=============
				 i m r  # 31
				=============  	

intro...

label spotlight...	Kill Rock Stars
 
reviews... 		Act of Finding, The Bifurcators, dEUS, Die 
			Warzau, Electric Skychurch, Logos, One A.D./Two 
			A.D., The Pietasters, Psyclone Rangers, Spill 
			Compilation 3, Transmissions from the Planet Dog, 
			Nano Vasconcelos 

slipmat...		Encephaloid Disturbance, Not Breathing

zine update... 		Gajoob, Suave & Elegant, Suede Information Service

at a glance...      	Antihouse, Latimer, Latin Ska, Letters to Cleo, 
			Otis, Brian Reinbolt, Round, Shoe-Ins, Superstar 
			DJ Keoki, Towa Tei, Urchins

musicians' tools...     New York Stylin' Phat Loops & Samples, Representin'
			Hip-Hop

still on the stereo...		

the final word...		

addresses...

--------------------------------------------------------------------------
To subscribe to imr and receive each monthly issue via e-mail send the
message "splendid zine!" to <smithem@yvax.byu.edu> along with your
preferred e-mail address.  Only one subscription per household. 
--------------------------------------------------------------------------

intro... 

imr is now officially on the World Wide Web.  One spot that is very
impressive is London-Calling.  I know that a good portion of imr's
readership is in Europe so this site will hopefully provide a quicker
connect.  The URL is http://www.demon.co.uk/london-calling.  From there it
shouldn't be too difficult to find imr, but be sure to check out all the
other stuff they have.  On this side of the ocean, you'll be able to find
imr at the website Metro.  This site is fairly new and things are under
construction.  The great thing about the site is that they are currently
putting up all the back issues of imr.  To hook up to Metro, the URL is
http://aspin.asu.edu/~metro. 

Apparently the CD-ROM product that was reviewed in the "musicians'
tools..." section last month isn't made by Giebler Enterprises and the
only way to purchase the product is by calling the phone number.  Also the
price has been discounted to $99.00-US. 

You'll notice that this issue has a new section called "slipmat..."  This
section will focus on records that will most likely be of interest to DJs. 
I've only included two records this month, but hopefully this section will
grow over the next few months.  Also in this issue the section "demo of
the month..." has been omitted due to the fact that the demo tapes I've
received in the past month haven't been good enough to highlight.  I'm
considering doing away with the section.  Personally I'm beginning to
think that most decent bands avoid the whole demo issue by simply
releasing their own music these days. 

Over the last month I wrote some more press releases for Sunday Records so
I thought I'd pass along some of the details.  All three of these 7" 
records should be already out and I don't know if the CDs I mentioned last
month have been released yet.  The first record is from a new band called
Shoestrings.  I actually didn't care for this one at first, but the gentle
quality of it is growing on me (a lot) and the instrumentation is very
well done.  In contrast, the Swedish group Red Sleeping Beauty is more
upbeat indiepop and the final song on the b-side "Happy Birthday" makes
this a must.  Finally there's the new 7" from Aberdeen.  They've had a
couple of records on the UK label Sarah and this record has a cover of a
song by They Go Boom!!.  The cover is nicely done, but the somber song
"Snapdragon" is the best song I have heard in a long while.  The Red
Sleeping Beauty 7" is actually the most consistent of the bunch, but I'd
have to say that Aberdeen's record is the most essential due to the song
"Snapdragon."  I still can't decide which of the CDs that were mentioned
last month I prefer. 

Thanks to everyone who reads the zine.  Keep the letters and comments 
coming.  Enjoy!  -Elliott <smithem@yvax.byu.edu> 

--------------------------------------------------------------------------

label spotlight...

Kill Rock Stars was started in 1991 by Slim Moon and since its beginnings
things have steadily grown for the independent label.  Many consider it to
be one of the best independent labels currently operating, and in last
years readership poll for independent music reviews, Kill Rock Stars was
ranked only behind the labels Merge and Touch & Go. 

As is the case with many independent labels, Kill Rock Stars was created
in order to fill a void.  As a spoken-word artist himself, Slim began the
label as an outlet for his and other artists' spoken-word recordings.  The
first release was a split 7-inch record between Kathleen Hanna and the
label's founder.  Other vinyl releases have followed highlighting the
wordcore art of Jean Smith, Penny Arcade, Peter Plate, and Exene Cervenka. 
One of the greatest talents in the spoken-word field is Juliana Luecking. 
Following up her initial record for the label, Juliana has since recorded
a couple of full-length CDs. 

