This Friday night at DiverseWorks is 12 MINUTES MAX!: E(c)lectronic, which is an evening of electronic exploration featuring six Houston musical acts that will expand and explode the sound frontier with turntables, computers, and electronic gizmos. Curated by DiverseWorks’ staff member Gina Sonderegger, E(c)lectronic will feature Mr. Blinky (Nancy and HK), Lights Out On Sound, Panda 84, Rotten Piece, Rua Minx and The Sugarbeats. The show begins at 8 p.m.

“E(c)lectronic brings together a cross-section of Houston’s most engaging, innovative, and playful electronic artists,” states Gina Sonderegger. “Rather than proclaiming a unified ‘scene’, this program presents a survey of local musicians’ unique and varied approaches to the creation of electronic music.” The performances will range from the lysergic experimentalism of Rotten Piece to the child-like simplicity of Panda 84 to the art-damaged synth-trash of Rua Minx.

Should be great.

Also, here are bands playing in Houston this week:

Wednesday, 5.12.04

Bring Back the Guns (formerly Groceries) at The Mermaid Lounge
Elf Power w/ Summer Hymns and Modulator @ The Proletariat
Rocket Science w/ Gristle, House of Moist, and Phlegmatics @ The Engine Room
Man Alive w/ A Step Behind @ Fat Cat’s

Thursday, 5.13.04

Fishbone w/ Faceplant @ The Engine Room
Moneen w/ Northstar, The Fight, and Chronic Future @ Fat Cat’s
The Dwarves w/ The Down & Dirties, and The Delayed @ Fitzgerald’s
DJ Witnes @ The Proletariat
Shawn Pander @ Sherlock’s (West Gray location)
Fondue Monks @ Sherlock’s (Westheimer location)

Friday, 5.14.04

Tody Castillo @ Stag’s Head (9:30 show)
Of Montreal w/ Spain Colored Orange and Carter Brown @ Fat Cat’s
Broken Note Records 10th Anniversary, featuring Simpleton, Dinosaur Salad, Taste of Garlic, and I-45 @ Fitzgerald’s
Sharon Jones & the Dap-Kings @ The Continental Club
Distance w/ Outbreak and xdrugtestx @ Walter’s on Washington
Moses Guest (DVD release show) w/ Sarah Sharp @ Rudyard’s
Terry Horn w/ Alex Keller, Kairos, In the Land of Archers, Pechuga, and Muzak @ Super Happy Fun Land
Broken Note Records 10th Anniversary, featuring Ex-Pornstars, Que, and Farm FC @ Fitzdown
Little Brother Project w/ Righteous Buddha and dUNETX @ Rhythm Room
Pat McGee Band w/ Michael Tolcher and Pilot Radio @ The Engine Room
The StoneKings @ Forgettaboutit (Jones Rd. at Grant)

Saturday, 5.15.04

Broken Note Records 10th Anniversary, featuring 30footFALL, Bickley, Non-Stop Bombers, and Middlefinger @ Fitzgerald’s
Broken Note Records 10th Anniversary, featuring C’mon C’mon, The Molly Maguires, and The Put-Downs @ Fitzdown
Danger Mouse w/ Money Mark and J-Zone @ The Meridian
The Dirtbombs w/ The Forty Fives and The Dragstrip Bros. @ Rudyard’s
Throwdown w/ Most Precious Blood and Sinai Beach @ Fat Cat’s
Jennifer Fitts @ Walter’s on Washington
Arrowfest 2004, featuring Styx, Peter Frampton, Kansas, Blue Oyster Cult, America, and Grand Funk Railroad @ The Woodlands
Insider Art, featuring Trace Element @ Super Happy Fun Land
Tony C & The Truth @ The Engine Room
Fondue Monks @ Madison’s in Beaumont (Dowlen Rd. next to Hobby Lobby)
Sound Theory @ St. Arnold’s Brewery (1:30 p.m. show)

Sunday, 5.16.04

Houston Press Music Awards Sound Off 2004, featuring Blue October @ The Meridian
Mary J. Blige w/ Musiq and Glenn Lewis @ The Woodlands
Battle of the Bands, featuring Southern Train Wreck, Fosphorus, Dawn Over Zero, In Silence We Speak, Kenny’s Secret Plan, and fight for daylight @ The Engine Room

Now Playing in My iPOD: Chomsky — Let’s Get To Second

Last week during work, I walked into the restroom and saw a guy who reminded me of Matt Johnson of the the. This guy was bald, and kind of mean-looking, and at first glance reminded me of the musician. It was odd, since I had just been talking about the the with a co-worker of mine who is a big fan of drummer Earl Harvin. Recently, I showed him an interview posted on the the’s website where Johnson talks about Harvin and how he got him out of Austin and took him on tour with him. So it’s not like I randomly just thought of him.

