…that i am actually hooked on this show. [only very recently, ill have you know] now i can find out what songs were used in what episodes.

Dawson’s Creek Music Guide - www.dawsonscreekmusic.com

helium “hole in the ground” 7″
pinback “offcell”
grandaddy “kim you bore me to death” concrete dunes - REQ
dif juz “re” soundpool
-
kill me tomorrow “i require chocolate” 7″
dismemberment plan “you are invited” emergency & i - REQ
essential logic “wake up” fanfare in the garden
!!! “can u feel the intensity?” me & guiliani…
ESG “moody (spaced out)” come away
bush tetras “too many creeps” post-punk 01
pylon “cool” hits
theoretical girls “theoretical girls” s/t
-
yo la tengo “tiny birds” summer sun - REQ
belle & sebastian “legal man”
gossip “dont (make waves)” movement
5th column “boy/girl” 7″
-
sola “great balloon race” the bottom
lilys “precollection”
o mighty isis “teenager from space” 7″
dysrhythmia “bastard” pretest
more fiends “the message is the same” v/a: scrapple
brother jt3 “summer” spirituals
the teeth “then he said” send my regards to sunshine
alkali flats “daylight savings time” s/t
-
the clocks “sleep hurts” 7″
undergirl “orange” she’s too much for my mirror
s prcss “5 boys” mnml
this radiant boy “gospel nite club” proud to be a chemist
panama “philadelphia” s/t
azusa plane “drinking scotch with delmore” v/a: sounds from psychedelphia
colette carter “wait” the new stroboscopic
track off illoin’s pinafore album

programming notes
note to self: no more late-night partying! its hard to get it together when hungover. wound up playing a lot of “light stuff,” according to a listener. id like to disagree – since when do the bush tetras, theoretical girls & essential logic ever qualify as easy-listening fare?

yes there were moments of pop, but i think it was due to listener’s requests. i got some of the most boring / cookie cutter indie rock ones this time ar–zzzzzz….

the next dj was late and i would have dj’ed more, but i didnt. no explanation. the time was opportune though, to play the ascension by glenn branca. i havent heard it in its entirety in ages but even in my mind, its breathtaking. not to get on a tangent here, but the last time i was ever at the world trade center was for the performance of “hallucination city” [the 100 guitars piece]. i remember staring straight up into the sky, with both towers in my peripheral view, and it felt like everything could just tumble to the ground by the mere sound of those guitars.

Our antenna has been long overdue for repair. Don’t worry, we’ll be back within the next two days. I hope.

ticket giveaway on her jazz!
Provided that the station is up and running, I’ll be giving away 2 pairs of tickets to see the Philadelphia premeire of Gigantic (A Tale of Two Johns), the documentary about They Might Be Giants, kindly donated by the fine folks at Plexifilm.

it would have been totally appropriate, and totally awesome, but liars were not playing with us tonight. it was a band called liars & magicians, from ’round these parts. they sound like lenola, a bit. it was their first show in philadelphia. glad to help.

antelope are the perfect case of brilliance found in the most unexpected places. back in january, they sent sara a burned copy of their forthcoming ep [out on dischord now!] and we were hooked. there was something really compelling in the reductive and economical fashion of which they were playing, kind of what drew me to a lot of post-punk bands. i guess i could tell you they sound like gang of four and that would be somewhat accurate - but even that band is too “fancy” for whats going on here. [i think el guapo - jason of antelope’s other band - is more like them]

since they’re so hard to pinpoint, its a tough band to book. but we enjoy the challenge. unfortunately, we talked to the appropriate band, make the agreements and then all 3 of them cancelled on us. no hard feelings! plus, any band that we could consider for the show had been booked up. rats. and since we like this band so much and wanted people to see them, we had to figure out a way to make the evening successful for all involved. which explains the mixed-bag feeling of this show.

hokkaido concern were up next and hands down, the loudest band on the bill. they sound a lot like don caballero, but with some rather upbeat moments. i wouldnt call it poppy, but there’s hooks. maybe a better way to describe it is if pinback decided to get loud, really really loud. [i mention pinback, as they share compositional similarities] lots of fun, and by this time, the a/c finally kicked in.

the good thing about this show was that people [all 30 of them!] seemed to enjoy all the bands, despite their musical differences, and stuck around for most of the thing.

constantines “arizona” s/t
officer may “police parade” smoking in a minor - REQ
tanner “spastic art” ill gotten gains
pitchblende “ninevolt” au jus
division of laura lee” stereotype
uzeda “higher than me” 4 EP
excelsior “commodore big barry” can we get some satisfaction up in this piece?
honor role “absolve” album
watchers “taxiland” from the rooftops
90 day men “from one primadonna to another” it (is) it critical band
north of america “yes to yes, curse to cursed” brothers, sisters
the van pelt “nanzen kills a cat” sultans of sentiment
-
rhythm of black lines “set a summery table”
new fast automatic daffodils “stockholm”
medicine “aruca” s/t EP
pell mell “signal” flow
death cab for cutie “405″ we have the facts and we’re voting yes
codeine “loss leader” the white birch
-
trauma queens “loving you is like being on fire” the malevolent sounds of…
photon band “broken melody” our own esp driven scene
persons “untitled #1″ lainmeyers are…
the stickmen “duraflame dog” v/a: id rather be in philadelphia
ruin “hero” fiat lux
the trouble with sweeney “the break up” i know u destroy
panama “philadelphia” s/t
wishniaks “point of no return” s/t
lilys “ginger” history of amazing letdowns
-
lefty’s deceiver “iselin” cheats
1929 “webbed toes” last but not leased
low budgets “ripped off” go for broke
lenola “tarred dog saved” oh yes, jeep is good 7″

programming notes
trauma queens and down are all philadelphia bands. i did a ticket giveaway for farmfest 5 and just went with it from there. i might just do a single hour of philly rock every week, for the hell of it. what do you think?