Kill Rock Stars has always taken the spoken-word releases seriously and
Slim is quick to point out that it shouldn't be confused as a form of
poetry.  "Most of this stuff was written with the specific intent of being
performed out loud, unlike poetry, which is pretty much written with the
printed page in mind, and is much more immediate and intense than dead
words on a page.  I like to think of it as the 'punk rock' of poetry." 
Not only are these recordings intense, but there is a devotion towards
honest expression that is uncensored and pure.  Listening to a spoken-word
piece is often an experience in and of itself. 

Sensing the need to fill another void, Kill Rock Stars branched out and
began to release music.  With the Olympia scene in a state of intense
activity, the first logical step was for the label to release a
compilation.  The bands that were featured on the album varied, with some
having more to do with the punk sound than others.  The common link
between these bands, though, and every release that Kill Rock Stars has
ever put out, is that the philosophy behind the early punk rock movement
is central to the manner in which they make and market their music. 

The _Kill Rock Stars_ compilation was crucial in its timing since 1991 was
the year of the International Pop Underground Convention.  With people
from all over the world flocking to Olympia it couldn't have been a better
time for the label to start up.  Since the initial compilation, the label
has also released two more compilations, _Stars Kill Rock_, and _Rock
Stars Kill_.  All three of the compilations are considered essential
listening for anyone interested in the underground music world, and a
fourth compilation, that will be a co-release with Lookout! Records, is
planned to be released in the near future. 

After the first compilation, Kill Rock Stars began releasing records from
bands that were generally based in Olympia.  Some of these bands included
Unwound, Witchypoo, Bikini Kill, Heavens to Betsy, and Bratmobile.  As
time went on the label began to work with bands outside of the local scene
who shared many of the same ideals as the Olympian bands.  Numerous bands
have since released 7-inch records on the label and some have even
followed up with full-length albums.  Some of the groups that have made
7-inch appearances on the label include Team Dresch, the Pee Chees, Cupid
Car Club, Mukilteo Fairies, the Frumpies, Phranc, and Blood on the Saddle. 

Although many groups will either disband or move on to other labels after
releasing a record, Unwound is a band that has been with Kill Rock Stars
from the start.  With a few 7" records and three LPs to their credit, this
noisy trio is at it again with their new album _The Future of What_. 
Deconstructing the punk idiom, Unwound is slowly settling more on their
interpretation of structured dissonance.  Comparisons to Sonic Youth may
occasionally surface, but Unwound is far more dedicated to preserving an
underground sound and aesthetic. 

The only other group that has been on the label as long as Unwound is
Witchypoo.  A full-length album is in the making, and in the meantime you
can get a good taste of this project on their recent 7" _Mixed Metaphor_. 
Witchypoo involves so many people you never know quite who is doing what
on their recordings.  Slim Moon even sings on the records and these
efforts certainly reflect the more experimental side of the label.  On
_Mixed Metaphor_ there's everything from a breif stab at ambient techno to
a cover of a Paul Simon song.  Although Unwound and Witchypoo may seem
worlds apart, they both reflect the independent spirit Kill Rock Stars has
always possessed. 

One of the newer bands on Kill Rock Stars is Excuse 17.  With a previous
album on the Chainsaw label, _Such Friends are Dangerous_ brings even more
punk angst from another Olympian based trio.  With CJ supplying some solid
drumming, Becca and Carrie both share the vocal and guitar duties.  Their
voices go well together and the full sound they achieve makes it difficult
to remember that they don't have a bass player.  Exuse 17 are full of
abrasive attitude that makes their music sound natural alongside the other
female fronted bands on the label. 

In contrast to Excuse 17 and the array of bands who embrace a loud attack
are a few acoustic releases.  One such album comes from the singer of
Heatmiser, Elliott Smith (no relation to the writer).  Smith has
previously released a solo album on Cavity Search and the 7-inch record he
did for Kill Rock Stars eventually led to a full-length album.  This
self-titled release is a perfect example of an artist who holds to the
punk aesthetic while leaving the sonic materials behind.  With just a
guitar and his voice, Smith conjures up songs about abuse and remoarse
that have a bitter-sweet feeling.  All of the artists who jumped on the
'MTV Unplugged' bandwagon will most likely never write songs that ache so
beautifully. 

With each passing year it is becoming more difficult to keep up with the
activities of Kill Rock Stars.  One thing that remains clear, though, is
that Slim Moon is very dedicated to the concept of keeping both his label
and artists independent.  In talking about the efforts he goes through to
make sure the artists have control over their releases, he proclaimed "we
will NEVER sell out to the major labels and we will NEVER start putting
out records just for the money."  The label continues to survive and is
selling just enough records to continue supporting the scene that it
helped create.  Some future releases to look forward to include the next
compilation with Lookout! Records, a full-length album from Emily's Sassy
Lime, and a CD that will compile all the vinyl-only releases of punk
legends Universal Order of Armageddon. 