So, as my mind is apt to do, I start painting Johnson into some type of asinine scenario in which I was walking out of the restroom and he was walking into the financial office next door for some odd reason. Anyway, I waited until he came out and basically just told him how brilliant I thought his lyrics were, etc. and how much his music meant to me. Nothing special about it. Just the random thoughts of a music geek.

You remember the the, don’t you? Circa 1986, 120 Minutes comes on MTV and you see one of the strangest and most exciting videos. Better than New Model Army even. The song was called “Infected,” and the singer of the band had a deep, throaty voice (a growl, almost). The beat was addicting. You can’t get it out of your heard. “Infect me with your love. Infect me with your love.” You annoy yourself you sing it so much. You buy the tape at Sound Warehouse and delight in the fact you’ve found yet another relatively unknown band to listen to. Another Mighty Lemondrops. Another Housemartins.

Johnson’s songs tell of sex and religion (two things you know a little about), and politics and heartache (of which you know nothing about). You tell your friends, you giggle about certain lyrics (hey, you’re 16), and soon you’re all listening to Infected. You buy some import vinyl of “Heartland” from the friend of a friend. You long to visit London again so you can imagine what it must be like to live in the “51st state of the U.S.A.” You still have that vinyl. You must dig it out soon.

You wait patiently for a concert that never comes to town. You go to college. A year goes by, and you find a CD single (another Sound Warehouse, different city) of a new the the song, “The Beat(en) Generation.” You buy the new album when it comes out and fall in love with the new stuff. You wonder how someone can write such beautiful songs. Songs filled with lust, love, religion, politics, and violence.

Mind Bomb has songs like “Kingdom of Rain” (an intense duet with Sinead O’Connor before she came apart), with the lyrics, “As slow as the headlights move across this room, as slow as the? and I would lie awake and wonder, ‘Is it just me, or is this the way love is supposed to be?'” You could really relate to a line like that. And there was “Gravitate to Me,” a song Johnson wrote with The Smiths’ Johnny Marr (who played guitar on the album, only making you love Mind Bomb even more).

While your friends and half the world were still worshipping The Joshua Tree, and the sheep were busy singing along to Milli Vanilli and Paula Abdul, you took comfort in listening to something you knew few people knew about. And the people that did seemed just like you. Your best friend still has the poster you had in the apartment you shared in college–the one with the white dove on the bayonet. Framed. A crack in the glass from a party or something. You can’t recall. It doesn’t matter. He still has it, and everytime you see the poster it reminds you of that year, and of all the people who saw it and asked what the hell it was.

You saw the the live once at Bronco Bowl in Dallas, with a close friend. You had decent seats, right in the middle. After the show, you made out in the parking lot with the ex-girlfriend of a guy you knew in high school. You never saw her again. You never told him.

The “Jealous of Youth” single was the last thing you bought by the the. You ended up pawning the CD in college to buy cheap food or beer or something. You can’t recall. It doesn’t matter. You still own it in a way?your best friend bought it from the pawn shop and you smile every time you see it at his house. He always tells you to take it and you always refuse. But you both sit and listen to it, then break out Mind Bomb, and again wonder how someone can write such beautiful songs. He shows you his the the screensaver he found at Half Price Books for $3 and has never opened. You wish you had one.

But Johnson didn?t stop making music when you stopped listening. He went on to release several more albums in the nineties and is still making albums. You own one of them. Kind of. You inherited it by marriage. Yes, you married a woman who owned an album by the the. How many people can say that?

You own Dusk, another hauntingly dark album that is Johnson?s (or rather, the the’s) trademark. Titles like “Love is Stronger than Death” and “Slow Emotion Replay” say it all. When you first saw it at her place, you wondered why you didn’t own it. You thought it was so cool the woman you love had a the the album. You think back to when it came out. Your last year of college. A haze. Classic rock, that was it. You had discovered classic rock and were still making up for lost time. You traded the the for The Stones. The Dead. The Who. Pink Floyd. Especially Pink Floyd. You can be forgiven for missing Dusk.

Barely.

You remember hearing the Hank Williams covers album once. Hanky Panky, right? Your friend owns that one as well–it’s right next to the screensaver. Or is that the Dead’s Without A Net skinny box set? You have the double CD in a regular case. Another Half Price Books score? Anyway, Hanky Panky. All covers. Interesting, but not what you wanted from the the. In 2000, Johnson released NakedSelf. Your friend owns that one too. You didn’t buy it–you didn’t have to then. Napster was all the rage and you downloaded it just like everyone else.

There’s a box set out, you pick it up every time you’re at the record store. But you never buy it. The first three or four albums, including Infected and Mind Bomb, have been remastered in the last couple of years. But you haven’t bought them either. You’re waiting for a new album. You want to hear what he has to say in 2004 or 2005.

It should be interesting.

Now Playing in My iPOD: Duvall — Volume & Density

Local H is in Houston tonight (5.7.04) at Fat Cat’s, along with Detachment Kit and locals By The End Of Tonight. It’s going to be a great show. See you there.

