Three Imaginary Girls - Manifesto

El Rey

Andrew Boe — Sun, 18 May 2008 20:52:38 +0000

7.5

http://www.amazon.com/El-Rey-Wedding-Present/dp/B00175G71I/wwwthreeimagi-20/

For the last year or so, the Wedding Present’s enigmatic leader, David Gedge, has been living in Los Angeles and and the city’s influence on him forms the core of El Rey, the newest offering from his group. While the album was written and demo'd in LA, the hotly anticipated album was recorded in Chicago with Steve Albini and it marks the first time that they have recorded a full-length album with him since their masterpiece, Seamonsters, in 1991. Although this dream duo might have the masses hoping for a Seamonsters, Part II, the truth is that much of El Rey is actually fairly upbeat and manages to sum up the band’s entire career with its variety of material.

Opener "Santa Ana Winds" takes off with grimy sophistication and steam. It is the most atypical song on El Rey with it’s spiky overdriven bass line that leads the track. At least two of the songs sound very much like they would have fit perfectly onto Torino by Cinerama (David Gedge’s group from 1998-2004). "I Lost the Monkey," despite the silly title, has all of the cinematic class that Cinerama was best known for and "The Trouble with Men" is a slow torch song that features some great drumming and a doleful melody. The almost whispered vocals come across the line as if they are from a desperate man who has just been dumped by his girlfriend.

"Palisades" is rife with characteristic jealously and obsessive abandon. It is perhaps the song that comes closest in sound to Seamonsters in this collection. It starts off with finger-plucked electric guitar before exploding into an angst fueled rock song. In the chorus Gedge howls out the line “You don’t love me anymore” as distorted guitars wail along with his strained vocals.

El Rey has both dark and light moments interspersed throughout. The album covers most of the territory that David Gedge has explored throughout his long career without sounding forced. The production is excellent as Steve Albini is an analog elitist, which provides a great sounding record that includes some stellar songs of heartbreak to boot.

El Rey has both dark and light moments interspersed throughout. The album covers most of the territory that David Gedge has explored throughout his long career without sounding forced.

Fresh Fruit For Rotting Vegetables

Chris Estey — Sat, 15 Oct 2005 07:00:00 +0000

http://www.amazon.com/exec/obidos/ASIN/B000B5KR2A/wwwthreeimagi-20

deadkennedys05oct.jpg

Manifesto Records has reissued the Dead Kennedys' genre-spawning, ultimate rock and punk debut, twenty-five years after its initial release, re-mastered with assistance by guitarist extraordinaire East Bay Ray (who had put together the band) and featuring a wonderful extra-disc hour length documentary about the early days of the band forming and the recording of the record.

Interviewing Olivier of the French faux-nova band Nouvelle Vague recently, which had gotten acclaim for their wickedly sensual and clever femme-vocal reworking of the DK's legendary "Too Drunk To Fuck" ("Now you bawl like the baby in 'Eraserhead'"), we both found how much we admired the first wave American hardcore band for two reasons: They reminded us of the underrated Stranglers, in that they used interesting musical arrangements built around the bass players' ominous tones, and the satirical and innovative way both bands portrayed violence and conflict in society. Bass and blood, basically.

The bass player for the Dead Kennedys is a guy named Jeff, who renamed himself Klaus Flouride, in joking response to Johnny Rotten's lousy dental hygiene. Flouride grew up loving Buddy Holly, and tried his talents on guitar first. Later on, he found himself wanting to be the new Jack Bruce, the bassist for Cream, and attempted such a role in the late 60s playing for Billy Squier (!) in a group called Magic Terry and The Universe. "Three of the five people in the band were playing in Welsley, MA, and then Magic Terry went to NYC, and got into the Warhol scene."

Klaus himself had loved the Velvet Underground, attracted to John Cale's use of droning bass viola — perhaps you can hear a little of that in the primal, hypnotizing riffs of "Kill the Poor" and especially "Holiday in Cambodia" on Fresh Fruit. "He's pretentious," Flouride says of Cale, "but he's allowed. I also love his really raw stuff, "Paris 1919" and "Fear Is A Man's Best Friend"."

When Flouride first came from Boston to San Francisco as a temp employee for bank of America (!!), he and his corporate pals used to go down to the Mabuhay Gardens and make fun of the punks that would hang out and perform. But soon, he realized that his deep love for rock and roll was based on trying new things and being extreme, and these were the types of people capable of doing that. "Those are my favorite bassists too — Hector Penalosa of the Zeros, Will Shatter of Flipper, but also (Motown and jazz musician) Jimmy Wilkins."

Flouride struggled a bit with the new music though. "I got a copy of the Ramones first album, and actually took it back to the store," he says. "But the songs kept going through my head."

