Electric Six and the Fever at First Avenue (Minneapolis, MN)

I was actually pretty excited to see Rock Kills Kid. After hearing their latest album, Are You Nervous?, I had a good idea of the electronic-based rock that I was going to here. Before the show I was able to head backstage and I meet RKK guitarist Sean, which gave me a cool introduction to what was to come. Despite what I've heard from a few friends, the band really performed well and the synth transferred nicely into the live setting. One of the highlights of the short set was the cover of Echo & The Bunnymen song "Lips Like Sugar."

I had never heard The Fever before, so I really didn't know what to expect. I was talking to a couple next to me after their set and they asked what I thought. I think what blew me away, I told them, was the unique indie-classic rock sound they had. I didn't want to make any connections between Mick Jagger and singer Geremy Jasper (and for the record, I'm not...just sayin'...) but they certainly exist. Another strikingly unique bit about the band was that they were a four piece with no bassist. Keyboardist J. Ruggiero handled the duty like no other, a very welcomed surprise.

The couple that I was talking to off and on mentioned that this was the fifth or sixth time that they were seeing the Electric Six play, which I thought was kind of bogus since they kept yelling obscenities and "Freebird" at the openers. Just seemed like that's how the crowd was, all giving the bands a little hard time with "oh-so-last-century" references; Prince was a favorite of the night. When Jasper took exception and started talking about Lake Wobegon people just got more pissed. The Electric Six seemed to turn everything around, and they really impressed me. I am one of the "casual listeners," I've only ever heard the band's radio singles and haven't paid much attention to them since. But power chords have never sounded so good. Singer Dick Valentine was a non-stop energy ball, mixing in a healthy dose of push-ups, sit-ups and leg lifts with the bottle of NyQuil he apparently drank before the show. Once again, my new best friends boo-ed him (and the rest of the band, I presume) as Valentine came back onstage alone to start the encore with a solo-acoustic song. Well done, just not Electric-Sixey enough, I guess.

Nardwuar Interview

Nardwuar has long since made a name for himself through his unique, high pitched interviews in which he is known to delve into areas of pop culture history generally unknown to the masses. His band, the Evaporators, follow suit, living in obscurity while playing music reminiscent of a parade of caffeine induced indie-geeks (the good kind). Signing to Alternative Tentacles seemed like a reasonable move as Nardwuar’s classic interviews with Jello Biafra have proven that underneath the political guise, we’re all music just music nerds. Here, Nardwuar addresses the Evaporators early beginnings, ultimate stage-mates, and Thee Goblins.

One of my favorite quotes about the band’s music has been Nardwuar’s “We like simple songs like that where we tell people the title before we play so they can sing along.” Some look at the Evaporators as “a too-silly-to-even-be-funny Canadian quasi pop-punk band” (Jeb Branin from In Music We Trust). I’d like to think that the Evaporators are more of a “smart-in-life-so-we-can-play-fun-music” band. Who are the Evaporators?

Narwuar: The Evaporators, in my opinion, strive to make people smile, think, and inspire. We love doing songs with history related themes, which covers the thinking part, and the smiling part is hopefully covered by the live show. As for inspiring people, I think that happens because people that see/hear us say to themselves, “I can do that!”

From what I’ve read, the Evaporators have played with amazing bands like Pavement, Sleater-Kinney, and the Melvins in the past. If the band could play one last gig, who would the ultimate stage-mates be?

We would open for the the Pointed Sticks from Vancouver, BC, Canada! The Sticks formed in 1978, and broke up in 1980, but along the way produced the catchiest toons ever to come out of the Northwest. They even appeared in the movie Out of the Blue (1980) with Dennis Hopper!

Did the band really start up in 1986, and if so, what’s the 20th anniversary line up?!

Yes! The Evaporators were born on February 20, 1986. However, our first official CD Ripple Rock did not come out till 2004, so I would say we are only two years old!

Where did Thee Goblins (and their many incarnations) come from?

Thee Goblins formed in the women’s costume section of the Value Village in Bellingham, Washington, USA. After a few years, of playing the same nine songs over and over again, they decided to “spice” things up a bit and morph into other bands! Hence Thee Skablins (Ska), Thee Technoblins (Techno), Thee Disgoblins (Disco), Thee Dublins (Dub), Gob Bizkit (Asshole Rock), Thee Gothblins (Goth), well, um, you get the idea…

With so many side projects like John’s work with those Pornographer guys, [your] ongoing work in Vancouver, and David’s continued efforts with the Smugglers to name a few, will there be another Evaporators album?