Be sure to read the interviews with various band members that I have posted over the past couple of weeks (that means keep scrolling after you read the rest of this).

CHECK IT OUT! Read a preview of the Local H show from Houston Press.

Below are some of Houston Calling‘s picks for nominations for this year’s Houston Press Music Awards. I know I have left some people off and believe me, it’s just because my memory’s hazy. I have seen a lot of talented musicians in the past year or so and remembering each one is too much a task for me. You’ll have to forgive me if I slack at times.

Please cast your vote by clicking here.

BEST NEW ACT
Wow, this is a tough one. There are so many good local acts to choose from–I have seen a lot of great new bands this past year. Is Drop Trio new? I’m not sure. I think I want to go with either Tody & The Falcon or The Methods, but it’s definitely a tough call. I say The Methods. Their sound is tough to beat–spacey, Radiohead-y guitars. Good to hear in Houston. Excellent stuff.

BEST METAL
Vote Mr. Plow, that is the name. That name again is Mr.Plow.

BEST PUNK
Again, so many good ones here. I love The Hates. Maybe The Contingency? But I think I am going with a band I recently found out about–my pick is Gun Crazy. Good stuff.

BEST FOLK/ACOUSTIC
Cameron Dezen. I think she qualifies in this category. What about Annie Lin? She has very good stuff as well.

BEST ROCK/POP
Too close to call here. Arthur Yoria is doing his best to break out around the world. Tody & The Falcon are awesome as well. And Modulator is putting out an album on a label out of NJ (I think) this summer. All good choices.

BEST C&W
Greg Wood

BEST RAP/HIP-HOP
My pick is Work. Yours should be as well.

BEST FUNK/R&B/SOUL
Since they typically fall into this category instead of rock, my pick is Fondue Monks.

BEST ROOTS ROCK/ROCKABILLY
Flip a coin. Either Luxurious Panthers or Southern Backtones. Ah, just vote for the Lux Panthers–“Pomade and Hand Grenades” is always a good listen.

BEST JAZZ
Vote for Drop Trio, no questions asked.

BEST INDIE ROCK
I assume they’re going for genre here, not an actual independent artist (aren’t they all?). For the indie band thing, my pick is either The John Sparrow or By The End Of Tonight. Although Mansion also deserve consideration. I’ll reserve my choice for now.

BEST LOUNGE DJ
I’ll go with DJ Sun, but I am sure there are equally talented DJs out there I have no clue about. Also, there’s a good article in this week’s Houston Press about DJs. Although when I saw Johnny Hooks DJ at Seven Lounge one fine Sunday, it was a great time. Gotta love “The Killing Moon” to set the tone.

BEST COVER BAND
Molly & The Ringwalds, Us & Them, or Beetle? Your guess is as good as mine. If I have to choose, I say vote for Us & Them. Anyone taking the care and dedication to their craft like this band is deserves the award.

BEST PRODUCER
Dan Workman from Sugarhill Studios has a great rep and had produced a lot of local acts.

LOCAL MUSICIAN OF THE YEAR
My vote is for Arthur Yoria, simply because he seems to be doing a lot for himself both inside and outside of Houston. All musicians should work this hard. Of course, that’s easy for me to say.

BEST FEMALE VOCALIST
Again, Cameron Dezen.

BEST MALE VOCALIST
Tough call here. I think Tody Castillo gets my vote. Check him out on Monday nights at Onion Creek in the Heights (just down the street from Fitz’s).

BEST GUITARIST
I like Steve Olson from Fondue Monks for this. He’s a great guy, humble about his talent, and he wails with the best of them. The guitarist from duneTX’s, Chris Sacco, also deserves a nod though. Brian Bell from lemonenemy is great too.

BEST BASSIST
Rozz Zamorano of Fondue Monks fame–and also for his solo performances. See the Zam Records website for more information on his solo work.

BEST DRUMMER
Matt Kanzler, the drummer from Stride, is awesome. Want proof? Watch this. James Edwards from Moses Guest is great too. But don’t dismiss Ronnie Zamorano from Fondue Monks–anyone who’s seen him put down the sticks and play with his hands can attest to the fact he is one of the best in the city.

BEST KEYBOARDIST
Ian Varley of Drop Trio. Is there a doubt?

ALBUM OF THE YEAR (LOCAL), AND ARTIST
Big Dipper from Drop Trio. C’mon, it was my local pick of the year for 2003.

SONG OF THE YEAR, AND SONGWRITER
“I’ll Pretend” by Arthur Yoria ruled cyberspace via Garageband.com for more than a month straight. It’s a great song, no doubt, but I think I want to vote for his “Pemanent” instead. Or “Drinks at the Bar” by Tody Castillo. But it’s a tough choice.

SONGWRITER OF THE YEAR
Arthur Yoria, perhaps? Maybe Tody for this as well? Graham Guest? There are literally dozens of great songwriters in this city. Too hard to choose.

BEST LOCAL LABEL
I’ll go with 12 Records. A former Houston Rocket helping out the local music scene? What could be better?

