATIONS 10709 Watson Rd. • St. Louis, MO 63127 636-256-8522 • www.eliteconcerts.com 10/12: Eric Sardinas
2028 S. 9th St. • St. Louis, MO 63104 314-773-5565 Every Sunday: Voodoo Blues w/Bennie Smith 10/1: Uncle Albert 10/2: Rondo’s Blues Deluxe 3p, Fairchild 9p 10/3: Voodoo Blues w/Bennie Smith 4p, Erik Brooks 8:30p 10/4: Tim Albert 10/5: Lucky Dan & Naked Mike 10/6: Park Avenue Jazz 10/7: Alvin Jett & The Phat Noiz Band 10/8: Uncle Albert 10/9: One Kindred Soul 3p, Fairchild 9p 10/10: Voodoo Blues w/Bennie Smith 4p 10/11: Tim Albert 10/12: Lucky Dan & Naked Mike 10/13: Park Avenue Jazz 10/14: Rondo’s Blues Deluxe 10/15: Uncle Albert 10/16: Rondo’s Blues Deluxe 3p, Fairchild 9p 10/17: Voodoo Blues w/Bennie Smith 4p 10/18: Tim Albert 10/19: Lucky Dan & Naked Mike 10/20: Park Avenue Jazz 10/21: Rondo’s Blues Deluxe 10/22: Uncle Albert 10/23: One Kindred Soul 3p, Fairchild 9p 10/24: Voodoo Blues w/Bennie Smith 4p 10/25: Tim Albert 10/26: Lucky Dan & Naked Mike 10/27: Park Avenue Jazz 10/28: Rondo’s Blues Deluxe 10/29: Rondo’s Blues Deluxe 10/30: Rondo’s Blues Deluxe 3p, Gentlemen Callers 9p 10:31: Voodoo Blues w/Bennie Smith 4p
HI-POINTE 1001 McCausland Ave. • St. Louis, MO 63117 314-781-4716 • www.hi-pointe.com 10/1: Lung Dust, Killjoy 4 Fun, & Missile Silo Suite 10/8: The F-Ups 10/9: Operation Rock and Left Arm 10/15: dug holes 10/16: Lord Baltimore & Hated Nixon 10/22: The Misses, Anal, & Miss Pie 10/23: Prig, Dose, & Cleavage 10/29: Hedwig and the Angry Inch 10/30: Halloween Extravaganza w/The Tripdaddys, Ded Bugs, & The Pubes
JAZZ AT THE BISTRO 3536 Washington Ave. • St. Louis, MO 63103 314-531-1012 • www.jazzatthebistro.com 10/1-2: Lynne Arriale 10/6-9: René Marie 10/15-16: Denise Thimes 10/20-23: Jon Faddis 10/29-30: Erika Johnson
LEMP NEIGHBORHOOD ARTS CTR. 3301 Lemp Ave. • St. Louis, MO 63118 314-771-1096 • www.lemp-arts.org 10/1: The Gunshy, Steve America, Googolplexia, Epicycle 10/2: Oliver’s Army, Zack the Rookie, Burn Baby Burn/ 10/3: Chariots, Secretary, TBA 10/5: Wrangler Brutes, Corbeta Corbata, Jet Black, Arch 10/8: StillxCrossed, The Risk Taken, TBA 10/10: Signal Lost, The Adversary Workers, Benedict
CAPTURED! BY ROBOTS at ROCKET BAR October 21 w/Traindodge & Robb Steele October 22 w/Riddle of Steel 8:30 p.m. • 18+ CALL: 314-588-0088 When Jay Vance (former bassist for successful ska group Skankin’ Pickle) grew tired of playing in bands with, you know, real people, he decided to create his own musicians by hand. Long story short, after creating a band of robots, they turned evil on his ass and implanted a “biocerebral chip” in his brain that they use to control him with electric shocks. Thus, he’d been Captured! by Robots. Since then, the ’bots have forced their enslaved creator—after rechristening him JBOT—to record and perform with them as part of their campaign of robo-terror. Their mission? To humiliate JBOT in front of his peers, letting the other bleeders in the audience know that they could be next. 41 And these bots aren’t merely props, miming to a backing track. GTRBOT666 strums wire-tipped fingers over his 12 strings, while his metal fingers make rapid-fire heavy-metal chords. And DRMBOT uses three sticks and a kick drum pedal to pound out the backbeat. Add to the mix another percussionist (AUTOMATOM), the three Headless Hornsmen (just like it sounds) and the only humanfriendly ’bot in