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				 i m r #33 
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intro...

readers survey...

label spotlight...	Magnetic
 
ten picks...		A Slice of Lemon, Allison Cameron, Joseph Celli, 
			Chevy Heston, Country Teasers, Does the Word 'Duh' 
			Mean Anything to You, Eat Static, Macro Dub 
			Infection, Skylab, Stubborn All-Stars

at a glance...  	Derek Bailey & Gregg Bendian, Bailter Space,
			The Crabs, Dread Zepplin, Eskimo, The Krinkles, 
			Loop Guru, The Lazy Cowgirls, Mighty Purple, 
			Morscheck & Burgmann, Saligrowler, The Scofflaws, 
			Specula, Squonk Opera, Rich Zerby 

zine update...		The Noisepaper, Scam Magazine, SoS Jazz 		

7" haven...		Around the World with Sticky Records #1, 
			Jennifer Convertible, The Oliver Brown Trio, 
			Shiva Speedway, Van Gogh's Daughter  

slipmat... 		L.A. Synthesis, Roxy and the Effects, 
			Voice of the Underground

musicians tools...     WAVeBOY Voder Disk, WAVeBOY Audio-In Effects Disk

the final word...		

addresses...

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intro... 

Well, imr is finally on an automated system.  This means that I won't have
to personally process all of the subscribe/unsubscribe requests.  I can
still be reached at <smithem@yvax.byu.edu>, or you can always send mail to
<imr@world.std.com> and it will be forwarded to me. 

As you'll notice I keep changing the format of imr.  This month we've
added a new section, and from time to time sections are also dropped from
the e-zine.  For this very reason (and others), I've decided to do a
readers survey in order to get some feedback.  Everyone who participates
in the survey will be included in a random drawing to receive some free
recordings provided by the following labels:  Lucky Garage, Midi Mark,
Popfest/Gamma Ray, and Wedge.  Here're some of the recordings that we'll
be giving away: 

	Butte - Rubber Legs 7" - Lucky Garage
	Ghosts of the Open Road cassette - Wedge
	In One - Ascension CD - Gamma Ray
	Interceptor - Maiden Voyage CD - Midi Mark
	Popfest Compilation CD - Popfest
	Purse - Purse Does Junk 7" - Lucky Garage 
	
In total we'll be drawing 13 lucky winners and since we have multiple
copies of most of these, everyone will end up with two or three
recordings.  In any event, enjoy the issue and I'll look forward to your
feedback. 

-Elliott   

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readers survey...

I've tried to keep the survey brief so that it will only take a few
minutes.  Please send all responses to <imr@world.std.com>.  Include your
name so that I can print it in the next issue in case you end up winning
any of the recordings we are giving away. 

1) Where do you live (country)?
2) How did you find out about imr?  
3) How long have you been reading imr?
4) How did you get this issue (e-mail subscription, newsgroup, the Web,
Gopher, BBS, other)? 
5) Which sections do you typically read? 
6) Which sections do you find most beneficial? 
7) Have you ever bought a recording based on a review in imr? 
8) If you are an imr subscriber (or plan to be), would you be opposed to 
the following...
	a) Using imr in order to distribute other zines?
	b) Using imr in order to distribute information from labels?
9) If you are an imr subscriber, does your e-mail program have any 
problems with either the size or width of imr.
10) Your vote for best label of 1995...
11) Comments, suggestions...
  
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label spotlight...

MAGNETIC 

Rarely can the beginnings of the label Magnetic be discussed without
making reference to the fact that both of the label's founders, Jonathan
Segel and Victor Krummenacher, were once significant figures in the band
Camper Van Beethoven.  With Jonathan adding that distinct violin sound
(among other things) and Victor playing the bass, it is difficult to know
if the band could have ever established such a unique sound without
everyone who was involved.  Unfortunately, Camper Van Beethoven broke up
just as the band was beginning to achieve commercial success.  With the
exception of David Lowery, who went on to form Cracker, everyone else went
on to other bands and projects that have been reduced to relative
obscurity. 

One of the last hopes for some of the invidividuals involved was a side
project called Monks of Doom.  This group was actually started before the
break up of Camper Van Beethoven and basically existed as an outlet for
the less conventional instincts of various members.  Unfortunately, after
being signed to IRS Records, the Monks of Doom released an album, toured,
and then fell apart.  Surviving all of this, Victor Krummenacher got
together with Jonathan Segal, who was kicked out of Camper Van Beethoven
before both the height and demise of the band, and formed Magnetic. 
Although the two musicians can be caught collaborating on occasion, the
releases from the label can be clearly be divided between projects from
one or the other. 

The first releases from the label were two discs from Jonathan's band
Hieronymous Firebrain, _There_ and _Here_.  The history of this group
dates back to Segel's solo album, _Storytelling_, which was released on
Pitch-A-Tent Records in '89.  Several of the musicians that were involved
with supporting the album ended up staying around as Hieronymous Firebrain
was formed and released a self-titled album on Delta Records.  By the time
Magnetic was formed, the line up in Segel's group had completely changed
with most of the musicians moving on to other bands.  But even with
musicians constantly coming and going, all of Segel's output has a similar
flavor.  Listening to _There_ and _Here_, Hieronymous Firebrain are
difficult to pigeonhole as they jump around from one musical style to the
next.  Instrumentals and straight forward songs intermingle as an eclectic
mix of musical genres are touched on. 

