Improvijazzation Nation, issue # 14
Improvijazzation Nation, issue # 14
Proudly brought to yew’ by ZZAJ Productions & Dancing Bear Audio Research (DBAR)
Fourteenth Edition, Fall 1994
$2.25, HQ, 19th TAACOM, Unit 15015, PO BX 2879 APO 96218-0171, USA
*HIGHLIGHTS* in this issue:
E-mail cc’s AVAILABLE!!
Don Campau INTERVIEW
Some Young Earhose
NEW poets, GALORE!
RADIO station CONTACTS!
& much MUCH more!!!!!
Fer’ th’ observant among yew, the slight mod in the header will have yer’ scratchin’ th’ ol’ noggin a bit, mayhaps!
Any/all changes that ARE made (other’n those that are VISIBLY obvious) will BE announced – WELL in advance!
For right NOW, th’ deal izzat I want to get a little more CONSISTENT in print quality & I just couldn’t DO that without a bit o’ help from someone back HOME! Made an overture to our friend Wes Jensen, of DBAR, who agreed to get th’ xeroxing done back THERE, & do the mailouts (& our collective HAT is OFF ter’ him)! We will be messing around with the print formats a bit, but you won’t see any of that if we’re not BOTH satisfied that it ENHANCES the image of the publication. IF we find somethin’ that REALLY turnz us on, then we WILL do a bit o’ switchin – but th’ basics – NO ads, NO (glossy) hype & RAW unadulterated news/reviews of improv & D.I.Y – will NOT change.
Believe it or NOT, this SHOULD make distribution even MORE timely, too! YOU tell US wotcha’ think, as it occurs, OK?
Already announced on the INTERNET that one BIG change is already HAPPENING… ANY contributor who is reviewed in the ‘zine WILL be able to get a FREE copy of the WHOLE ‘zine (less grafix, o’ course) by simply providing me an INTERNET e-mail address… PRODIGY, COMPUSERVE, AOL, wotever. It doesn’t MATTER! No “discrimination” involved here, simply a matter of economics, ok?
Even if YOU don’t have direct access, you can STILL take advantage of the offer, by asking yer’ local friendly nerd to pull the text down FOR you & spit it out to print (just gimme’ THEIR e-mail address, AFTER you’ve CLEARED it with THEM, ok?)
This new policy applies to CONTRIBUTORS only. I WON’T respond to a rash of requests for FREE copies, becoz it’s accessible via e-mail. This is ONLY a means to get those who actively INPUT to th’ ‘zine something for their time & effort.
Besides, if yer’ don’t get a PAPER copy, you’ll miss all of the new GRAFIK adventures I plan to start puttin’ in here, right?
Borgia Popes: JACK – So Zzaj’s sittin’ ‘ere thinkin’ – how’m I gonna’ start this issue off witha’ KICKA’? Well, leave it ter’ Kenyata Sullivan ter’ take GOOD care o’ “I.N.” readers… THIS rockin’ gemstone (as in diamond inna’ RUFF) rolls in thru’ th’ mailslot at HIS introduction. SCORCHIN’ gitarz’ transportin’ yer’ to new highs… getcher’ BLOOD movin’, people. The presskit reviews make sum comparisons ter’ “Floyd” (not all THAT far off th’ mark – on a coupla’ toonz at least)… but, I’m ALWAYS more interested in ORIGINAL sound/energy than comparisons to whatz gone down before. Yeh’, there’s a chopper sound that just might bring yer’ back to visions o’ th’ “Wall” – but these volkz from Cincy (just ‘cross th’ river, in Kentucky, actually) have their OWN carpet for you to ride. D.I.Y. (that’s “do it yo’se’f”, fer’ those who DUNNO’ yet) is alive & WELL – even in WKRP-land (or whomever’s replaced ’em). Yah, yer’ right – this AIN’T barebones improv sketchery… but it IS raw, it IS aLIVE & it IS absolutely smashing the ‘walls’ o’ th’ ’90’s DOWN – whether they be’s in Cincy or Berlin! Fer’ a bloodpump yer’ not likely to ferget too soon (this AIN’T no 6-minit wonder), CONTACT (as in VERY highly RECOMMENDED), Rachel Darc, POB 243, Highland Heights, KY 41076 Rotcod Zzaj
W. Wright/D. Sellers/D. Cook: LLAMA – Here are some VERY ambient sounding pieces from one of MY favorite wander-improv ensembles. The vox that Debi Sellers offers up on side one are spooky & mysterious, in a sort of “live” vocal loop manner. There are no kickbutt jumpz into cometary regions here, more like a L-O-N-G journey AROUND the sun, complete orbit, beyond the furthest planetary orb! You NEED to sit back & relax when you’re listening to such, as you’ll miss the nuances if you don’t! There’s no DOUBT that it fits the ticket as an improv session, as Walter’s excursions often DO. CONTACT at 911 E. Main St., Indianapolis, IN 46220-1714 RECOMMENDED! Rotcod Zzaj
Bon: FULL CIRCLE/COMING HOME – I honestly dunno’ ferzure where alla’ these BEAUTIFUL pieces of work are coming from -but this CD from LoLo Records is a MASTER piece… the presskit included a listing of “to-be” released recordings from LoLo that starts in April of ’94 (THIS one) and runs up through October. If “Steel Blue”, “Project Lo” or “Gong” are anywhere NEAR as satisfying to the musical palate as “Full Circle” is, you won’t WANT to miss it. Bon’s guitar/synth work is the highlight (probably makes REAL sense, as he composed these toonz… the flyer describes the pieces as all-encompassing from “progressive” through “jazz/rock”, & I imagine that’s to avoid reviewers trying to “lump” it in to a pigeonhole! Simply NO way to do that; snatches of Beck in here, but then I’m reminded in other sections of Doug Michael and many other improvisors (even hear some sweet reminders of Carlos – as in Santana) who know right where YOU want to go in YOUR musical adventures… this is all supremely complimented by Hansford Rowe’s fretted/unfretted bass work and Vic Stevens’ snazzy clean drums! The “feel” of most of the pieces is in a sort of “jazzy blues” zone – but, with distinctive character that can NOT be denied! I absolutely LOVED this CD & WILL be in touch with LoLo for ALL of the up&coming releases. This one gets the “polished jazz improv” PICK for issue # 14… I can’t recommend this one HIGHLY enough… contact LoLo at POB 122, Riverton NJ 08077 – or FAX them (right NOW) at (609)829-8421 DO IT! You will NOT regret it! Just LOVELY, people! p.s. also contact via e-mail at email@example.com Rotcod Zzaj
Rift: BACKWHEN – This lil’ group is ‘nother SCORCHER that includes our D-BAR co-editor, Wes Jensen (on drums, synth/sampler & percz), Bill Yale (synth, tapes) and Santos Menendez (synth & tapes, too); very random pieces of radioloop thingery mesh in a rather jangling collage. I think that’s why I enjoy listening to just ’bout ennythang Wes associates himself with – he’s not AFRAID… to try out NEW meanderings. DEFINITELY in the improv vein, more hi-tech than, say, Chip Handy (who is an improv entity unto HIMSELF, people – see previous issues of “I.N.”)… the music is NOT held hostage to th’ loopery, & the LIVE aspects of the drum/synth work come thru SO clearly. This IS important, becoz’ there are MANY of these radiothangs that (basically) wind up suckin’ BUTTERMILK – in my mind that’s usually becoz’ they didn’t know HOW to play & tried to use th’ mix to COVER that! NOT “Backwhen”! Full-body frontal assault on yer’ nervz that yer’ won’t wanna’ be withOUT, volkz! Forms appear after a bit, with snatches of th’ “mid-east” – in FACT, these guyz musta’ ‘ad thier TURBANS on when they were doin’ these pieces – MOST interesting! Contact D-BAR at POB 3214, WALLINGTON, NJ, 07057 Rotcod Zzaj