So there you have my picks for Houston Press Music Awards nominations. Please cast your vote soon by clicking here.

Local music this weekend:

Sound Theory will play at Rudyard’s this Saturday night with 61 Cygni and Flowers to Hide.

Fondue Monks will play out at Al’s Sports Bar II around 10 p.m. This is past West Oaks Mall at Hwy. 6 & Westheimer. Al’s is located at 16203 Westheimer.

Other shows:

Saturday
The Needles @ The Axiom
The Mechanical Boy w/ The Kidnap Soundtrack & The Tie That Binds @ Fitzgerald’s
Cerberus Shoal @ Super Happy Fun Land
Iced Earth, Children Of Bodom, and Evergrey @ The Engine Room
The Blazers w/ Patricia Vonne @ The Continental Club
Phil Pritchett w/ Green River Ordinance @ Fitzdown
Satin Hooks, 9-Volt, and The Medicine Show @ Rhythm Room
Judge Jules @ M Bar
Mickey & the Motorcars w/ Glen Eliott @ Walter’s on Washington
Spoonfed Tribe w/ Psycodillos @ Fat Cat’s

Sunday
Tiger Army, The Business, Roger Miret and the Disasters, and 12 Step Rebels @ The Meridian
Verbal Abuse, Fang, Oppressed Logic, Mercury Legion, and Race Against Time @ Fat Cat’s
Chris Neri w/ From Bubblegum To Sky @ Walter’s on Washington
Fluff @ Last Concert Cafe

Enjoy the weekend.

Now Playing in My iPOD: Doves — Lost Souls

Local H is an excellent band from Chicago and the guys are finally coming back to Houston. Last time the band was in town, they played the Engine Room on a rainy night after another rainy night cancelled a Party on the Plaza gig. Maybe 100 people attended, but Local H rocked like they were playing to a stadium of thousands. I have seen Local H play in Chicago (where their gigs typically sell out in advance), Dallas, and Houston, and the band always puts on an excellent show.

Last month, the band released its fifth full-length album, Whatever Happened to P.J. Soles? on Studio E Records. It is an excellent album–one of the band’s best efforts to date. Read information on the band’s newest release at Swizzle-Stick.

Local H drummer Brian St. Clair was gracious enough to answer some questions for Houston Calling. Enjoy.

HC: What’s your description of the new Local H album, Whatever Happened to P.J. Soles?

Brian: It is sort of a big mix of all the past styles the band has tried. We also did experiment quite a bit with a few songs. This made for some fun looping (track 1) and editing (“Dick Jones”).

HC:Where did you record it? How long did it take? Who produced it?

Brian: At a friend’s studio in Chicago called Million Yen. It spanned over several months, maybe six. Scott Lucas and myself produced it.

HC: The last two albums and the EP seem to be showing a progressive shift toward more of a classic rock’n’roll feel than the previous Local H albums. Do you agree, and if so, to what do you attribute the changes to?

Brian: I would agree that Here Comes The Zoo did. I think the change is that I am in the band. I feel like I contribute to the band differently than the last drummer did. I just look at things differently with in turn would make Scott look at things differently too. That’s my take, but Scott may or may not agree.

HC: What do consider to be your primary musical influences? Any drummers out there you particularly admire?

Brian: Late 70’s & early 80’s punk rock. My favorite bands from that era were The Damned, Crucifix, Discharge, Effigies, D.O.A., Minor Threat, Black Flag, and Crass.

Not really, just Chuck Biscuits (D.O.A.) and Bill Stevenson (Black Flag/Descendents).

HC: How does your songwriting process work, with Scott being in Chicago and you living in New York City? Is it challenging or do you find it helps?

Brian: It’s not that hard. When it’s time to work on something it happens when we are both around. Scott may just bring a song in from time to time and we f*** with it but it isn’t a regularly planned event. It just comes out when it is time.

HC: What is the one description that you hate to hear about Local H’s music?

None. Most people have to compare music to something to get an understanding of it. I could say I wish everyone would say that we sound like two guys playing loud music, but that’s dumb. Nobody would know what the hell that meant. But if you say we are like AC/DC meets Nirvana, they are like, “Oh, cool.” Whatever.

HC: You guys have been off the majors for the last few years, choosing instead to release your stuff through more independent means. Having dealt with major labels in the past, what do you think are the pros and cons of putting out the records yourself or via an independent label versus a major label? What’s your take on the state of the music industry?

Brian: First off, it is nice being on a major due to the cash flow (tour support)and the distribution your CDs get. We did not choose to be on an indie, the indies came to us. It really doesn’t matter where you are putting out your music as long as the people are into you that work there, they can get it in the stores for people to buy, and they have enough $$ to promote the damn thing.

