Hypatia Lake, "...And We Shall Call Him Joseph," Sad Robot

From the neon pink cover art to the sonics within, "...And We Shall Call Him Joseph" is a flashback to--but not a rip-off of--Dayglo-era Love Battery. (2002 debut Your Universe, Your Mind rocked the neon chartreuse.) While one Seattle band may be alive and kicking, the other dead and gone, their music is similarly dark and fuzzy--sometimes quiet and lovely, sometimes loud and distorted.

Divided into "scenes" (rather than songs), the local quartet's second concept recording concerns a rebellious candy factory worker in the fictional town of Hypatia Lake. In other words: S.F. Sorrow meets Willy Wonka. Do they pull it off? Hard to say as the guitars and keyboards frequently overwhelm the vocals, but it's a sure bet that adherents of 1960s psychedelia and 1990s shoegaze will find common ground in this Roald Dahl-inspired song cycle.



Note: Yes, the ellipses before and quotation marks around the album title are intentional. Punctuation--gotta love it. Poster and band images from Hypatia Lake's MySpace page.

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I Am Trini Alvarado

Do you remember Trini Alvarado? She's third from the right in this poster for 1994's Little Women. Some movie mavens may also recall her from the new wave-saturated Times Square (1980) and Peter Jackson's The Frighteners (1996). Well, I'm not really Alvarado and I don't look much like her, but I do look like this image.

In case you've ever wondered why my picture on this site is represented by a portrait of Barbara Stanwyck, circa Double Indemnity (1944), the answer is because: 1) I love Ms. Stanwyck, and 2) I don't currently have access to a scanner, so I'm unable to post a snapshot of the real me...but I will someday, I swear.

That said, just as I don't look much like the non-posterized Alvarado, I really don't look Stanwyck. (Then again, who does?) But now you know what I do look like. I've also been told I resemble Mary Louise Parker and Elizabeth Perkins--both currently starring in Weeds--but I would beg to differ.







Endnote: Poster/DVD cover image from Wikipedia. After disappearing from the scene for awhile, Alvarado makes a reappearance in Todd Field's Little Children (2006).

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Scott H. Biram
Graveyard Shift
Bloodshot Records
[7/18/06 release date]



All I want in this creation,
A good lovin' woman and a long vacation.
-- Scott H. Biram, "Been Down Too Long"

The blurry cover of Scott H. Biram's new CD made me happy
at first. "Hey," I realized, "It's a fox!" I love foxes. In fact, I thought the cap-stealing canine [above left] in Grizzly Man almost stole the show from the big bears (and their bizarre human guardian). Then I took a closer look. Something is seriously wrong with this fox [below right]: Its eyes are bugged-out, its tongue is lolling on
the ground. Worse yet—its guts are exposed. It's roadkill.

As for the music, you could say Biram "exposes his guts" on his fifth full-length. Or to keep the analogy going, the Austin-based artist combin-
es gospel, country, and gut-
bucket blues. Influences in-
clude Hank Williams (he's
toured with his tattooed loveboy of a grandson),
Bill Monroe, and John Lee Hooker. He's also been compared to Iggy Pop (the Stooges) and Lemmy (Motörhead), but I think that has more to do with his famously raucous live gigs, although the final track, "Church Babies," does sound a little like Metallica...unplugged...on Mescaline...and bad Mexican food (it ends with a toilet flush).

Graveyard Shift also brings to mind Nick Cave, circa Tender Prey (which includes the classic "Mercy Seat"), and the late Hasil Adkins, while the press kit tosses out the descriptors "psychobil-
ly gospel" and "ultra-primal blues and rock-and-roll with a count-
ry heart." The CD booklet exclaims, "Scott H. Biram is a one man band!!" As such, it's tempting to compare him to early Billy Bragg, except they don't sound much alike and their approach to song-
writing—Biram's tunes revolve around sin and salvation, reefer, and truckers—have little in common. (Alas, Biram was hit by an 18-wheeler a few years ago and lost a portion of his, um, guts in the process. Otherwise, he made a full recovery). But I wouldn't
be surprised if Biram digs Woodie Guthrie, too.

Here's something else I learned from the CD notes, and I think it says a lot about Biram: "Dedicated to the memory of my best friend Steev 'The Sleev' Smith. Garage sales, BBQ joints, and firework stands all over the world miss your stench. RIP my brother." BBQ joints? Firework stands? If you haven't heard Biram before, you're probably wondering: Is this guy white trash?

Well, some folks—often of the pastiest ilk—consider that designation rather offensive, so I'll refrain from using it.
But I wouldn't be surprised if Biram describes himself as
such—with pride. And he does use the phrase in the title
track, i.e. "I'm a death dealin' creep in a white trash town,
my work starts up when the sun goes down."