Actually there kinda is a new album out now! My new interview DVD, Doot Doola Doot Doo… Doot doo! contains over an hour of Evaporators and Goblins Videos including quite a few unreleased toons. No joke! Check it out!

Roger Joseph Manning Jr.

Manning checks in with sounds reminiscent of mid '90s pop-glory along the lines of Matthew Sweet. How fitting as he was a member of indie pop-rock darlings Imperial Drag. Manning's career has been amazingly expansive, but I first remember seeing Manning as a part of Beck's band in the Sexx Laws video (which completely blew my mind away).

All this as well as completing an extensive history of great remixes of the likes of Jamiroquai and Air as well as a variety of solo-based electronic projects. Back to the pop-rock; Manning's unorthodox blend of swirling, ambient sounds lighten the guitar and mask it, creating an absolute musical haze. Where does this creativity come from? Where did the man hone his skills on the keyboard which have brought him this great sound? How about working with A.F.I., The Dixie Chicks, Neil Diamond, Ziggy Marley, Mars Volta and Green Day to name a few!

Matt Costa "Songs We Sing" Review

Matt Costa's history seems to precede him coming into the new year. After touring with Jack Johnson, Fader magazine named Costa the #3 thing "You didn't appreciate enough in 2005." All that while it's becoming increasingly popular and acceptable to explore relationships and emotions through acoustic ballads and slow winding lullabies. However, with few exceptions I generally stay away from music along these lines. Despite my hesitations, Costa's Songs We Sing develops as a self ratifying, instrumentally versatile, mature album.

Songs We Sing begins with an upbeat rhythm and finds a unique balance within the wide array of instruments which find their own unique niche. “Sweet Thursday” introduces a full rock band sound, with the welcomed addition of an electric, modestly distorted guitar. Following which, Costa introduces stand-alone acoustic melodies and distant piano sounds, all of which peaking with the indie rock honky-tonk “Ballad of Miss Kate.”Avoiding the watered down term alt-country, this song doesn’t get lost in itself, offering a valid “indie-rock” take at the old honky-tonk sound. “Ballad...” seems to be a perfect fit for both Costa’s vocal capabilities and lyrical themes; one of the album’s high points.

While experiencing high points, the album starts through a feeling of lost; romantically lost, lyrically lost, and musically unstable. The album's beauty, however, is found in the vast genres it covers; though my initial thoughts were that it was a reaction to being uncertain of a certain path to take with the album. As I spent more time with Songs I found that my initial thoughts were presumptuous to a certain degree. The album finds and excellent progression both musically and lyrically, ultimately seeking increased strength through the development of self approval. The album’s title track can best sum things up, “These are the songs that I sing to make the day better.”And with the overall comforting feeling the album brings, Costa should be encouraged to continue performing the songs he sings.

The Noisettes "Three Moods of the Noisettes" EP Review

The Noisettes, hailing from London, have a lot of hype to live up to this year. NME has called them "One of rock n' roll's best kept secrets." URB magazine listed Three Moods of the Noisettes as a 4-star recording. And recently Bloc Party drummer, Matt Tong, said that The Noisettes were the best gig he's seen recently. Yes, The Noisettes indeed do have a lot to live up to this year. Fortunately, singer Shingai Shoniwa delivers a beautifully bipolar performance, shrieking, crooning and roaring her web over the equally diverse band. These vocals encompass Dan Smith's axe and Jamie Morrison's drums, working entirely in sync as they wonder through the driving "Don't Give Up," concluding with the seductive, futuristic-blues number "Burn." If Three Moods of the Noisette sis in any way an indicator of the future, look for them to move from a footnote in NME to the cover.

Justice "Waters of Nazareth" EP Review

This 3-song release from the French duo, Justice, dazzles without becoming prey to the electronica of the over-glorified club scene. "Waters of Nazareth" is absolute tech-funk; a hybrid of entirely synthetic, late stage industrial with a late blooming progressive beat. Creating a dreamy sequence while staying miles away from ambient, "Let There Be Light" and "Carpates" are a continuation of a fascinating sound, no matter how many times it's been done before.