--------------------------------------------------------------------------

reviews... 

ACT OF FINDING (CD)

Tax resistance and frozen peas are among the items of discussion in the
opening track on Act of Finding's CD.  Improvisation plays a critical role
in everything this quartet plays.  It is obvious, though, that these
musicians didn't simply jump into the studio and begin playing whatever
happened to come out of their respective instruments.  Unlike some of the
less inspired improvised music that is often just a mess of noises, Act of
Finding have managed to infuse a sense of order and balance into their
work.  Listening to this recording, it is evident that these four
musicians have a significant amount of experience.  Thomas Buckner sounds
as though he has received classical training as a vocalist, while the
other three have an absolute mastery of their instruments (synthesizer,
processed guitar, and bass).  With analog programming, atmospheric guitar,
and a variety of methods for playing the bass, Act of Finding draw out an
array of sounds that are interesting in and of themselves.  Ultimately, as
all the parts are placed together the results are invigorating.  (OO
DISCS)

THE BIFURCATORS:  Gang of Two (CD)

Philip Perkins and Scott Fraser are the two main minds behind this
project.  While Fraser concentrates on guitar parts, Perkins' instruments
include synths, samplers, signal processors, and other electronic devices
(which are often controlled by a computer).  Improvisation and computer
interaction are central to the four pieces found on _Gang of Two_.  Even
though this does add a spontaneous element to the recording, the overall
sound is generally calm.  Operating at times with very specific images in
mind, these artists communicate well the emotions at hand.  Fraser's
guitar playing is often made up of simple figures, or arpeggiating through
chords.  These basic musical ideas mix well with the variety of sounds and
samples Perkins generates and often give the pieces more focus and
structure.  The Bifurcators have stumbled across an interesting approach
towards creating music.  The resulting sounds are intriguing, surreal, and
provide for a meditative listening experience.  (ARTIFACT)

DEUS:  "Hotel Lounge (Be the Death of Me)" (CD-single)

Since this single was released, Island Records has picked up the band and
it remains to be seen how they'll fare in the mainstream market.  dEUS
recalls bands such as Game Theory or Timbuk 3, yet there is a European
sensibility that distinguishes the group.  In addition to "Hotel Lounge
(Be the Death of Me)" there is a live track that has a slow jazz feel and
another studio track that is like a mad ride on the subway.  With three
songs that show dEUS' skills to give its audience varience and quality, my
only fear is that moving to a major label may not allow the band to be as
adventurous.  In any event, this band has a distinct flavor that will give
radio a breath of fresh air.  This band is definitely worth checking out. 
(BANG!/RONDOR)

DIE WARZAU:  Engine (CD)

Let's face it, the standard industrial sound has lost its grating appeal
and is no longer the revolutionary force it used to be.  Jim Marcus has
long been at the forefront of the genre and his skills as a musician and
producer have always put his projects on a higher level then the usual
industrial recording.  Besides working in the studio with acts such as
Sister Machine Gun and Haloblack, Marcus' greatest contribution is his own
band Die Warzau.  Van Christie is the other half of Die Warzau, and
together these two masterminds are venturing further away from the
industrial norm.  Their recent album, _Engine_, brings in such a good
measure of funk, disco, and other styles, that to label it as any one
thing would be an extreme disservice.  Even the industrial tag doesn't
seem to work.  Along with other like-minded artists in the '90s, Die
Warzau are communicating through mixing together different genres into new
and exciting forms.  The great thing about _Engine_ is that the whole
album works magnificently.  (WAX TRAX!/TVT)

ELECTRIC SKYCHURCH:  Knowoneness (CD)

Ever since I heard the track "Outside" on the _United States of Ambience
III_ compilation I have been anxious to hear more from Electric Skychurch. 
Similar to "Outside," this CD begins with beatless ambience.  After this
builds for three minutes, though, another side of Electric Skychurch is
revealed as tribal beats take over and an energetic vibe fills the air. 
The drumming is done by Alex Spurkel and throughout this album other
artists augment the tracks with didgeridoo and singing.  Most of
_Knowoneness_ has mid-tempo rhythms that will both calm and engage the
listener.  This duo exhibit a great deal of proficiency at inducing an
ambient/trance mood that transcends most of the music currently being
produced by their peers.  The details and refined craft that are evident
in this 9-track sixty-minute voyage are awe inspiring and will keep you
coming back for another trip.  (MOONSHINE)