Don Campau/Kevyn Dymond: IN EUROPE Indie’s FAVORITE DJ (at least frum th’ ZZAJ perspective) goes trekkin’ across th’ tundra…. whoops!!! Wrong region… …but that’s of lil’ consequence. The MUSIC is wot’ countz’, ain’t it? A virtual “who’s who (in the European indie scene)” tour by Don & Kevyn, it looked like they hit nearly EVERY city/D.I.Y.’er (Lord Litter, Andreas Bick, Dieter Zobel & Jan Bruun are only a FEW of ’em) on th’ Kentucky Fried Radio circuit – & played sum KICKAZZ toonz, people. Seems to have been mostly live studio work, which is not a detractor at all, as th’ production values are WAY UP! Lotza’ gitarz/drumz & more gitarz – pretty basic setup, perhaps, but in sections it (absolutely) SCORCHES! Those of you who were “with/in” to th’ ‘zine scene all thru th’ late ’80’s will probably remember “Das Frieier Orchester” (a Lord Litter creation, I believe)… they do a version of a Dymond piece, “Kevyn’s Tune” – some NICE jammin’ on that one. ‘s a matter of fact, it’s all the way THROUGH this tape! From a historical perspective alone, ol’ Jesse & th’ NEA otta’ SNATCH this ‘un up & make SURE it gets archived fer’ posterity! Clean, neat & great musical fun! Contact Don at Lonely Whistle Music, POB 23952, San Jose, CA 95152 RECOMMENDED! Rotcod Zzaj
Jeff Song/Matt Turner: LOVE & FEAR – This CD was mentioned last issue, in a review of their “IN VIVO”, which was the ‘jazz’ PICK of the last issue. In fact, this one was an earlier effort, put out under the O.O. label. Actually, ‘LOVE & FEAR’ comes a lot closer to what I “expected” when I received the ‘VIVO’ CD. There is a lot stronger orientation towards Jeff’s kay-a-gum as the focus for the improvisations.. a lot more VOCAL improv, too, (sort of) in the Korean tradition… if you’ve never experienced Korean traditional vox (or, perhaps, I should say if you HAVE), don’t let that make you shy away! This is IT, volkz! VERY intricate improv, but FULL body, Matt’s cello weaves almost mystically in & about the language that issues forth from Jeff’s roaming & adventureful mastery. &, that IS what it IS, people – a new LANGUAGE. This is the PICK for # 14 in the IMPROV arena! You owe it to YOURSELF (if you’re even SLIGHTLY in to improvisation) to GET this CD! Contact at 302 1/2 Drew St., Appleton, WI 54911 Rotcod Zzaj
…..now carryin’ on th’ “tradition” I’m trying to establish as a regular part of this ‘zine, a few questions/inputs from a LONG time “I.N.” friend, DON CAMPAU, who (as you shoud be aware, if you’re at ALL in to D.I.Y./underground) does the show “NO PIGEONHOLES” on KKUP, in Cupertino, California – featuring the musics of a WIDE variety of hometapers & ‘underground’ artists from ALL over the world! He’s also known (to many of us) as the U.S. contact/distributor for the Kentucky Fried Radio effort (if you haven’t checked THAT one out, be SURE to get hold of him – GOOD prices, GOOD improv – all with some comeback to the ARTISTS themselves). As with most interviews currently in “I.N.”, this was done by mail during June/July – we zurely APPRECIATE Don takin’ time out from his BUSY schedule to provide these insights into HIS efforts & commentary on the “scene” in general – THANKS, Don! Here goes…
Z: I remember reading aeons ago that Zappa was a prime influence for you; how has his death affected your music or thought chains – or HAS it?
DC: I s’pose in a way I haven’t completely accepted Zappa’s death yet. It’s hard to imagine living in a world without the snide remarks, committed fatalism, political perspective and musical genius that Frank provided. However, for me, Zappa’s influence was stronger much earlier. Although technically his recent music was remarkable… because I had an early exposure to good jazz I could tell how lame most guitarists were and I knew Zappa was cooking. I think it is pretty obvious that Frank Zappa was the most important American composer of our time, perhaps of the entire 20th century.
Z: In recent discourses/interviews with other improv artists/D.I.Y.’ers, I’ve noticed a feeling among some that today’s “underground” is a “sign o’ th’ end times”; too “chaotic”… you’re surely in aa position to make some kind of judgement on that… is that just paranoia, or “real fear”?
DC: …not exactly clear what you mean. Politically or commercially? I would offer that you can still do whatever the hell you want in your bedroom studio (as long as you don’t step on somebody’s big toes somewhere). As far as I’m concerned, music is a fun thing only and although I do sell my tapes, the main reason I do it is for enjoyment and the overwhelming feeling to try to be creative. Yes, many hometapers labor under the illusion that someday they will “make” it. Hey, if you want to live that nightmare, it’s OK by me. If you really want to be involved eventually in the “music industry”, don’t tell me I didn’t warn you. Don’t do it. Get a goddam job at a grocery store (like I did) and push out vegetables and get good health benefits. The Mafia controlled “entertainment” bizness has never been concerned about your (or anybody’s) art. Plain and simple; the business will fuck you over EVERY TIME. Ask Martin Newell. He’s one of the greatest home tapers and a savvy guy, but even he thought he could make it doing his fantastic music. He finally threw up his hands at the whole lot. Ironically, Andy Partridge of XTC heard him and produced his latest CD. So everything I just told you was wrong, if you have friends on the “inside”.
Z: Do you think review ‘zines tend to “pigeonhole” what they hear? Does/can radio do any better a job at that?
DC: Depending on their slant I’d say they all do it. By their very nature, editors make decisions like “sticking to the point” or “just tell them what it sounds like”. Not many publications are lucky enough to have writers talented enough to be able to create imagery or to have interesting angles, other than saying “it sounds like U2”, or it “reminds me of Stockhausen”.
As far as radio being better… I doubt it. Even non-commercial and college radio gets bogged down “in it’s format” most of the time. There are, however, quite a few selected shows throughout the world that do play outrageous and homespun music. Even non-commercial stations are “bottom line” oriented. I suppose it has to be this way.
Z: Something many of us in th’ “scene” (whatever’n’l THAT is) today often run in to is a SCHEDULE glut; how do you work around/through that? Is it all “worth” it in the end run? If it is, WHY?