the bunch, a kind, tambourineshaking stuffed gorilla dubbed the Ape Which Hath No Name, and you’ve got one helluva rock ’n’ roll ruckus on stage. Lucky for poor JBOT—forced to sing his hilariously tortured songs in an S&M mask and chains (not to mention a shirt with fake entrails pouring out) while shredding his fingers on a custom-built monstrosity of a guitar—the ’bots only make him hit the road once a year, booking shows to and from their annual Halloween gig in Chicago. Last year’s “Ten Commandments” tour was performed rock-opera style in front of a large-screen projection of sequences from the Charlton Heston cheeser. Each robot was costumed and in character, the most hilarious being the Ape Which Hath No Name cast as the Almighty. This year’s “Get Fit With Captured! by Robots” tour promises many new spectacles, some new ’bots, and a chance to see what life will be like for us once the robots take over. —Brian McClelland
PLAYBACK ST. LOUIS
THE DECEMBERISTS at BLUEBERRY HILL’S DUCK ROOM October 19, 9 p.m. • 21+ TICKETS: $8/10 • CALL: 314-727-0880 They’re named for a group of traveling Ukrainian musicians. They’re also named for a group of rebels who tried (and failed) to overthrow Tsar Nicholas I of Russia. Although The Decemberists aren’t political insurgents (at least, we don’t think they are), they comply with the tradition of their first namesake—aptly, a band of sad troubadours. Their signature sound is a mishmash of acoustic guitar, upright bass, and accordion layered with sallow, atonal vocals. They are frequently compared to Neutral Milk Hotel—and they are similar. Both bands are cathartic, angsty experiments in fuzzy sound texture, with a frontman who values 42 expression over intonation and exact rhythms. But where Neutral Milk Hotel relies on its raw power to express intensive sentiments, The Decemberists opt for a more elegant, ornate orchestrated sound and lyrics that could be taken alone as a dramatic play or a poem. The poetic nature of The Decemberists’ lyrics is perhaps the most distinctive element of all. Frontman and primary songwriter Colin Meloy studied creative writing during college. While he may not be writing fiction, his compositions reveal his literary background. Their 2003 release Her Majesty paid tribute to Dylan Thomas and Ernest Hemingway. Their latest EP The Tain is a five-track soundscape that speaks of the free will of young budding prostitutes, murder, maturation, and betrayal with the deftness that only an epic poet could manage. This cerebral element appeals to scholars as well as rockers; coupled with their unmistakable sound, it makes for a thrilling experience. —Amanda Lee Anderson
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Arnold, Sounds Like a Riot 10/15: Midwest Noise Festival 10/17: Midwest Noise Festival 10/20: The King Cobra, Mirah, Tara Jane O’Neil, That’s My Daughter 10/21: Frankenixon, Floating City, Ivanovic 10/23: Seyarse, Wolf and Cub, Fourth Rotor, TBA 10/23: Film: The Revolution Will not be Televised 10/24: Between the Devil and the Deep Blue Sea, Floating City, Dancing Feet March to War, TBA 10/25: Burn Baby Burn, Waxwork of a Dynasty, TBA 10/26: Cock ESP, Ovo, TBA 10/28: Blind Snake, Lady of the Lake 10/29: Greyhound Repair 10/30: Let Me Introduce You to the End, Mission Man, Firebird Band, Target Market, TBA