LOGOS:  Works (CD)

Moniek Darg and Godfried-Willem Raes have essentially dedicated their
lives to promoting and exploring experimental music.  One of their chief
contributions has been the performance space they built in Belgium which
was designed to allow for the ideal acoustic environment for live
performances.  Besides providing Logos Tetrahedron Hall for numerous
contemporary artists to perform in, Raes and Godfried form their own
performance group known as Logos Duo.  The pieces Raes writes are composed
utilizing algorithmic methods, while Godfried takes a more intuitive
approach.  Compared to much contemporary music Logos employ less
dissonance and produce music that is generally sparse.  The main weakness
of _Works_ is that some of the pieces would have been more effective on
acoustic instruments.  One prime example is "AlviCeba" which is written
for a string orchestra, but the actual sounds are realized by a
synthesizer.  On the other hand, a piece such as "Man-Mo" reaches the
heights it aims for as actual percussive and ethnic instruments are used
along with natural sounds, such as running water.  (EXPERIMENTAL
INTERMEDIA)

ONE A.D./TWO A.D. (2CD)

From the very first track "Dubometer," _One A.D._ takes off into the
ambient dub realm that these discs openly proclaim as their territory. 
There's nothing too out of the ordinary about these two compilations
except that they are both remarkably consistent in holding to good quality
tracks that are generally similar stylistically.  It's actually a surprise
to see compilations such as these which cling so well to the genre that
they represent.  Some of the highlights include Sandoz (Richard H. Kirk),
a few tracks from A Positive Life, Coldcut's "Autumn Leaves" (mixed by
Mixmaster Morris), Groove Corporation, and Human Mesh Dance.  Most of the
tracks come from England (and are available on Beyond), which makes this
one of the best collections of tracks coming from those who are most
actively involved in the scene.  For both the connoisseur and those just
venturing out, both of these discs are recommended.  If you can only
afford one of these, I'd go with _Two A.D._ since it has more depth and
lacks some of the ambient cliches found on the first compilation. 
(WAVEFORM)

THE PIETASTERS:  OoLooLoo (CD)

Very much in the traditional ska vein, The Pietasters are more interested
in preserving a fine tuned approach rather then venturing out into the
unexpected.  The boys do cut loose on the drinking song "Maggie Mae," but
generally speaking things stay fairly tame.  _OoLooLoo_ is full of songs
that are perfectly executed and written, but I often found myself wishing
The Pietasters would take a few more risks.  You have to give them credit,
though, for not resorting to gimmicks and for their dedication to
developing a polished sound.  This band may get overlooked amongst all the
ska outfits ready to work the crowds into a frenzy, but if you're in the
mood for something a little calmer, a good portion of this CD will most
likely do the trick. (MOON SKA)

PSYCLONE RANGERS:  The Devil May Care (CD)

One of the first things I did as I popped this disc into my player was
skip to track 99 which is labeled "super secret hidden bonus track."  I
expected to hear the usual throw-away mayhem that finds its way onto the
average hidden track, but instead all I heard was 2 or 3 seconds of
silence and then the disc was over.  The Psyclone Rangers may do the
unexpected from time to time, but one thing you can count on from these
guys are solid songs which will instantly hook you.  Imagine The Reverend
Horton Heat mixed with Weezer, throw in a cover of a Modern Lovers tune,
and add the production techniques of Ian Caple (who has produced The Jesus
and Mary Chain), and you begin to sense what _The Devil May Care_ sounds
like.  The Psyclone Rangers may emit an attitude of indifference, but
despite their effort to not take things very seriously, their songs are
always right on the mark.  (WORLD DOMINATION)

SPILL COMPILATION 3 (CD)

The Australian underground has never sounded better and Spill has been
largely responsible for supporting many of the bands who otherwise
wouldn't reach many people outside of their hometown.  One of Spill's
greatest contributions has been its compilation albums which feature bands
that release their music independently through their own means or through
small labels.  The common link that holds all of these bands together is
that they all have little regard for the conventional and experiment with
either raw sounds, pop structures, or both.  Some of the selections are
simply soundscapes that explore various noises, while other tracks are
more song oriented.  More then half of the 24 bands have previously
appeared on Spill's compilations and with each passing year they only
improve.  For variety, length, and consistent quality you'll be hard
pressed to find a better compilation.  Spill has even outdone their own
previous efforts with this one.  (SPILL)

TRANSMISSIONS FROM THE PLANET DOG (2CD)