For those keeping score at home, Biram's previous record-
ings include This Is Kingsbury? (2001), Preachin' and Holler-
in' (2002), Lo-Fi Mojo (2003), and The Dirty Old One Man Band
(2005), the first three self-released. His instrument of choice is
a 1959 Gibson hollow-body electric. He makes the most of it.
Other "instruments" include "CB radio, loudspeaker, breathing, harmonica, gut all acoustic and electric guitars, Hammond B3 organ, homemade footstomp board, hi-hat, tambourine, claps, hambone, Bible thump, special effects, random noises."

Of the three CDs Bloodshot has sent my way over the past few months—the others were Mark Pickerel's Snake in the Radio and the Bottle Rockets' Zoy-
sia—Graveyard Shift is my favorite. The phrase I keep coming back to is "shit kickin'." And I mean that in the best possible sense. On the artier side of the equation, you've got books like Cormac McCarthy's Outer Dark and movies like Tommy Lee Jones' The Three Burials of Melquiades Estrada. If you dig that kinda stuff—Sam Peckinpah, too—Biram is the musical equivalent.

Look out Devil you better step aside,
You ain't big enough to interrupt my stride.
-- Scott H. Biram, "Been Down Too Long"





Note: CD image from Bloodshot Records, Grizzly Man im-
age from Ruthless Reviews, Three Burials image from The
Big Screen Cinema Guide, and Scott H. Biram poster image
from his official website, First Church of the Ultimate Fanaticism.

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Unwed Sailor, Circles, Burnt Toast Vinyl

Circles consists of two tracks. Fortunately, it isn't a full-length, but "Mist" (11:09) and "Mesa" (5:17) are longer than your average pop tunes. Then again, this isn't pop. The EP follows The Marionette and the Music Box (2003) and precedes Unwed Sailor's third long player, The White Ox, set to be released this August. Both were recorded in Bloomington, IN by main man Johnathon Ford (Pedro the Lion) with Daniel Burton, Phillip Blackwell, and Matt Griffin. Ford has since relocated to Seattle.

As mentioned in my review of Belong's October Language, instrumental rock isn't really my thing. When it comes to music, the first things I usually listen for are the vocals, followed by the beat, and then the lyrics. In that order. Everything else comes later. So how to evaluate a recording devoid of those elements? Well, "Mesa" has a subtle groove to it, so that helps. "Mist" is more ambient. Artists that come to mind include Brian Eno and Peter Gabriel. Both pieces are soothing, but not soporific, although a third or more variety within the two would've been welcome. Circles but doesn't go as far, do as much as it should. As a "taster" for Unwed Sailor's upcoming album, however, it gets the job done, i.e. I look forward to hearing the CD (and I'd never heard the band before). The cover design is by James Marsh, who has produced Talk Talk's album art since 1982, much of which is quite lovely--same with Circles.



Note: Band image from the AMG. James Marsh's "The Heart of the Rainforest" from the Cutter Gallery.

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All Kinds of Cats

Black Merda, The Folks From Mother's Mixer, Funky Delicacies

This eagerly awaited release combines two rare recordings, 1970's Black Merda and 1972's Long Burn the Fire ("The Folks From Mother's Mixer" comes from the latter). Formed in Detroit in the mid-60s, the sharp-dressed quartet combined psych-rock with soul and blues. They got their start by backing Edwin Starr and the Temptations before striking off on their own. Instead of Westbound or Motown, they signed to Chess, then later Janus. Hence, they're frequently compared to Hendrix and fellow Motor City denizens Funkadelic ("Over and Over" could be a Maggot Brain outtake). I also hear the Chambers Brothers in their gospel-tinged harmonies, War in their propulsive chants, and Taj Mahal in their laidback country-blues numbers, like "Reality." (Can you say eclectic?) As with the Chambers, they were a "brother" band, as well, with Anthony (lead guitar) and Charles (guitar) Hawkins joined by VC L. Veasey (bass) and Tyrone Hite (drums). Bob Crowder replaced Hite on the second album, by which point they were calling themselves Mer-Da. The Folks From Mother's Mixer is an essential addition to the funk fanatic's collection. It isn't as hard as I was expecting, but it's definitely got the groove.



Cougars, Pillow Talk, Go Kart

There are eight members in Cougars. And they're a rock band. According to the CD booklet, the instrumental line-up on their Steve Albini-produced third record breaks down like this: vocals, drums, guitar, guitar, bass, synthesizer, saxophone, and trumpet. So it's loud and it's noisy, but at least they aren't all shouting in unison. It's just one angsty fellow (Matthew Irie) yelling his throat raw over the roiling waves of sound. The press notes compare the Chicago octet--there, I got to say it!--to Rocket From the Crypt, and I can hear that, but mostly they return me to those halcyon Chi-town and Minneapolis days of yore, specifically the Touch & Go/Amrep stable of the 1980s and 1990s, i.e. the Jesus Lizard, the Laughing Hyenas, and Halo of Flies. The use of trumpet almost makes 'em sound like a ska band at times, but for the most part, Cougars are rawk. And the song titles are something else: "There's No 'High' in Team," "Someone Out There Has My Boner Picture," etc. Near as I can tell, all the lyrics are about sex: "She likes to take control," "Wrap yourself around my face and hips," "My God what a mouth you sport," et al. I like it, I don't like it. If this were 1991, I'd probably like it a lot more than I do right now.