LIL NIKKI’S 1551 S. 7th St. • St. Louis, MO 63104 314-621-2181 10/2: eKE 10/15: The Ruckus 10/22: The Pala Solution 10/23: Trust 10/28: Twilight Hay Ride 10/29: The Hatch 10/30: Lost Parade
10/8: Rank Sinatras 6p, El Vez For Prez 8:30p 10/10: Ari Hest 10/11: Helio Sequence, Rogue Wave & Oh Yeah 10/13: Goatwhore, Cattle Decapitation, Cast The Stone & Slugtrail 10/14: Mark Bilyeu of Big Smith, Honky Tonk Chateau 10/15: Bottom of the Boot Bluegrass Band 6p, Hillary Scott CD Release Party w/Jeff Arrigo 8:30p 10/20: Tab Beniot 10/21: Brian Jonestown Massacre 10/22: Th’ Legendary Shack Shakers, Rex Hobart & his Misery Boys 10/25: The Natural History and The Joggers 10/27: Starlight Mints, Pleasant Grove & David Lee Jazz Hands 10/28: Damien Jurado, Richard Buckner & Bolorean 10/29: Bob Black & MO Bluegrass Allstars 10/30: The Bel Airs
THE MUSIC CAFÉ 120 S. 9th St. • Columbia, MO 65201 573-815-9995 • www.themusiccafecolumbia.com Every Monday: Open Mic 10/1: Bockman’s Euphio 10/2: Bockman’s Euphio 10/6: DeVotchKa
MAGEE’S
MANGIA ITALIANO
MISSISSIPPI NIGHTS 914 N. First St. • St. Louis, MO 63102 314-421-3853 • www.mississippinights.com 10/1: Lost Parade CD release party w/Cavo 10/2: Artie Lange 10/8: Starting Line w/Days Away, Park & Drive Without 10/15 Final Drive CD Release Party 10/16: Lucky Boys Confusion 10/21: The Yellow Umbrella Tour featuring K’s Choice 10/22: Mest w/Hawthorne Heights, Bayside & Punchline 10/30: Dierks Bentley w/Cross Canadian Ragweed
MOJO’S 1013 Park Ave. • Columbia, MO 65201 573-875-0588 • www.mojoscolumbia.com 10/1: Noah Earle 6p, The Wilders 7 The People’s Republic of Klezmerica 8p 10/2: Monte Carlos, Miles of Wire & Paradise Vending 10/4: Bald Eagle, The Plot to Blow Up The Eiffel Tower, Chariots & Two Lips 10/7: The Breaking Fall Tour, ft: Ludo, The Dog and Everything, ABJ, Upside
OFF BROADWAY 3509 Lemp Ave. • St. Louis, MO 63118 314-773-3363 • www.offbroadwaystl.com 10/1: Adam Marsland w/Baysayboos, Maxtone Four, & Dave Simon 10/2: Papa Doria CD Release Party w/Tba 10/6: Blue River Cannon Band w/Brian Curran 10/7: Dayna Kurtz w/Chris Simmons & Future Rock 10/8: Bitch (of Bitch & Animal) 10/9: Ghetto Prenup w/Eero & Fojimoto 10/12: Carbon Leaf w/Tba 10/13: Black Heart Procession w/Enon 10/15: The Pines 7p, The Avenjah’s 9p 10/16: Pieta Brown & Bo Ramsey 7p, John Gorka 9p 10/20: Chuck Prophet 10/21: Th’ Legendary Shack*Shakers w/The Silvermen & Maxtone Four 10/22: Mick Byrd CD release party 7p, The North Country CD release party w/Miles of Wire and w/The Wormwood Scrubs 9:30p 10/23: Lanterna w/Tba 7p, EKe w/TBA 9:30p 10/26: DRCHUDS X-WARDT 10/27: Sam Shaber & Drew Holcomb
THE PAGEANT
4500 Clayton Ave. • St. Louis, MO 63110 314-535-8061 Every Monday: Open Mic w/Heather Barth Every Thursday: Jake’s Leg
3145 S. Grand Ave. • St. Louis, MO 63118 314-664-8585 • www.dineatmangia.com Every Sunday: Reggae Dub Spin w/Gabe and Dino Every Monday: Open Mic Hosted by Kieran Malloy Every Wednesday: Eightyfourglyde DJ Spin Every Friday: Dave Stone Trio 10/2: Red Eyed Driver 10/7: Hicks & Kreher 10/9: Brian Sullivan Quartet 0/14: Lost Parade 10/16: The Good Griefs 10/21: Team Tomato 10/23: Maid Rite 10/28: Rowdy Cum Lowdies 10/30: The Phonocaptors
10/7: The Frustrated Bachelors 10/8: A Bateria 10/9: Triple Whip & Freekbass 10/20: Frankenixon