So he got his bass and equipment out of hock and started dreaming again about participating in rock and roll. Flouride's bass-lines are simple but enchanting, making the Dead Kennedys' music as alluring as it can be apocalyptic. "When Ray and I first met, I didn't want to sound like the Ramones or the Sex Pistols. The first thing we played was 'Peggy Sue.'" Both Ray and Klaus were interested in the roots and oldies involved with the form, and the things they prized the most about what they tried to do "was to use melody and humor, weirdness, in what we wrote and performed." This can be heard throughout the debut, Jello Biafra's satirical wit and flamboyant performance of which is matched by the comic twists and dramatic turns of the bassist's and guitarist's playing.

"We found ourselves overlooked by mainstream journalists, and even magazines like the NY Rocker ignored us, calling us the Ventures of punk rock," Flouride says. "We weren't trying to be purposefully nerdy like Devo, but nobody tried to sound like us either. There are no Dead Kennedys' clones. We had a signature sound, and we still do. It's very conscious, setting chords against chords, to get all of these counter-melodies."

On their recent tour with new vocalist Jeff Penalty (Vaz Hoil, Stupid Ferrets), someone in the crew played Flouride the Nouvelle Vague version of "Too Drunk To Fuck." "I thought it was hysterical," he says, "Perfect, with that lounge feel." Whether Olivier and his partners in NV know it or not, the Dead Kennedys had experimented with lounge-punk themselves on their classic second version of "California Uber Alles" (which one wishes was on this debut, instead of the rather dated anti-hippy original version, but then that would be re-writing history, wouldn't it?).

Flouride is still working hard with his band, but keeping his life flexible so he can raise his daughter. "I don't want to be a nine-to-fiver, I want to watch her grow up. I also do production; I just produced a band out of Arizona called Brazen Beat, recording them in my basement, and then I take them to a nearby studio called Wally's Sound for sequencing and mastering. They have really nice low rates, and they're right in the neighborhood."

With his relaxed, focused-on-music lifestyle, Flouride was able to give some time to helping in preparing the re-release of Fresh Fruit, making sure that it "was something that I'd want in my own collection, like adding the DVD, with the cameras filming the people involved in the interviews for two or three hours each."

Like the best punk rock, the songs on the album are shrapnel-pieces from life exploding around the artists at the time. "'Let's Lynch the Landlord' was about a condemned building we lived in, on the top floor, the ceiling dropping in, the drain system was a pipe that went out the window," Flouride says. "It got really backed up and even the fire department didn't want to go up there to clear it, it was so dangerous. But these were really unsanitary conditions and the landlady was totally uncaring. I wanted to go up on the ladder to knock off the pipe, and the landlady ended up yelling at the firemen when we opened the drain up, blaming them for causing her damage."

The Dead Kennedys' got their promotional break when Vancouver BC's The Pointed Sticks came through San Francisco and took the band along with them to Los Angeles on tour. "This was during a time when bands made an album to make an album, not to make money. Bands that make albums to make money don't last that long. You can tell from watching it on stage, which is which."

Flouride isn't surprised though that punk rock eventually became the Sound of the Corporate State by the time the 90s came around. "It was expectable, anything that hangs around long enough, eventually gets co-opted and someone makes money on it. It took awhile. But remember, all the original punk bands were on major labels. I have no problem with that, if that's what they want to do. I have no problem with Green Day at all. Punk rock wasn't just about intimacy or being in a small place, it was about reaching as many people as you can. Like with anything, ten percent of what's being done is original, and the rest just follow. But Picasso wasn't any less valuable when his work was on a larger scale."

This doesn't mean that Flouride and his band don't still take a stand, or do things subversively. "We had to blow off a fun show at the Olympic Auditorium in Los Angeles, featuring reunited members of Flipper, the Germs, Suicidal Tendencies, and others, because they brought in Coors Light as a sponsor. We pulled out of that. Dealing with Coors' politics through the 80s, we couldn't handle that. And with the X-Games, we still performed, but when they told us 'No dirty words' we had the audience sing the response to 'Nazi Punks ("Fuck Off!").'"

The Dead Kennedys' music stands the test of time due to its ability to address societal concerns that never go away. As our streets fill up with detox turn-outs and crack-heads and jail overflows of today, the band was initially inspired by Reagan turning mentally ill people out of state-supported hospitals due to budget cuts in California. "Most of the politics in our songs were concerned with social issues, not specifically political problems: 'The Man With The Dogs,' 'Ill In The Head,' 'Kill The Poor.' Trying to get inside what makes someone like Donald Rumsfield's head works."

This ability to transcend topical rhetoric allowed the band to become well distributed overseas, where their existential messages could be as well received as their innovative take on punk music itself — something bands like Black Flag had a problem with. "We weren't just a bunch of American guys talking about how tough it was to be living in America," Flouride says. "We were talking about global politics, and personal social issues."