Note: This year, Touch & Go celebrates its 25th (!) anniversary. Biographical information on Black Merda from the CD liner notes by James Porter and Dan Nishimoto. Incidentally, the AMG supplies different release dates: 1967 for the debut, 1971 for the follow-up. Cover image from Amazon.

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April Showers...
Make Seattle Damp

Here are the reviews I'm
working on for this month.

Amazon: Remington Steele - The Complete Third Season [four-disc set] (my second Steele review), Forty Shades of Blue (Sundance Grand Jury Prize winner with Rip Torn), The Syrian Bride (with Hiam Abbass of Satin Rouge), Full House - The Com-
plete Third Season [four-disc set] (yes, I also reviewed
season one), Dr. Dolittle 3, Green Street Hooligans, My Family and Other Animals, Mates of State - Bring It Back, Gomez - How We Operate (loved their last CD, which I reviewed for Tablet),
Jewel - Goodbye Alice in Wonderland (my Mom's met her Mom--
hey, it's an Alaska thing), Sonya Kitchell - Words Came Back to Me, One Last Thing (with Sex and the City's Cynthia Nixon), and
Austin City Limits - 2005 Music Festival [two-disc set].

Resonance: The Old
Haunts - Fuel on Fire.
I previously review-
ed the fine sophomore
outing from this Olym-
pia threesome here.

Seattle Sound: Laguna! - Outside Casa (second CD from this local trio) and Juana Molina -
Son (fantastic fourth release from this Argentinean superhero:
singer/songwriter, multi-instrumentalist, producer, and popul-
ar comedienne). These reviews were cut from the May issue,
but they'll appear in June when Seattle Sound goes monthly.

Siffblog: Phantom India Louis Malle's French doc series from
1969), Protocols of Zion (controversial doc from Slam's Marc
Levin), Innocence (acclaimed first feature from Lucile Hadziha-
lilovic, Gaspar Noé's former editor), Mouchette, Woman Is the Future of Man (from South Korea's Hong Sangsoo), and The Intruder, the latest masterwork of mystification from Claire Denis.
Incidentally, while watching Paris, Texas recently, I was reminded
that Denis and her trusty cinematographer, Agnès Godard--along
with Allison Anders--served as assistants on that famous film.



Endnote: My 50th post! The Intruder images
from Senses of Cinema and The Village Voice.

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Fabulous Sounds of the Pacific Northwest

The Old Haunts, Fuel
on Fire, Kill Rock Stars

Fuel on Fire is that rare recording I took to right from the start. (None of that "it had to grow on me" stuff.) Is it because Craig Extine has one of those intense, yet reedy voices, like Jack White or Jeffrey Lee Pierce? (Alec Ounsworth, of Clap Your Hands Say Yeah, also comes to mind.) Is it because the Olympia trio adds a generous helping of blues and rockabilly to their rock-based recipe? Is it because the tracks on their Johnny Sangster-produced sophomore outing conjure up the Bayou (though layed down in Seattle)? Yes, yes, and yes. The rollicking threesome kicks up a nice little ruckus indeed. Just when you think they're a guitar band, they throw a piano into the mix ("Filled In"). Just when you think they're a garage group, they toss a ballad into the equation ("Unveil the Key"). Well okay, "ballad" may be a stretch, but "Unveil" does prove the Old Haunts can slow down the pace without destroying the momentum.



Mountain Con, Sancho Panza, Hidden Peak

Hmmm, the Plastic Constellations have a song called "Sancho Panza" on their new CD. Something in the air? The water? (More likely, these young musos were all simply assigned Cervantes in high school.) As for the tunes, I can't think of any reason alt-rock kids shouldn't hip-hop up their rock & roll. I'm not sure who was the first, but it seems to me that Beck, circa the still-amazing Odelay, got the balance right before anyone else--and has been struggling to maintain it ever since. This local sextet doesn't sound like a hydra-headed Mista Hansen, but I wouldn't be surprised if he were one of their inspirations. Then again, I prefer their music when they leave the rapping and the electronic beats behind. "Devotion is So 20th Century," for instance, evokes T-Rex in a most appealing way, while "The Silver Age" is a slow, Eno-styled burner. Of course, I'm a big time Glamster, but I really do think it's on these numbers where Mountain Con best finds their voice.



Note: Fabulous Sounds of the Pacific Northwest, aka "Little Kids Bring Zucchinis and Stay All Day," is the title of the Young Fresh Fellows debut. Probably the first local indie-rock release I ever heard--and still one of the best (especially "Rock 'n' Roll Pest Control"). Old Haunts images from their website.

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