DC: I deal with it by getting up at 4 a.m. to do my day job. Since I’m a single father with 3 kids I like to be able to be home with them as much as possible and at the same time be close enough to the tape decks that I can be dubbing and doing the laundry, dishes lunches/dinners and endless homework. I do truly get a kick from listening and playing music and I love corresponding with people all over the world. Don’t forget – ANYBODY can do it. Write somebody today. Heck, if I can crank it out, I know anybody can.
Z: There was a LOT of talk about three years back on the indie/taper “glut”; some of it was probably justified (in this interviewers mind)… has that gotten any better, Don? Is it worse? Name just one/two/three “jewels” that stand out (from the rest in this perceived “glut”) for overall production/creative ability, if you don’t mind!
DC: I’m not sure I agree with you about a so-called “glut”. Remember, even if you and I are in touch with hundreds/thousands of people, we are still only seeing the tip of the taping iceberg. I will say I’ve received thousands of tapes from around the world and there are plenty of standouts. Of course, that’s my judgement; you might think the same stuff is shit. Recent highlights for me have been releases by Screamin’ Popeyes, Rudy Schwartz Project, LMNOP and also Russ Stedman. Contact me for the addresses if you desire. I like a lot of different styles… that’s why I call my radio show “No Pigeonholes” – you send it, I play it. I just try to pick your best track.
Z: Talk a bit about the KFR & Loose Caboose labels you work with/on… increases in distribution? A lowering of interest? If it’s lowered, could this be due to an increased amount of networking/trading goin’ on today?
DC: KFR is a distribution service I provide for home tapers. You send me your master and I put it in my cheap little catalog and peddle it to the world. Never been a tremendous interest in KFR sales-wise, but I don’t really care. Just happy there’s an outlet for this stuff.
Loose Caboose is a “bootleg” label. I don’t specialize in every live tape – just the ones I like. I do have some cool stuff from some of your faves though. Oh yeah, send blanks (and postage please) for anything from any of my catalogs or radio show, for that matter. The radio shows are excellent compz, if I do say so. (& ZZAJ sez so, too… sort uvva’ whozewho of D.I.Y./underground) …word of mouth sells a few & I get to make new friends. I hope people don’t give up on “underground”, because they are not “making it”. That’s not the point. The point is to make human contact with somebody, stir up dialogue and maybe hear some interesting sounds. Sure, you’ll wade through shit to get there, but do it anyway. You need to be humbled. If you’re in this to get rich/famous, get out now and send me your extra blank tapes. Also, don’t believe you have to make a CD to be “legit”. If you’re not already “legit” in your own eyes, perhaps you should examine your motives.
Z: What about a comment on those just starting out who see indie/D.I.Y. as a path to the “top”? Or, better yet, IS there such a thing as the “top” in this arena?
I think I answered that a minute ago… Record and play your music for the love of it, the love of being creative. If that’s not good enough, don’t bother staying in the underground. You don’t belong there. Talk to somebody ELSE about the music biz, ’cause I don’t have an interest. That doesn’t mean I don’t like some commercial music, because I do.
As far as the undergound having a “top”, I don’t think that term applies here. I do think there’s a certain heirarchy, as in any subculture. There are certain people who’ve been around a long time and relative newcomers who make a splash because of hard work/talent. Word-of-mouth circulates after a period, and you become known worldwide. The beauty is – anyone can do it. There are radio shows throughout America/Europe that’ll play your home tape. Lord Litter even has a show on Radio Marabu that broadcasts to Europe. Of course most of these shows are late and low power. Still, there’s access. Even a growing video underground, because the technology is so available.
Z: What about your own tape/sonic projects? Anything you think might be of particular interest to “I.N.” readers?
DC: As always, I’m working on new things. Releases seem to come more slowly, but that’s OK. If I can do one or two tapes a year, I’m happy. Recently, I completed my tribute to Tim Buckley, GOODBYE AND HELLO. I cover his LP from 1967. I am also at work on PEN PALS 2, sequel to a 1988 tape. It’s a massive mail collab. rock/punk/pop oriented. Currently, I’ve been recording with Charles Laurel and Eric Muhs. They’re talented and funny guys. I have several others in mind too, but I’ll let them evolve as time goes by.
Z: Is there any possibility that today’s D.I.Y. will become tomorrow’s SCHLOCK?
DC: It’s already happened, because it was schlock to begin with.
Z: Does “No Pigeonholes” use CD’s? If not, why not? Is the DJ preference for CD’s on “college radio” a real danger for those of us sticking with the tape format?
DC: Only if you care about “making it”. You always have the option of trading/corresponding with all sorts of people. You’ll have a good time making friends who are into something similar. Sure, I play CD’s on my show. My show is NOT strictly home cassettes. I decided long ago there were too many gray areas. I do prefer home tapes – but small, creative studio projects will always get airplay. I’ve never turned a tape down for content. However, most DJ’s have no idea what it is to play all tapes. It’s a real technical challenge at times. I’ve messed up in every way imagineable.
…well, maybe, Don; but your efforts will go down in the annals of “this” hometaper as “monumental” – NON-MAFIA, NON-corporate & REAL! He wasn’t kiddin’ yer’ ’bout those showtapes, either – SEND Don a blank tape (& a coupla’ buckz/mailer) – he DELIVERS – EVERY time. & (unfortunately) that’s not sumthin’ you kin’ SAY ’bout a lotta’ volkz in some areas of the “underground” these days! Rotcod Zzaj
The Scary Tweezers: 3-D MOVIE – Nightmare polka punk? From offa’ th’ netz came this interesting little CD… outta’ Fort Wayne (near th’ “bible belt”?), Scott Morschhauser (vox/guitar/Accordion) & his ?wife/sister? Elaine (bass) join Jim Soracco (guitar/vox) & Vickie Waltenburg (drums) to lead yer’ thru ‘Cyclops Optometrist’, ‘Barbie Ran Off With MC Hammer’ & ‘Reluctant Vampire’. Obviously, this ain’t a genre that Zzaj ‘s lissenin’ to onna’ “reg’lar” basis… OTOH, yer’ GOTZ ter’ keep sum variety or yer’ life kinda’ dries UP, don’t it? The guitarz are HOT in spotz, & tho’ itz pretty simplechord stuph, th’ HEAT is there… KICKIN’ drums, an allaround FUN lil’ trip – I enjoyed it! As ever, if yer’ hardcore improvisor & NEVER lissen’ to anything else, you WON’T be interested – but IF you’re willing to venture out uv that lil’ genre thang you’ve stuck yerse’f into – this’ll be MAJOR kicksville! Contact at POB 5543, Ft. Wayne, IN 46895 R. Zzaj
