I was living in NYC in 1991 when a co-worker's roommate had asked me togo down to where he worked for something. He was working for MTV andwas on a team putting together a new show called "The Real World" andwanted me to audition. I picked up the entry form, filled it out, butwas kinda revolted and reluctant and turned around and left (with theentry form in hand!) One of the things they asked was to name some ofyour favorite bands. Funny thing is, five years later I would neverhave guessed I'd be hosting web sites for nearly all of them. (Thenagain in 1991, a graphic internet was barely even conceptual anyhow.)Regardless, Meat Beat Manifesto was on that list.

The sky is grey and dismal on a cold, rainy winter day. You're alone ina room, looking up at the ceiling, with piles of things to do and noenthusiasm to do them. All is not bleak, however. As fate has it, thereare excellent albums like this one to keep you company, painting abright picture on an aural canvas.

While I had always enjoyed what I've heard from Troum and Maeror Tri,it was the first part in their 'Trilogy' ('Harmonies') which made mefall in love. Be warned, however, as the second part in the trilogy isnot nearly as gentle as part one. Ironically, 'Drones' is not 100%drones, a characteristic of a number of their other releases.

Was it worth paying the expensive amounts for shipping from Japan? No.Does this album deserve a worldwide release? Yes. Sugar Plant is one ofthe world's premiere technologically-friendly dream pop combos.

The first CD from the London-based Unbearable Recordings label is acollection of music which previously only existed on a series of 7"records.

Following that palpitating heart over Misty Dixon last week, someresearch was actually conducted. Turns out Misty's not a person, but aquartet from Manchester. I can't find any albums yet but there is atrack on this compilation, "Misty Dixon and some other less-significantfriends or something" (don't believe what the record label tells you).

While I have always loved the music on the Pink Box, I have always hadissues with the CD version.

Most fans have probably collected each one of the seasonal Solstice& Equinox singles back when they were released in 1998. Now thatthey're long out of print, a reasonably priced collection takes theirplace.

I honestly think this disc's been out for quite a while, but it's beenquite a bitch to find around Boston. My personal theory suggests thatsince the label's based out of Boston, most local stores are afraid tocarry it. grrrrrrr. James Plotkin and DJ Speedranch are the farthestthing from local, however.

I doubt there is one person reading this who doesn't know "Pump Up TheVolume," but how many know the history of Colourbox up until thatmoment, possibly 4AD's biggest worldwide smash in their entireexistence?

The cover of the third album from this San Franciscan duo somewhatbaffles me, and eerily provides hints about the contents. I have alwaysloved their albums but there's always something rather conceptuallymissing.

I have very mixed feelings about tribute albums. If a group of friends decide to all record some songs because they're all influenced by an artist or group, it's somewhat acceptable. Meanwhile, when labels like Cleopatra make a career out of coordinating a bunch of bands related to their label, (Leatherstrip seem to always say yes, too) and tossing together a collection of "ironic" versions, it's nauseating. This collection is sort of hard to pin down, and is somewhat predictable in its unpredictability.

Making its way to the shops this week is the CD issue of the nowlegendary 12" single originally released (and reviewed) back inDecember of 2000. "Sign" has got to be one of my favorite 12" singlereleases in the last few years, with a B-side that clocks in over 36minutes.

This is definitely one of the most ambitious releases in months and isquite possibly the most ambitious LPD release to date. This three CDset is composed of nearly all unreleased music, with the exception oftwo tracks from the LP edition of 'Nemesis Online' ("10th Shade," and"Schatten").

Possibly the most consistently good series of electronic musiccompilations over the last two years has been the Bip Hop series out ofFrance. Each disc features musical contributions from six electronicartists from all over the world. The accompanying booklet gives a briefbio, selected discography and website/contact information. Thistechnique is arguably far more effective in introducing new acts thanreleasing something to the effect of a triple CD set with one song fromeach contributor and fuckall for background information.

I don't want to sound sexist, but there is something sort of endearingabout a short, horny Canadian chick with an afro and hairy armpits inskin-tight clothing prancing around and singing about her sexuality.

After over two years of making the film circuits in Asia and Europe, Takashi Miike's horror/thriller finally touches down in North America. In a small review I saw somebody say "David Cronenberg eat your heart out." I can understand why. The film is very very slow on the uptake, a widower, Shigeharu Aoyama, has been suggested by his grown son that it's time to find a new woman or wife. Aoyama, who has strong ties to the Japanese film industry, is given the idea to hold auditions for this new unfound woman. After picking out a much younger woman, Asami, the plan seems to go ahead smoothly, but as events unfold, things just get completely fucked. They meet a few times, they have dinner, they go away for a romantic weekend in the mountains. Suddenly, she vanishes without a trace, and Aoyama is left to put together the pieces. Little does he know what terror awaits him. Those familiar with Miike's other works might expect gorey horror, but the cultural elite at the Brattle Theater on Friday night weren't prepared for it. It was amusing to watch swarms of them quickly leaving as the brutality levels were cranked way up. In a demented way, it was cute (while completely frightening) as the petit, cute, sweet Japanese girl was transformed into a domineering sadist. While the last 1/4 of the film was definitely more exciting, I'm wondering if the build-up was really worth it. If you choose to see this, I highly recommend staying until the end no matter how freaked out you get. Just don't see it on a full stomach.