on that subject, that lenola track has aged poorly. unfortunately, we dont have their first 2 records at the station [last 10 ft… & swerving corpse], which i highly recommend.

constantines to van pelt was my angry/screamy set. i dont know what i was angry at, really. but it felt good to be shouting vicariously through others.

rhythm of black lines to codeine was meanto to be an instrumental set, but i lost it somewhere in that. i liked the new FAD track, but i just think it wasnt a very good attempt at linking all those songs. we live, we learn. right?

new adds: officer may, division of laura lee, watchers, north of america, ttws, lefty’s deceiver, 1929, low budgets.

i just looked at a whole bunch of previous entries and realized that i think i mentioned this “compensating artists for their time” business in almost every one of them. could i just fucking shut up and enjoy the music? seriously.

moveable type woes
i just havent had the time to get much accomplished on fixing up the obvious errors on here. dont worry, will be done soon.

i dont know how i got started on it, but the boston show at the tweeter center became this running joke. “oh man, i knew boston would steal some of our potential audience!” and so on. okay, it was funny for a while…

ive expounded upon this radiant boy as much as one humanly can. you know them, you love them. im glad we did have them as openers because they’re so good at warming up the crowd. today was the debut of their keyboard player, but in retrospect i cant remember much of what he contributed.

the red and the black have ties to old-school philly indie rock history: members of this band were in the once-almighty haywood and played with joey sweeney [whose face graces the pages of this week’s CP]. they all live in new york now and are on the once-philly label, self-starter foundation. if they were much younger, you could accuse them of having a fairly, uh, emo sound. but they’re really not, and now i regret writing the previous sentence. there’s pain in the things TRATB writes, but that pain is earned the hard way i suppose. excellent guitar work, i might add.

is it the karl hendricks rock trio or the karl hendricks trio? i last saw them play in ‘98 or ‘99, so forgive me if my memory is fuzzy on this one. either way, i like them a whole lot. they’re pretty much the embodiment of the kind of stuff merge used to release: loud fuzzy clangy guitars, full-throttle but incredibly intelligent drumming [you know he’s played in quite a few jazz combos], the smartest bass lines ever [subtle yet still noticeable]. in light of their newer releases, KH3 sticks out like a sore thumb, but in a good way and thats exactly how they want to have it. i wouldnt ask for anything else, anway.

as a booking note, this was probably the first show where we had 2 not-local headliners and a respectable turnout [50-60] that actually stayed around until the end of the night. most of the time, we’re forced to throw the out-of-towners on first because no one likes to stick it out for the entirety of the show.

also, this was the first show where all the door money was divided perfectly between the 3 bands. normally there’s a stray dollar or two.

im not sure if my brain feels numb from the noise or the exhaustion. funny, im not working a dayjob but i sure do feel like i am.

the sympathizers feature guys who were formerly in ruby keeler, i guess a band that die-hard indie fans probably remember, way back in the deep dark recesses of their mind. if you could imagine what new order smushed into guitar arrangements in the style of pavement’s “cherry area”, youd have a close approximation. i had previously seen them open for the bloodthirsty lovers but nothing stuck out in my mind the first time around.

south congress: is it more important to fixate on their rock lineage, or the fact that they could be a jazz band for a wedding/bar mitzvah/etc at the right price? no no, thats not bad. its actually kind of cool.

broken social scene woke everyone up with their dazzling guitars and heavenly singers. at one point im reminded of his name is alive, and then in the next, dinosaur jr. grandaddy without the hokey compugeek lyrics? seriously, they were amazing and the packed house went crazy for them.

i walk into bar noir and i discover im matching the sea shanty decor in my red striped boatneck shirt. to add to my horror, sex and the city is on the tv’s and a corona costs 5$.

highspire played first. maybe if i was in a better mood i might have enjoyed their mopey shoegazer stuff. i also felt the singer was just slightly out of key, in the not-good way.

this radiant boy played a secret show to promote their show with plain parade on friday. it was lots of fun and i wound up leaping off the bench like a wannabe rock star.

this dude is on crack, but in a good way. stylistically, its all over the map and they only thing that isnt covered is afrobeat. what have we got: doo wop, punk, electropop, the sounds of 1930’s gay paris and acid country. thats for starters.

why should you care about this continuity-less record? well, according to the label website: “The entire album was recorded on no more than 8 tracks - many with less, featuring Jeremy [aka, the lonesome organist] playing nearly everything and often simultaneously.”

the technical prowess makes up for the creative holes, i guess.