Russ Stedman: SOMEDAY, I’LL BE MADE OF RUBBER – This is actually (believe it or not) the first time I’ve listened to a straight-ahead Stedman-only tape… & I kin SURELY see why KKUP’s Don Campau likes ‘im so well. Zappa-like “announcements” creepin’ thru splanfastic GUITARZ, GUITARZ, GUITARZ! ‘Flipper Returns’ features a GREAT guitar solo against drumlickz… no lame excuses for git-fiddlin’ on HERE, people. I just THOROUGLY enjoyed this. More rock-oriented than screechee improv, but nevertheless, it IS improv! Just a slightly diff’rent flavor, eh? There’s a lil’ vox loopin’ running through here, but VERY interesting, thematic & not somethin’ that distracts your total attention from the music. I begin to think that summa’ these volkz that plaster looping all over their tapes are doin’ it to COVER their lack of musicianship – NOT Russ; altho’, there’s APLENTY of insanity mixed in here to keep yer’ attention span UP! Solid music, thru & thru! Fer’ a GREAT tape, contact at POB 817, MITCHELL SD, 57301-0817 Like, do it NOW! Rotcod Zzaj
Okaniwa Fumihiro: MK1500 – We reviewed this jaded gent from Japan last ish… & sed that he’s surely onna’ “odd” side o’ th’ rock/pop/D.I.Y. spectrum – & “MK1500” duz NUTHIN’ to dispel that impression. Basslines are strong drivers in Okaniwa’s grandmaster plan, with well-qualified guitarz rambling/smashing on thru the panoramas he & his friends paint fer’ yer’ (must be slightly wired) mind(s). One thing that CAN be guaranteed – if yer’ sicka’ “reg’lar” radiorock, & yer’ lookin’ fer’ O-rigi-NAL – you’ll find it HERE! This tape is MUCH better out onna’ highway than th’ living room! You know, ROAD music! The only annoyance was the looping… lil’ too much of that on this one (’bout every other song has a loopsection, with raprattle about “rock stars”, etc.). Didn’t much care for that part – the music is GOOD, tho’, & surely worth the price of a few stamps to check ’em out at 3-30-3, Senzuku, Taitou-ku, Tokyo 111, JAPAN Rotcod Zzaj
Llama: SMILE AS FAST AS I CAN – From a “show” performance (“Michiana”, Friday, June 17, 1994), this C-90 from Walter Wright’s 911 Studios features the title piece spoken by Deborah Sellers, Walter on EPS, Keith Meiere on guitar synth and David Cook on keyboards… as some of you have heard me say before, THIS is biggest drawback to staying over here in Korea! I’m only able to hear such musics on tape, CD or (occasionally) over the airwaves. Walter sent a C-90 so I could hear both the studio version & the “live” performance. As expected, there’s even a difference between those. Deborah’s spoken word is POWERful, clean & crisp… the instruments are VERY clearly defined, not “muddy” like some attempts at capturing a live performance can be. VERY space-oriented, but at the same time FULL-bodied; which is a STRONG recommendation for actually HEARING this experience. If you LOVE improvisational musics, & in particulate if you’ve been sort of “shying away from” “electronic” improv – because sometimes it CAN be murky/vague, then you MUST hear this one! This is THE BEST I’ve ever listened to from Llama! It gets the distinction of being the PICK of this issue for BEST IMPROVISATION! And yet… I surely WISH I could have BEEN there – because, like it or not, a HUGE part of the improv experience is in WATCHING/FEELING the mood and atmosphere inspired as people are performing! Nevertheless, you NEED to hear this tape! Contact Walter at the address given earlier… OR, get in touch with him on WWW, http://www.use.com/Home.html (look under storefront for 911 gallery! & do it NOW, volkz! You’ll be glad you DID! Rotcod Zzaj
& now, our REGULAR feature, fantastic & insightful reviews from our long-time “I.N.” friend Henry Schneider, who (in event you did not KNOW) is a gen-yoo-ine PLAYER in ‘is own write! Henry is a CLEAR reviewer who pulls NO punches – if you’re CONFIDENT in your skills, write to him & ask if he’d be interested in reviewing YOUR tape/CD/album, etc. His reviews of my OWN releases have been an IMMENSE help in improving my output. Our sincere THANKS for these reviews goes out withOUT hesitation! Contact Henry at firstname.lastname@example.org
Unit Matrix: ILLI HORTI ANIMORUM – C-90 Illi Horti Animorum is the debut industrial cassette release by Mark Kellogg, AKA Unit Matrix. Using a variety of sound sources such as hammers, televisions, typewriters, random body parts, gravel, records, storms, etc., Mark performed, recorded, treated, and manipulated them into something unrecognizable. Simply by looping a signal back through an echo or delay line, you establish a natural rhythm. Mark uses this technique throughout the tape but fails to vary the rhythm by trying different settings. This tape is not bad for background listening, but becomes tiresome if you start to pay close attention to what is happening. Another drawback is the muffled sound quality. However, Mark exhibits creativity by exploring the sonic realm of Zoviet France. What is amazing is that here is a musician in this small Virginia town who is venturing into this avant garde territory with essentially no local listening audience. Contact eNVIROtactile cOMMUNICATIONS, c/o Mark Kellogg, P. O. Box 24, Emory, Virginia 24327 – USA] – Henry Schneider
Unit Matrix: MORTAL SYSTEMS C-60 Mortal Systems is Mark Kellogg’s second effort and is a marked improvement over his first cassette release. By listening to this new tape you can hear that Mark is putting more thought and creativity into his compositions. Again without the use of synthesizers or samplers Mark manipulates his sound sources to create an ambient atmosphere of rhythmic pulsating sounds. This time around Mark holds your interest by varying the natural rhythm of his effects box and the way he applies his sonic metamorphoses. Unfortunately this tape is also marred by poor sound quality. Judging by Mark’s improvement, he will soon fix this problem. Contact at address above! Henry Schneider
Brother Grimm: TALES – C-60 Judging by the name of this group, the title of their debut release, and the excellent artwork by Tony Diterlizzi of TSR (the Dungeons and Dragons people), you would naturally expect a neo-prog band. Boy would you ever be wrong! Brother Grimm views themselves as an alternative rock band, yet I find them to be a retro-group recalling music of the late sixties to early seventies with just a dash of progressive rock thrown in for good measure. The quintet of vocals, guitars, bass, keyboards, and percussion can vary from high energy rock to slow ballads. The opening song Blue Ketchup is a great rocker with a late sixties ambiance and heavy metal power chords. The next song, Eve, reminds me of an obscure band (Gypsy) that only released one album; I think the similarity comes from Mike Roy’s vocals. Eve is a love song that also conjures images of The Grass Roots. Following Eve is Alain, a song with an Iron Butterfly-esque church organ intro. Mike’s vocals even sound like Doug Ingle! The next song, Shift, is perhaps the best on this tape. Shift is a quiet tense song about a man trapped in his mind, pleading for release, who slowly goes insane. The tension and music remind me of early Aerosmith. Closing out side one is Ash, a nineties rocker with a driving beat. Side two opens with Mother Tranquillity, yet the gothic lyrics, vocals and music are far from tranquil. We also experience another facet of Mike Roy’s vocal talents as he sounds like a honeyed version of Ergo Sum’s raspy vocals. Moving on we explore Underside with its ambient Eno-esque intro followed by aggressive guitars and vocals. Tales closes out with two strong songs that compliment one another. Ichabod is a slow emotional ballad about child abuse from the child’s perspective that segues seamlessly into Self Treachery. Self Treachery could be the adult’s response to the child or a hard drug user’s emotional plea. Either way, Brother Grimm grips you by the shoulders and forces you to feel the singer’s pain. An excellently produced debut release by a young Florida band, Tales is a suite of songs that can be experienced on several levels. I leave it up to you to face them for yourself! Contact Brother Grimm at 3878 Catalina Road, Palm Beach Gardens, Florida 33410 – USA]- Henry Schneider