Shortly after the release of _There_ and _Here_, Jonathan found himself
again with musicians rotating to different bands.  With only his drummer
left he ended up recruiting the drummer's roommate to play bass.  They
decided to keep things as a trio and finally settled on going under the
moniker Jack & Jill.  Things happened swiftly for the group and Magnetic
has already released their first album, _Chill and Shrill_.  On this disc
there is a significant departure from the sounds of Hieronymous Firebrain. 
The usage of instruments other than guitar, bass, and drums is severely
limited (a harmonium is allowed briefly), the songs are less exotic, and
the overall sound is leaner.  Fans of Segel's music won't be disappointed,
though, as no matter how hard the man tries, he'll never escape the odd
sensibility that defines his music. 

For a taste of something even more unconventional, Magnetic has also
released one of Segel's other projects, Dent.  Although the press release
and liner notes refuse to reveal who exactly plays in Dent, I was able to
coerce Jonathan into admitting that he was involved (which isn't too
difficult to hear).  The first part of the album actually has just
Jonathan and Dave Costanza, and then Jonathan and Victor.  Finally the
latter half of the disc has everyone who happened to stop by the studio. 
Victor's take on Dent is "I am Dent, you are Dent, we are Dent... a chance
to do everything."  For those who long for the sound of Camper Van
Beethoven's less structured moments (such as Camper Van Beethoven II &
III), Dent's debut _Stimmung_ is highly recommended.  Another album is
planned for next year and I've been told that it will be a techno record
(this should be interesting). 

While the other force behind Magnetic, Victor Krummenacher, may not appear
as prolific as Segel, it is important to note that a lot of his energy has
been focused on projects not associated with Magnetic (Monks of Doom,
Eugene Chadbourne).  After the Monks of Doom fell apart due to significant
problems with IRS and internal divisiveness, Krummenacher released a
7-inch record on Magnetic featuring his band Fifth Business.  In the last
year he has moved on to another band, A Great Laugh, and released the
full-length album _Out in the Heat_.  With a group of players who are
fairly experienced (coming from bands such as Poi Dog Pondering, Modern
Mandolin Quartet, American Music Club, and King Missile), A Great Laugh
has the polished chops to match Victor's songwriting.  A hint of sadness
pervades _Out in the Heat_, but it is a bitter-sweet sadness that breathes
with a sigh and is balanced by both fine musicianship and craft. 

A Great Laugh, Dent, and Jack & Jill's recent albums all represent the
second wave of releases from Magnetic.  Although both Jonathan and Victor
would like to release music from other bands, they don't view it as a
feasible option.  After losing a great deal of money when their previous
label, Pitch-A-Tent, was dissolved (due to Rough Trade's bankruptcy),
Magnetic isn't likely to achieve the same status.  As Segel moves from
being a bartender for five years to working in a record store and
Krummenacher holds a job at a Xerox store, it is obvious that the Camper
Van Beethoven royalties just aren't reaching everyone.  And as Segel
remarks that "now... people are idolizing the punk and new wave bands of
the '80s... Camper is uncool" it becomes clear that Magnetic represents a
new start without much of a push. 

But even if Magnetic may not be providing a living, the humor that somehow
didn't transfer over to David Lowery's Cracker is still thriving.  Most
importantly of course, the music aims for high standards of inventiveness
while refusing to bend down to the tastes or compromising practices of the
mainstream.  The world certainly doesn't need another Sub Pop or Matador,
but we could easily handle a few more labels with a mission similar to
Magnetic's.  In Victor's words... "music for the sake of making music. 
Ironic yet passionate stuff by people who mean it as much as anyone else,
even when they're not looking." 

[For both an informative and amusing adventure visit Magnetic's Web site 
at http://www.sirius.com/~magnetic]

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ten picks... 

A SLICE OF LEMON (2-CD)

Kill Rock Stars and Lookout! join forces for this double disc compilation
featuring 39 punk visions that range from the acoustic, to chaotic noise. 
With a little something for everyone, you'll likely find some familiar
artists and others who you may have yet to discover.  With two labels that
are so openly punk, this compilation brings to light the notion that punk
is no longer a sonic issue, but rather a philosophical mind set yielding
an infinite number of musical approaches.  With the popularization of
angst driven tunes, _A Slice of Lemon_ is a pleasant reminder that the
true spirit of punk will always exist outside of the mainstream.  With all
the variety on these discs, there is also just the right dosage of
traditional ripping guitars.  With too many bands to list, Mr. T
Experience, Cub, Fitz of Depression, Chickenhead, and Excuse 17 should be
enough to wet your appetite.  (KILL ROCK STARS & LOOKOUT!)

