CURRENT 93 AND LITTLE ANNIE IN NYC
On 30th April, there will be a release party of the full length album from Antony and the Johnsons (description below). David Tibet of Current 93 and Little Annie are planning to make guest appearances at the concert, interpreting tracks from the album. This will take place at Joe's Pub at the Public Theatre, 425 Lafayette Street@ Astor Pl. Call 212.260.2400 for more information.

NO LATTE FOR BAILIFF FANS
Jessica Bailiff has added a rare appearance in Bowling Green, Ohio but the date at the Gold Coffee Co. in Grand Rapids, MI is off. "No more loud rock and roll concerts," claims the owner. I guess he hasn't heard the charming grace of "Hour of the Trace" yet.

REVIEWS GALORE!
There's been a ton of new reviews building up in the vaults here at Brain Central. So this week we break a record by having 16 interviews in one issue. Many of them are charming nice releases so take the time to download the samples and listen in. Don't worry, you've got a week until next week's issue. There will be a quiz on it later.

THE FOR CARNATION
In an article for Milk Magazine, author Josh Modell, commenting on the popularity of Slint's "Spiderland" years after its initial release, said "It's now regarded as a classic, which is funny, because McMahan has already topped it." McMahan certainly has with this third release by the For Carnation, a band that has featured Dave Pajo, John Herndon, Doug McCombs, and Brad Wood. This time around, the principal players are different yet again -- save Brian's brother Michael, who also played on "Marshmallows" -- and the guestlist is interesting to say the least (Britt Walford from Slint, Kim Deal, Rachel Haden to name a few). Behind the knobs this time as well adding some flourishes here and there is John McEntire, whose presence adds credibility to any release these days. It's not needed here, though, as what's important is the power of these songs. Gone are the days of "rocking out" that McMahan exhibited in Slint, but don't think for a second that he's lost his edge. These songs are at once beautiful, menacing, soothing, and frightening. Imagine a record that can completely relax you but still scare the shit out of you. And the lyrics! The finest McMahan's ever written. When he speaks "Child -- go back inside/where is your father now?" on "A Tribute To" you feel his concern, his fear, his anger, and his detachment, all in one line. I heard the description "imagine if Slint made a trip-hop record." Don't believe the hype. Yes, there are some sampling and electronic experiments here and there, but this record is far from trip-hop. Instead, McMahan is proving that his music isn't just getting better, it's becoming more vital than Slint ever was. Brilliant. - Robert Devlin

samples:

• A Tribute To
• Moonbeams
• Tales [live from the crypt]

CHARLENE, "TAKING A DIVE" 7"
The world can never have too many bands who sound like they really love Spacemen 3. This Boston three piece is a band to keep an eye out for. A couple weeks ago I reviewed their set I caught, which caught me off-guard. The band have magically formulated a beautiful sound on recording in addition to the wonderful live set. Recently released is this 7" single (their first in a series of four planned for this year). Both songs are dreamy and echo of Spiritualized and Spacemen influences. The production is professional enough to hear all instruments perfectly yet scratchy enough to have a heavy soul. Boy does that plucked bass guitar sound nice. Now available on the Boston-based label, Castle Von Buhler, get it now before the band gets signed, releases 3 albums and then splits only to be honored more in their death. - Jon Whitney

samples:

• Taking a Dive
• Blackout

A SILVER MT. ZION, "HE HAS LEFT US ALONE,..."
In an album of sparse piano chords, faded radio interceptions, and plaintive violin, the album title may perhaps be the most ornate part of what is a beautiful freshmen release from members of Montréal's godspeed you black emperor! With the popularity of gybe! at the moment, it's impossible to escape comparisons between A Silver Mt. Zion and its more widely-acclaimed brethren, and I can't seem to shake off these comparisons either when listening. But, it's best to consider "He Has Left Us Alone..." as an example of "chamber godspeed." Not quite as expansive as some of the godspeed's more epic works--perhaps becuase it's minus six members of the fabled ensemble--the minimalism of the tracks on this album contribute an austere beauty. But, far from being ascetic, this album is one of the most emotional and visceral works I've heard from any band in quite some time. The highlight of the album comes halfway into the track with the sole appearance of vocals. Sung in a somewhat timid voice, the lyrics come across as one of the most honest deliveries I've heard. "He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms" will easily be on my top five list of this year, and provides the perfect example of an album so emotionally packed it can be described only as visceral. - Carter Adams

samples:

• Sit in the Middle of Three Dogs Galloping
• Movie (Never Made)
• For Wanda

DO MAKE SAY THINK, "GOODBYE ENEMY AIRSHIP"
My first impression of this album was one of amazement. I can remember hearing the first self-titled album by this Canadian band and thinking that these guys were poised to take over the indie rock world. One this, their second album, I found a band much more in syncopation. The evolution of their music shows a more mature band interested in textures and ideas, allowing the music to undulate and expand. Gone are the funky rhythms, but in their absence come amazing expanded musical themes and jazz-like tempos. Definitely an album worth picking up, and I recommend 'playing twice before listening' on this one. - Carter Adams

samples:

• Minmin
• The Apartment Song
• Goodbye Enemy Airship

CONSOLE, "ROCKET IN THE POCKET"
Martin Gretschmann, knob twiddler for the Notwist and Tied & Tickled Trio part-timer, serves up a somewhat greasy yet tasty serving of '80s-lovin' retro-synthpop on his second Console full-lengther. Just like scallops wrapped in bacon, you know this stuff is downright bad for you - but it tastes so good that such concerns hardly seem to matter. I can't help thinking, however, that this brand of electroni-kitsch finds its audience depending on the personalities and labels involved. Consider the very Console-like Cylob. Because Cylob cuts his tracks for Richard D. James' Rephlex label, the electronica insiders who hang on RDJ's every move scoop up Cylob releases without a second thought. "Rocket" was released in Europe two years ago, but Console is now finding his way into college-radio playlists across North America by virtue of the album's re-release on über-indie Matador Records. The differences between Console's music and Cylob's are negligible. Strangely enough, I suspect you won't find many people listening to both artists. Don't let hipster prejudice force you to choose. If you like the one, try the other. And check out that streaming video at Matador's website while you're at it! Check out the streaming video! - Jon Whitney

samples:

• 14 Zero Zero
• My Dog Eats Beats
• Pigeon Party

RACHEL'S/MATMOS, "FULL ON NIGHT"
Rachel's gets its music spiked on this two-track Quarterstick EP. The unlikely contraband comes courtesy of San Francisco's Matmos. The Louisville-based Rachel's troupe often recruits old friends for new projects. But it seems that Rachel's merely sent tapes to Matmos' master manipulators Martin and Drew rather than convening in truly collaborative-collective fashion. The sound of the EP doesn't fall far from 1999's 'Selenography." If you're unfamiliar with Rachel's, the music is essentially slow rock played with an array of orchestral instruments--ideal for film scores, quiet dinners, or study time. Pianist Rachel Grimes often holds the music together. "Full on Night," which originally appeared on 1997's 'Handwriting,' appears here in an newly re-recorded version, sounding punchier and stronger. "The Precise Temperature of Darkness" starts out as a serene Rachel's track but ends on a more violent and electronic (Matmos-ian?) note, tapering off after the 18-minute mark. This 30-minute release leaves me much more impressed than "Selenography." While reliant upon Rachel's chamber elegance rather than Matmos' electroacoustic inventiveness, "Full on Night" is a perfect point of introduction for fans of the one who are curious about the other. - Jon Whitney

samples:

• Full On Night (Recension Mix)
• The Precise Temperature of Darkness

THE HALIFAX PIER
Strings and acoustic guitars set the opening for this charming release from the second Louisville-based collective featured this week. The Halifax Pier's emotion-soaked debut on The Temporary Residence label conveys feeling through music, eclipsing the power of spoken or sung lyrics. These six songs creep by at a moderate pace, the music building and quelling, reaching intense peaks without screaming in your face. Like good actors, these musicians know that it's the tone of one's voice, not its volume, that speaks loudest and clearest. The Halifax Pier leaves me wondering what's being fed to all those kids in Kentucky. Louisville ain't so big, but it sure seems to produce a wealth of brilliant bands. And Temporary Residence, whom I've always respected for its superb Travels in Constants CD-EP series, comes up with another winner here. If heartfelt, acoustic, gut-bleeding, Midwestern, 20-something music isn't your bag, then move on and leave the rest of us to enjoy. - Jon Whitney

samples:

• Chance to Leave
• The Old Constellations
• Untitled

KOZO, "PLANNED PENETRATION"
Porn has found itself a new Pied Piper! No, really. This is a great disc. Kozo Ikena probably sat back in his room one day, thought how great low, cool dub would sound with a trumpet, and proceeded to devise a decent backdrop for his horn-blowing skills. Most groups plying this sort of low-cool sound can't count a trumpet player among their ranks. Shame. Ikena's brass-throated bell does wonders for the music. A fairly accurate description graces the CD's back cover ("swanky experimental breakbeats... downtempo gritty lounge vibes") - just so you'll know exactly what you're getting into here. As porn-influenced dub music goes, "Planned Penetration" makes an excellent companion piece to the "Suck it and See" collection by Howie B.'s Pussyfoot stable in 1999. I can also picture Kozo making the rounds through the Western lands, perhaps hooking up with that Twilight Circus Dub Soundsystem allong the way. Okay, maybe not. But it's a thought. - Jon Whitney

samples:

• Camouflage
• Chickin
• Power Station A

ROLLERBALL, "EINAUGIGE KIRSCHE"
This three-track/35-minute CD creeps along somewhere between stylish jazz and electronic noise. Originally issued by Felina Y Magia, "Einaugige Kirshe" comes to wider attention via Rollerball's new label, Road Cone. Forgive my ignorance of the band's history, but this is quite a charming release. The packaging features a hand-cut (and hand-made) paper booklet bound together with string. While "Officer Down" and "1/2 Horse, 1/2 Pig" sound like tracks born of intelligent improvisation, the 26+-minute "Stone Cold Rhythm Dog" barks out the influence of Throbbing Gristle's "Hot on the Heels of Love" and "Hamburger Lady." Free jazz? Electro grunge? Either way, it's another intriguing release from what is quickly becoming one of the more innovative and daring labels on the map - Jon Whitney

samples:

• 1/2 Horse, 1/2 Pig
• Officer Down
• Stone Cold Rhythm Dog

EINSTURZENDE NEUBAUTEN, "SILENCE IS SEXY"
"Titles are Silly." Okay, I'm going to try to be as objective as possible with this one. As a somewhat older fan of EN, I'm fond of the electronic noises, invented instrumentation, and sound experimentation the group's music used to represent. But the artsy drama EN has been churning out of late has got to go! "Silence is Sexy" celebrates EN's 20th year of operation with a marked improvement in production values. The focused and streamlined sound finds equal space for pulsing, naked bass guitar, trimmed-down sound effects, low-end percussion, and strings. Not least of all, the punchy production brings EN's often-personal lyrics and intense delivery to the forefront--to double-edged effect. The pregnant pause on the title track makes for very, very uneasy listening, but the chanting at the end is downright pathetic. On the whole, though, "Silence is Sexy" is as its title suggests--a very quiet release with sporadic outbursts of violent noise. "Zampono" is one of my favorite selections, sounding as though EN just shanghaied the Blue Man Group into banging on hollow plastic pipes. I can almost see the BMG bouncing about. One of my beefs, however, is that there's a bit too much repetition on many of these songs. Again, it's a technique that has its pluses and minuses. Fragments such as "I wish this would be your color . . ." haunt your head long after the CD leaves the player, but the approach just as often recall's last year's obnoxious "all I really really really really really really really really want to see is a total eclipse of the sun" refrain. Another personal peeve is the German vs. English issue. After experiencing his attempts at the latter, I most certainly prefer to hear Blixa singing in German. Maybe something was lost in the translation. And, (un?)fortunately, his version of "Pretty Fly for a White Guy" didn't make it onto the album.
The UK edition of "Silence" is out right now, presented in a deluxe package with a second CD featuring 18 minutes of bonus material. Unsurprisingly enough, this amounts to a very repetitious song that stubbornly refuses to end. But it's truly noisier than the rest of the record, and I can recommend grabbing this edition (while you still can) if repetitious noise is your bag. A US ediition will be released sometime in May (I believe) but without the bonus disc. Should EN tour for this release, don't miss it. Live EN dwarfs any of the group's recent albums. - Jon Whitney

samples:

• Zampano
• Die Befinlichkeit Des Landes
• Total Eclipse of the Sun

GORDON MUMMA, "STUDIO RETROSPECT"
This is good old-fashioned electronic music. Busy, idiosyncratic, sonically rich tracks that give you noises you've never heard before in combinations you had never imagined. Mumma does what is most difficult for the electronic musician, he keeps the sounds interesting but doesn't ignore the emotional content. When the bombs land in The Dresden Interleaf 13 February 1945, the horrific buzzsaw cacophony recalls the brutality of war. It's not the cold, modern click and pop groove that makes your body move, but it elicits a different reaction: visceral, not danceable.
Mumma pioneered what he called "cybersonic" technique, where traditional acoustic instruments interact with electronics through Mumma's home-built circuitry. There are some examples of this technique on the CD, including Pontpoint, where the archaic bandoneon and bowed psaltery converse with hyper-modern electronic bleeps and bloops.
Until this CD came around, if you wanted to hear anything by Gordon Mumma, you had to search out his few vinyl releases. This CD collects six of Mumma's electronic compositions from the late 50's through the early 80's. Conspicuously absent from this collection is Megaton for Wm. Burroughs, which is reportedly forthcoming on another CD release. That and more experimental artists from the label, Lovely Music. - Chris Hill

samples:

• Pontpoint
• The Dresden Interleaf 13 February 1945

SIEBEN, "FORBID THE SUN'S ESCAPE"
Hailing from the UK, this is the debut album by Sieben. They sound a lot like some of the "Heavenly Voices" bands from Germany, featuring two lead singers, one whose voice quality is reminiscent of Sade, the other who reminds me a bit of Katharina Franck in her ethereal-cabaret style. Unfortunately, the liner notes give no hints of who is singing on which track. Their voices come together with velvety tremolos and canonic harmonies. Moody classical arrangements with eerie synths produce beautiful gothic soundscapes. Matt Howden, from Sol Invictus and PigSix4, appears with his violin prominently on most of the tracks, and as always, he adds a dimension to the music which is priceless. That, plus Wakeford's guest vocals on Second Watchwords remind me that I really must dust off my old Sol Invictus albums and listen to them again! - Alan Ezust and Julie Geanakakis

samples:

• Daysend
• In Your Own Room
• Second Watchwords

SPEEDY J, "A SHOCKING HOBBY"
This anti-drum n' bass, post-post-industrial product from Speedy J could be the loudest item on the noise scale this week. Sorry for the jargon-dropping, folks, but "A Shocking Hobby" definitely borrows from both camps in making its LOUD against-the-grain statement. Speedy J's sonically challenging fourth album grabs and distorts the beats but keeps the sounds fresh and furious in a manner not unlike early Panacea. No irregular collection of dance tracks, "A Shocking Hobby" progresses like a true album--with a beginning, a middle, and a stunning end. Kudos to Rotterdam's Jochem Paap for keeping the proceedings under the hour mark, too, as a major downfall of similar records is that they tend to go on for too damn long. "A Shocking Hobby" holds your attention as Paap vents his furious aggression. This is one to blast while you're stuck in downtown traffic during the morning commute. - Jon Whitney

samples:

• Borax
• Sabena Seat
• Vopax

OPTIGANALLY YOURS, "EXCLUSIVELY TALENTMAKER"
For those not on the nostalgia bandwagon, the Optigan (along with the Talentmaker and Orchestron) was a child's toy, a sort of 70's pre-cursor to the sampler. Its sounds were derived from optical discs, onto which were recorded actual sounds, musical or otherwise, which were then played with the simple depression of a key. Rob Crow (vocals) and Pea Hix (anything else), luminaries in the San Diego music scene, bring their second Optiganally Yours album, and the first to be "100% Optigan-free", using in it's stead it's two toy peers. Utilising primarily said keyboards and vocal harmonies torn straight from the Brian Wilson handbook, OY create a sound that, while steeped heavily in camp, is catchy and enjoyable. "Oar" is a meloncholy tale of a ship's demise, with wonderful accompaniment by the Pacific Ocean on "ocean stylings." The machined samba of "Donut" is offset by it's spastic chorus and dissonant fuzz piano solo; "Figaro" sounds like a crate of old jazz records fused together into a crackly slink, with a vocal cadence that sounds like it was lifted straight from a soft rock radio hit. With visions of Plone (that's sure to put Jon off!) and Tarwater dancing in your head, the oddball "The Outer Space" spins in it's vocoder glory, with a stunted drum loop (it was rumored Ringo Starr cut some source material for an Optigan disc) cycling below it. OY should be commended for their devotion to nostalgia, experimentation, and pure pop "stylings" - instead, buy the album, and I'm sure they'll be happy enough. - Jason Olariu

samples:

• Figaro
• Gepetto
• The Outer Space

DIRTY THREE, "LOWLANDS"
If you're lucky enough to catch Dirty Three in concert, you'll want to walk away with this gem. "Lowlands" is a self-released collection of radio and studio tracks, outtakes, and whatnot. Even those cuts obviously recorded with poor equipment radiate magic and beauty. You can always count on that D3 ray of sunshine to burst through a cloudy day. - Jon Whitney

samples:

• Cottonhead
• Lowlands
• Time After

GUS GUS VS. T-WORLD
If you don't want reviewers to reminisce about the good old days of your band, then don't put out inferior crapola. Gus Gus debuted with the incredible "Polydistortion." Last year's follow-up "This is Normal" had a couple of okay pop tunes but was way too bland overall. "Gus Gus vs. T-World" continues the downward slide with a seven-song collection of boring, colorless, and thorougly pointless mixes. Despite the many sleepy remixes of "Purple" populating years' worth of prior Gus Gus singles, the song gets hauled out here for yet another listless overhaul. This disc is brainless, predictable, and flat - a complete 180 from the brilliance and excitement of "Polydistortion." I continue to hold out hope for a phenomenal Gus Gus disc to rival that first album. Sadly, the future keeps looking more and more bleak. - Jon Whitney

samples:

• Esja
• Northern Lights
• Rosenberg

We know that sometimes these CDs are somewhat challenging to find, which is why we have a RECOMMENDED STORES section which can be used to obtain nearly everything available on the site.

MONDAY
Blackalicious - If I May 12"/CDEP (Mo'Wax, UK)
Kid Spatula - Full Sunken Breaks CD/3xLP (Planet µ, UK)
Plaid - Booc 12" [ltd edition] (Warp, UK)

TUESDAY
* Broadcast - The Noise Made By People CD (Warp/Tommy Boy, US)
Carbon Cube - Insolence CDEP (indie, US)
* The Clarke & Ware Experiment - Pretentious CD (Mute, US)
* Randy Greif - Alice in Wonderland 5xCD [reissue] (Soleilmoon, US)
Halo_Gen - Halo_Gen CD (Pendragon/Metropolis, US)
* Lustmord - The Monsterous Soul CD [reissue] (Soleilmoon, US)
Mentallo & the Fixer - Love is the Law CD (Metropolis, US)
* The Modernist - Explosion CD (Matador, US)
Nightmares on Wax - The Sound of N.O.W. 12"/CDEP (Warp/Matador, US)
Ras Command - Serious Smokers CD (Waveform, US)
Luke Slater - Body Freefall, Electronic Inform two 12"s (NovaMute, US)
Snog - Lies Inc./Dear Valued Customer CD (Metropolis, US)
Speedy J - A Shocking Hobby CD/2xLP (NovaMute, US)
Sven Vath - Contact CD (Ultra, US)

THURSDAY
COH - Mask of Birth 12" (raster-noton, Germany)
Taylor Dupree - untitled CD (raster-noton, Germany)
Noto - Telefunken CD (raster-noton, Germany)
Signal - Centrum CD (raster-noton, Germany)

For a more comprehensive release schedule stretching far into the future, please check out the NEW RELEASES brought to you by Greg and Feedback Monitor.

ANTONY & THE JOHNSONS
I first heard Antony & the Johnsons' recently released single with something like horror. Everything about it was all wrong to my ears: the suave orchestration seemed undermined by melodramatic, effete vocals, the baby-talk phrasing collided uncomfortably with surprisingly harsh subject matter, and intimations of a smooth as silk Julee Cruise vibe seemed absolutely undone by the Pavarotti-like force of Antony's titanic vocals. But since nothing is quite as fascinating as horror, I found myself returning repeatedly to "Cripple and the Starfish", my aversion quickly giving way to a hunger for more. Despite a long fondness for the work of David Tibet, who wisely snatched up Antony & the Johnsons for his label, I've been worried that all my glowing praise of this band might be terribly premature, having heard only one song. So I was relieved to see they'd be playing in my neighborhood, and more than a little eager to definitively decide whether this music was profoundly intelligent or spectacularly awful.

The well-attended show began with a brief performance piece by satanic belly-dancer Johanna Constantine. Scantily costumed, breasts and face smeared with what appeared to be blood and bile, and sporting a pair of devil horns worthy of Tim Curry, she undulated about the stage flexing and folding ten-inch-long fingers to music in near darkness. Afterwards the band was introduced by the no-less stunning hostess Julia Yasuda, described in the playbill as having been "born in a hermaphroditic condition during WWII." As the nine-piece band came onstage (clarinet, sax, piano, drums, flute, bass, cello, and two violins), Village drag hostess Justin Bond, leaned over from the next seat to assure me that I was about to be amazed.