LIARS w/BLONDE REDHEAD at THE BLUE NOTE in COLUMBIA, MO October 15, 8:30 p.m. • all ages TICKETS: $13/15 • CALL: 573-874-1944 With Halloween coming up, it’s a great time to catch Liars in concert. If you’ve heard their new album, They Were Wrong, So We Drowned, you won’t need to ask why. It’s a musical Blair Witch Project—all about witchcraft, darkness, and things that go “thumpa thump” in the night—and the skewed, freaky percussion on this album does sorta make that sound, along with other weird, tribal-sounding noises and chants that singer Angus Andrew, guitarist Aaron Hemphill, and multi-instrumentalist Julian Gross conceived while psyching themselves up in the New Jersey woods to make this record. U.S. critics were unhinged by They Were Wrong, preferring the skittering post punk of They Threw Us all in a Trench and Stuck a Monument on Top. But Liars didn’t like being pigeonholed, and they came up with one of the most adventurous discs of the year. They’re sure to do some rockin’, but expect a cauldron full of witchy vibes, also. Catch ’em the following night at the Highdive in Champaign, Illinois. —Kevin Renick
6161 Delmar Blvd. • St. Louis, MO 63112 314-726-6161 • www.thepageant.com 10/1: The Loop Underground w/DJ Bree Neezy, DJ Benny B, The MU & Forty Til Five 10/2: Trower Power: Tribute to Robin Trower w/Jimmy Lee Kennett & The Tony Campanella Band 10/9: In The Name of Change: Concert to Defeat George W. Bush w/Brian Henneman, The Love Experts, Magnolia Summer, Minibar, Adam Reichmann & Waterloo 10/16: The Edwin McCain Band 10/17: Oliver Sain Soul Reunion w/Little Milton Campbell, Fontella Bass, Oliver Sain Revue, Soulard Blues Band, Bill Tucker, Pat & Danny Liston, Beau Shelby, Uvee Hayes, Charles “Skeet” Rogers & The Rich McDonough Band 10/21: Gov’t Mule 10/22: Badly Drawn Boy 10/24: Joe Satriani 10/25: Switchfoot w/The Format and The Honorary Title 10/26: The Rock Bottom Remainders 10/27: G. Love & Special Sauce w/Slightly Stoopid & Tristan Prettyman 10/29: Benefit for Spinal Cord Injury Research w/The New Left, Steve Bequette & Earl 10:31: Slayer w/Killswitch Engage, Mastodon, Conquest
POP’S 1403 Mississippi • Sauget, IL 62201 618-274-6720 • www.popsrocks.com 10/1: Essence of Logic CD Release 10/2: Rumours: A Tribute To Fleetwood Mac 10/3: Cornbread 10/6: U.F.O. 10/7: Dillinger Escape Plan 10/8: Ministry 10/9: Evolution: A Tribute To Journey 10/10: Cornbread 10/15: Gothic Blues Quartet 10/16: Hotel California: A Tribute to the Eagles 10/17: Cornbread 10/22: Skinny Puppy 10/23: Groovethang: A Tribute to Steely Dan 10/24: Coheed & Cambria 10/27: Insane Clown Posse 10/29: The 5th Element
OCTOBER 2004
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10/30: Piano Man: A Tribute To Billy Joel 10:31: Cornbread
SHELDON CONCERT HALL
POP’S BLUE MOON 5249 Pattison • St. Louis, MO 63110 314-776-4200 • www.popsbluemoon.com Every Tuesday: Worlds Most Dangerous Open Jam 10/1: Dave Black and Matt Kimmick 10/2: Reggae Ruffins 10/4: Irene Allen w/guest 10/5: World’s Most Dangerous Open Jam 10/6: Joe Mack (Norman, OK) 10/7: Tango Loco 10/8: Naked Groove 10/9: Big Thumb 10/11: Fab Foehners 10/12: World’s Most Dangerous Open Jam 10/13: Brian Curran 10/14: Wayne Kimler Jazz 10/15: EN2 (Indianapolis) 10/16: The Rogues 10/18: Johnny Fox 10/19: World’s Most Dangerous Open Jam 10/20: Hicks & Kreher Jazz Duo 10/21: Tim Moody Solo 10/22: Smokestack Lightning 10/23: Mr Plow featuring Sam Thompson 10/25: Open Mic Acoustic 10/26: World’s Most Dangerous Open Jam 10/27: Tom Wood Acoustic 10/28: Full Circle Funk 10/29: Dogtown Allstars & Madahoochi 10/30: 30 Halloween Bash with Naked Groove