ALLISON CAMERON:  Raw Sangudo (CD)

The five pieces that composer Allison Cameron has crafted for this release
all share similar ground.  Each composition is designed for a different
ensemble and with a sparse texture the instruments (saxophone, percussion,
organ, guitar, flute, bassoon, and others) play tightly controlled parts
that are given plenty of space to breathe and coexist.  Drawing
comparisons to the influential composer, Morton Feldman, Cameron's work
shares an interest in carefully constructed figures that are developed
slowly.  The most recent composition on _Raw Sangudo_, "Gibbous Moon" has
a lyrical line played by a transverse flute juxtaposed with a sustained
violin tone and sporadic gestures from the harpsichord and violin.  As in
the majority of Cameron's output, the calmness of this piece is slightly
unsettled by sharp attacks, adding the appropriate edge that defines the
character of _Raw Sangudo_.  (XI)

JOSEPH CELLI:  Video Ears - Music Eyes (CD)

Purposely avoiding the use of any type of scales, Joseph Celli has sought
to create music that is defined by sound rather than relationships between
pitches.  "8 Mallets Four Brian," is a piece written exclusively to be
performed by Brian Johnson, consisting of layers of sound created by
marimba, vibraphone, xylophone, and orchestral bells.  By running mallets
across these instruments, the sound of each is effectively captured while
remaining free of the implications of specific pitch content.  The other
four works each explore the sonic world of a different type of instrument,
ranging from the saxophone to the komungo.  In essence, Celli's music has
more to do with the organization of sound, as found in musique concrete,
than the typical music created for small ensembles.  Each of these pieces
involves video, and although I wasn't able to view the 'Mountain of
Televisions' required for "Andes," there is no doubt that Joseph Celli is
an adept artist, capable of such endeavors.  (O.O. DISCS)

CHEVY HESTON:  Destroy (CD)

Filled with stories that were taken from television, Chevy Heston's second
album is somewhat of a departure from the previous outing.  Some things
still haven't changed.  The songs don't have proper endings, Martin's
breathy voice is charismatically indifferent, and the mid-tempo grooves
still hold everything together.  Added to all of these characteristic
elements, though, is an underlying sexual theme and warmth that evokes
images of someone lying on their couch, half dressed, and smoking
cigarettes, all the while watching late night television.  On "...then
goes back to school" and the title track, you catch a glimmer of hope
amongst all the dismal tales.  But, by the time the disc spins to an end,
a sense of despair sinks in.  A true reflection of the mundane qualities
of modern life, _Destroy_ glories in juicy vignettes of a decadent
lifestyle.  (CHERRYDISC)

COUNTRY TEASERS (CD)

Whatever it is that the Reverend Horton Heat does for rockabilly and Jon
Spencer does for the blues, the Country Teasers likewise do for twangy
country music.  It just goes to show that you can take practically any
form of music and distort it into something that will communicate with an
entirely different audience.  These three lads from Scotland do just that,
as they mingle early rock 'n roll and country with plenty of noise and
attitude.  On occasion, the recording is actually quite clean (such as the
cover of "Stand by Your Man"), but more often then not, the Country
Teasers prefer to distort their vocals and guitars.  At its most extreme,
this CD sounds like the music is blasting through a cheap stereo, only
adding to the appeal.  The twelve songs clock in at under 30 minutes, and
long after all the music has ended, it is easy to imagine these boys
passed out on the floor after one of their draining performances.  (CRYPT)

DOES THE WORD 'DUH' MEAN ANYTHING TO YOU (CD)

Che Records has been and continues to be the home for some of England's
best indie bands.  Not only will you find the Che faithfulls, such as
Slipstream and Magic Hour on this compilation, but there are also
selections borrowed from other labels, newer Che artists, and the label's
first band, Disco Inferno.  The oddest group on the disc would have to be
Bardo Pond, who like to meander around in loosely structured
instrumentals.  Kirk Lake, meanwhile, delivers "English Presley the Pearly
King of Rock'n'Roll," which couples background music, of the James Bond
variety, with an intriguing narrative.  In contrast to these more unusual
tracks, the other groups on the disc conjure up some of the most flavorful
songs I've encountered in quite some time.  With plenty of color, these
bands know well the importance of creating sonic textures that greatly
enhance the pop idiom.  With each of the nine groups given two tracks, and
every one of them somewhat addictive, this compilation is essential. 
(CHE)

EAT STATIC:  Epsylon (CD)

As the electronic/techno force behind the psychedelic rock group, Ozric
Tentacles, Joi Hinton took along drummer Merv Pepler and created Eat
Static.  As the first band on Planet Dog, Eat Static successfully embody
the label's ideals.  Electronic music mixes with live instruments as the
distance between the arena and club is shortened.  Having sequences side
by side with live playing, _Epsylon_ is a model for other bands who want
to create a performance environment for dance culture.  Also of key
importance to the Planet Dog aesthetic is the amount of artistic depth
brought to electronic dance music.  Keeping the tracks free from gimmicks
Joi and Merv base their music conistently around techno/trance sounds that
are subtly devoloped.  The exotic female vocal does surface on occasion,
but in general _Epsylon_ consistently holds to synthetic sounds as a means
of generating interest.  (PLANET DOG/MAMMOTH)