Danko Jones

I've been a fan of Danko Jones since the release of their single "Bounce" around 1999. With a tight knit, pounding funk rock, I was introduced to the band initially through the music video for the single. I remember being blown away by an abundance of sexually intensified power and I was greatly impressed by the look and sound of the band. Since then, the band has experienced a huge cult following overseas as well as in Canada. A number of mainstream media plugs in the States have done little to spur the interest and acceptance the band truly deserves. If you want to check the bands latest album, Sleep Is The Enemy, it will be released in the US in May. If you live in Canada, or most of Europe, it's already out there; go get it!

Leftöver Crack Interview

From the ruins of the self proclaimed squat-core band Choking Victim emerged the ska & punk influenced Leftöver Crack, and the band continues to persevere through political persecution, corporate neglect and personal tragedy. I had the opportunity to ask a few questions of lead singer, Stza, and he was gracious enough to take some time and work through some thoughts on corporate punk, the Zapatista tribe, and maintaining the band’s integrity.

I believe that bands like Leftöver Crack have a connection with bands like Anti-Flag & other borderline corporate bands like Against Me! While I think that one cannot exist without the other, can politically fueled music truly exist at a corporate level?

Stza: Well, the issue of hypocrisy is definitely raised and I feel it is a very important issue, but I also understand how manipulative the media in this country is, and while I don’t believe I would ever be interested in signing to a corporate label. I know that having a band like Anti-Flag in the spotlight will only help a band like ours prosper. Plus they are friends of ours, so I support their decisions.

I’ve read that the band has played with the Dead Kennedys in the past. Recently, has the band been approached by any other notable acts concerning playing with them during the upcoming spring tour or thereafter?

Stza: Well, I must say that when we played with the “NEW” DKs, we had already turned them down in the states as we wanted nothing to do with their cashing in on important political issues and tarnishing the group’s good name. The fact is we weren’t told till the day before and we didn’t want to let down our own fans in England. And no, we don’t get too many offers to play with popular punk bands that we respect and when we do, we usually have already booked a tour for those dates and have to turn the band down… but we will be playing a couple of shows in the Midwest with the Subhumans this April.

Touting that Leftöver Crack is “anti-racist, anti-sexist, anti-homophobic, anti-cop, and anti-breeding, but pro-choice” — does the band still feel that they can be successful in America given that it is such an uphill battle?

Stza: Well, I think that we have already achieved a fair amount of success. When I talk to the fans that we do have, they are usually extremely enthusiastic about our music and political messages, the latter being the more important. I think if it wasn’t for our politics, we might sell a few more records, but people wouldn’t be steadily gravitating towards our back catalog over the years as they have. And as Immortal Technique says, if you go platinum, it just means a million people are as stupid as fuck.

While reading, I came across some information noting that you’ve spent some time in Mexico with the Zapatistas. How has that changed, influenced or confirmed the band’s music?

Stza: It’s hard to find popular revolutionary movements that have actually had some success, especially so close to the United States, where our government feels the need to crush all revolutionary activity. So, it’s definitely inspirational and reaffirming that we are not completely crazy and there are popular movements that thrive on many of the same principals that we hold dear.

I am a graduating business major and find myself constantly battling between the rules that govern our society and my personal ethics. I’m not trying to find a balance between my personal ethics and the political & business-based environment, because in doing so I have to greatly compromise my personal beliefs and integrity. I’ve heard that Leftöver Crack have been banned from certain clubs. Has this compromised the band’s beliefs at all, and how can I continue without giving up my beliefs?

Stza: No, when we are banned from clubs because of our political beliefs, it just reaffirms our righteousness. It’s easy to continue without compromising your beliefs — it simply involves shunning a lot of the best opportunities and settling for less money and less recognition.

Thank you very much for your time, and I hope that the band has a very successful tour this spring!

Stza: Gracias y viva la lucha.

Shark Soup "Fatlip Showbox" Review

This group of hipster, neo-punks from Erlangen, Germany deliver a brand of energetic punkabilly along the likes of The Living End and former tour mates, the Nekromantix. I find it increasingly interesting to see how sounds and trends can spread worldwide and expand while still maintaining an original essence. Such is the case with the expansive sounds of Shark Soup. For fans of the rockabilly scene, there won't be any unnecessary tangents into the experimental unknown, and you'll be satisfied. For fans with tastes leaning towards the punk rock side of things, Shark Soup fulfill as their songs generally characterize a faster, more aggressive pace than typical rockabilly. As numerous listens have proven, it becomes progressively intriguing to see just how a typically American genre has sent these German emissaries into further development of a increasingly tired sound.