[Untitled] BAD HAT SITUATIONAL (NO LABEL INFORMATION) C-60 Quirky. Unconventional. Capricious. Bizarre. Outre. These words come close yet fail to capture the essence of [Untitled]. This band concocts a strange brew of Djam Karet, Robert Fripp, Frank Zappa, general zaniness, and post-industrial experimentation. Each of the 17 songs on this cassette offers a different glimpse into [Untitled]’s unique biosphere. Be it the frenetic jamming of Silwa Tsal, the lounge lizard Sir Bill, the scatological Criticize the Dinner, or the sound collage Interpretation-25 Bad Hat Situational contains exceptional ear candy. To give you some idea of the band, take a peek at their credits: Boddom – guitar, vocals, piano, drums, sesame street beeper, keyboards, maalox, lickage of tartar sauce; Ganglion samples, computer keyboards, chanter, helium vocals; Gideon – keyboards, chili burger, drums and various percussion, coroner, sex artist; My Dog keyboards, vocals, arangatang, low grade porn; Mr. Grump Torv – bass realm, tape fondling, the green tube thing, band leader and many other important things, lists. But don’t let this litany put you off, these guys are accomplished musicians and that fact shines through their music. If you even have the remotest desire to investigate an experimental band, make certain that you choose [Untitled]. They deliver with an oomph rarely felt these days. Contact at [Untitled], 7333 South Downing Circle East, Littleton, Colorado 80122 USA] – Henry Schneider
Gulaab: VEILS OF MYSTERY CD 76:14 Rarely do I receive a recording that makes me stand up and take notice. My jaded and tired ears perked up as I flew my astral plane while playing Veils of Mystery. What’s this you ask, a trip to Nirvana via Peter Frohmader’s Nekropolis label, the label noted for dark, ponderous, avant garde music? Stranger things have happened. The beautiful eastern-influenced music contained herein hearkens back to Witthuser and Westrupp’s Der Jesus Pilz or Yatha Sidhra’s A Meditation Mass. There is also a golden thread of contemporary ambiance running throughout the 76 minutes that never falls prey to Newage. Gulaab (Nepali word for rose flower) spent three years refining his spherical sound in Nepal by playing acoustic guitar in a restaurant for such luminaries as Edmund Hillary, Reinhold Messner, and the King of Nepal. Using acoustic guitars, flutes, African percussion, sitars, and occasional synthesizers Gulaab guides you on a serene pilgrimage to the mountain top. Interestingly enough Peter Frohmader plays synths and samplers yet if I hadn’t told you, you would never have guessed! This uplifting CD is one truly amazing musical experience guaranteed to soothe the savage breast. Just feast your eyes on the track titles: Interstellar Sunrise, Rainy Day in Moscow, Oracle, Diana, Dance of the Nymphs, Midnight Bazaar, Herode’s Dream, Dwarfs, Styx, Silver Star, Tahiti, Time’s Tribute, Ride Through Hades, Sphinx, and Morpheus. Veils of Mystery is one of the best, unexpected, and unusual releases of the past 12 months. HIGHLY RECOMMENDED. Contact at Nekropolis Records & Musikverlag, Kriegerstrasse 7, 81545 Munich – Germany] Henry Schneider
Jean Pascal Boffo NOMADES Jean Pascal Boffo CARILLONS (Musea FGBG 4100.AR) CD: 47:47 (Musea FGBG 4104.AR) CD: 44:28 Never having heard a Jean Pascal Boffo release and knowing that he was involved with Musea from its earliest days, I was intrigued and excited when Nomades arrived for review. What first struck me was the beautiful cover photograph of a nomad’s cracked and dried hands. The second feature that struck me was the gatefold container, another first for Musea (no plastic jewel case here). I now expected 48 minutes of swirling dervishes, sandstorms, and camels interwoven by Boffo’s guitar licks. Instead what I got was an overdose of laid back jazz full of sax and violins. Boffo seems to take a back seat to the other musicians on this release. I frankly do not enjoy this type of music and I find it hard to say anything positive about Nomades. To me this release is fairly uneven and mediocre – pretty much of a yawner. The music never communicates nomads or the Mid East to me. It is all pleasant background music in the style of Weather Report. Having had this experience, I was then apprehensive when the next Boffo release Carillons arrived yesterday. With some trepidation and curiosity I put it in my CD player. Lo and behold, here was the music I had expected on Nomades — hard hitting progressive influenced guitar pyrotechnics from the first track to the last! This CD is a reissue of Boffo’s second solo album from 1987 that he remixed and added new percussion to in April 1994. Everything about the music on this release is perfect, albeit with 10 songs and 44 minutes there are no long opuses. However, what is missing are the usual history notes and photographs that accompany a Musea reissue. So given the choice between these two recent Boffo releases, skip Nomades, buy Carillons, and let Boffo’s guitar mastery propel you through his fantasy world. [Musea, 68 La Tinchotte, 57117 Retonfey, FRANCE] Henry Schneider
Mandragora: TEMPLE BALL LIVE ’94 C-60 A step on from their previous release Earthdance, Temple Ball Live ’94 is a live excursion that captures the excitement of their neo-psychedelic tribal music. The opening tune is an energetic instrumental hybrid of wailing guitar synths, polyrhythms, and Arabic chanting. As the energy fades Mandragora treats us to an extended B-movie alien invasion soundtrack as an introduction to Zarg from Earthdance. Zarg is faithful to the studio recording but delivers a stronger punch. Closing out side one is another lively instrumental with a fantastic bass solo. Side two opens with a song that I call Tomorrow’s Dream because of the lyrics (I guess by now you surmised that there are no track titles on this cassette). This song as well as the third song on Side two are supersonic freakouts sure to please Hawkwind lovers. The remaining music explores quieter electronic realms with the ending song being another bass and synthesizer adventure of cosmic proportions! Mandragora’s performance is superb and shows that they are peers with that hottest of neo-psychedelic bands Ozric Tentacles. By all means seek out this band and their music. Mandragora is a band that deserves to be saved from obscurity! Contact is at Mandragora, 20 Bonchurch Road, Brighton BN2 3PM, East Sussex, ENGLAND Henry Schneider