MACRO DUB INFECTION:  Volume One (2-CD)

The Disciples lead off this ambitious compilation with some classic
Jamaican dub.  This is followed with Spring Heel Jack's "Double Edge Dub,"
as dub's influence on jungle is clearly set forth.  Infecting techno, trip
hop, rock, ambient, and other styles makes dub one of the most universal
sounds that can be applied to virtually every underground musical genre. 
One of the most appealing aspects of _Macro Dub Infection_ is way these 23
tracks are sequenced.  Instead of arranging the selections by genre,
everything is thoughtfully mixed up.  And while the compilation may go
from Coil to Omni Trio and then to Laika, the fact that all of these
tracks incorporate dub elements brings everything together rather nicely. 
Veterans, Bill Laswell and Adrian Sherwood, share their passion for the
fluid beats with newer figures Tricky, Wagon Christ, and the Mad Professor
for one of the most compelling compilations in recent history.  (CAROLINE)

SKYLAB:  #1 (CD)

Nobody really likes the term trip-hop, and the most vocal opponents of
this labeling are often the artists that are linked to it.  In all
honesty, very few even claim to know what trip-hop is.  Howie B of Skylab
says he hates the classification, but it does him little good as _#1_ will
never escape comparisons to other artists who have been unmercifully
lumped into the hype.  Adding ambience to the beats is Matt Ducasse who
has been struggling away in his attic collecting odd sounds.  It is in
such isolation that Ducasse has been allowed to tinker with the sonic
materials that give Skylab such an identifying character.  These random
ideas all take on deeper significance as the four members of Skylab add
live instruments, experimentation, and their wealth of musical experience
to the project.  From "Seashell," which will certainly garner comparisons
to Portishead, to the beatless mix of "Electric Blue," _#1_ is an album
that transcends the narrow scope that often attached to the mixture of
hip-hop and experimental/ambient elements.  (ASTRALWERKS)

STUBBORN ALL-STARS:  Open Season (CD)

King Django has been a key player in the New York ska scene for over ten
years.  Putting out a zine (Rude Awakening), running a label (Stubborn),
and playing in bands (The Boilers, Murphey's Law, Skinnerbox), this man
has done it all.  His most recent accomplishment is his studio project the
Stubborn All-Stars.  In the band are some of New York's finest players and
the focus is very much on the traditional Jamaican sound.  Gracing this
release with their presence are notable players from the Toasters, the
Skatalites, Fishbone, and then there are the full-time members who come
from bands such as Agent 99, The Insteps, and The Scofflaws.  So what
happens when you jam so many all-star ska players into the same studio? 
Hands down, one the best traditional ska albums in the last few years. 
Topping it all off, Django makes a fine lead vocalist and an awe inspiring
tunesmith.  (Another Planet)

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at a glance...

DEREK BAILEY & GREGG BENDIAN:  Banter

Often thought of as a synonym to the world of free improvisation, Derek
Bailey is one of the most highly respected individuals employing this form
of musical expression.  As a gifted guitarist who has created his own
techniques for drawing various sounds out of his instrument, Bailey joins
forces with percussionist Gregg Bendian for the intriguing dialogues that
are documented on _Banter_.  (O.O. DISCS)

BAILTER SPACE:  Wammo (CD)

This should slip nicely into the plethora of uninspiring alternative
bands.  Buffalo Tom and Richard Butler spring to mind as possible sources
of inspiration for Bailter Space, but even though _Wammo_ has all the
necessary ingredients to appeal to the college radio audience, you sense
that they just don't have what it takes to rise above their record
collection. (MATADOR)

THE CRABS:  Jackpot (CD)

It isn't uncommon for Northwestern bands to be self sufficient with only a
couple of instruments.  The Crabs are Lisa (drums) and John (guitar) who
both sing simple pop tunes that all too often fall short of the K
aesthetic.  Some of the songs on _Jackpot_ do work quite well (usually
when Lisa's on vocals), but for the most part, the indifference on this
album fails to truly charm.  (K)

DREAD ZEPPLIN:  No Quarter Pounder (CD)

Imagine Led Zepplin's "Ramble On" sung by an Elvis impersonator, backed by
reggae rhythms, a horn section, and a female vocal combo.  Dread Zepplin
are an unexpected delight as they give their warped interpretaion of
classic songs by Elvis, the Commodores, and naturally Led Zepplin.  Their
original material isn't nearly as entertaining, but don't let that keep
away from these buffoons. (BIRDCAGE)

ESKIMO:  Return to Shrimpkin Mountain (CD)

Exactly the type of madness you would expect to find on Les Claypool's
label, Eskimo is quirky and packed with experimental tendencies.  Finding
inspiration in circus music, heavy metal, funk, jazz, and punk, these
musicians just don't know where to stop.  Listening to _Return to
Shrimpkin Mountain_ could be likened to a walk through the amusement park
while your head is hopelessly spinning in circles.  (PRAWN SONG/MAMMOTH)

THE KRINKLES (CS-Single)