RADIO CHEROKEE 3227 Cherokee St. • St. Louis, MO 63118 www.radiocherokee.net 10/2: The Detainees & The Adversery Workers 10/10: Femme Fatality, The Mathematicians 10/18: Tan As Fuck w/Ghost Ice and Moab 10/23: Low Cycle Hum, The Home Wreckers
RIDDLE’S PENULTIMATE 6307 Delmar • University City, MO 63130 314-725-6985 • www.riddlescafe.com Every Tuesday: Jeff Lash Every Wednesday: Ptah Williams Every Sunday: The John Norment Quartet 10/1: Jazz Renaissance 10/2: SWIRL! 10/7: The Uncle Albert Band 10/8: Bande Caribe 10/9: The Uncle Albert Band 10/14: The Uncle Albert Band 10/15: Pennsylvania Slim Blues Band 10/16: SWIRL! 10/21: The Uncle Albert Band 10/22: Seldom Home 10/23: Bennie Smith & The Urban Blues Express 10/28: The Uncle Albert Band 10/29: Rockhouse Ramblers 10/30: The Flying Mules
ROCKET BAR 2001 Locust St. • St. Louis, MO 63103 314-588-0088 • http://rocketbar.net 10/1: Headlights, Lapush 10/2: Willy Wisely, Bunnygrunt, D.A.R.R.Y.L. 10/4: The Frequency 10/7: Murder By Death, Sleep Station, The Snake The Cross The Crown 10/8: Doris Henson, So Many Dynamos, Roma 79, The Octopus Project 10/9: Traindodge, Skies Fallen
CAMPER VAN BEETHOVEN at BLUEBERRY HILL’S DUCK ROOM October 28, 9 p.m. • 21+ TICKETS: $10 • CALL: 314-727-0880 After opening for frontman David Lowery’s other band, Cracker, in 2003, Camper Van Beethoven has officially reunited. Their first CD of new material in well over a decade, New Roman Times, hits record stores October 12. “It didn’t pick up right where we left off,” Lowery explains on the band’s Web site. “It picked up as if there was 15 years in between.” While New Roman Times, like CVB’s mid- to late-’80s output, is a blend of funky folk, Tex-Mex, and psychedelic country-rock, Lowery says that the new disc—which he describes as a “prog-rock concept album”—is substantially more mature and evolved than anything from the band’s past catalogue, a change partially due to the band self-releasing the record on their own label, Pitch a Tent, allowing them complete artistic freedom. —Michele Ulsohn 10/12: Life and Times, Swiss Army 10/16: Karate, Chris Brokaw 10/20: City On Film, Kind of Like Spitting 10/21: Captured By Robots, Traindodge, Robb Steele 10/22: Captured By Robots, Riddle of Steel 10/30: 7th Annual Rocket Bar Halloween Party
SALLY T’S 6 Main St. • St. Peters, MO 63376 636-397-5383 • www.sallyts.com 10/1: Gun Metal Grey w/The Saw Is Family & Delta 9 10/2: Skyfarm w/Crooked River & One Degree Difference 10/5: Open Mic 10/6: Born To Die w/The Revolution & Royal Gypsy Theatre 10/7: The Walnut Street Gang w/Third Street Heat & France 10/8: High Maitance w/Midwest Dilema 10/9: MCM tape night 10/13: Greenhouse Effect w/Avadis & The Sham 10/14: Toc w/Commi Chung and Driver 10/15: About the Norm w/Rend and Thanatos Eternal, Clarity Process 10/20: MCM Tape Night w/Lithic, The Rove, Shall We Dance & Alive 10/21: Ai w/Manifest, Murdrin a Tuxedo, The Elements & Burnt Ninja 10/22: Holy Frog, Loke & Shattery Mask 10/23: The Spiders, Losers Make Good, Opie Hicks & The Elements 10/26: Black Hole Incident & Group Think 10/28: Eclipse CD Release Party w/See The Sky HALLOWEEKEND 10/29:Spatik and Celia 10/30: Adams Off Ox and Madahoochi!