Screamin’ Popeyes: POP-ICON – ’tis a BRAND-SPANKIN’ NEW zound from Jeff Olson & crew. Now, if yer’ do like “i” did, look at th’ title, spin a coupla’ toonz & toss it off into th’ “later’ stak, coz’ yer’ snap decision is it (must) be too “poppy”, yer’ doin’ th’ Popeyes an injustice fer’ sure! Stacey Gravatt moves together with Jeff thru territory yet uncharted. Second, third & fourth listens STILL yield an impression of “pop”, but with a twist. &, how could I/we ‘ave expected anything less from Jeff. Lyrics are insightful & tasty, Stacey’s guitar kickz AZZ (as it ALWAYS does) & there’s no less creativity involved here than on their FINEST improv effort from recent yearz. Admittedly, if you’re unwilling to listen to even a ‘hint’ of somethin’ in the ‘pop’ vein, you WON’T like this one; but, take it from Zzaj, this IS a very enJOYable experience – even if only becoz’ it’s a “new direction”! For some reason, while listening to this, I pictured the fab four during the “Rubber Soul” sessions… the studio flikz, where everyone’s sittin’ ’round sort of dreamin’ up the next line! Dunno’ if that’s an accurate picture, Jeff, but it was definitely strong. A very creative tape that comes HIGHLY RECOMMENDED from yer’ ol’ pal ROTCOD ZZAJ! Contact at 135 Buttonwood Road, Hollister, MO 65672 Rotcod Zzaj
Fragmented: THE SOLEMN DRAIN – Another xmission from th’ “underworld” that Anx-Scan resides in, musically, anyway! You’ve seen this gent’s tapes reviewed over the last three issues or so… the first one was QUITE favorable, last not quite so… on “Drain”, dark dronez (usually in the form of bass-lines) direct you down a ghoulish path towards – WHAT? If you allow yourself to become absorbed in what is going on here, you’ll KNOW! As stated on the liner notes, “listen to Fragmented both backwards and forwards, always with the lights out”. Weeellll, I dunno’ if I’d go THAT far. This is MUCH more premeditated than reg’lar ‘alloween music! It’s downright SCARY! Heavy on the “Vincent Price” or “Bela Lugosi” ORGAN-isms, but not overly theatrical about it. This is DEFINITELY improvised, tho’ there’s no WAY it fits the “pattern” of what that’s s’posed to mean. REAL D.I.Y., I’ll tell you, volkz! Though you may not want a STEADY diet, you OTTA’ contact Anx-Scan at 1512 Canyon Run Rd., Naperville, IL 60565 RECOMMENDED (as a ?diversion/perversion?) Rotcod Zzaj
Dave Fuglewicz: INDUSTRIAL STRENGTH I – This was the first I grabbed out of a packet of six (yeah, I DID say “6”) tapes Dave sent in response to my pleas for more INPUT! Talk about RESPONSE! &, when you spin THIS one for the first time, you WILL be talking – either that, or you’ll be simply FLABBERGASTED! This is RED-HOT electronic improv! Very spacy, no room for “slouching” here – a sonic journey to the “milky way” & then on ter’ “snickers”. IF you’re bound to stay stuck in the music of “yesterday” – or even “today” – then you will NOT get off on this! I can tell you right now (& I’m sure I will tell you the same again as I review the rest of Dave’s excursions into “tomorrow”), this is NOT easy listening. If, like me, you crave the excitement of listening to a truly creative artist paint on a pallette that isn’t even defined yet, this will turn you ON! Most assuredly the music that will back up our virtual realities of tomorrow. Ol’ doctor Tim (as in Leary) would LOVE this – we at “I.N.” did, & it comes HIGHLY RECOMMENDED by Zzaj! Contact Dave at POB 48191, Doraville, GA 30302 Rotcod Zzaj
Some Young Earhose: IN MEMORY OF ALL SIMULTANEOUS COMBUSTION – Here’s a QUITE interesting input from another INTERNET artist, Yarrow Sweningsen, who is also the “pilot” for a California radio project known as DEAD CITY RADIO. That much I know becoz I’ve been in frequent contact since I saw an “ad” posted for tape xmissions for a radio show he’s going to be doing on there. The music itself is done by what SYH sez wuz “a buncha’ people crowded ’round a coupla’ mics in my studio or running into my mixer” – well, volkz, I believe it, but those musta’ been SOME kindza’ “people” around those mics! Mostly percussives against synth, little guitar, this is a very wandering kind of improv, CLEAN recording, solid rhythm undercurrents, but no PARTICULAR direction(s) for the listener to grasp on to. Which, from the standpoint of “improv”, makes it a VERY interesting experience. What I liked most about it is (besides the crisp sounds) that it’s MUSICAL – not just whinyscreechy – if that makes any sense to you! There WERE a couple of sections that went on JUST a weensy bit too LONG for my taste, but mebbe’ that’s just becoz’ this is “first-time-round”, I don’t know for sure! If you’re truly IN to improv – you’ll really enJOY this tape. Even if you’re not TOTALLY committed to improvisation, you should find some sections on here you’ll enjoy! Certainly reminds me of some late-night “let-it-all-hang-out” type improv jamz up in the majickland of Olywa! RECOMMENDED! Contact at 995 # 1 Gravenstein Hwy South, Sebastapol,CA 95472 Rotcod Zzaj
Dave Fuglewicz: HARD TO DECIPHER – Startzoff wi’ a storm of monuMENTAL proportion… digital downpour ferzure! Second spinner from the aformentioned package Dave sent in… lissenin’ in th’ T-Bird, my wife sez “wotinl kinda’ music izZAT?” – yoh’, didn’t turn HER on, but don’t let THAT shy YOU away from it if yer’ thot processes are geared (even slightly) towards STRANGE, eh? I was particularly attracted to the second section on side 1, in which the “bells” play counterpoint to an undercurrent synthline that feels/sounds like some kinda’ “bagpipe” drone, of all things. Probably because it shows Dave’s ability to (sort of) “feel” the musical directions his improvising leads him in. This is a bit sparser than the “INDUSTRIAL STRENGTH” tape, less body, but that made me like it a bit more. For those who’ve never heard much improv on more conventional instruments, it’s hard to describe the difference between that & “electronic” improv. Fuglewicz shows his mastery once again, & these actually turn out to be quite relaxing, after a certain fashion. The uninitiated probably wouldn’t agree with that, for there’s little to grasp in the way of pattern here – you MUST devote your mind to LISTENING. RECOMMENDED! Contact at the Doraville address given in the previous review! Rotcod Zzaj
Larry Krol/Ron Jagielnik: LAND OF DREAMS – This tape is “straight-up” folk… D.I.Y. fer sure, but VERY good/pro equipment it was done on. Tapes from Ron reviewed in last ish had much more experimental work on them; this is FINE music – it’s only “fault” izzat it CAN be labelled/cubbyholed into a category. Sum readerz won’t get OFF on that, I’m sure! On the other digit, (& I’ll zay this again&again) “I.N.” is about D.I.Y.! & this is a boo-ful example of creative energy focussed, done by individuals; if THAT ain’t D.I.Y., then I dunno’ wot IS! Lookin’ at the pieces individually, when it’s gitar-pickin’/story-tellin’ time with rhythm backing, I prefer pieces that are just a bit shorter; technically, the music is flawless and VERY cleanly executed (and recorded). If yer’ part o’ th’ generation that believes “Woodschlock” is about as “real” as saccharine or near-beer, get hold of this tape, settle back & rest assured that this tape’ll come a LOT closer to recreating the spirit o’ th’ 60’s fo’ ya’! MUCHFUN nostalgia trip (fer’ ME, ennyway)! Contact Ron at 11826 Chisolm Trail, Orland Park, IL 60462 Rotcod Zzaj