"Cry, Cry, Cry" is an energetic anthem that earnestly communicates the
desire to overcome lost love.  Again, The Krinkles prove how important the
lead vocalist can be.  Without the attractive, pouting laced with attitude
vocals, these songs would never work.  Yes, even though the raw pop-rock
songs are founded by a good band it just wouldn't work without that
characteristic voice.  (SUPER 800)

THE LAZY COWGIRLS:  Ragged Soul (CD)

For ten years the Lazy Cowgirls have been plugging away in the punk
underground.  Now with the admittance of punk into the airwaves, these
veterans still show no sign of compromise from their rough garage
approach.  As the rebellion becomes slicker it is good to see a band that
is still ugly enough to keep the kids away.  (CRYPT)

LOOP GURU:  Duniya

Atmospheric sounds, exotic vocals, and plenty of rhythmic loops are all key
aspects to Loop Guru's effort at bridging the gap between the chill-out
room and the dancefloor.  Originally released in the UK, this newer
version contains new tracks and mixes, but only the most devout Loop Guru
followers will feel any need to own more than one copy of _Duniya_. 
(WAVEFORM)

MIGHTY PURPLE:  Bohica (CD)

Well executed harmonies and acoustic instruments make "Story" one of
Mighty Purple's best songs.  "When the Kingdom Calls" dwells in a
different sonic environment and mood, but once again the band delivers an
enjoyably convincing song.  Some of _Bohica_ doesn't quite measure up to
the tighly constucted songs Mighty Purple are capable of, but with this
sophomore release and a third album on the way, this is a band to keep an
eye on.  (WONDERLAND)

MORSCHECK & BURGMANN:  Contakt (CD)

Dreamy acoustic guitars are what these two Germans specialize in.  With
folk, jazz, and classical influences, Morscheck & Burgmann dream up a
relaxing mood on this album.  All in all, _Contakt_ is music that is easy
to listen to, nice to have in the background, and the perfect disc for
when you have the urge to pull out your watercolors.  (MIRAMAR)

SALIGROWLER (CD)

Recalling the sound of early Detroit rock, Saligrowler pump out these
tunes in the same manner you might hear them at the local bar & grill.  A
surprisingly gentle acoustic tune makes its way onto this album, but for
the most part the remaining 12 tracks have the volume cranked up and drive
into the territory of older groups such as the Stooges and MC5. 
(CONTAGIOUS)

SCOFFLAWS:  Ska in Hi-Fi (CD)

Recorded with ribbon mikes and tube amplifiers, _Ska in Hi-Fi_ goes out of
its way to recreate the original ska sound of the '60s.  17 tracks of both
original and cover material round out this fine release by a band that has
been a fundamental part of ska world for 8 strong years.  My only
confusion is that if The Scofflaws were so determined to rediscover that
vintage analogue sound, then why isn't this release available on vinyl? 
(MOON SKA)

SPECULA:  Erupt (CD)

There're only two members in Specula and they both play guitar.  Instead
of using the typical drum machine, real drummers are recorded and then
looped.  For the low end, a bass string is added to a modified guitar. 
Specula's songs don't exactly have any catchy hooks, but a healthy dose of
rock riffs keep these praiseworhty pieces going.  (SCAT)

SQUONK OPERA:  howandever (CD)

This band isn't a band in the traditional sense.  Besides playing
intruments (keyboards, electric bass, flute, percussion) Squonk Opera also
has a theatrical side that is equally as entertaining.  Somebody forgot to
tell these guys that you just can't mix rock, Celtic, classical, jazz, and
then turn it into a stage performance.  If you're in the mood for
something bizarre yet lovely, don't miss this when it comes to your town. 

RICH ZERBEY:  The Candle in the Window (CS)

Sounding at times like Lou Reed or Peter Murphy mixed up with the type of
guitar wanking that is all too frowned upon, Rich Zerbey is a one man band
with occasional assistance.  _The Candle in the Window_ is a release that
will have all of Rich's friends blown away, but if you don't know him you
could probably care less.  Zerbey sounds as though he's caught in a
different decade, but most likely he isn't aware of it. 

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zine update...		

THE NOISEPAPER:  September 1995

From the people who run the music video show Noise Bazaar, comes this
quarterly magazine.  Now even if you can't find Noise Bazaar on your local
cable service, The Noisepaper may still provide some interesting
interviews that are transcribed from the show.  There are a few other
items, such as record reviews, a column on comics, fiction, and even a
horrorscope, but the bulk of The Noispaper is devoted to the interviews. 
In this particular issue you'll find Big Audio Dynamite, God Lives
Underwater, Peter Murphy, Primus, Jewel, Claw Hammer, and My Life with the
Thrill Kill Kult.  The only unfortunate thing about some of the interviews
is that you can tell that they are under some sort of time constraint. 
But even though things can cut off prematurely, you're still likely to
find some good insights.  Subscriptions are $5 for a year or you can get a
single issue is $1.25.  (Noise Productions, P.O. Box 0432, Kenosha, WI
53141-0432)