They [music industry] need to come up with a new way to sell music. This idea that you can stop downloading is crazy. Bands like us may benefit fromdownloads where the big ones just don’t get another royalty check (which I would like someday too, but that’s another story). The industry doesn’t develop artists anymore and hasn’t for many years now. There were too many bands being signed w/in the last 10 years. This really hurts the industry because there is no label out there that can handle that sort of quantity. Now the majors are in trouble, maybe they will learn their lesson, or maybe they will try to sign the next The Darkness or System Of A Down.

HC: If you could have any band cover one of your songs, what song would it be and what band?

Brian: Cheap Trick doing “Baby Wants To Tame Me” would be cool.

HC: How has the tour been going so far? What’s next for Local H?

Brian: Good–we are still alive. More touring and some rest. Then do more touring.

HC: I hear you’re an avid birdwatcher–are you going to be able to get any done on this tour? Any special birds you want to see while in Texas this time?

Brian: Not really. Bus tours are easier since we drive through the night and wake up in a new town every morning. This tour is a van tour and we drive all day to the next show.

Well, last time I was in I saw the “golden cheeked warbler” (an endangered bird only found near Austin during the breeding season)…I would like to see a black capped vireo this time near Austin (another endangered bird). As for your area the one I’d go for has already moved north (the whooping crane). But if there are any bird watchers out there that want to take me out birding, please email me. Title it “TX birding.”

HC: What is in your CD player right now?

Brian: The Darkness, The Stokes Field Guide to Bird Songs (Eastern) 3-CD set.

Thanks to Brian St. Clair for taking the time to answer these questions. Please make sure to come out to Fat Cat’s (old Mary Jane’s) this Friday night, May 7th, to catch Local H live with Detachment Kit and Houston’s own By The End Of Tonight. Local H live is a great band and this promises to be an excellent line-up. Tickets will be available at the door.

Visit Local H’s website for more information on Local H and their albums. Order official merchandise from G&P Records. Local H is managed by Silent Partner Management.

See my interview with Jeff from By The End Of Tonight here. See my interview with Ian from Detachment Kit here.

Now Playing in My iPOD: Local H — Whatever Happened to P.J. Soles?

Detachment Kit is coming to Houston. The band’s latest album, Of This Blood (to be released on May 18th via Frenchkiss Records), is the follow-up to their 2002 debut, They Raging, Quiet Army. Detachment Kit play guitar-heavy alt-rock, and that’s really all you need to know.

Detachment Kit will play in Houston at Fat Cat’s on Friday, May 7th, with Chicago’s Local H and Houston’s own By The End Of Tonight. This is the second of three interviews I am doing with the bands playing that night. The Local H interview will run next week. Check back soon.

Detachment Kit’s Ian Menard recently agreed to answer a few questions for Houston Calling. Some funny stuff in there. Enjoy.

Ten Questions for Detachment Kit

HC: How did Detachment Kit get started?

Ian: Detachment Kit found each one of us like some evil force of nature gathering souls. We all met through acquaintances and one day came to in somebody’s basement with instruments appropriated to us, most of us playing something other than what we were accustomed to. Charles and I run a high risk of being damned to each other for life, thanks to this curse. You see, we share the same pulse.

HC: What do consider to be your primary musical influences?

Ian: Danger and coincidence.

HC: What’s going on in French news? Why would you know that?

Ian: I’ve been waking up to the French political scene for some time now and I have just become accustomed to it. It’s also a great time saver for learning a second language, seeing as how I have to wake up anyway.

HC: I heard that your new album, Of This Blood, took just two weeks to record and that your first album was recorded in one week. What can you tell me about your songwriting process and recording this album. Steve Albini produced the album, correct?

Ian: Okay, to straighten things out a little. This record was done in two weeks; the first, two days. And both were recorded by Greg Normal at Electrical Audio, which is owned and operated by Steve Albini. Whew! That said, the songwriting process for this record was fairly strenuous. It was recorded by Charles H. Davis III and me, playing everything and writing everything. Seeing as how we are both “a little off,” the songwriting process comes from some place or common ground we have. It actually goes very fast when we are up for writing songs. Mostly we talk about stories we would like to convey and the music wraps around that like a boa constrictor. Illustrations also help and are fun to do to pass the time.

Giving them voices is fun too.

HC: How was the tour been going so far? Any good road stories?

Ian: Too many good road stories. Too many good roads. Too few shortcuts. Too many near-death experiences. Too little time to write it all out.

HC: Are you for or against the MP3 “revolution”? How does The Detachment Kit use the internet as a tool to market itself? What’s your take on the state of the music industry?

Ian: Starting in reverse. The music industry is tough right now for bands like ourselves out there putting everything on the line. But all in all, the “industry” per se doesn’t really have any bearing on us and we worked hard at making sure of that.

We definitely use the internet to provide fans with more fun stuff and to give them a little insight on why we do the things we do. I’m in the process of redesigning it right now.

I’m for the MP3 revolution. It’s done nothing but good things for us, in so far as winning over more fans. People don’t give enough credit to these kids downloading songs. They wouldn’t do it if they didn?t like the band and more often than not, they come out to the shows and buy records to support the band anyway and have the bonus of awesome artwork. Sometimes we will even draw them pictures if they are nice.