 

The mark of an exceptionally visual film director is that every frame could stand alone as a great photograph, poster or post card. With the exception of 'Lost Highway', David Lynch has seemingly held on to this skill. In the style of his most popular films, he sets up this story as a mystery, wrapped inside an enigma. Set in the Hollywood Hills, a woman is the only survivor of a car accident but is left wandering with amnesia. By chance she happens upon a vacant apartment (as the renter is vacating) and hides out until she's discovered by a wholesome passenger who gets sucked into the rollercoaster ride. Lynch has an undeniable mastery of all elements as the score, sound effects, characters and camera shots all play into a twisted story of the hyperphysical underground of a shallow business: filmmaking! Popular Lynch elements also come into play: the use of coffee, unexplained objects, the name Diane, red stage curtains, death and light, invented (as opposed to strategically placed for advertisement purposes) products, off-camera people answering on-camera phones knowing who the other caller is when they pick up, and of course Roy Orbison. (Rebekah Del Rio's a'capella Spanish rendition of "Crying" has got to be one of the most captivating moments of the film.) Betty and Rita are the innocents playing detective, selflessly trying to help each other out and uncover the mystery, yet Diane and Camilla are the alter-egos, guilty as sin and driven by selfish desires. As complex as the plot seems, this film is basically about deceit, but on many levels however. Not only are the characters deceiving each other, they are deceiving themselves while David Lynch is completely deceiving the audience into believing which part of this film is reality and which part is fantasy. At the end it's up to you to decide which is which.

 

Imagine being lost in some 1950's sitcom, except when the lights and cameras go off and the phony smiles disappear there is a dark lifeless world of crime and murder. The lead character Betty seems almost perfect with her conservative appearance and charming personality, but by night she seems like a different person, often naughty and dangerous. In Lynch's Hollywood, the night is extra dark and the day seems excessively bright. The sounds of the night are often dark and disturbing while the sounds of the day are perky and happy. The other lead, Rita, is introduced on a darkened stretch of Mulholland Drive where a murder is about to take place, her own. A horrific accident causes her to escape but with no recollection of who she is. The mystery begins when Betty and Rita meet up and try to figure out who Rita is. As they come closer and closer to the Rita's identity, they fall in love. Their love seems so perfect, yet it doesn't seem real. Like that 50's sitcom it seems to be all a dream. When will this dream end? It doesn't. Mulholland Drive remains a dream, remains a mystery. As we come closer to discovering the truth, Lynch switches characters around and Rita becomes Camilla Rhodes, an actress in love with a director and Betty becomes Diane Selwyn another actress in love with Camilla. Just when you think you've figured everything out the plot thickens. The dream goes on forever. At this point, however, you simply have to sit back and enjoy the dream. Don't try to figure it out or it will end up haunting you and leave you wandering down Mulholland Drive forever.

Last week I was lucky enough to hear one of the most energetic, unique and exciting rock bands on the planet perform what can be inadequately described as experimental hardcore punk at the three best gigs I've been to this year. Melt Banana of Tokyo are on tour in Europe and making an exhilarating manic noise everywhere they go. Their surgically masked guitarist Agata, sends all kinds of unlikely sounds roaring from his six strings via his big rack of effects pedals; breaking glass, machine gun fire and emergency sirens all augment his frantic slide antics. Singer Yako sounds utterly unlike any other singer, yelping like a small puppy or letting loose a helium barrage of unintelligible invectice as she does a surf dance through the thick waves of Banana mosh fodder. Tiny bassist Rika and American drummer Dave, formerly of Discordance Axis and now of internet noisemongers Atomsmasher, keep up the breathtakingly fast rhythm. The band have been playing and touring long enough to perfect their art attack and show everyone else how rock music can still blast ecstatically into the future. They played mostly songs from their recent and best albums 'Charlie' and 'Teeny Shiny', and as usual did one of their legendary cover songs, this time a traditional Italian tune 'Tintarella di Luna'. The Liverpool gig was especially sweaty and chaotic, with Agata grabbing a table a few songs in to keep people from falling on his pedals. In Leeds and Liverpool, support bands John Holmes, Narcosis and Voorhees were of the angry hardcore variety. Dave likened John Holmes to Prong although they seemed slower. Manchester supports were experimental noisemongers Magic City and Triclops and the comedy laptop processed shouting swearing racket of Speedranch^Jansky Noise. Speedranch was gutted not to be able to hire a bouncy Castle for the occasion, so made do with jumping off the PA into the crowd where someone emptied a beer can over his head. If you're in France, Germany, Austria, Switzerland or Italy over the next two months or so, you might be able to catch Melt Banana before they go back to Japan. Check out the tour dates at www.splatterpromotion.com.