SCAM MAGAZINE:  Issue 11

It took me a while before I realized that 99% of this magazine is just one
big joke.  I guess some of the humor was a bit too highbrow for me to get. 
The music review is perhaps the only sincere piece of writing in this
issue of Scam.  Other than that, from the letters to the editor to the
obituaries this publication is not to be taken too seriously.  Once I
finally adjusted myself and realized where these people were coming from I
thoroughly enjoyed the magazine.  From their supposed archives the editors
conjure up "McCarthyism vs. The Volk Movement" and the other main feature
is a reprint of the trial of one of Scam's editors (who was convicted for
distributing Scam).  Now this may not be for everyone, but if you're
willing to take a risk, there is a significant amount of wit and thought
behind this publication.  Subscriptions are $20 for 9 issues.  (SCAM
Magazine, 40 Fourth Street, Suite 244, Petaluma, CA 94952)
<daedalus@scam.com>

SOS JAZZ:  September 1995

With the mission of providing press for small jazz labels, SoS Jazz is a
small, no-thrills publication that consists entirely of reviews. 
According to Mark Corroto who publishes this one-man zine, jazz labels
have had to advertise in magazines if they have any desire of being
reviewed.  So, Corroto compensates for this by passing along his thoughts
on a variety of releases.  Covering everything from big band, to the
progressive sounds of the Knitting Factory label, SoS Jazz provides a
well-informed view of the distinct jazz stylings coming from those who
aren't associated with the mainstream.  Keeping the reviews to an
appropriate length, Corroto balances his enthusiasm for the genre with
objective descriptions.  Even those who claim to know nothing about jazz
should be able to walk away with a few good ideas about what CD they may
want to check out.  Sample issues are two stamps, while a years
subscription (10 issues) is only 5 dollars.  (SoS Jazz, P.O. Box 1382,
Youngstown, Ohio 44501-1382) <ae705@yfn.ysu.edu>

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7" haven...

Around the World with Sticky Records #1, Jennifer Convertible, The Oliver
Brown Trio, Shiva Speedway, Van Gogh's Daughter

Seven-inch records are increasingly being pressed in different colors of
vinyl, but among the records covered this month, the picture disc from
Sticky takes the cake.  _Around the World with Sticky Records #1_
highlights four bands from Sweden and future releases in this series will
focus on different countries.  With the Swedish flag on one side and a map
of Sweden on the other, this is easily the most beautiful record I've ever
seen.  I'd buy this for the design alone, but in case you're more
concerned with the actual music there is really nothing to worry about. 
The Bear Quartet achieve perfection with just enough ache, stringy guitar
lines, and a foot tappin' beat.  The other standout comes from A Shine,
who pensively sing about forgetting to write down a girls number.  And
don't fret, the other two bands Puffin and Blithe also live up to the
Swedish pop ideal. 

Next up is a clear green offering from Jennifer Convertible (Puddle). 
While the two songs on the b-side fall a little flat, the title song,
"Speedracer" lives up to the praise thrown at their first single.  As the
name implies this song speeds along with blazing guitars and memorable
vocals.  With a two guitar attack and a bopping bass, Jennifer Convertible
are cruising down the street with plenty of wind in their hair. 

Somewhere down the street, Oliver Brown is playing the ukelele and singing
about his passion for milk.  All of this, of course, is captured on a 7"
record which is appropriately pressed on white vinyl.  "Milkboy"  is just
one of the 8 selections you'll find on The Oliver Brown Trio's _Game up
the Street_ (King Turtle).  The other members of the trio are fairly
insignificant (sometimes I wonder if they even exist) as the majority of
the record is just Brown's commanding, yet charming, voice and simple
ukelele strumming. 

Well, Shiva Speedway, may not exactly fit into the colored vinyl theme
(unless black counts), but these gals more than make up for it with the
two songs that are found on their most recent single (Fire Eater). 
Dezaray, Pam, and Heidi all pound away on the more song-oriented "Twister"
which contains the chorus "It makes me sick, it makes me sick, you make me
sick, then I feel good."  "Hell" is even tougher, shifts tempos, and
yields some interesting guitar noises. 

Returning to color is Van Gogh's Daughter's marble orange single, "Down" 
b/w "Crystal" (Psykodisc).  Pop and punk figure into this bands sound, but
this really has nothing to do with the music often labeled pop-punk
(coming from labels such as Lookout!).  Slower and sludgier, Van Gogh's
Daughter bring to mind what L7 might sound like if they were friendlier,
prettier, and learned how to write better songs.  Keep an eye on these San
Francisco babes, they just may be headed for fame. 

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

slipmat...

