Sonic
Boom's
Revolu-
tion:
Part
Two

Click here

for part one

My '91 Wire

interview

with

Pete "Sonic

Boom"

Kember

continues.

***** ***** ***** ***** ***** ***** ***** *****

Wire: How come Spaceman 3's version of Mud-

honey's "When Tomorrow Hits" never came out

as a Sub Pop single as was originally intended?

Sonic: Basically, because it was all talked about while I still

believed Mudhoney were doing their version of "Revolution"

[from Playing With Fire] as they had done it when they were

touring around Europe at the beginning of '89, but I didn't know

they were going to change the lyrics like that. See what they'd changed them to—which was basically a pisstake, a wordplay,

on some things I'd said in the UK press—I wasn't interested in doing a joint project when I realized what sort of fans they were.

However, we had recorded this version of "When Tomorrow Hits,"

not to do a single originally, but because it had stood out. I'd writ-

ten to them and said I'd enjoyed their version that they'd been

doing live of "Revolution." They sent a tape back of stuff they were

doing for their future album as it was then, and that song stood

out, so we did that. Then they brought out their version of "Rev-

olution" [a B-side on Glitterhouse]. I didn't want to have anything to do with it. Partly that, and partly because I found the guys at Sub Pop—one of them was very charming and one of them was a total dickhead. So, I didn't really want to get involved with them.

I didn't like it because

they'd re-written the lyr-

ics, yet still credited them

to Spacemen 3 when the credits should have been to them. I felt they should have credited themselves for that little piece of "songwriting."

I thought it would be a good idea for our version of their song to come out, because I felt it was more a pisstake of them than their version of "Revolution" was of us. In a totally different way, it was a far superior pisstake in that we made their version look like a demo. Whereas their version was like some kind of college brat hum-

or which I don't particularly like in rock bands. I mean—don't get me wrong—Animal House is one of my favorite films, but it's great as a film.

[Funny, Animal House is one of my favorite films, too...]

Wire: Do you have any idea what they think of your version?

Sonic: No, I don't. I don't really care. I mean, that wasn't the reason for doing it. It was just something I found I could do something with. They did say in an interview afterwards that they'd actually written the song originally to be like a "Spacemen 3/Wire" song. So, they'd written it to be like that anyway, I guess.

Click here for part three.

Endnote: Sonic Boom has been performing "When Tomorrow

Hits" as part of his current repertoire, which also includes a

sprinkling of Spacemen 3 numbers. Spectrum plays Neumos

on 5/2. Images from Rate Your Music (Mudhoney single) and

I Rock Cleveland (Sonic in the studio). Click the latter link to

sample "Take Your Time," a collaborative effort between Sonic

and Captain Memphis, AKA legendary producer Jim Dickinson.

Read more »

Sonic Boom's
Revolution

An Interview
with Pete Kem-
ber: Part One

In honor of Sonic
Boom's upcom-
ing Seattle appear-
ance, in his Spec-
trum incarnation, here's an edited version of an interview which debuted in KCMU's Wire in 1991. Around the same time, I also interviewed Pete "Bassman" Bain and Jason "Spaceman" Pierce. The latter two had just left the "3" to form
their own outfits: respectively, the Darkside and Spiritualized.

***** ***** ***** ***** ***** ***** ***** ***** *****

I discovered Spacemen 3 in 1988. It was at a time when
I hadn't come across anything new in a while that I found
particularly original or exciting. Perfect Prescription was—if
you'll pardon the saying—exactly what the doctor ordered.

Like Fried-era Julian Cope, early Rain Parade, and the now-
defunct Opal, here was neo-psychedelia done up right. No sit-
ars, backwards guitars, or hippie-dippy lyrical clichés. This stuff
sounded retro, contemporary, and totally timeless all at once.
I was an instant convert to their guitar-as-god religion.

I immediately got ahold of their first record, the grungier,
heavily Motor City-influenced Sound of Confusion. Two more
full-length releases followed: the slightly disappointing, yet ul-
timately more eclectic and experimental Playing With Fire and
their latest—and last—Recurring. Perfect Prescription is still
my favorite—possibly one of my favorite albums of all time.

Spacemen 3 broke
up just before issu-
ing their final long-
player—and with a
major label, no less
(RCA). Various art-
icles and interviews
published earlier this year in the British weeklies would lead one to believe that the split was due primarily to major personal-
ity clashes between singer/songwriter/guitarist/solo artist Sonic Boom
and singer/songwriter/guitarist/Spiritualized founder Jason Pierce.