HC: If you could have any band cover one of your songs, what song would it be and what band?

Ian: I’m not a fan of covers, but I think Queen would be awesome doing a song we have called “Tennis.”

HC: What is the one description that you hate to hear about your music?

Ian: “Sounds like?” “Angular?” “Post-punk…” Give me a f***ing break, people. Bands get so tired of the large amount of recycled reviews that get thrown at them. In other words, “Stop Googling before you call.”

I mean, if you don?t like it, fine. I find a lot of reviewers will attempt to make their reviews abstract in order to mask committing to either side. I would like to see someone go, “I didn?t like it. Here’s why?the singer’s ugly, guitars are too loud, I was already pissed due tio a parking tickets I got, etc. etc. There are, of course, exceptions. I have a few friends who do reviews and I always try to convince them one day we will have to do battle for all mankind. So far, they aren’t buying it.

HC: What’s next for Detachment Kit?

Ian: Bills and maybe an exercise regimen.

HC: What is in your CD player right now?

Ian: In the ol’ player (a 5-disc, mind you): Queen?Best Of, The Thin Man?A Cloud in Trousers, The Rachaels’ current album, We Ragazzi (recent album), and The Movies?In One Era, Out The Other. I also rotate with The Jackson 5 and a Brazilian comp I have. And the jackhammers that are pounding away on the roof of my apartment building lately. It makes me grind my teeth. Nasty business.

Please make sure to come out to see all three of these great bands at Fat Cat’s on May 7th. Local H puts on an amazing show, and both Detachment Kit and By The End Of Tonight will put on great live shows.

Check out this column Ian from Detachment Kit recently wrote for Swizzle-Stick.

I will have an interview with Local H drummer Brian St. Clair posted next week. Be sure to read my interview with By The End Of Tonight’s drummer, Jeff, if you haven’t already.

Now Playing in My iPOD: Chomsky — Let’s Get To Second

Local act By The End Of Tonight recently signed with Portland’s Temporary Residence label. Home to bands like Austin’s Explosion in the Sky and Fridge, among others, the label specializes in gaining expsoure for bands that otherwise would fall underneath the radar. A lot of their bands tour around the world, and their website often offers specials on merchandise.

Right now, the label is offering its limited-edition Thank You compilation for only $10 postpaid. Not only do you get 11 new songs from TR’s roster–bands like Fridge, Howard Hello, Kilowatthours, Tarentel, Rumah Sakit, Explosions In The Sky, Kammerflimmer Kollektief, Sybarite, Parlour, Halifax Pier and Sonna–but you also get a 24-page full color book. Visit the label’s website for more information. There are plenty of free MP3s at the site as well.

I recently saw that By The End Of Tonight is opening in Houston for one of my favorite Chicago bands, Local H. They’re playing with The Detachment Kit at Fat Cat’s on Friday, May 7th. Tickets will be available at the door. This is sure to be an excellent night of music so make plans to attend.

I recently emailed the band a series of questions for Houston Calling. Drummer Jeff was kind enough to respond. Enjoy.

Ten Questions for By The End Of Tonight

HC: How did By The End Of Tonight get started?

Jeff: In 1997, Jeff (drummer) and Stefan (guitarist) got together playing heavy metal. They went through many second guitarists, bassists, and singers. Finally, in 2000, Josh (guitarist) joined for good. Then bassist James joined in 2002. Soon after, we kicked out our singer becuse he did too many drugs and couldn’t keep up. We began looking for a singer, but in the meantime, we played shows instrumental. We came to realize we liked that better, so we stuck to it. That’s about it.

HC: What do consider to be your primary musical influences?

Jeff: Well, we were listening to basically all the Temporary Residence bands before we got signed. I hope that answers that one.

HC: You guys recently signed with Temporary Residence. That’s a pretty impressive label if you ask me. How did that come about?

Jeff: We sent them a copy of our full length CD (…in a letter to the sandbox), they listened and liked.

HC: Your music is a real interesting mix and you guys seem really tight. How do you best describe your music?

Jeff: Instrumental, rock and roll, and fun. It’s all about fun.

HC: What do you think of the Houston music scene?

Jeff: The Houston music scene has its ups and downs. There are some really good bands and some not so good bands, so it’s kind of hard to say.

HC: If you could have any band cover one of your songs, what song would it be and what band?

Jeff: The song would be “Sleeping While Driving Prevents Old Age,” and the band would be Rumah Sakit if they got back together.

HC: What’s your take on the state of the music industry? Are you for or against the MP3 “revolution”? How are you (or are you) using the internet as a tool to market yourself?

Jeff: We are all for the MP3 revolution. It’s a good way to preview a band before you buy the CD or pay to see them live. Plus, it helps you get your sound out there. And we promote ourselves on our website (www.bytheendoftonight.com). It has all the information you need to know about us, plus MP3’s and stuff.