L.A. SYNTHESIS:  Frozen Tundra ep (12")

Following up their debut release _Agraphobia_, L.A. Synthesis come through
with three tracks on their _Frozen Tundra ep_.  Light techno, tainted with
a magical touch, fills up the first side.  The other side, while retaining
the gentleness of the title track, picks up the momentum with increased
vigor.  By the time "Why is My Mind" finishes off this 12", the electronic
sounds are set aside in favor of more agressive timbres.  But even as the
BPM increases the surface of L.A. Synthesis' tracks is unobtrusively calm. 
While demons lurk beneath, _Frozen Tundra ep_ is an exercise in fluid
passivity.  (PLINK PLONK)

ROXY & THE EFFECTS:  The Art of Sampling (12")

Four mixes and a track labeled "Distortion Interlude" are crammed onto
this superb record.  The "Vocal Mix" sets everything in motion with high
class urban voices who really don't have anything important to say, but
succeed by the mere sophistication of their tone.  The "Dub Mix" isn't
much of a departure, but when you flip this record over the "Magnet Mix" 
takes these house beats towards rougher domain.  All of these mixes are
sure to be crowd pleasers as they bounce along perpetually with an
extremely positive vibe.  (EIGHTBALL)

VOICE OF THE UNDERGROUND:  Funk It Up/Get On It (12")

"Get On It" is the better of these two tracks, mostly because it comes
through with that 'feel it' sensation on both of its mixes.  On the
"Mixmaster Mix" an analogue bass placed with a high sustained pitch gives
these rhythms a distinguishing feel.  The other mix develops slower with
the primary focus on percussion.  Cut up vocals and, yes, a good measure
of funky chords and rhythms hold the feel and interest on "Funk It Up
(Quiet Mix).  The other mix isn't nearly as enticing, but still this is a
brilliant record.  (EMPIRE STATE/EIGHTBALL)

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

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

WAVeBOY Voder Disk
     (For Ensoniq EPS 16+ or ASR Sampling Keyboards)

In the days before samplers became a common commodity, a synthesist needed
skill, knowledge, along with outboard equipment to get anything resembling
a vocal sound from most analog synthesizers.  Now, any sampler-toting
buffoon can get oohs and aahs gushing out of the speakers with the press
of a key.  I'll bet Enya is flattered at the number of samplers trying to
imitate her breathy sound. 

WAVeBOY comes to the rescue by bringing some analog techniques to the
digital realm.  You don't have to settle for using the same old gushing
voice sounds anymore.  With the Voder disk for Ensoniq's EPS 16-Plus and
ASR family of samplers, users can get nontypical voice textures out of
their keyboards.  If you're lucky and skillful, you might even get your
machine to sing something intelligible. 

I can already hear some of you asking in excitement, "Does that mean that
I can do the talking keyboard thing?"  Well, the answer is both "yes" and
"no."  Yes, you'll get your sampler to make speech-like sounds, but, no,
you're probably thinking of a different effect when you say that--almost
certainly, you're thinking of a vocoder, not a voder.  With a vocoder, the
machine analyzes an input signal's spectrum--usually someone talking or
singing--and then imposes similar resonances onto a second signal.  In
other words, a vocoder makes other instruments seem to talk by using
speech to modulate resonances in them.  With the Voder, you'll have to use
a controller such as a keyboard or foot pedal to manipulate the
sound--much more difficult than using your speech to change it. 

Three parametric EQs make up the heart of WAVeBOY's Voder.  They can be
programmed to strengthen different frequencies, cover different ranges,
and allow different amounts of boost or cut.  The EQ boosts simulate three
vocal resonances at once, imparting characteristic vowel sounds to
instruments.  The Voder allows users to switch between sixty-four
different EQ frames, each frame containing the EQ settings for a single
phoneme (speech sound).  The player then uses a controller such as the
keyboard to switch from one frame to another.  In the default setup,
WAVeBOY has the bottom sixteen keys control the active frame while
allowing normal playing with the rest of the keys: the lower keys change
the phoneme, and the change the pitch.  When I switched the modulation
source to the mod wheel, I changed between EQ frames very quickly, though
without the same control.  Continuous controllers such as the mod wheel or
foot pedal provide interesting possibilities such as wah effects and quick
EQ morphing. 

The Voder disk adds flexibility to the EPS 16-Plus and ASR samplers--while
sounding good and costing little.  The features show limited usefulness
nonetheless.  How often do you really want to use a talking instrument in
your music?  It's too much of a gimmick to be used regularly.  In a normal
situation, the Voder functions would be more useful in providing automated
EQ changes, so why not use it as an EQ tool?  My advice: if it does what
you're looking for, get the Voder, it might just be useful for more than
making talking instruments. 

(For an interesting beginning article on vocal resonances and synthesis,
see the article "Vocal Sounds" by Bob Moog in _Synthesizer Technique_ from
the editors of _Keyboard Magazine_.)


WAVeBOY Audio-In Effects Disk
     (For Ensoniq EPS 16+ or ASR Sampling Keyboards)

WAVeBOY's Audio-In Effects Disk allows EPS 16-Plus owners to use their
keyboards as processors for external signals--nothing new to ASR owners
who have external signal processing built in.  The disk contains a few
additional effects algorithms that the ASR doesn't have, though. 
Primarily, it adds a nonlinear reverb, and a couple of harmonizer
effects--the Time-Dicer, a fixed-interval harmonizer, and 3-Voice Harmony,
which harmonizes the intervals you play on the keyboard. 