I ask Flouride how he feels about the album twenty-five years later, and he says that he feels it stands up. "It's not the best we sounded in the studio, but then we didn't know about recording then. It's a bit mid-rangey and high-endy, but the songs — there is no filler on the album. It's thirty-eight minutes long, and some that weren't finished or not ready were simply left off." (For example, the excellent "Gaslight," which appeared on the incredible captured-in-concert Live at the Deaf Club in 2003.)

As someone who finds himself drawn back to the creativity of first wave punk in spite of the meathead, near meaningless hardcore it inspired for decades after, Fresh Fruit for Rotting Vegetables transcends nostalgia, its human truths and genuine anger and just completely fun-to-play music irresistible to any smart, tasteful listener. The album sounds better, and more necessary, than ever.

The album sounds better, and more necessary, than ever.

David Gedge of Cinerama

imaginary liz — Tue, 18 Nov 2003 08:00:00 +0000

On a recent afternoon, I had the opportunity to lunch at the Elysian Brewery with Mr. David Gedge. As the frontman of Cinerama (and formerly of the Wedding Present), David has not only acquired credit for writing a large stash of indie rock's finest compositions, but a sharp wit and charming humility.

He likes malt vinegar on his fries and...

How do you take you coffee?
I take it with milk... at home I take it with semi-skimmed (1%) milk.

And do you have a favorite coffee place?
No, because I'm not really a lover of proper coffee to be honest, I think it's too bitter. In America I like diner coffee... you know, the stuff that tastes like coloured hot water... but here in Seattle even that is too strong for me! I usually ask for half water, half coffee, actually. I'm a bit of a wuss. I like the diner mugs, though...

You've got a mailing address in Seattle now, does that mean that you consider Seattle "home," or are you here temporarily?
Erm, I am not sure really. This year I've been backwards and forwards. I came here in February and then we toured. Then we had to go back to do some British concerts. Then I came back to Seattle to do some recording. Then we went to Europe for another tour, including gigs in Dublin and Istanbul. And now we are about to head over there again. Wherever I, erm, lay my hat... that's my home!

Is there anything you miss about the UK?
Oh yeah! Loads of things.

I miss cultural things... well, the pop culture, specifically, I suppose. I'm so glad that you can get the BBC on the internet. I'd really miss that.

When I go back now, I read all these things about people and I don't have a clue who they are. Like a song could have been #1 for four weeks and I have never heard the record. Whereas if you live there, you'll hear it anyway... because it is on the radio.

And "Top of the Pops" - I mean, it's not a great program, by any stretch of the imagination - but I really miss it! The last time I was there I was like, "Great, I'll watch Top Of The Pops!" But then when I put it on I realized "Err... what was I talking about? This is rubbish!" There was one band on there that I wanted to see and the rest of it was terrible. But I think it's the fact that you can't watch it if you want to, that makes you think you're missing something.

It's swings and roundabouts, though. You know... when I am over there I miss things about America.

Really?
Yeah... I miss KEXP a lot - that's a great radio station. It is like having John Peel on all day.

The food is nicer over here in America. And wine. You can get a really nice bottle of Californian wine for three dollars. You couldn't do that in Britain.

So it's, you know, a trade off. I don't know where I prefer, really.

You spend a lot of time on the road with your fellow Cinerama band members. Does each band member have a specific road tripping talent?

Simon drives all the time. He really enjoys it and it's physically quite difficult to wrench him out of the driver's seat. He will actually get up in the morning from the hotel and he will be outside sat there waiting for everyone else. And then he will drive all day. And he won't stop.

He won't stop for a wee, he won't stop for food. We'll say something like "Why don't we stop for something to eat?" and he'll say "No... no, I want to get over the border to the next state before we do that..."

As far as a navigator... that would be me, I suppose.

Except for navigation to restaurants, that is always Kari, our drummer. I don't know how he does it. He has a nose for it and he is never wrong. If we choose a place without him, it is bound to be dire. It'll be like salads for breakfast or something.

He will be like... "Let's go to that place over there" and we'll be thinking, "Hmmm... that doesn't look very promising." Then we'll walk through the door and it'll be the restaurant of your dreams... the owner will come over and personally greet you and say: "Oh, hello... come in... sit down... you're just in time for my special prize-winning pasta, and, coincidentally, it's half price for Europeans today."

He hits the nail right on the head every time. It is his only skill really... oh, apart from playing drums, I suppose. And pulling girls.

Who DJs on the road?
Well, the rule is that "the driver chooses". And because that's usually Simon, we get a lot of his music. Which is… ok, really... it isn't terrible. But he doesn't really like pop. So we get a lot of The Rachel's and weird stuff.