Michael Dog began promoting music in the mid-'80s by sponsoring events,
under the moniker Club Dog, that featured reggae, world music, jazz, and
psychadelia.  Electronic dance music eventually entered the picture with
the parties known as Megadog, which intertwined live performances with
DJs.  Realizing that many of the artists were being ignored by record
labels, since they didn't fit the conventional dance music formulas,
Michael Dog created his own label, Planet Dog.  Although most of the
releases have only been available in the UK, Mammoth Records has finally
licensed the label's output for domestic release.  The first release,
_Transmissions from the Planet Dog_ is a two disc set divided amongst 4
artists, Eat Static, Banco de Gaia, Timeshard, and Children of the Bong. 
Ambient, trance, techno, and dub all merge together for music that
provides for a good listening experience.  The artists succeed well in
achieving the label's desire to add an organic feel to electronically
produced music.  One of the nicest things about this compilation is that
you get several tracks from each artist, and even though Michael Dog has
eclectic tastes, all four groups share similar artistic ground.  This is a
great introduction to the label, and some of the best tracks these artists
have done.  (MAMMOTH)

NANA VASCONCELOS:  Storytelling (CD)

World music often takes on various guises and forms, from the primitive
field recordings to the marketable tunes that have obviously been affected
by the influence of pop culture.  Nana Vasconcelos brings another approach
into the picture with _Storytelling_.  In order to narrate the stories of
his origins, life, and dreams, Nana uses his skills as a percussionist and
vocalist to create sonic images of his native Brazil.  As a master of
numerous instruments, Nana is able to provide a variety of rhythms and
musical ideas that can be joined with anything from a string quartet to a
girls choir.  The overall story is of key importance on this disc and even
if you have no idea what Nana is attempting to communicate it isn't
difficult to sense the emotions that the music evokes.  Offering contrast
to the soundscapes are a few songs.  The most memorable is the Afro-samba
"Clementina (No Terreiro)" which is upbeat and has Nana playing the
one-stringed berimbau.  All in all, these well constructed tracks will
take you to the land of Brazil and beyond.  (HEMISPHERE)

--------------------------------------------------------------------------

slipmat...

ENCEPHALOID DISTURBANCE:  Fragments e.p. (12")

Licensed from Antler-Subway, Encephaloid Disturbance is Acid-Kirk, who is
also known for the projects Alcove and MLF Gaia.  The main track on
_Fragaments e.p._ is "Anaesthetic Influx" which is a minimal, yet
sophisticated workout complete with 303 and lively percussion.  Adam X's
remix follows, which deconstructs the track into a much darker entity. 
"Sulk" is frenzied and easily shows why this is one of the most
DJ-friendly records Visible has ever released.  Also on side b is
"Abnormal Lapse of Time" which retains the mad feel, but is grungier and
more plodding.  You really can't go wrong with this record.  (VISIBLE)

NOT BREATHING:  Event Horizon e.p. (12")

This record is difficult to categorize since each track is different and
dropping the needle could give you anything from a hard driving beat to
ambience.  Dave Wright obviously puts a lot of work into each of the
tracks.  "Airborne Jellyfish" builds convincingly and when a stomping kick
comes in you think that the track has finally arrived.  The progression
doesn't stop, though, and this track continues to change into complex
patterns.  "Cloud Modulation" begins without any beats and moves into a
more energetic feel, while "4th Plane Drifter" has rapid synth attacks and
ends with some of the most beautiful noises you'll ever hear.  The last
track, "Rotorhead Discovers H2O" finishes the e.p. off backed by a calm
drum pattern.  (VISIBLE)

--------------------------------------------------------------------------

zine update...		

GAJOOB:  Issue Twenty

Also titled DIY Report, this zine is an essential resource for anyone who
is recording, releasing, or managing their own musical efforts.  This
issue is divided into three parts.  The first section is filled with
information about other zines and services that might be of interest to
musicians.  The second portion is an in depth article about booking
youself.  This is easily the best part of the zine as Dick Hodgin
obviously has years of experience in the matter.  Finally there's a page
of reviews.  Gajoob isn't a large zine but the editor makes good use of
the space and some of this information could be priceless to aspiring
bands and artists.  Subscriptions are $20 for 18 issues, or you can
receive the entire text portion of the publication by getting a free
internet subscription.  (PO Box 3201, Salt Lake City, UT 84110)
<gajoob@utw.com>