The effects on this disk sound good, greatly expanding the EPS 16- Plus'
usefulness but only adding marginally to the ASR's.  The nonlinear reverb
(a gated reverb imitation) and harmonizer algorithms may make it worth
your while to get this disk as an ASR owner, though I'd recommend it
primarily for those using the 16- Plus.  16-Plus users could make full use
of the twenty-one effects algorithms while ASR owners will see only eight
new effects.  All of the usual effects are represented--reverbs, choruses,
delays, and flanges besides the harmonizers.  Sonic quality measures up--
though the harmonizers don't sound as good as dedicated external units. 
If you're a 16-Plus user you should seriously consider buying this disk,
if you're an ASR user, the primary question is "How much would you pay for
a harmonizer?" 

Price:      $39.95 for the Voder
            $49.95 for the Audio-In Effects Disk

Contact:    WAVeBOY Industries
            P.O. Box 233
            Paoli, PA 19301
            (610) 251-9562

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

the final word...

Thanks again for so generously spotlightling Village Pulse in imr. We
especially appreciate you mentioning our Web site at the end of your
article.  Because the Internet exposes publications to an audience that is
both wide and deep, I thought you might want to be aware of two minor
corrections, so that you can respond in an informed way should some
ethnologist or anthropologist take exception:  1. In Senegal, the majority
religion (perhaps over 90% of the population) is indeed Sufism. However,
of these worshippers, at present only about 12% belong to the Qadiriya
order of Sufism. The rest belong mainly to three other orders. The
Qadiriya was the first order to arrive in Senegal, and in fact brought
Islam to Senegal, but other orders (notably the Mourides) have been slowly
supplanting it.  2. "Mandika" should be spelled "Mandinka" (a fairly
common mistake).  I don't think these minor points detract substantially
from your excellent article.  Again, thank you very much.  

-Adam Novick


The e-zine you sent me was very interesting and well-written, but there's
a little problem.  In all the text, only 1 name was familiar to me.  All
the rest were absolutely unknown to me.  Normally this wouldn't be a
problem, as I like to buy strange and rare cds (I was 1 of the first who
bought Bjork's first cd here in Spain, when she still was unknown) but
most of the musicians named in your e-zine will be impossible to get here
and I'm very tired of listening to other people talking about some very
cool musician and of me being unable to listen to him.  Anyway, your
e-zine was very interesting.  I enjoyed the article about that african
drum company.  Greetings from here.  Take care and go on with this...  

-Jose C. Cabezas Soto

[This is why we list the addresses at the end, so that you can contact
labels and find out how to get their recordings.  This is especially easy
with the labels that have e-mail addresses.  Also, it is important to note
that many independent labels do mail order.  I'm sure there's also places
in Spain that specialize in imports and probably have access to many of
the releases covered in imr.  It may take a little longer than going to
the nearest record store, but these releases can be found, and in my
opinion they're well worth the effort.  -Elliott]

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

addresses...

Another Planet, 740 Broadway, 7th Fl, New York, NY 10003
<aplanetr@aol.com>

Astralwerks, 114 West 26th St., New York, NY 10001
<astralwerks@cyberden.com>

Birdcage, P.O. Box 784, Sierra Madre, CA 
<li-mon@cerf.net>

Caroline, 114 W. 26th St., New York, NY 10001

Che, PO Box 653, London, E18 2NX

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

Contagious, PO Box 4355, Dearborn, MI 48126

Crypt Europe, P.O. Box 304292, 20325, Hamburg, Germany

Crypt USA, P.O. Box 140528, Staton Island, New York, NY

Eightball, 50 W. 17th Street, 12th Floor, New York, NY 10011

Fire Eater, P.O. Box 390643, Cambridge, MA 02139
<pmn@mit.edu>

K, Box 7154, Olympia, WA 98507

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

King Turtle, 119 Highland Avenue, Santa Cruz, CA 95060
<turtle@deepthought.armory.com>

Lookout!, PO Box 1374, Berkeley, CA 94712

Magnetic, PO Box 460816, San Francisco, CA 94146-0816
<magnetic@netcom.com>

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

Matador, 676 Broadway, New York, NY 10012

Mirimar, 200 Second Avenue West, Seattle, WA 98119

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

Plink Plonk, PO Box 2977, London, N1 2SG
<info@plink.demon.co.uk>

Psykodisc, PO Box 77848, San Francisco, CA 94107
<vgdaughter@aol.com>                   

Puddle, 12 W. 21st St., New York, NY
<microblu@echonyc.com>

O.O. Discs Inc, 261 Groovers Avenue, Black Rock, CT 06605-3452
<celliOO5@aol.com>

Scat, 4349 Westminister Place, St. Louis, Missouri 63108

Squonk Opera, P.O. Box 42283, Pittsburgh, PA 15203

Sticky, PO Box 201, Leigh-On-Sea, SS9 2RW, UK

Super 800, PO Box 2171, Rosemont, IL 60018
<krinkles@interserv.com>

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

Wonderland, 374 Treadwell Street Hamden, CT 06514
<wonderland@wlr.com>

XI, PO Box 1754 Canal Street Station, New York, NY 10013

Rich Zerby, P.O. Box 147, Westchester, PA 19381