We've gotten a bit more democratic these days, though. Actually, that's the downside of Kari. He brings some terrible music. He's from Finland, so he'll play Finnish Rock. Lots of screaming and guitar solos. Terry's role. She's the calming influence. She pours the oil on troubled water. Is that the right phrase?!

Is she good at packing the van?
Oh god, no! (laughs). She is definitely not good at packing. Just the opposite, in fact… if it was left to her we'd be driving away with guitars left on the roadside. She's always leaving possessions at hotels. But she's really witty and she's also the official tour diary keeper. The last one was just published in Orange Slices... and it's really entertaining. Although I don't come over too well in it, to be honest. (laugh)

On the last few Cinerama tours you've added some Wedding Present songs. Are there any of those songs that you are tired of playing?
"Kennedy"! I think it's just a really sub standard song! (laughs all around). Even when we wrote it I thought it was definitely going to be a b-side... but the rest of the band disagreed. I've never been happy with it.

Inevitably, it has gone on to become The Wedding Present's best known single. And I suppose that was the reason why Cinerama started doing it. I quite enjoyed it at first because I hadn't played it since 1995 or something. And I suppose it is quite exciting live... but I've become bored of it again fairly quickly. So I will probably bury it again for a year or so.

Speaking of singles... you've got a new one, "Don't Touch That Dial". Does that mean that you're working on a full length album?
We are still writing and are about halfway towards it at the moment. I don't think we will be releasing it until next summer, to be honest. I am going back to Britain in about two weeks to record a new Peel session and we are going to try out three of the new songs on that.

There is a lot of interaction between you and Mr. Peel. Is it true that you are the heir apparent to the John Peel throne when he retires? Didn't I read that somewhere?
Well, I've never seen it, but I'm glad that you've read it... because that'd be great! I suppose I have been linked with the program for a long time; I've always been a massive fan of his.

And he has always been a massive fan of yours...
Yeah, well... (laughs humbly). There has been a relationship of sorts… and we do share almost exactly the same taste in music. So… yeah, I would be the perfect choice! But he's never going to retire. He'll be doing it for another thirty years!

Yea, and beyond that he can digitally record shows ahead of time to last us the next four hundred years...
It wouldn't be very current though, would it?

I don't know, everything seems to come back around eventually.
That's true.

Your influences... American or otherwise... what were they when you first started out as a musician?
Well, I have always been a big fan of radio, so I was most influenced by whatever the DJ was playing. So... I suppose when I was a kid... erm, general pop music, my parents' Beatles records... then Mud and The Sweet. I was just starting to "progress" into listening to Genesis and Yes when Punk came along to save me!

American punk or British punk?
At that time, mainly British. But it also opened me up to American bands like Television, I guess, and then later, Sonic Youth. After that I discovered The Velvet Underground.

I have always considered that your American counterpart would be someone like a Lou Reed or a Thurston Moore.
I've always thought Lou Reed is a really excellent lyricist, actually. He is similar to me in a way in that he has a very direct style... it's not particularly poetic or metaphorical... it is just kind of conversational. That hugely influenced me. But, I hate that question of influence because at the same time that I was listening to the Velvets, I was listening to John Barry and soundtrack stuff. I guess that is what everybody says, though!

What is the first band that you ever got obsessed with... where you had to collect all of the b-sides and rarities?
Well, no one really. The only band that I have every record of is Altered Images. I don't know why, really (laughs). I just thought that they were brilliant! And I still think they are the greatest pop group ever, but I suppose I got into that mentality where I had a few records, so I thought I had better get the complete set.

I am a big fan of the single, as a format, actually. I think the answer to the question "is there one band that I have always followed" is that I am more a fan of having a load of things by different people. Compilations are usually my favourite records. I think that probably comes from a love of radio as well.

Is there a band that you are really in love with now?
Broadcast... I think they are exceptional. I just saw them over at Chop Suey the other night. I have been refreshed by that... Them and Stereolab, all those kinds of bands. My Bloody Valentine...

Have you had a chance hear the new Kevin Shields tracks on the "Lost in Translation" soundtrack? They are awesome.
No, I haven't heard that.I wish he would flippin' put out a My Bloody Valentine record, though. He is fannying around being in Primal Scream. And they're just terrible! Really, really crap.

And then NME keeps sending out newsflashes saying something like "NEWSFLASH: Kevin Shields mentions My Bloody Valentine" and we all get our hopes up.
That was a great band. It is such a waste of talent!

Well, and the obvious end question, what are your top 10 favorite albums of the year so far?
Well, I haven't had a chance to put together the list... but, I really like the new Strokes album... and the Broadcast album... obviously. That's really good.

gedge1_low.jpg

"I poured coffee from a flask; it tasted funny"