Up the Junction

Issue One, Volume One - June 2001

gwenmars - Driving a Million

Seethru Broadcasting

www.seethrubroadcasting.com / www.gwenmars.com

I must admit, my first introduction to gwenmars was in the midst of an alcohol-induced haze whilst waiting rather impatiently for Gary Numan to take the stage at the Odeon in Cleveland this past April. In fact I was so impressed with this energetic band, that I staggered happily to the merchandise counter and spent my hard earned beer money on Driving a Million, the debut disc for Seethru Broadcasting.

It's hard to pinpoint this album; and that's half the fun of listening to it. At any given time, this California trio's influences can be heard, sometimes all at once: Numan, Television, Beck, and a whole slew of 80's new wave bands blended together and jolted into late 90's punk pop. Yet just when you think you've got gwenmars sorted out, they change gears on you.

'She Hung the Moon,' an atmospheric acoustic number about the loss of a loved one to mental illness, is as touching as it is disturbing. This follows the lead in track, 'neon tom,' a song dealing with betrayal by those you look up to and look for guidance. Some pretty heavy themes for a punk pop band. And that label is misleading. Like Numan, gwenmars' singer-guitarist-songwriter Michael Thrasher explores the underbelly of human relationships; not your stereotypical rantings of countless punk bands.

Later, the Beck-like 'Train Song' comes out of nowhere, fully realising the potential of this band. Musically, it starts off running with a driving beat reminiscent of Echo & the Bunnymen and the Cure. Lyrically, it continues the theme of control in relationships by having both protagonists wanting exactly the same thing and discarding exactly the same thing. Interesting, since usually you don't get to explore both sides of the issue in songs; normally you get only the one story.

The disc has an interesting build to it. After starting off with songs of paranoia, betrayal, and confusion, they move seamlessly to songs of acceptance, defiance, and authority. 'Strawberry Ice' on the surface is about selling something as esoteric as band candy, but underneath it's a metaphor for emotional rebirth after a painful breakup. Thrasher has admitted that the songs he tends to write are love songs - yet he approaches them in a cathartic, healing, and sometimes vitriolic manner but not in a self-absorbed, 'everybody pity me' way. Entirely refreshing.

Do yourself a favour and get this CD now (order through the label site, Amazon.com or CDNow). Then, catch gwenmars on tour through June. Don't listen to the pundits who are so quick to offer comparisons, such as gwenmars to Green Day. Whereas Green Day is a cartoon, gwenmars is a graphic novel, rich in detail, emotion and stunning songwriting.

- Stu da Stael

The Chamber Strings - Month of Sundays

Bobsled Records

www.bobsledrecords.com / www.chamberstrings.com

Take three parts Beach Boys, two parts Burt Bacharach, two parts Nazz, and one part Paul McCartney, shake well and pour gently into your CD player. There you have the perfect musical cocktail that is the Chamber Strings.

With this follow-up to their highly acclaimed debut disc, Gospel Morning, the Chamber Strings continue to mark out territory already settled by a score of late 60's / early 70's adult pop artists. What the Illinois quintet does differently, is update the sound to where it appears nostalgic and contemporary at the same time. Think of an American counterpoint to Britain's The Divine Comedy, but without Neil Hannon's Noel Coward affectations.

The first single, 'Make It Through the Summer' is evidence of this. Borrowing from Paul McCartney's 'Back Seat of My Car,' Kevin Junior and company take this classic riff, incorporate it into their music and make it their own. On first listen, you'll hear the familiar chords and think to yourself 'McCartney!' but by the end of the song you'll claim 'the Chamber Strings.'

One of the interesting things about this record is the liberal use of instrumentals. The title track, which opens the disc, immediately sets the tone with its beautiful orchestration giving the listener a sense of joy and melancholia both at the same time. Later, 'Beautiful You' sounds right at home on the Beach Boys' Pet Sounds. In fact, if you listen close enough, you can hear Brian Wilson smiling.

'Let Me Live My Own Life' allows the Chamber Strings to open up a bit and rock. An appealing number that cries out the notion that no matter how many mistakes a person makes, they need to make them in order to learn how to live. A little heady, maybe, but effective. And it has a good groove to it, too.