HC: What is the one description that you hate to hear about your music?

Jeff: We hate it when people say we sound like some other band.

HC: What’s next for By The End Of Tonight?

Jeff: Want a lot of shows, some touring, and publicity. We basically just want to get our name out there as much as we can.

HC: What is in your CD player right now?

Jeff: Well, since we’re all listening to something different, for each of us it would be Ben Kweller, Radiohead, Marty Anderson, Sonna.

Be sure to get By The End Of Tonight’s CD and visit their website. And please remember to come out and show your support for local music when By The End Of Tonight opens for The Detachment Kit and Local H at Fat Cat’s (formerly Mary Jane’s) on Friday, May 7th. This is going to be an amazing show–I cannot wait.

Now Playing in My iPOD: The Pleased — [self-titled]

Maybe it was the rain that kept a lot of people at home, but yesterday’s Dreamfest at Fat Cat’s & Walter’s on Washington wasn’t teeming with people as I had hoped. There were decent-sized crowds at various times, but those who opted to stay in missed a great evening of music.

I watched Sound Theory, who started the event off around 6:15 at Walter’s. I was going to check them out and just decided to stick at Walter’s for the duration. I am sure I missed a good time across the street at Fat Cat’s, but the music was great from where I was seated so I stuck around.

Sound Theory reminds me of the good independent music out of Boston or maybe the Midwest in the early eighties. A relatively new band, their sound is raw but not punk rock raw. It’s more college radio than that, but is not over-the-top by any stretch. It’s the subtlety of the music that I like best about Sound Theory and I think this band has great potential. The keyboards add a nice touch (again, understated in a way that really works for them), and my only suggestion is that the band add a rhythm guitarist so that lead Theorist Sean Evans can concentrate on what he does best–playing his guitar. The last two songs of their set were powerful enough to make you forget what they had played for 30 minutes before. A minute or two of knob-turning and hunched-over feedback by Evans added great effect to the set–he’s definitely studied at the Jason Pierce school of rock. The bassist is excellent as well, adding improv-style sounds at just the right times.

The Methods were simply incredible. This foursome’s sound is reminiscent of Radiohead at times, but really only in the manner of their spacey guitars. I hope to be able to see these guys play again really soon. They put on an excellent show and the crowd seemed to enjoy it. A great find.

The Chemistry Set, a band from Dallas, played as well. Their music was nice and garnered a great response from the audience (thanks to the Houston crowd for not holding on to the Dallas vs. Houston rivalry). I hope they are able to get more gigs in the Houston area. Their sound is similar to early 90’s space rock, but has a more guitar-based feel. They put on a good show.

Casino played a rocking set–amped-up energetic rock and roll. It was refreshing to see a local act keeping up with the NYC scenesters without coming off as a novelty or rip-off act. Think New York Dolls or The Stooges mixed with The Clash and you get a hint of Casino’s sound. These guys rocked Walter’s and genuinely had fun doing it. A great set.

Mansion played a stellar set as well. I wasn’t as impressed as I was the first time I saw them play but I think they put on a great show regardless. They’re always good to see.

I also spoke with a very pregnant Erica from meoWcifer and was told the band might not fade away from the public eye for long. Drummer Mikey is devoted to The John Sparrow at the moment. The songs meoWcifer recorded late last year in NYC might be released sometime this year–they’re still going over them when they have the time.

Since I mentioned them, click here to download tracks from The John Sparrow. Their album was recorded by Anton Newcombe from The Brian Jonestown Massacre and will be released on BOMP!.

Also, great news for local act Pilot Radio, who recently were asked to open for The Polyphonic Spree and David Bowie at The Woodlands. Congratulations!

And, here’s the week in rock:

Monday, 4.26.04
Mr. Airplane Man @ Rudyard’s

Tuesday, 4.27.04
Etta James @ Verizon Wireless Theater
Bob Guiney and Brian Vander Ark @ The Engine Room
Little Feat @ Houston City Live (800 NW Mall)

Wednesday, 4.28.04
Hands Up Houston presents Blonde Redhead and Secret Machines @ Fat Cat’s
G. Love & Special Sauce @ Numbers
The Offspring play with The (International) Noise Conspiracy and The Start @ Verizon Wireless Theater
Plump, with Tea Leaf Green and Drop Trio @ Rhythm Room
Josh Kelly and Glenn Eliot @ The Engine Room

Thursday, 4.29.04
David Bowie w/ The Polyphonic Spree and Pilot Radio @ The Woodlands
The Hot Tub Set/Violin/Bound for Okinawa/Heist at Hand/Ghost Shark @ Fat Cat’s
Cutthroats w/ 09 and Speedloader @ Rudyard’s
Sugarcult, Mae, Maxeen, and Next Best Thing @ The Engine Room
Criswell Seven @ Super Happy Fun Land
Brent Palmer w/ Kevin Eskowitz, Dan Darrah, and Caulk @ Rhythm Room
Shawn Pander @ Sherlock’s (W. Gray)
Sancho @ Walter’s on Washington
The Cameron Dezen Band @ Cotton Exchange