"Holy Water" triumphs at revving the quintessential leather jacket, bass driven sounds of the genre. Though having a prototypical swinger-bounce, this hellish street-dance theme materializes nicely into the rest of the album, with most tracks displaying a stronger, grittier pace than the one before. Undeniable similarities are standard within the rockabilly scene, as most bands unintentionally find themselves using one other as musical references. This is the case with Fatlip Showbox's fundamental tracks, "Roadkill Reaction Revolution" (a strong Horton Heat-like instrumental) and the quasi-mainstream rock "Burn The Lights Out." The strongest song is the straight-line punk "Riddle-n-Dead," with "Small Town Mayhem" a close second. “STM” defines the album as the mosaic it is, combining "whoa whoa" elements of punk, explicit rockabilly, and stomp rock; showing that this group of German natives not only acknowledge the work of bands before them, but continue to grow from that work, searching for a balance yet to be found.

Viva l'American Death Ray Music

Accolades...ah yes, they come and we take them with a grain of salt. However true that statement may be, when The Hives front man "Howlin'" Pelle Almqvist remarks "the singer sounds just like Lou Reed and is as good as Lou Reed," you might want to heed warn. New York City's Viva l'American Death Ray Music take a running start at the infamous sound associated with the booming garage rock fad of the early '00s and stumble into a sleeker, effortlessly hipper sound. I won't go as far as Howlin' Pete, but I'll de damned if I don't feel a little of what the man is talking about.


Heralded as "brain-pop," Germany's Monochrome resemble more of a systematic picking & choosing of modern rock elements...OK, brain-pop will do. Marc Calmbach and Ahlie Schaubel's dueling vocals blend together seamlessly, adding both depth and breadth to the already driving landscape. I find it irritating when a band exerts too much energy in either a) modifying their style to tail a current trend, or b) exert far too much energy in distancing their sound from mainstream rock. Gratefully, Monochrome seem to have found harmony in the middle.

The Meligrove Band

Mississauga's Meligrove Band started up roughly eight years ago in a scene described by drummer Darcy Rego as "if you played shows in Mississauga you were playing in a lineup of 1,000 shitty pop-punk bands playing covers." Coincidentally Billy Talent emerged from the scene and found fame instead of The Meligrove Band. I've never understood what power pop is, but I'm going to go out on a limb and say that The Meligrove Band aren't power pop. They are however a solid rock band, merely lacking the harsh, abrasive edges that seems so abundant in modern rock today. You are who you associate with? Playing shows with Dinosaur Jr., The Mooney Suzuki, Sloan and Spoon might say something powerful to that regard. Check them out as they head through the SXSW Festival and head to Eastern Canada for some gigs (link).

¡Forward, Russia!

With an electro-punk flurry ¡Forward, Russia! siphons the English-flavor out post-hardcore and tweaks it into fuzz-driven dance rock. With frantic shrieks, crushing melodies and offbeat timing, ¡Forward, Russia! recognize the tender size to recent hardcore uprisings. The Leeds-based band's unsettled nature spurs their jolting songs with heavenly guitar and keyboard tangents. Check the band out this month as they swing through SXSW & some other US dates before heading back to Europe (tour dates).

A Passing Feeling "A Passing Feeling" EP Review

Touted as indie-punk, A Passing feeling's 5 song - 14 minute EP reflects those sentiments in spirit alone upon first glance. The band's sound can be harnessed through the lead track, "A Book of Matches," one of the best on the recording. Its lighthearted, bouncy beat connects band's whiskey-soaked enthusiasm with the remainder of the EP. My initial feelings towards the recording were undeniably negative, as I thought the band is yet another copy of a copy of a revivalist band. But I had to correct myself as A Passing Feeling are no such thing. The album's rough production shows signs of great potential heading into their scheduled full-length release in December. "Michigan Feels Like a Dream to Me Now" honestly brings me to think that the indie-punk label wasn't dishonest and brings to light a sound worthy of the stamp. This group of young New York natives could be a taste of unique things to come.

One Umbrella

One Umbrella is a two piece experimental duo from Austin, Texas whose repertoire weaves dreamy ambient through instrumental improvisation. Creating a sense of indefinability, the band's music ranges from soft electronic touching on proto-industrial to raw shredding guitar.