SUEDE INFORMATION SERVICE #9/SUAVE & ELEGANT #6

Both of these fanzines are dedicated to the British group Suede.  As you
can tell from the title of the first, this is the official fanzine that is
also associated with the Suede fanclub.  With a tour diary of the group's
world tour followed by accounts from many of the bands' fans, the
activities of this group are well documented.  If you're a true fan you'll
probably want to join up and receive the Suede Information Service.  The
second fanzine, Suave & Elegant, is another story since it doesn't have
the band backing it and is more chaotic in its design and content. More
live coverage, a comic, an interview with Love Henry (who have toured with
Suede), and photos that don't look like they come from the band's
publicity department all make for an interesting issue.  Since there are
supposedly hundred of fanzines dedicated to Suede it is difficult to say
how Suave & Elegant compares to the rest.  I personally prefer the zine
Suedehead (reviewed last month), and you can actually get both these zines
through the American fanzine.  Suede Information Service is $3 from
Suedehead or you can join the fanclub at:  P.O. Box 3431, London N17LW,
England.  Suave & Elegant is $2 from Suedehead or $4 from:  David Barnett,
36B Scott St., Perth PH1 5EH, Scotland.  (Suedehead, Box #38, Stony Brook,
New York, NY 11790-0038) <samsayer@aol.com>

* previously reviewed zine:

Also this month I received a copy of My Brightest Summer #3 which has
actually been out for a few months.  This is quickly becoming one of my
favorites and even though the next issue is due out any day now, I suggest
you get a copy of #3 since it has an incredible interview with Mike of
Slumberland Records.  There's also interviews with Heavenly and Jupiter
Sun, but the insights that the man behind Slumberland has about the indie
music scene are enlightening.  I don't know if Walt is still giving the
zine out for free, so you may want to contact him about how you might
obtain a copy.  (985 Providence Square #209, Virginia Beach, VA
23464-4301) <wbv100x@oduvm.cc.odu.edu>

--------------------------------------------------------------------------

at a glance...

ANTIHOUSE (CD)

Eight nameless tracks of varying ambient moods are on this album by
Antihouse.  From beatless textures to playful and even dark material,
these tracks flow into each other creating a long journey into exotic
places.  Close your eyes and let your mind slowly drift off towards an
invigorating dream.  (VISIBLE)

LATIMER:  LP Title (CD)

"120 pounds, 120 pounds, 120 pounds of pure hell" is the lament on the
second track of this album that grinds ceaselessly with discord.  Latimer
isn't about to make any pretty music, and only on ocassion do they ease up
on the aggression.  If you're in need of more angst-driven noise, Latimer
is a good fix.  (WORLD DOMINATION)

LATIN SKA (CD)

On the spine of this disc it says "100% Latin Ska" which basically sums up
this release.  From South America, Europe, the Carribean, and even New
York, this is high quality stuff.  The ska world may never let up and for
those who still think it's a fascist movement, it's time to open up and
realize this music is embracing cultures all over the globe.  (MOON SKA)

LETTERS TO CLEO:  Wholesale Meats and Fish (CS)

If you liked Letters to Cleo's previous album, _Wholesale Meats and Fish_
is the next logical step.  With their rough, yet well polished approach to
alternative rock, Letters to Cleo are instant stars with perfectly crafted
songs that will be surely added to commercial radio's list of frequent
players.  (GIANT)

OTIS (CD)

Heavy on the distortion, Otis is a band that gives an uncompromisingly
loud and pounding attack.  Their self-titled debut was recorded in two
days, and the aggressive rock is similar from one track to the next.  All
in all, this is music that is guaranteed to annoy the neighbors, and
possibly even give you a decent headache.  (CHERRYDISC)

BRIAN REINBOLT:  It's Not That Simple (CD)

Most likely, this is the goofiest CD Artifact has ever released.  Take,
for example, the "Three Songs For Electronic Voice" which uses a $12 voice
synthesizer to front a computer band.  Even with Reinbolt's interest in
compositions based around computer algorithms he never quite escapes the
odd sense of humor that pervades _It's Not That Simple_.  (ARTIFACT)

ROUND:  A Most Impressive Girl (CS)

The three songs on this cassette single will shove you into the strange
world of Round.  The recording is not the best, but it adds to the
rebellious spirit this band possesses.  Imagine someone sticking their
tongue out at you while they pump out garage rock and you'll pretty much
understand what Round is all about.  (CIRCULAR SONGS)

SHOE-INS:  An Introduction Compilation from Gayshoe Records (CD)

11 bands and 19 songs fill up this compilation.  Punk and jazz are just
two of the styles that manage to show up on this disc.  Many of these
bands do sound like they shouldn't be left out of their practice space,
but don't let the uninspiring selections scare you away from _Shoe-Ins. 
Binge and Mufa are just two of the reasons why Gayshoe Records has
potential.  (GAYSHOE)