3648 Washington Blvd. • St. Louis, MO 63108 314-533-9900 • www.sheldonconcerthall.org 10/2: Marian McPartland Trio 10/7: Echoes of Erin 10/8: John Cowan Band w/Vassar Clements 10/10: The Capitol Steps 10/13-14: Richard Hayman 10/16: Musical Celebration of France & America 10/17: Dave Brubeck 10/20-24: Wesla Whitfield 10/29: Poncho Sanchez 10/30: Lizz Wright
STUDIO CAFÉ 1309 Washington Ave. • St. Louis, MO 63103 314-621-8667 10/1: Sac Lunch w/Day After Yesterday 10/2: Brian Elder Band w/Aaron James 10/8: Nimbus 10/15: Studebakers w/Missunderstood 10/16: Silent Q w/Rusted Faith 10/22: Tape Deck Sonata 10/29: Tory Z.Starbuck w/Polarized Mind 10/30: Nervous Pudding
THREE-1-THREE 313 E. Main St. • Belleville, IL 62220 618-239-6885 • www.three-1-three.com Every Monday: Park Avenue Trio Every Tuesday: DJ Rob Gray Every Thursday: DJ Kelly Dell, Just J, Andreas Ardesco 10/1: Lorenzo Goetz 10/2: earthSOL 10/9: Rodney Branigan 10/15: Aaron Kamm, CJ Boyd 10/30: Animated Dead
TOUHILL PERFORMING ARTS CTR. University of MO – STL • St. Louis, MO 63121 314-516-4949 • www.touhill.org
VENICE CAFÉ 1906 Pestalozzi • St. Louis, MO 63118 314-772-5994 10/1: Naked Groove 10/2: The Sugarfree Allstars 10/7: DBA Project 10/8: Dangerous Kitchen 10/9: Woodbox Gang 10/15: Road Apples 10/16: Jakes Leg 10/21: The Troubadors of Divine Bliss 10/22: 56 Hope Road 10/23: Western Soul 10/30: Garbonzos
WAY OUT CLUB 2525 S. Jefferson Ave. • St. Louis, MO 63118 314-664-7638 • www.wayoutclub.com 10/1: 7 Shot Screamers 10/5: 3 Bad Jacks 10/7: Wick, The Scared 10/8: Billy Coma, Saw is Family, TOK 10/12: Spanish for 100 10/13: Viva Voce, Like Young 10/19: King Valley 10/22: Maxtone 4 10/23: Bunnygrunt, Casper and Cookies, 63 Crayons & Julia Sets 10/30: The Spiders & Bug
BRENDAN BENSON w/BADLY DRAWN BOY at the PAGEANT October 22, 8 p.m. • all ages TICKETS: $15 • CALL: 314-726-6161 In 1996, fledgling songwriter Brendan Benson left Detroit for sunny L.A. with nothing more than a 30-song demo he had overdubbed at home on a crappy dual-cassette deck. He wanted the usual stuff: get signed, make a record, become famous. With two out of three goals rather quickly accomplished—after hooking up with power-pop’s Mr. Miyagi, Jellyfish’s Jason Faulkner, the two became fast friends, writing and recording a demo that brought Virgin Records onboard to release Benson’s scrappy pop masterpiece One Mississippi—the third hit a stumbling block when Virgin refused to promote the record. Label execs complained about the album’s lack of choruses, which was insane—that record’s nothing but hooks—and when they told a heartbroken Benson to stop touring, he knew One Mississippi was 43 over. Five years later—Virgin-free, back in Detroit, and riding One Mississippi’s slow burn critical buzz to Great Overlooked Masterpiece status—Benson released the slightly lesscaffeinated Lapalco on indie label Star Time to nearly unanimous critical acclaim. While One Mississippi’s jagged, infectious energy occasionally surfaced here, most notably in bubbly opener (and recent Saturn ad jingle) “Tiny Spark,” Lapalco shows Benson in a more contemplative mood, strumming most of the album’s tracks on an acoustic guitar in sparse, four-track arrangements. Lately, Benson’s spent more time in the studio than on stage—though it was during his rare Detroit performance that Jack White