Month of Sundays is a wonderful record for those lazy afternoons where one is prone to reflect and find pleasure in the simplest things. Enjoy!

- Dennis Blandford

Jon Brion - Meaningless

www.jonbrion.com / www.jonbriondirect.com

Fans of Jellyfish, the Grays, and Aimee Mann should remember Jon Brion. He played guitar on Spilt Milk, the (sadly) last album by the San Francisco pop gods; was a co-founder of the critically acclaimed Grays, and was a member of the former 'til tuesday leader's back-up band. Now he gets to shine on his own with his first release, meaningless.

A somewhat introspective disc, meaningless explores the themes of love won, love lost, and love betrayed. At times the songs have an almost claustrophobic feel to them, as if you were in the same room with Brion and he was pouring his soul out to you and you alone. Plus, the production is so immaculate that even the Disney-esque touches don't sound cheesy; in fact, the seem very well-placed.

By far, the catchiest tunes right out of the gate are the up-tempo numbers, such as the title track, 'I Believe She's Lying,' and 'Walking Through Walls.' But the standout tracks are 'Dead to the World' that dramatically changes tempo midway through that drives home the emotional impact of the song. 'Her Ghost' is next, which explores the feelings people experience after a breakup. No matter how much we try, Brion seems to say, the ghost of an old lover remains with us, sometimes for the rest of our lives. Yes, the subject matter is deep, but coupled with the bright melody that accompanies it the song refrains from becoming burdensome.

The aforementioned 'I Believe She's Lying' is a wonderful study of paranoia received from a troubled relationship. With the frenetic drumming and guitar, one actually can feel the anxiety the speaker feels concerning his lover. Fantastic production throughout, this is just one spot in particular where the self-production job flourishes. After all of this, Brion then ends the disc with an emotionally breathtaking rendition of Cheap Trick's 'Voices,' which is worth the price of the disc alone.

As far as I can gather, meaningless can only be purchased through Jon Brion's website. A shame since news of this wonderful CD will undoubtedly travel by word of mouth only. But if this is the wave of the future, then it's reassuring to know that we will be receiving quality songcraft for many years to come from this talented artist.

- Kate Gordon

The Jupiter Affect - Instructions for the Two Ways of Being Alice

Eggbert Records

www.eggbert.com / http://home.earthlink.net/~jupiterfx/

Okay, so the title is a tad hokey. Sure it's tongue in cheek, but it is bordering on trying too hard to be cute. The music, though, is an entirely different matter.

Remember the Three O'Clock? Signed to IRS records in the glorious 80's, the Three O'Clock almost hit it big with their second full length LP, Arrive Without Travelling, and two fairly successful singles on college stations ('Her Head's Revolving' and 'Half the Way There'). After toiling around for a few years and somehow conning Jason Falkner into playing on their disappointing last album Vermilion, the Three O'Clock faded away into obscurity. Come 1998, Michael Quercio (lead singer, bass) finally opted to forming another band, much in the same way as the Three O'Clock. The result? The Jupiter Affect, a 21st century band rooted in late 60's pop psychedelia.

The production is clean with some studio embellishments added for effect (or is it affect?) and to enhance the overall psychedelic feel to the record. This does not deter from the songs at all. On the contrary, songs like 'Bring Back the Wonderful Girl' and 'Goodbye Arthur (Le Morte D'Arthur)' benefit very nicely from the imaginative bridges each song has.

Other straight forward garage pop 60's style tunes 'Druscilla, I Dig Your Scene' and 'Loved One's Lies' evoke a happy, driving feeling that makes you want to hit the replay button again and again.

Those clamoring for a Three O'Clock reunion better not hold your breath; Quercio's The Jupiter Affect nicely fills the gap of California 60's pop left by his previous band. Check your local record store for this one - if they have no idea as to what you're talking about, tell them to get a clue and then get on the net and order it yourself.

- Chris Leib

Gary Numan - gwenmars - Grand Theft Audio

The Odeon - Cleveland, Ohio, April 26, 2001

Rarely do I get to experience a concert 'event' anymore. Oh, there have been some: Elvis Costello & the Attractions. The Who before the countless reunions. Imperial Drag. But anymore, these 'events' have become few and far between. Which only means that when they do happen, you know it's special.