SUPERSTAR DJ KEOKI:  All Mixed Up (CD)

There is a lot of hype that surrounds DJ Keoki, but the main reason why I
am so attracted to this disc is the music that DJ Keoki spins rather than
his mixing skills.  Tracks from labels such as Platipus, Ovum, Rising
High, Prolekult, Loaded, Bomba, and others provide plenty of reason to go
out and find a copy of _All Mixed Up_.  (MOONSHINE)

TOWA TEI:  Future Listening! (CD)

Combining bossa nova and electronic music, Towa Tei of Deee-Lite, has
created his own genre by bringing together an eclectic mix of musical
ideas.  I have been constantly listening to this disc ever since I got it. 
Children of the hip-hop generation along with their parents, grandparents,
aunts, and uncles, should all own a copy of _Future Listening!_. 
(Elektra)

URCHINS:  Yummy (CD)

With smooth vocals, a tight band, straightforward songs, and plenty of
attitude, this band is very focused on creating music that is pleasant on
the surface and vicious underneath.  Listen carefully to the words Karen 
Bradbury sings, for they will reveal the true spirit that possesses the 
Urchins.  (ALLEY CAT) 

--------------------------------------------------------------------------

musicians' tools...  (written by Scott Fisher)

Review: New York Stylin' Phat Loops & Samples, Representin' Hip-Hop (audio
sample CDs)

Product Summary: These audio CDs provide plenty of drum loops, bass loops,
and melodic loops to sample.  The CDs also include solo percussion for
those who want to sample their own drum kits. 

Though I'm not inclined to use sampled drum loops in most of my music
writing, these CDs had a definite appeal.  When I first popped _New York
Stylin' Phat Loops & Samples_ into a friend's CD player to check it out, I
realized that the title really meant something.  The people at On Point
Productions were not merely trying to be hip when they put "phat" in the
title; the CD shows its fatness in quality and quantity of material. 
_Representin' Hip-Hop_ wasn't far behind, either.  Both CDs were good-
sounding, original, and easy to use. 

I was persuaded that these CDs were solid products when I heard the sound
quality, especially of _New York Stylin'_.  The drum loops on it are
punchy and clean, but also full and beefy; they don't seem brittle or thin
the way many sampled drums do, either.  Some good audio work went on in
the making of these CDs.  Unless you have substantial recording experience
and equipment (and a good drummer), it's doubtful that you'll get your own
loops from scratch sounding as good as these.  If you're looking for loops
from records, complete with atmospheric clicks and pops, you'll find some
of these, too.  The audio quality comes through even on these loops while
giving a retro sound.  The drum sounds vary from a standard kit, to a big
kick sound, to the lately repopularized ringing snare sound.  The CDs
include duplicate loops that are EQed and effected in different ways so
you can choose the timbre that's appropriate for your song.  Of the two
CDs, the more recent, _New York Stylin'_, has the better sound quality,
and yet, _Representin' Hip-Hop_ showed above average sound quality. 

The originality of these CDs lured me into liking them, too.  The drum
patterns suit themselves to hip-hop, rap, and the hybrid genres that have
sprung from them (such as trip-hop), yet show some originality and
variation from cliches.  If used properly, they could even be included as
elements in techno or jazz songs without calling attention to themselves. 
Strangely enough, some loops include bass along with the drums.  This
might be helpful for some people, but I find it annoying.  Beyond the drum
loops, the people at On Point Productions throw in some scratching, weird
sounds, other loops, and lone drums to sample.  The lone drums stand out
most (of the elements besides the drum loops).  They're a good start
toward making your own drum kit. 

Last, these CDs lend themselves to sampling.  The loops (most of them two
measures long) give you an extra beat after the measure-mark to make
cross- fading and looping easier.  Even when I got perfectionistic about
the loops, few took me longer than 15 minutes to complete and tweak to my
satisfaction.  The CD insert provides metronome markings for each loop to
make tempo matching easy. 

In general, I found both _Representin' Hip-Hop_ and _New York Stylin' Phat
Loops & Samples_ to be good values.  If you're involved in a musical genre
that uses hip-hop, rap, or dance beats, you should consider getting these
CDs. 

Price:   Representin' Hip-Hop $49.95 (+5.05 S&H) 
         New York Stylin' $69.95 (+5.05 S&H)

Contact: On Point Productions
            61 Superior St.
            Port Jefferson Station, NY 11776
            (800) 331-8841
      or    (516) 331-8804 

--------------------------------------------------------------------------

still on the stereo... 