Friday, 4.30.04
Avenged Sevenfold w/ My Chemical Romance @ Fitzgerald’s
The Beautiful Mistake, Anatomy of a Ghost, Emery, The A.K.A.s, Abasia @ The Engine Room
Two Tons of Steel w/ Sleeping Rubys @ Rhythm Room
Boy George & DJ Redeye @ Rich’s
Shawn Pander, Viewpoint, and The Matt White Band @ Fitzdown
Dead Reign @ Cardi’s
Broken Chains, Fall To None, Fat Luscious, Dawn Over Zero, Demogous, Disclaimer, and Sedicious all play @ Java Jazz Coffeehouse in Spring
k.d. lang @ Jones Hall

Saturday, 5.1.04
Die Young have their CD release show w/ Folsom, Your Mistake, Ten Crowns, Clean Break, and Last Minute Fix @ Walter’s on Washington
Boxcar Satan play with Zombilly and Suicide Drive @ The Axiom
Dr. Eugene Chadbourne, Walter Daniels, and Quantum 4 @ Rudyard’s
Dereistic, Doctura, The Destro, Fallen Line, Deep 6, Deep Above Surface @ The Engine Room
Romeo Dogs and Mave Dathews @ Fitzgerald’s
DJ Fresh, Werm, SDF-3, Brad Slack, and H.Life @ Clark’s (314 Main)
Rodney Carrington @ Verizon Wireless Theater
Warrant (yes, I believe it’s THAT Warrant) play with Excalibur and Drawback @ Westfield’s
Trouble Maker and Wolfeblitzer @ Forgettaboutit (Jones and Grant in NW Houston)
The StoneKings @ The SideCar Pub
Dead Reign @ Cornbreads
Casual Friday, Dead End, Negative Outlook, Seize the Day, TSM, and Undecided play @ Java Jazz Coffeehouse in Spring
k.d. lang @ Jones Hall

Show alert: Local H is coming to town with The Detachment Kit and Houston’s own By the End of Tonight (who recently signed with Portland’s Temporary Residence Records) will be opening at Fat Cat’s on May 7th. Expect interviews from all three bands very soon.

Now Playing in My iPOD: The High Violets — 44 Down

Dreamfest is today beginning at 6 p.m. Come out, despite the rainy weather. More information here.

Tody & The Falcon plays Thursday, April 22nd @ McElroy’s. The show starts on the back patio at 9 p.m.

The Scattered Pages plays Rudyard’s with Chad Hogue and Los Fantasticos on Friday night, April 23rd. The show starts at 9:45 p.m. Also, the band plays next Thursday, April 29th @ Brasil

This Saturday April 24th, come see dune.TX @ Dreamfest–16 bands, 8 bucks @ Mary Janes & Walters on Washington (4200 block of Washington).

Also, lead duner Chris Sacco will be doing a short solo acoustic set Thursday night, April 22nd at Cotton Exchange (downtown @ 808 Franklin–corner of Franklin & Travis). The show starts @ 9 p.m. sharp for those 21 and older. This is a free show. Chris will entertain with “some odd dune songs, plus some new things I’ve been working on for the past few months. It will be interesting…get there at 9 though, I’m only doing 30 minutes.”

Sarah Sharp from Austin plays later.

Now Playing in My iPOD: Eleven Eleven — Head

The Dreamfest benefit show is this Saturday, April 24th, from 6 p.m. until 2 a.m. More info below:

Where: Club Fat Cat (Mary Jane’s), and Walter’s on Washington, located in the 4200 Block of Washington Ave. (between Waugh and Shepherd).

Why: To benefit the Susan G. Komen Foundation–Houston Affiliate, as well as to promote early breast cancer detection (in the memory of Betsy Smith)

Here’s the lineup: (subject to change)

Fat Cat’s:
6:00pm Of Normandy
7:00 Magdalene
8:00 Alan (Dallas)
9:00 Alkari
10:00 Strangelight
11:00 Deep Ella
12:00am Pale
1:00 Sail on Silvergirl
DJ Jeffrey Thames spins between sets

Walter’s:
6:15pm Sound Theory
7:15 The Methods
8:15 Casino
9:15 61 Cygni
10:15 Chemistry Set (Dallas)
11:15 Dune.TX
12:15am Mansion
1:15 Absolute Pistol
DJ Cub and hk and nancy spin between sets

Cost: $8 for access to both stages. Mail email@strangelight.cc about advance tickets, or about volunteering to promote the show, put up posters, etc.

Visit this website for more information.

This will be an all ages show.

I saw BRMC with The Rapture and Starlite Desperation last night at Engine Room. It was an excellent show. Thanks to Rozz and Jason–I appreciate it.

Now Playing in My iPOD: The Alarm — In The Poppy Fields