The Rakes

Taking life by the day can be a gift or it can leave you with a strange, mixed outlook on life. Hard to say which end of the tale The Rakes fall into; with lyrics ranging from the dulls of a pursuing a never-ending social life to the prototypical punk grumblings of entry level work. Typically, music from London seems to have a damper on it, but The Rakes take the modern garage-style and saturate it with interesting hooks and rants. Forming in 2004, the band attracted notice with 2005's 22 Grand Job single and have continued to roll as they induce similarities to bands such as the Libertines. Watch for The Rakes as they pass through the States and head for France and the U.K. this spring (link).


Calling Oxford, U.K. home, Goldrush are a blend of fanciful fuzz-pop splendor. "Wait For The Wheels" is an absolute gem. Its bouncing bass and pulsing tambourine hint at garage rock of '01 without the arrogance. Blending a smooth, spacey acoustic with weightless vocals, the band creates a seamless sound, flowing in and out of whichever character they are in at the time. See Goldrush play this month in New York & Austin (link).

Staggering Statistics "Pixelated Ones & Zeros" EP Review

With the understanding that the foundation of Staggering Statistics is deeply routed in mid-90's alterna-rock it's easy to figure out what motivates the band's sound. Bassist John Curley's involvement as a founding member of the Afghan Whigs, as well as a seasoned producer at his Ultrasuede recording studio, provides insight into the band’s musical direction. Curley's influence, amalgamated with talents of guitarist Austin Brown and drummer Joe Klug, resulted in a set of studio sessions and subsequent release of the band’s debut release in 2004.

Pixelated Ones & Zeros' lead track, "Wet Book of Matches", is as catching as the packaging the EP comes in. The case, a matchbook, literally, slightly draws attention away from the music; but luckily the inherent value of the album still lies in the music found inside. The album takes a deliberately moderate tempo, which typically exemplifies indie-rock. That’s being a sound far from lo-fi, but far miles away from over-produced refuse. That's what makes this six song taste-test successful. The second track, "Disastrous Leanings," follows this moderate-pace blueprint, fading into a distorted transition track "All Falls Down."

"Hope You Don't Mind," bends the transition into a progressively inviting envelop of distorted harmony. The final two tracks, "Pixelated Ones and Zeros" and the eight minute "Lookout Cartographer Autobiographer," exemplify the band's attempt to change pace; both vocally, and instrumentally. The slightly distorted vocals flow through "Lookout," embracing the song’s varied pace and tone. While the album's decoration is unique, it is the unhurried pace that allows the music to take you to your destination without realizing how you got there.


In reference to Earlimart's 2003 release, Everyone Down Here, Pitchfork's Michael Idov explains, "There's absolutely nothing on these Californians' third proper album (they released an EP earlier this year) that you haven't heard before on a hundred indie discs." Why listen to Earlimart then? Both Idov and I agree that it's because they do it so well. Earlimart is rooted in the mid-90's Los Angeles indie scene and have obvious influences which emulate those of most other indie bands of the time. Again, however, the difference is intangible. The mid-tempo, distorted riffs define the time period. Their sound became fashionable when it was grossly abundant, which is the only reason I can justify the band hasn't reached the level of popularity they wholeheartedly deserve.

Astrid Swan

23 year old Finnish singer/songwriter Astrid Swan has a grace and beauty to her music far beyond her age. Each musical piece shows Swan's beautiful domination over the piano, her instrument of choice for the last 17 years. Her adolescent tendencies gave way to playful composition at an early age; leading to her first English spoken song which she wrote on guitar at the age of 14. Quickly completing her first demo reel at the age of 17, and with painstaking determination, she earned a record deal. Signing and releasing last year's Poverina, she now looks to break into a market which idolizes her sound; one similar to that of the hugely successful Norah Jones and Fiona Apple. Demonstrating her musical aptitude, she has performed with the indie rock outfit Treeball throughout her career. Though the band has a foggy, interesting tone reminiscent to early 90's alternative Americana, Swan excels with her wave-of-sound solo work. Look for her as she tours North America this spring.

BanjerDan "Old Stuff" Review

I first found out about Dan Mazer when I saw him perform as the banjoist for J.B. Beverley and the Wayward Drifters in Minneapolis last summer. The three piece band blew me away as they played a set of songs consisting entirely of songs in a throwback to the old school country style. Under his BanjerDan moniker, Mazer's Old Stuff is more than a classic bluegrass retrospective; it introduces the banjo as a versatile instrument with seemingly limitless capabilities. Compiled from sessions between 1985 and 1990, the album demonstrates Mazer's command of not only the banjo, but the guitar, mandolin and dobro.