I'm afraid to play the Squirrel Nut Zippers _The Inevitable_ (Mammoth) too
many times because it is the type of sugar-coated music that needs to be
taken in moderation.  "Lover's Lane" is my favorite, and then when you
follow that up with all the songs Katarine Whalen sings, you can't help
but fall in with her voice.  This is music from another era, but for
anyone who wasn't alive prior to World War II this music is fresh.  How
the Squirrel Nut Zippers manage to live so well in the past is a mystery,
but as long as they're willing to do it, we may as well enjoy their
discoveries. 

When I first heard _Speed Limit 140 BPM + Six_ (Moonshine), it made my
head spin.  I loved it, but I usually couldn't take the whole compilation
in one sitting.  Now that my mind is more accustomed to the busy drum
work, I actually find jungle music somewhat relaxing.  Practically every
track on here is a treat and I sincerely doubt if there is a better jungle
compilation available.  After living with this CD for a while I'm going to
have to be on the lookout for more quality jungle. 

--------------------------------------------------------------------------

the final word...

Wow, is this 'zine really coming out of Utah?
-Christopher Mack 

[Well, imr is created in Utah while the emphasis has always been on music
that is created elsewhere.  But, even though Utah may not be the best
place to find new music, you'll have to visit sometime to see the
mountains.  -Elliott S.]

I really enjoyed your plublication.  I'm going to make a point to check
out some of the albums you mentioned.  I'll probably start with the Warp
label.  The techno thing has always been something that I've closed my
mind to, probably because I never quite got into the dance club scene. 
But I'll check it out now.  Speaking of Warp, the 'label spotlight' was a
very good read.  Also, I did read the 'musicians tools' article and
thought it was very informative.  The addresses at the end of the
publication was also a nice touch - it shows you really care about
bringing new music to people.  If I can make a suggestion - you should
credit the writer of each article at the beginning or end of each article,
or in the table of contents.  It never hurts to mention the name of the
writers a few times in the publication.  -Don Henning

[Thanks for the encouraging remarks.  The main reason why you won't see
many credits in imr is that with the exception of the 'musician's tools'
section, I write the entire 'zine.  Sometime in the future, I'll probably
slowly turn the 'zine over to more writers, but for the time being I enjoy
having imr as a place to discuss the music I am fascinated by.  -Elliott
S.]

-------------------------------------------------------------------------

addresses...

Alley Cat, 105 White Oak Lane, Old Bridge, NJ 08857
<allycatmus@aol.com>

Artifact, 1374 Francisco Street, Berkeley, CA 94702
<info@artifact.com>

Beyond, BCM Box 8098, London, WCN 3XX, England
<upxbeyond@waveform.demon.co.uk>

Cavity Search, P.O. Box 42264, Portland, Oregon 97242
<csr@teleport.com>

CherryDisc, P.O. Box 990424, Boston, MA 02199

Circular Songs, P.O. Box 36, Essexville, MI 48732
<75372.2723@compuserve.com>

Elecktra, 75 Rockefeller Plaza, New York, NY 10019

Experimental Intermedia, 224 Centre Street, NY 10013

Gayshoe, 608 Dunberry Drive, Arnold, MD 21012
<hilger@vm.temple.edu>

Giant, 8900 Wilshire Blvd., Ste. 200, Beverly Hills, CA 90026

Hemisphere, 3520 Hayden Avenue, Culver City, CA 90232

Kill Rock Stars, 120 NE State St. #418, Olympia, WA 98501
<killrkstrs@aol.com>

Mammoth, Carr Mill, 2nd Floor, Carrboro, NC 27510

Moonshine, 8525 Santa Monica Blvd., West Hollywood, CA 90069 
<feedback@moonshine.com>

Moon Ska, PO Box 1412, Cooper Station, New York, NY 10276
<moonska@pipeline.com>

OO Discs Inc, 261 Groovers Avenue, Black Rock, CT 06605-3452

Rondor, 360 North La Cienega Blvd., Los Angeles, CA 90048

Spill, GPO Box 2637, Melbroune 30001, Australia
<wadley@ariel.ucs.unimelb.edu.au>

Sunday, PO Box 8335, Rolling Meadows, IL 60008
<sundayrec@aol.com>

TVT, 23 East 4th St., New York, NY 10003

Visible, 2443 Fillmore Street, Suite 336, San Francisco, CA 94115
<visible@calon.com>

Waveform, PO Box 1905, Sedona, AZ 86339
<waveform@sedona.net>

World Domination, Universal City Station, PO Box 8097, North Hollywood, 
CA 91618-8097
<worlddom@netcom.com>