Regardless as to the reason—or reasons—for the break, the
fact remains that the band is dust. While Recurring isn't their
best record, it isn't their worst either. Side one is credited to
Sonic Boom and side two to Jason. Surprisingly, the two
halves fit together quite well—proof that their differences
probably were more personality-related than musical.

This spring, I got the chance to speak with Sonic Boom long
distance from the offices of Dedicated Records, the last label
Spacemen 3 recorded for in the UK (ironically, Dedicated
will be releasing both Sonic Boom and Spiritualized projects).

Although I decided against asking about the possibly still-sensi-
tive issue of the group's demise, I asked just about every other
question I've ever had about Spacemen 3 and/or Sonic's solo
career. For the most part, I found Boom, i.e. Pete Kember, to
be friendly and forthcoming—contrary to British press opinion.

Click here for part two



Endnote: This piece was originally published as "Focusing
on Sonic Boom's Revolution." Click the links for my Wire in-
terviews with Lucinda Williams and Dinosaur Jr. Spectrum
plays Neumos on 5/2. Images from the AMG and Wikipedia.

Read more »

Some-
times
in April

These are
the reviews
and other
pieces I'm
working
on this
month.

Amazon DVD: Crude Impact.

Amazon Profiles: Peter Falk, Norman Jewison,
and Sidney Lumet for Armchair Commentary.

Amazon Theatricals: Hunger, acclaimed film about IRA
leader Bobby Sands (with Michael Fassbender, above left), State of Play (remake of the British miniseries with Russell Crowe),
and Lemon Tree (with the always amazing Hiam Abbass).

Still playing (or yet to open): Confessions of a Shopaholic, Doubt, Gom-
orrah, The Great Buck Howard, He's Just Not That into You, Milk, Rachel Get-
ting Married, Sin Nombre, Sunshine Cleaning, Two Lovers, and Tyson.

Seattle International Film Festival: Thirteen blurbs
for the program guide. My eighth year as copy contributor.

Siffblog: Silent Light, film number three from Mexico's
Carlos Reygadas. Given time, I also intend to wrap up my interview with Trouble the Water's Tia Lessin before start-
ing one with Medicine for Melancholy's Barry Jenkins.

Still playing: Gran Torino.



Video Librarian: Battle in Seattle (click here for my Amazon
review), Bird by Bird with Annie (a portrait of writer Anne La-
mott), Kurtis Blow - The Hip Hop Anniversary Tour, Fashion in
Film, Flavor Flav - Live in Concert, Trouble the Water (click here
for my interview with Tia Lessin), and The World of the Doll Artist.



Endnote: Sometimes in April is the title of Raoul Peck's
fine HBO film about 1994's Rwandan genocide, starring The
Wire's Idris Elba. Hunger image from Time Out Sydney.

Read more »

Now Is
the Time

Alligators,
Piggy
& Cups,
Apple-
house
Records
[4/7/09]

Lithe yet playful, Kitsap County quintet Alligators dec-
orate their chiming, swirling, surprisingly diverse debut
with tasteful prog-rock, jazz, and psychedelic touches.

Consequently, Piggy & Cups makes for a pleasing listen,
vaguely reminiscent of the Church or a less synth-oriented Of Montreal, but it isn't necessarily the most memorable one. Not
all indie-pop has to be studded with hooks, of course. Recom-
mended for those who prefer atmosphere over songcraft.



Broadcast Live, Boomerang
Metropolis, Rebel Army Media

Not to be confused with Birmingham's Broadcast, Albany, NY's
Broadcast Live offers Saul Williams-style rapping and singing,
sometimes in Spanish, over drum machine and rock instrumen-
tation. On their sophomore release, the quartet castigates homo-
phobes, celebrates Che Guevara, and proclaims that "now is the
time to seize the means of production" because "they watered
down jazz and now they're strangling hiphop" (major record
companies, I would assume). Victorio Reyes's commitment
to social justice comes through loud and clear...but I'd still
rather listen to the down-tempo introversion of Broadcast.



Cinema, Cinema, Exile Baby, Digitone Records

Surely Brooklyn duo Ev Gold (guitar, keyboards) and Paul Claro
(drums, percussion, woodwinds) are baiting cineastes with their
screen-tastic name. Well, I'll bite. If I didn't like their full-length
debut, I'd be doubly bummed—I write about movies for a living—
but I glommed on to their SST-style psych-rock from the start.

Gold's pitch can be wobbly, but Cinema, Cinema knows how to
work within his limitations, i.e. the music supports his voice rath-
er than leaving it to flop around on the sand like a jellyfish...for
lack of a better metaphor. Hüsker Dü meets the Flaming Lips
by way of Das Damen with some Doors and Sabbath on the side.