I missed the first band on tonight's bill at the Odeon Concert Club in Cleveland, Ohio. I was catching up on my drinking and forgot the time. We've all been there. Beside, the last time I saw Numan, the opening act was forgettable. So unfortunately I can't tell you anything about Grand Theft Audio. The buzz from the crowd really wasn't that great. But imagine my surprise when I ambled into the club during the second opening act and heard gwenmars.

In my drunken haze I thought I saw three wannabe punk-pop stars on stage, but they were playing a cover of Badfinger's 'Come and Get It' before tearing into one of their own tunes. I was so hit by these guys that I immediately went over to the merchandise booth and spent my hard-earned beer money on their CD. They rocked! So well, in fact, that I was actually disappointed to see them end their set.

After a short interval, the Man was there. His second tour of the US in three years, Numan took command of the Odeon from the second he opened with 'RIP' from the new CD Pure. Taking alot from the new disc, the crowd was treated to Numan's vision of religion, God, and humanity's place in the universe. To say that the new Numan material is dark would be an understatement.

He sprinkled some old favourites into his set, though, thankfully dispensing with 'Cars' early on. A great tune to be sure, but that one song is NOT Gary Numan. 'M.E.' and 'Remind Me to Smile' were two other crowd favourites resurrected with new life breathed into them. Not too many other surprises; nothing from Dance, I, Assassin, or Warriors, but there was 'Are Friends 'Electric'?' and the obligatory 'Down in the Park,' always crowd pleasers.

Probably the most emotional part of the show was when Numan played a certain cut off the new album. Reportedly, Numan had completed all of the writing for Pure when his wife, Gemma, had a miscarriage. Numan then scrapped the album and re-wrote the whole thing as a venomous attack on God. When he performed 'Little Invitro,' a heart-wrenching lament about the loss of his baby, it was an intense moment for me because for the whole show, Gemma stood right next to me (she attends all of Numan's shows). Though she was reserved for this song, she displayed no outward emotion at all. It appeared that she let the song and Numan's performance speak for her.

Gary Numan has received some welcome attention over the past few years, cited as a major influence in the world of Goth and Techno. Each time I see him perform I become more of a fan - the man is a major talent and anyone would be remiss in not seeing him live. Gary Numan is not some techno-geek from the 80's living off of a novelty song ('Cars'). He is an artist in the truest sense of the word, and the world needs to become more aware.

- Stu da Stael

website info: Gary Numan: www.numan.co.uk // gwenmars: www.gwenmars.com

Psycho Charger - Tripnotic - Man From Glad

Jillian's Blue Cat Live - Akron, Ohio, May 4, 2001

A relatively quiet night (for once) in May Day in Akron, Ohio. For the uninitiated, May Day usually brings drunken college students, burning furniture, and other assorted mayhem to town, but not this year. Instead there was plenty of great original music in store for the evening.

Akron's own Man From Glad kicked things off in fine fashion. Fronted by UTJ's illustrious leader, Chris Leib, this five-piece amalgam of Cheap Trick and Elvis Costello through with some rather infectious original pop tunes. MFG appeared a little rusty in spots, especially on the new song 'Now and Then,' but this was explained by bass player Mark Brown as a result of not playing live since last summer due to the recording of their debut CD. Nevertheless, the energy was there and plenty of people in attendance were bouncing along to the music. The best tunes of the night proved to be the long-favourites 'Catch 22,' 'Bump,' and a rousing version of the old Motown nugget, 'Leavin' Here.' A few more shows under their belt and Man From Glad will be a force to be reckoned with.

Up next was a wonderful surprise. I've seen Tripnotic a few times before, and the band (another Akron group) while having a great repertoire of songs, never sounded tight. A great deal of potential, but something always seemed to be missing. But not tonight.