clobbered that fussy Von Bondies kid. The latest “It” producer for the indie rock set, Benson’s recently worked with The Waxwings and his pugilist pal White (who, in addition to covering Benson’s “Good to Me” with The White Stripes, called him “the best songwriter I’ve ever heard, in so long”). After a summer writing with two new side-projects—The Soft Tissues, with The Waxwings’ Dean Fertita, and a collaboration with White and members of The Greenehorns—and a stint as The Waxwings’ touring guitarist, Benson’s finally ready to move back to the center-stage mike, hopefully bringing some new tunes along for the ride. Cross your fingers for 30 new tracks overdubbed on a crappy dual-cassette deck. —Brian McClelland
PLAYBACK ST. LOUIS
GOOD SOUNDS
BY THOMAS CRONE
Rock Blocks: Local DJs Are Spinning More Than Beats
IT’S
not as if every night of the week is covered, but it’s becoming more commonplace for DJs in local clubs to be spinning rock ’n’ roll. And even as we celebrate this rising new trend on the local club scene, we stand, remove our caps, and salute a few evenings that have recently gone away: Sunday nights were given over to oi, punk, and metal at the Creepy Crawl, compliments of the DJ tag-team the Dream Warriors; meanwhile, just down Washington, Lori Layne and Betsy Maher were hosting an acclaimed Thursday night spin at Tangerine, RIP. With respects now paid to those departed evenings, let’s look at the survivors:
“It makes it more ‘live’ feeling,” Electric says. “It’s hard to get in and out with four songs; it’s wild and fun to do. The main thing up there is to turn people on to things they might not hear.” Classics at TBM include Bowie, the Stones, and Iggy Pop. Newer acts on the playlist would include Low Flying Owls, Bobby Conn, and TV on the Radio. “Basically, we play whatever we feel like,” Electric says. “We’re not supposed to be a jukebox.”
Mondays & Wednesdays – The Upstairs Lounge & Nik’s Wine Bar 44
The Upstairs Lounge has been home to a long-running, tag-team approach DJ spin, hosted currently by Matty Electric, Eric Damhourst, and Chad Eivins. In various combinations, the group’s been spinning at “Totally Boring Mondays” for the past six years. Recently, the trio’s branched out to a new room and night, “Rock ’n’ Roll Wednesdays,” at Nik’s Wine Bar in the Skinker-DeBalievere area. DJ Matty Electric says that the evenings do differ in tone, even with the same bunch spinning the tunes. “They’re totally different places,” he says. “Nik’s is more of a laid-back restaurant atmosphere. It’s cool and it’s fun and can get wild if you want it to be. The Upstairs can get pretty crazy. We’re spinning there from 10 p.m. to 2:30 a.m. and we get people drinking, dancing, jumping up and down. At the Upstairs, what’s cool is that they’re there to come hear music more than anything else. They want to hear what you’re playing. “At the Upstairs, it’ll be a lot of college kids and people from bands around town,” he adds. “There’s a lot of foot traffic. We’re in the artsy, underground part of town, I guess, and people who like rock music around there like what we’re doing. At Nik’s, it’s a more affluent art crowd, or Wash U students.” When all three DJs are working together, they rotate at four-song intervals. When two are on the turntables, it’ll be a six-eight song mix before switching.