Common Market, The Winter's End EP, Hyena Records

Regardless as to what people
outside the Northwest think
about Common Market,
there's no doubt that Seattle
has a lot of love for this brainy
beat-making duo. Based on
the depth and quality of their
new EP, I predict greater
national visiblity in '09.

The first track alone offers elegiac horns, a smattering of French, and other unexpected touches. And so it goes with the rest of the release. Eclecticism for its own sake isn't worthy of praise, but MC RA Scion and DJ Sabzi expand their genre's borders with grace.

"Freedom Song," in particular, which weaves woozy brass with a bob-your-head chorus ("Freedom song/for my people right here/we belong"), deserves to be a hit. Let's hope it happens.



Endnote: For more information about Alligators, please click here or here; for Broadcast Live, here or here; for Cinema, Cinema, here; and for Common Market, here or here.
Images from Fanatic Promotion and Planetary Group.

Read more »

Suddenly
This Winter

In remembrance of
Tony Award-winning
film and theater ac-
tress Natasha Rich-
ardson (Patty Hearst,
Cabaret), who died yesterday at the age of 45, here's a link to my blog post about David Mackenzie's Asylum, which features what may
be her best, most underrated work.

After watching the movie, I felt sad...and not just because
it's a tragedy. Why aren't more people seeing and talking ab-
out it, I wondered. It isn't perfect—few pictures are—but that's beside the point. Some of the most fascinating films are marred
by flaws of some sort, especially when they attempt to grapple with the inherent messiness of human desires, frustrations, and fantasies, and Richardson dives right into the muck. Hate this pessimistic movie if you must, but don't hate the player.

So, I started a blog, and posted a rant (and it's definitely a rant, rather than a proper review), but if I encouraged even one per-
son to take a chance on Asylum, I'll feel like a made a differ-
ence, no matter how small. Richardson's perfectly-pitched performance should've nudged her towards the top-tier of internationally-recognized actresses. It didn't happen, and
I submit that her work afterwards wasn't as risky or as vis-
ible. With time, that would've changed, but time ran out.



I also mention Richardson, briefly, in a review of the BBC version of Tennessee Williams' Suddenly Last Summer, in which she co-stars with Dame Maggie Smith—and more than holds her own.

Natasha Richardson was the daughter of Oscar-winning ac-
tress Vanessa Redgrave (Julia) and Oscar-winning director Tony Richardson (Tom Jones), the granddaughter of actress Dame Rachel Kempson and actor Sir Michael Redgrave, the sister of actresses Jemma and Joely Richardson, the niece of actress Lynn Redgrave and actor Corin Redgrave, and the wife of actor
Liam Neeson, with whom she had two sons, Michael and Dav-
id. That's one hell of a lineage, and she did her people proud.

For more tributes, go here.



Endnote: Yes, I relish adding the prefixes Sir, Dame, and "Os-
car-winning" to the names of British entertainment figures, and the Richardson-Redgrave clan provides ample opportunity to do so. Natasha also acted opposite family members throughout her too-short lifetime, notably James Ivory's The White Countess (Lynn and Vanessa Redgrave) and Lajos Koltai's Evening (Vanes-
sa Redgrave). Image from The Villager. Click the link for an in-
sightful interview with Richardson about her performance
in another Williams play, A Streetcar Named Desire.

Read more »

Movies
of the
Month:
Part
Four







Several months ago, I reviewed the following controversial Chin-
ese films for Video Librarian, and thought they were worth sharing.

LOST IN BEIJING [***]
(Yu Li, China, 2007, 112 mins.)

In her native land, Yu Li's third feature experienced the best and
worst her country had to offer. On the one hand, Lost in Beijing
was a hit. On the other, authorities pulled it from theaters after a
few weeks and imposed a two-year ban on the director and writ-
er/producer Li Fang (Summer Palace). Western viewers may not
find the results as "pornographic" as China's Film Bureau—non-
gratuitous nudity aside—but nor will anyone confuse this claus-
trophobic melodrama for chamber of commerce propaganda.

In Yu Li's Beijing, money buys everything but happiness. Liu
Ping Guo (Fan Bingbing, Battle of Wits), wife of high-rise window
washer An Kun (Tong Da Wei), works in a foot massage parlor.
Lin Dong (Tony Leung Ka Fai, Election), husband of infertile aesthetician Wang Mei (Elaine Jin, Yi Yi), runs the joint. One couple is poor and powerless; the other rich and powerful.