Tripnotic hit the stage with 'Only Wanting More' and it was to be prophetic - the crowd only wanted more and more. You could've powered a small city with the energy these guys generated. 'Farside,' (an old Jakes tune featuring lead guitarist Dan Noall on vocals), 'She's So,' and a fantastic cover of Big Star's 'Back of a Car' were just some of the highlights. This quartet performs constantly around the Akron-Cleveland-Kent scene, but has decided to take the summer off to record their debut disc. Due out in September, Tripnotic will be performing once again in support. Be sure to catch these guys - you won't regret it.

Next up was New York City's Psycho Charger. Word is that these guys have an incredible following in NYC, and after seeing them firsthand it's easy to tell why. With Gerard Dominick (bass, Tripnotic) joining the fray on guitar, the psychotic foursome blazed a trail of demented, self-described 'Industrial-Strength Trash-a-Billy' gems for the next hour.

Taunting the audience with 'Graverobbers from Outer Space,' singer Jimmy Psycho jumped into the fray, totally confounding the passersby and the few stragglers looking for a seat. In fact, just about everyone who witnessed Psycho Charger was confounded save for a brave few who actually got the show. And what a show it was; this was the nost downright fun I've had at a show in a long, long time. Unfortunately, judging by the dwindling crowd, Akron isn't ready for the likes of Psycho Charger. A shame, really, concerning the effort the band gave. True professionalism reigned as Psycho Charger gave their all and it clearly didn't matter to them how many people, or how few, were there. Just make sure you catch them wherever you can.

By the way, Psycho Charger have just released their first self-titled CD on Skully records, and are performing some shows in support.

- Carl Harrison

Website info: Psycho Charger: www.psychocharger.com // Man From Glad: www.mfgakron.com

John Entwistle - Time No Reason

Highland Theatre - Akron, OH, May 26, 2001

The first show of the 2001: A Bass Odyssey Tour for the John Entwistle Band landed in Akron, Ohio tonight. The newly renovated Highland Square Theatre played host to an incredible two hour set by the legendary Who bassist.

First up was Akron's own Time No Reason. Led by Christopher O'Connell, this four piece presented an impressive 40 minute show that was warmly received by the crowd. Starting off with the regional hit 'Tension,' the band showed everyone in attendance why they are so well received up and down the East, Midwest, and South. Bill Gans' drumming and Anthony Sterns basswork held things together impressively, while Sean Larson's guitar drove each song. O'Connell's vocals and stage presence were spot on as well, everything gelling nicely especially on 'Rain' and 'Copulation & Coin,' (from Inner Works, Sinister Bop Records) two radio friendly hits waiting to happen.

TNR has abandoned the art rock/goth style of years past for a more streamlined, midwest pop sound, which should widen their audience. You can check out their website for tour and cd info (see below).

After a somewhat lengthy wait, the John Entwistle Band took the stage to a prerecorded track from their Van-Pires album. The crowd was into the show from the first notes of the opening tune, the Who classic 'Heaven and Hell.' Entwistle pulled out many surprises for tonight, including 'Underture' and 'Cousin Kevin' from Tommy, 'You' from Face Dances, and a couple of covers the Who has done, 'Young Man Blues' and 'Shakin' All Over,' which include an incredible bass solo. The surprise of the night was a take on 'Love is a Heart Attack' from Entwistle's 1981 solo album, Too Late the Hero. Though most of the night was devoted to Who songs that Entwistle had either written, sang, or dominated (the encore of 'The Real Me' from Quadrophenia was phenomenal!), it would have been nice if more songs were pulled from Entwistle's vast catalog of solo material and the band's Van-Pires CD.

Now being the first show on the tour, and since the band acquired keyboardist Chris Clark about four days ago, the night was fraught with mistakes, miscues, and such. Nonetheless, the band held it together and above all else, were having a great time. (Drummer Steve Luongo even asked those of us who were going to write about the show on the Internet to be kind, considering it was there first show!) This infected the crowd, who all enjoyed the show. Plus, it's not often you get to see the stoic Entwistle clown around and actually smile!

Even if the Who was never your cup of tea, go see the John Entwistle Band. The band is tight, the show is alot of fun, and there is no one that plays bass better than Entwistle. He truly must be seen to be believed.

- Chris Leib

website info: John Entwistle: www.johnentwistle.com // Time No Reason: www.timenoreason.com