The Professionals and The Damned. And then, also, some new stuff like Radio 4, Queens of the Stone Age, Sahara Hotnights. The punk at Tangerine just doesn’t seem to fit the aesthetic of the Delmar. It’s more dancey. And that’s very loosely said, with everything from Primal Scream to White Stripes.” Continuing to open for bands as they roll through town, Utz has supported acts at the Pageant, Mississippi Nights, and Duck Room, including such acts as Fastball, Soul Asylum, Cheap Trick, and Bob Mould. “That’s actually what got me into it,” he says. “The reaction at the Delmar’s been incredible. I gauge that by how people want to buy me drinks. And the free drink opportunity has increased.”
Wednesdays – Lemmons
Tuesdays – The Delmar Lounge Known as one of the savviest music heads in town, Vintage Vinyl PR director Jim Utz knows every show going on in town and he makes it to plenty of them. But on Tuesdays, you’ll find him manning the PA at the Delmar Lounge, where he spins until close. “On Tuesdays, it’s the industry night,” he says. “You get the bartenders and severs from the St. Louis bar community.” Utz jumped at the chance to play the Delmar just as Tangerine was closing. and the DJs at the Halo Bar were being phased out. Playing to the Loop crowd, Utz has tailored the set that made him a favorite on Washington Avenue. “I start at 11 and the first 2 hours are pure rock,” he says. “Sometimes I slip into soul and hip-hop at the end. I used to do sets, like Clash sets. I don’t do that here; and there’s less hardcore punk at the Delmar. Over the set, it’ll be everything from glam—a lá T-Rex, Sweet, Slade—to British punk, like The Clash,
Host of KDHX’s “Etiquette of Violence,” Cricket O’Neill has found a Wednesday residency at Lemmons, where she mixes a set that wouldn’t sound outof-place on her on-air show, with everything from garage rock to punk to neo-new wave. (The latter compliments of Erik Carlson, her spinning partner; he doesn’t want to be billed, but since he shows up every week…) It might be the BellRays one minute, AC/DC the next. “It’s a culmination of our collective history working at record stores,” O’Neill quips. “And we’ve been working at record stores…a long time. My partner and I have been doing live DJ sets almost as long as we’ve known each other,” she adds, noting past gigs at the HiPointe, Infierno, and the Upstairs; they had regular slots at the latter two. Their night, “Shattered,” also features horror and camp films on the big-screen, plus select comedies. In an already-funky room, it’s a good blend of the sublime and surreal. “We do 30 to 45 sets apiece,” she says. “And every other week, we have a guest DJ. Jim Utz has helped out more than once.” Spinning from 10 ’til close, O’Neill says, “A good night is when people are enjoying themselves and listening. We don’t have the good taste to take requests. It’s just that people are paying attention and are tipping their bartenders well.”
Lunch Monday – Friday, 11:30–5 Dinner (nightly specials) Daily 5–10 Lunch Buffet ($5.95) Monday – Friday, 11:30–2:30
Open ’til 3 a.m. Nightly Reggae Every Sunday Night Dave Stone Jazz Trio Every Friday at 10:30 p.m.
COME FOR THE FOOD, but stay for the eclectic atmosphere featuring beautiful artwork, live music most nights, and the charm that only tradition can offer.
3145 South Grand Ave. 314-664-8585
www.dineatmangia.com
Serving the Finest Fresh Pasta in St. Louis for 20 Years
Fair Trade & organically grown coffee air-roasted on site Live acoustic music Saturday nights Free wireless internet Breakfast, Lunch & Dinner Patio seating Iced coffee, frozen frappes and fruit smoothies
3974 Hartford Avenue • St. Louis, MO 63116 (314)771-JAVA www.hartfordcoffeecompany.com
Every Thursday Night — 101.1 THE RIVER’S HOMEGROWN SHOW LIVE with Ken Williams and Featuring St. Louis’ Best New Rock OCTOBER at NIKKI’S: 10/2 eKE • 10/15 The Ruckus • 10/22 The Pala Solution • 10/23 Trust • 10/28 Twilight Hayride • 10/29 The Hatch • 10/30 Lost Parade • call for complete schedule
1551 South 7th St. • Next to Soulard Market (314) 621-2181 • Open Until 3 am