After a night of drinking with a depressed colleague, Liu Ping
Guo passes out at work, and Lin Dong takes advantage of her.
Washing windows outside the parlor at the time, An Kun catch-
es him in the act, and attempts blackmail. Then, when his wife
becomes pregnant, he offers to sell Lin Dong the baby. Relations
between the haves and the have-nots become hopelessly tangled.

Tough going at times, but always well acted, Lost in Beijing
loosens up once the two couples become unlikely business part-
ners. Fans of Jia Zhangke (The World) and early Zhang Yimou
(The Story of Qiu Ju) should find this film of particular interest.



SUMMER PALACE [***]
(Lee Ye, China, 2006, 140 mins.)

In 2000's dreamy Suzhou River, Lee Ye proved he had a strong
visual sense. With the leisurely-paced Summer Palace, his
fourth feature, the director combines fluid camera work with
an impressionistic narrative that spans almost two decades.

Starting in 1987, the beauti-
ful, but introverted Yu Hong (television veteran Hao Lei) leaves her provincial boyfriend behind when she goes off to Beijing University. In the city, she drifts aimlessly until the outgoing Li Ti (Lingling Hu) befriends her. Yu Hong's new friend then introduces her to
the idealistic Zhou Wei (Guo Xiaodong), with whom
she enters into a tempestuous relationship.

From that point forward, her journal entries serve as narration. After the pro-democracy protests at Tiananmen, she drops out
of school, Li Ti moves to Berlin, and Zhou Wei enters the militar-
y, later joining Li Ti in Germany, while Yu Hong remains in Chi-
na, traveling from Wuhan to Chongqing and from man to man.

All the while, she thinks about Zhou Wei, but makes no effort to
contact him (and vice versa). Eventually, she settles down, and
Zhou Wei returns from Europe, but they're more tamped-down
than ever. The director doesn't spell it out in so many words,
but the events of 1989 have crushed their collective spirits.

On the surface, the story may not sound controversial, but Chi-
nese authorities sentenced Lee Ye to a five-year ban due to the
Tiananmen footage and sexually explicit material. At 140 min-
utes, Summer Palace is longer than necessary, but comes rec-
ommended for its intimate approach towards historic events. Two
featurettes examine the production (The Making of Summer Pal-
ace) and the controversy (Summer Palace and Chinese Censorship).



Click here for Movie of the Month, Part Three: Chris & Don

Endnote: Slightly revised from the original text. Incidentally,
I covered these films at the same time as The Last Emperor and
Sunflower. Fortunately, I never get tired of Chinese-oriented
cinema. And speaking of Suzhou River, I caught it at the Toronto
Film Festival. It's a lovely film, but Lee Ye had a hard time talking
about it. From the extras included with the Summer DVD, it's
clear he's learned to articulate his ideas more succinctly (there
are few things more discomfiting than listening to a filmmaker
hem and haw for several endless minutes in a row). Images
(copyright 2007) from the late great New Yorker Films.

Read more »

March to Fuzz

These are the reviews
and other pieces I'm
working on this month.

Amazon DVDs: Breaking Bad - The Complete First Season (with Emmy winner
Bryan Cranston) [three-disc set], The Starter Wife (with Debra Messing and Judy Davis) [two-disc set], The Nanny -
The Complete Third Season [three-disc set], Mulligans, Azur & Asmar - The Princes' Quest, and Little Dorrit [four-disc set].

Amazon Theatricals: Sunshine Cleaning, Sin Nombre, and Tyson.

Still playing: Confessions of a Shopaholic, Doubt, Gomorrah, He's Just Not
That into You, Milk, Rachel Getting Married, Two Lovers, and Waltz with Bashir.

GreenCine: The Oscar Live Blog archive lives here.

Siffblog: I fixed the link
for Tonite Let's All Make
Love in London. Once
Siffblog completes the mi-
gration to Blogspot, I'll
have many more to fix.
The old ones still work,
but sometimes yield
weird-looking results.

Still Playing: Gran Torino and Medicine for Melancholy.

Seattle International Film Festival: A quartet of
notes for the '09 program guide; more to come in April.

Video Librarian: Careful, Cat Dancers, Darius Goes
West, Disarm, Brian Eno - Music for Airports, Girls Rock!,
Hell on Wheels, The Holy Modal Rounders...Bound to Lose,
I.O.U.S.A., Killer at Large, Azur & Asmar - The Princes' Quest, Becoming Family, Café Chavalos, International Doc Challenge, Lost in Austen, Praying with Lior, The Real Ghostbusters, The Secrets, and Phish - The Clifford Ball [seven-disc set!].



Endnote: David Hockney image from the archives,
Mudhoney cover from the All Music Guide. Click here for
their review of the double-disc collection March to Fuzz.

Read more »