And I was amazed. Dressed in a shoulderless frock, androgynous Antony took possession of the stage with the irresistible power of a superstar. Unfolding out of vulnerability and physical hesitancy, his remarkable voice sang with a riveting and deeply moving intensity. The only comparisons I could find were to heroic artists like Judy Garland and Ella Fitzgerald.

In retrospect, it is precisely the initially jarring incongruity of the elements of this music that I now find so compelling, and the remarkable finesse with which Antony holds them in tension which makes me conclude that this is an artist worth paying attention to. Antony literally personifies this tension in his unusual occupation of gender positions. He's a boy who dresses vaguely like a girl, and yet in no way does he impersonate femininity- he's unmistakably a boy, and yet, onstage at least, he's unmistakably a girl. Not once during his brilliant version of Nina Simone's "Be My Husband" did it even occur to me that there might be some irony in his declaration "I'll be your wife." This strikes me as radically different from the culturally enshrined varieties of gender-bending we've all seen.

Just as his voice suggests a delicacy which can only be described as muscular, his lyrics reflect another tension between innocence and experience. In many ways this resembles the work of Marc Almond-the cabaret stylings, a playful disregard for gender orthodoxy, preoccupation with the subterranean and nocturnal-but where Almond carries his experience like a torch, Antony's lyrics move through darkness without ever seeming to lose their innocence. Part Evel Kneivel and part Maria Callas, Antony plays out with a kind of death-defying bravery the gestures of opening himself to the world.

Similarly, a large part of the emotional punch these breathtaking songs carry seems to come from an almost compulsive movement between happiness and suffering which runs through the work. In the extraordinary "Hitler in My Heart" he pleads for acceptance ("Don't punish me / for wanting your love inside of me"), while in "Cripple and the Starfish" he is resigned to, even impatient for its withdrawal: "I am very, very happy, so please hurt me." This gesture of informing affection and desire with their opposites (he explains, "I always wanted love to be / filled with pain and bruises") transforms his songs into deliciously painful pleasures.

This aversion to the uni-dimensional extends to the diverse orchestration, the opening performer, and even the hermaphroditic hostess. Everything here is brimming with transformation in a calculated testimonial to the magical power of recreating oneself from moment to moment.

My initial reaction to this music-a kind of embarrassed shock-was less an aesthetic judgment than a response to the overwhelming risk taken by this versatile singer. With dazzling audacity and gentle humor Antony is defying genre, convention, and a multitude of borders in order to articulate complex experience which most listeners are probably not accustomed to hearing celebrated: haunting songs of the rage and agony of love, the blissful joy of grief, the diamond-like ferocity of true tenderness, charity and grace.

Although Antony complained of hoarseness (and even hurled the cigarettes of an entire nearby table of smokers across the room at one point), the sheer force of his voice was unaffected, and the musicians exhibited a well-practiced ease, even though several of them were new to the troupe. This was easily one of the best shows I've seen in years.

Antony and the Johnsons' forthcoming self-titled CD will be available from World Serpent by the end of April. They will be performing three more shows at the posh Joe's Pub in the next month, and the not-to-be-missed April 30 show will also feature performances of Antony & the Johnsons' songs by Little Annie Anxiety and David Tibet. - Thomas Olson

TAXI
Okay, so the film's now 2 years old, but it's French and you most likely missed it anyhow. Fucking brilliant. The Europeans really know how to make an awesome car chase movie. The story is kinda weak but it's really just there to string the car chases together. A down on his luck detective, Émilien employs a lead foot Taxi cab driver to help the police department solve the bank robbery case from the German Mercedes Gang! Daniel, the taxi driver has been caught speeding way too fast and is forced to either help the pigs or give up driving forever. Sure, it's kitch but the chases more than make up for it. At lightning speed, tiny European sports cars race through the streets of Marseille. The camera shots are incredible and the action just keeps your pulse pounding. Taxi 2 has just been released in France and trailers and photos are available at www.taxi2.com so go rent the first one and catch up before the cheesy sequel hits a hip theater near you! - Jon Whitney

STAR DUDES!
Use the Force, Dude! Filmed on location with Flash 4.0 it's a wonderful tale that takes place Long, Long Ago in a Galaxy Far, Far Away. download.theforce.net/stardudes.html.

Every week, we list our mailing address at the bottom. A wealth of mediocrity shows up at the box and we can't promise to get to everything. This week's 23 reviews have been cut to 16 in the interest of holding interest. It's 12:59 on Sunday night and I can be blindfolded with dental floss right about now. Good night!

- Rob Devlin, Monterey, CA