AWW: RADIO PROPAGANDA – According to Wes Jensen (who IS AWW, along with Wayne Thiel and Adam Fleishman), this is THE last AWW tape – & the world WILL be worse off for it, I’m sure. If I remember right (& I’m pretty sure I do), this is (at least somewhat) in the vein of a ‘tribute’ to one of the world’s FINEST jazz/improv guitarists, now departed – Sonny Sharrock. The radio cutoverz that start this off lend a VERY appropriate air of chaos… & DON’T drag on to steal emphasis from the great rambling energy that Wayne’s guitar provides. Adam never has been a slouch on the need to provide STRONG bass backing and Wes is right ON the percussion. These guys are TIGHT players, e’en tho’ they’re doing legitimate improv that will NEVER fit in to anyone’s neat little CATEGORY. Ah, to get back & actually MEET these people, crank up th’ keyboardz & wander off along with ’em into the same etherspaces they explored on this live outing at the “Same Old Place” (wherever THAT is) between October & December of 1993. I just can’t say ENUFF about this music, from the standpoint of jazz-oriented improv. The REAL thang, & I can guarantee you that – e’en tho’ I may ‘ave ter’ crank up th’ volume knob a bit higher these days, these Zzajearz don’t LIE! Another RED-HOT improv tape session from AWW that comes VERY HIGHLY RECOMMENDED! Contact Wes (our co-editor, by the way) at DBAR, POB 3214 WALLINGTON NJ 07057 Rotcod Zzaj
Boyd Nutting/Walter Wright: NOH TV – Our long-time “I.N.” friend Walter plays EPS agains Boyd’s keyboard/electronics in a (more-or-less) scenario-oriented 60 minute tapesketch that’ll either thrill yer’ lil’ improvisational heart – or make yew go diggin’ fer’ th’ scotchtape to ERASE it! These folks at Walter’s 911 studios NEVER letcha’ down, if you’re THIRSTING for NEW! If you want pattern-oriented schlock, you’ll HAVE to go elsewhere. From the opening percussion/bass undercurrentz (sounds like a ghost jogging, if yer’ kin’ picture that), through the inevitable build to galactic crescendo, they’ll absorb you in to their world – sorta’ virtual sonicity, yoh? This is MUSIC, too, not radio looping, which ALWAYS registers a cut above, in my earz. The difficulty for most pablum seekerz today izzat this music is NOT what they’ve heard before… this requires that you CONCENTRATE! The reward, of course, is that you will have experienced something few have – a certain peace in knowing that there still ARE folks out there who FOLLOW their own ether! Order at the address listed earlier for Walter’s 911 Studio. This is MOST HIGHLY RECOMMENDED – especially for someone wanting an introductory experience to improvisation; creations that will enchant without offending yer’ earz! Rotcod Zzaj
Some Young Earhose: SELF-TITLED – Here’s ‘nother from SYH – didn’t enjoy this one quite as much as I did the one earlier reviewed – I’m quite sure that’s primarily because it’s too fulla’ RADIOLOOP! Yeah, ‘s truly improvisational, lotz o’ organ zounds twangin’ ’round in there, & probably involved summa’ th’ same volkz that were on the first tape reviewed “standing ’round the mics” – but the first one seemed to have a synthbase fer’ ’em to walk over, under, around and/or through. I’d surely hope you WOULD check out Yarrow, as this IS interesting. I know WE here at Zzaj Productions haven’t heard anything “like” it in a long time – & it’s NOT just schlock by a buncha’ people TRYIN’ to be improvisors. SO – I actually DID like it – just not as much as I liked the FIRST tape. In fact, in later correspondence with him, it sounds to me like there will probably be a whole GROUP more stuph comin’ outta’ DEAD CITY RADIO, eh? So get in TOUCH with these folks, ok (at the address shown earlier)? &, of course, tell ’em ZZAJ sentcha’, right?
That’ll about WRAP it for reviews this time around… still a few tapes left over, but I’d greatly appreciate it if you’ll go out & SPREAD the word to those creative among yer’ – that we ALWAYS are in need of fresh INPUT! Tell ’em I WANT their cassettes, CD’s, vinyl, OR short poetry (long TOMES, much over 15 lines will NOT be published herein, as after all, this IS primarily a MUSIC ‘zine)!
ALSO, if you have an improvising friend who you believe NEEDS to have an interview for exposure of real TALENT – drop me a line, OK? I’m VERY much interested in publishing solid, current interviews, just so our readers know WHERE those talents are AT! Snailmail is on the front cover ov th’ ‘zine – OR, if you just want to inquire, drop me an e-mail! Come on DOWN!
Every once-in-a-while, I get correspondence in h’yar from one D.I.Y.’er or ‘nother, bitchin’ ’bout NO OUTLETS! Wha? What? Not at ALL true… & rather’n spout on about th’ whys/wherefores, here’s PROOF – almost ALL of these stations have RESPONDED to my queries & MANY of them have started PLAYIN’ Zzaj tapes in their rotations… so don’t just SIT there wi’ yer’ stacka’ tapes… do some MAILING! & let me KNOW if it don’t getcher’ onna’ AIR – OK? email@example.com is the originator & a short e-mail will probably getcher’ th’ most CURRENT list(s). Have FUN, eh? Rotcod Zzaj
Shawn Scallen No Future Now CKCU-FM 93.1 emo, punk, hardcore 517 Unicentre Carleton University Ottawa, ON K1S 3E4 CANADA 613-788-2898 an914@Freenet.Carleton.CA
Jay Dertinger The Jay and Matt Show KUOI FM-Moscow 89.3 FM Rock, Metal, Alternative – Free Form 600 Universitry Ave. Moscow, ID 83843 firstname.lastname@example.org
Jon Fox Music View music and interviews with quality bands: punk, metal, world, techno, anything good! c/o X Communications 211 Thompson Street #6D New York, NY 10012 email@example.com Jon Fox produces a syndicated radio show called Music View that airs on 220 college radio stations.
Jason turner Jason turner Show KTEK free form show, whatever Jason is in the mood for. 2592 Campus Station Socorro, NM 87801 firstname.lastname@example.org
Chris Myers Active Radio WCBE 90.5 FM/106.7 FM Newark p.o. box 3198 The Ohio State University Columbus, OH 43210 email@example.com
Mary Koma Music Director WVUM 90.5 FM alternative, hardcore, dance and rap p.o. box 248191 Coral gables, FL 33124 305-284-3131 or FAX 305-284-3132 firstname.lastname@example.org WVUM is Miami’s only alternative/college radio station and at 1500 watts has alot of influence on Miami and the local alternative record stores. WVUM wants to play unkown bands, get ’em started in Miami and hopefully create a real alternative scene which would include indie bands playing on The University of Miami campus or at local venues in conjunction with WVUM.
jay 864 Balfour Grosse Point Park, MI 48230-1814 email@example.com jay has a radio show and a zine. He asks that you send two copies of anything, one for the station and one for his zine.
Lindsey Close Mount Holyoke Colleg p.o. box 1579 South Hadley, MA 01075 firstname.lastname@example.org Lindsey will do her darndest to get anything played.