Pat Mahoney, a one time writer for Bluegrass Unlimited, once commented on a riff Mazer played for him, "You young pickers! All you want to do is play fast! Where's the tone? Where's the taste? Where's the timing?" Mazer replied, "Old Man, if you don't shut up, I'll name the tune for you!" And he did! "Mahoney's Mumble" opens the album as one of the fastest, sharpest banjo-lead instrumentals I've ever heard. "Till The End of the World Rolls 'Round" is a lively cover of a Lester Flatt & Earl Scrugg song; a band which some consider to be the most famous bluegrass band of all time. Mazer comments on "Soldier's Joy," noting that it is his "shot at a one-man-band experience." Rightfully so as the traditional fiddle song exhibits Mazer on the banjo, guitar, mandolin and dobro.

The next few songs run through some great original instrumentals as well as some brilliant renditions of old traditionals; but the song that catches me most from this segment of the album is "The Guys in the Suits and Ties." Mazer recalls the song's source as a comment his young hippy brother made to his father, "Look! Dad's got to wear a tie. That's a symbol of corporate slavery, man! I'm NEVER gonna wear a tie!" I personally have a mild contempt for hippies, but I have to agree with the sentiments of the song all the same. How can I "chase a dollar" when I want to live my life? As a business student, I wrestle with this battle between searching for the truth, and the next dollar daily. Regardless, the song aims to find a balance between doing what you have to and finding the peace you may seek and succeeds in the process.

A beautifully cover of Stephen Stills "4 & 20" shows Mazer's true range by remarkably transferring the song into an achingly slow, brooding ballad. It is through his excellent interpretations of Brazilian, bluegrass and even Chopin pieces that Mazer reveals the many sides of an often typecast instrument. I don't think you can listen to this album and not agree with the sentiments that Mazer proudly advertises; banjos rock!

Fear on Saturday Night Live and Ian MacKaye

Something today made me remember the performance by Fear on Saturday Night Live. Ian MacKaye was there and explained it in a pretty cool interview with Nardwuar. In the interview he talks about the strange phone call he had with Lorne Michaels, what really happened in the mosh pit and getting locked up. Here's what happened as far as Wikipedia is concerned: "The 1981 Halloween episode aired on October 31st with Donald Pleasence and musical guest FEAR. By personal favor/request from Fear fan John Belushi the band performed because Belushi promised them a spot after they failed to make the final cut (movie studio refusal) as musical composers in his movie 1941. The band proceeded to play offensive music and bussed in "dancers" (many were in well-known East Coast punk acts). The band used obscene language and the dancers destroyed the set with slam dancing on the stage. The end result was Fear were banned from playing and their actual performance was cut short; as they played "Let's Have a War" the audio and video cut to commercial." I hadn't seen this in years, and it's definitely worth checking out. I love the cheap shots aimed at the New York crowd.

Nardwuar and Ian MacKaye Interview

Kid Congo Powers

Take a youth who has grown up during grunge's peak years. More than likely this person, who’s now an adult, finds themselves mildly lost in the current musical landscape. They grew up during a period that is widely understood as a mix of other musical movements that had previously dissolved. Break grunge down, and you ultimately have punk; a period that combined unrivaled angst with a blossoming level of unappreciated creativity. With the previous statement in mind, where would someone who found themselves in the eye of punk's storm find themselves today? With certain exceptions most bands, such as the Buzzcocks, and the oh-so-drab Sex Pistols, find themselves simply releasing material or touring to try and rekindle an emotion that they've long since lost. One such exception is Kid Congo Powers. Growing up in New York City, becoming president of the Ramones fan club in 1976, and finding residency as guitarist for The Gun Club are simply two early keys to the resume. As if that wasn't enough, Brian Tristan would soon embrace the name Kid Congo Powers while playing with the Cramps from 1980-1984. Ultimately his departure would forecast what would become a trend his future, joining a rotisserie of bands, while developing a unique sound in each. Rather than becoming an artist burnt out by the scene he was influential in creating, he blossomed into a versatile musician through another stint with The Gun Club, Nick Cave & the Bad Seeds and numerous other bands. With four releases in 2005 alone, his unique prolificness shows that not all performers artistically climax during the scenes they are best known for.