Dave Schaefer KNAD local, new music, alternative, punk, etc. 13248 Windygate Creve Couer, MO 63146 S942596@UMSLVMA.UMSL.EDU Dave is always looking for new music to play and pass along to listeners. Please send info about the band, history, regional tour dates, etc.
Doug Marvin Doug in the Dark KUOI FM hardcore, punk, progressive, experimental, industrial c/o KUOI 3rd Floor Student Union Building Moscow, ID 83844 email@example.com
Paul Silver WZRD 88.3 FM free form non-commercial for fastest airplay send to: p.o. box 723 Lincolnshire, IL 60069
Marshall Stax The Next Big Thing KALX FM 90.7 demo tapes and cassette-only releases from bands. individuals, etc. any music that is not aimed at mainstream. 2311 Bowditch St. Berkeley, CA 94704 firstname.lastname@example.org The Next Big Thing has been on since 1984 and has played just about every type of music possible. The show concentrates on cassette only releases. However, CD and vinyl can be sent to the music director of KALX(same address) for regular airplay.
Dan Mulcare WSMU Radio FM 91.1
WSMU big on indie rock, industrial, experimental, hardcore, techno, noise, folk, rap, jazz, and world beat 285 Old Westport Road No. Dartmouth, Ma 02747 508-999-8150 email@example.com
KMNR free form 113 UCW Rolla, MO 65401 firstname.lastname@example.org 314-341-4273 office 314-341-4273 dj DJ has total freedom over what is played, with at least half a dozen that play punk-hardcore. KMNR plays and catalogs all formats including 7″s.
Radek Szulga Mystery Playhouse WEGL FM 91.1 punk, hardcore, some garage, ska, oi, and other indie stuff WEGL Foy Union Auburn University Auburn, AL 36830 email@example.com Everything gets played
Nate Tassler Bizarre Futuristic Explosion WBRU AM 600 punk, hardcore, and the like. no metal or old school shit, please Box 1708 Brown University Providence, RI 02912 firstname.lastname@example.org
Mark Millstein Ex-Forum WRCT FM 88.3 experimental and improvisational sound Ex-Forum c/o Mark Millstein Art Dept Carnegie Mellon University Pittsburgh, PA 15213 email@example.com Explorator’s Forum on WRCT seeks home/studio recordings, any format, for show featuring independent music produced by non-traditional means or instruments including computers. Include information about the recording, instruments, personnel, and name and number.
Roy Jessup Cousin Roy’s Show WQFS punk, hardcore, fringe rotation P.O. BOX 17307 Greensboro, NC 27410 firstname.lastname@example.org WQFS of Giulford College is a completely “alternative” station. their purpose is to provide the community of greensboro, NC with music other than mainstream rock, mainstream alternative rock, classic rock, country, rap, and hip-hop which permeates the airwaves. They play anything ranging from blues to jazz to punk. Many punk rock albums are in rotation and are played frequently. All incoming music is reviewed and considered for rotation by the music staff which Row is a part of.
MAKE your OPPORTUNITY!!!!!!! HAPPEN!
The more the castle crumbles, the more the mountain grows…
Though we are hostages,
we refuse to pledge allegiance
to the United Malls of America;
salute the flags
of viral Dizzyworlds–
ill-clad poles planted by
a new breed of conquistadors
Once again they come in quest of golde and glory;
Once again they bring new gods.
Have come to feed the cowboy-hatted clowns
scheme park appetizers and souvenirs;
Have come to offer the near-sighted new spectacles;
Have come to poke glitzy finers in their eyes
& splash them with essence of Hollywood;
To brand Branson, Missouri
on their right hemispheres;
Have come to build double-edged bridges
to carry them across the ever-deepening, ever-swelling
But smoke signals are rising on Merrymount
where the Maypole has been freshly stained
And by a local Bakery
a tarred and feathered band of chanters
applies war paint and dips their arrows
while the clouds rain coupons
c Frank Finney
with amazing grace
bubba’s bar is closed
& my brownbag sweetheart
is dead, as I wander,
watch the walkers & beefeaters
swing & swagger,
in a narrow walkway
miss cheese tart
humps & dumps till she drops.
i know i’ve been bedded
by that ‘bama dumpling
in some forgotten city…
…in a stranger’s apartment
we’re all about,
drowning in booze & sweat.
i can hear blue notes
ripping through this american
jazz night … beeeeeelouuuuuuu!
this in insanity precinct.
barb the wires
we’re coming at ya’ hard.
c Andrew Urbanus
blues of delta hue
in the back pages of alleyway stories
i scratch at the pencil moon.
letters of long-ago losers
incite my civil tongue
with rioutous words
men & women, horse-carriage daughters.
car-dealer sons, fathers of unsavory want.
mothers od delusion.
smells of sweetly sick obedience.
the feel of sandlot salvation,
left out to dry in summer’s swell.
porch lights faded without cheer,
without affection for the shadow.
a kind of white man’s blues,
played through the town’s back places,
where in-laws spoke secret insincerities,
where the dogs licked cat ass for rat tail.
in the back pages of these fables
for the reconstruction
i meet up with the ghosts of gone,
the dead-ends of winter,
the summer songs of blue’s
light on the porch.
c Andrew Urbanus
A Song of Impotence
‘Been pouring wine
into the fire
But there’s less than
behind this smoke
to mind-lift her dress.
And yet her perfume slaps me in the face;
her wanton smile
sentences me to the rack.
c Frank Finney
Tiny mercenary soldiers
from your eyes;
and all because
I mistook your
with a poison-tipped
c Frank Finney
This music keeps on ringing in my ears,
I hear it all throughout my head.
With its pounding beat,
With its crying strings,
Yelling and screaming this song to me
I can’t hear anything else except this music
Crying to the night,
When I’m alone in bed.
I look out the window
And try to listen
To the words of this song.
This music is too loud to hear,
It keeps on hurting my head, my ears.
I listen and listen
To try to hear the words, but
The music just keeps ringing in my ears.
c Miriam Lizano
THE LOST NOVELS
i wrote them all
in one year
i was young and
the leaves were green
but i did notice a lot
of dust coming from
so i picked out a good
for resting eternally
look for those novels
c Walt Phillips
You wore gloves to church on Sundays, your sins
stuffed in little sacks
kept from a greedy
No one could ever guess those pure white palms had made
an infant body bleed,
whips and sticks to inflict wounds that rarely healed.
You held bread in hands made lovely
by a guantlet’s trim;
were fooled by your adorned and sweet propriety.
And when, at home, your naked lizard’s
made stripes upon my skin, I wanted night to put your
hands to sleep
which too must take its rest from work that wears its
fingers to the bone
encased in dust that shrouds its awful
c Mary Rudbeck Stanko
a sign, your address
on the shelf
don’t go far
from the hug of Faust
of the docile
c Tom “Tearaway’ Schulte
7th avenue existententialism
c Scott C. Holstad
old indian night
apropos of nothing
why do you
say things apropos
he did not respond
c Walt Phillips
ANXIETY IS AS COMMON
while the barley was
they had sex
it was eleven
the world outside
was goofy or sinister
and there was no guarantee
c Walt Phillips
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