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Show marmimwmm iiiiM.i!' fttllrt-'l'- , frr-yitujz- To 764-He- ro by Kathryn Cowles the Rescue rock-musi- The RID Interview 764 HERO started out as a band, a la Quasi and the Spinanes, but quickly turned into its own monster altogether, adding a bass and differentiating itself from other similar drums-and-guita- c 764-HER- r set-up- But at its heart, the band is still spearheaded by Polly Johnson on drums and John Atkins on guitar. "Polly and I are good friends and And, lucky for Salt Lake City, is stopping by at the intimate 764-HER- I frsr' " a lot of ways," said Atkins. "Starting e band taught us to off as a listen to what the other was doing and respond accordingly." Songs generally start with a basic idea from Atkins, to which Johnson adds her original, creative drums. "1 have always felt like I play to songs John writes, but he says he plays off me a lot," Johnson said. "We never really sat down and tried to make songs a specific way. Our process is pretty natural. Someone starts to play, and we just go from there." Johnson's drums are exceptional, even melodic live, she plays with such grace and skill, it is difficult to keep from watching her the entire Ft 1 'iTsf 4A IT will see Discohesive Jamming for the Ma 2 by Kathryn Cowles The boys literally smash everything together in a mayhem of iscohesive is not a hippie trio jam band, a or a group of ska boys pass ing off as musical superheros. And Discohesive does not, God forbid, play disco. But in combining all the above elements (aside from the disco bit), Discohesive comes up with a sound that is thoroughly entertaining and completely unique and who knows what's going to happen in the live show. The band has a hand in the pot of every musical genre imaginable from the aforementioned jazz, jam and ska to almost big band, if you can believe it, yet it drips with remnants of punk, reggae and groove rock. 1 jazz-impro- complicated tempo changes, wild rapping and frenzied bass to produce energetic and entertaining music. Lead singer Jason Dashow has a fantastic rapping voice raspy and full of personality like a cross between Zach de la Rocha and Louis Armstrong. He rhymes really well and consistently, but in a Bob Dylan way, not a Babyface way. His control e over language, slant rhymes, alliteration and clever manipulations of wording is fascinating and fast. So in the end, although the lyrics are great, all you really need for literary enjoyment are the sounds and how they relate when mixed with each other. v inner-sentenc- old-scho- hip-ho- 764-HER- O, "It's bigger at shows," said Dashow. "And my biggest thing DISCOHESIVE, 'lt?uk !.v (9 , Kricf ' - - ,,L 'C'- -- , -- V Asd with its Insbtent, throbbing ibjm, "2adio CnnTia st flerot, v 't'tibbkgum masterpiece aU ;t.9 own. rC " jviamgTy 1 'ha album does'drag' sHttrhat in Itn rniddle Uusdt even t ' attfrnpfng to rniudc Mrvana at one point a nvwnt that is reaihr in iaepirtgXvith the ood the members of Gwen Atari are ',- trying to achi?vt. and else's sound tins cn if ?orrui:or.e far, can'bnly goso Spying album has a flaw, it 3 thai But it finishes strongly the per verse 'Lisa Candy" and the sullen, ethereal Tn dce." AU tilings considered, G wen Mars succeeds in walking a 40-- . . Mis nimute tightrope that never juite into the net of plagiarise or sloppy iraitatiort,Tri(! band coW stand to bring out it own sousid a oh more, t?v we meantaae me ustentr$ .canm get jast --iff- 00 il band'spaitVb3dklbM ' ;w . iorenderitselfinm-JWicaJfcnr- .. . - : ,1 ? would be to try to get you there." Discohesive is a band that was made to play live. Every song changes every night, vacillating according to the mood of the musicians and the energy of the audience. And yet Discohesive is not one of those bands easily relegated to the improvisation bracket of live performing. "If you say you're improv," see v. - 1 tight page k f ' theft m$mtl graierata tt$4$ rtsve? fceenrucrc rdnlescffiayMc. ? 1 - i J Wt jmwxcx Bd:tVaino ari"unevwBncpr dbamed tbi repetitjor! of v , . several to intr , TftesdbviafOTU)t of machine "This tpicsli consists together only throusjh buatverds.-- ' R9 , tykttxs and vme-xplac- - . tes . J.'; ' - J-- of spc :i.tirg sotoidfeack ?nd docs ht&t to acteaily , - 0"W1I ovn a spcoiy '' A i explain what a "sp'iiiiua maddivt might ba. ;: The scngs don't iHurrJnate the rrattei either, With rtfc like rr . "Life is nrsuting fcr you it's aii nesid:ipy.u Sa-- f ".and lines . , but we're sdrvc " they bartly evdnintngue on a corventtertsil ' Still, the slbtan is rot entireh without merit Most rans will tt And tho agli pwtabJy nrX inirid the recycird, tminjpired roaU-xia- l ; nettling is paxiiadsrty grabbing oh the 3rst listen, it dots grow cn " ou, Songs "fiwch as "In Sepair" and "If You Believe" hintat what this album could have been had it not succurnbtd to the trappings of conventional and predictable songvmting. And p.lwp6 mcmcnts like these are enough to recomniend the alUun, But then Raina iWaida goes and says aomathinfi Tr. your ' Jesus I'm Jesus." Well, I had no idea. , And vvhal giad meajsge does the Messiah bring for our day7 "Nana m, ranansna na nidi Eig gre?n monkey Y2ryor.e's ? . junMe" Maybe I'm wrong and I'm Just losing my faith. Or maybe I'm right aim! you're all going to hell Or maybe it's not even wroth ' fighting over in trie flrrtpLsce. -- - -- h'?l -- , 4 V- " f A" 1 1 , - HSDrmviam continued on pogm R8 Dttcohttivt it ail about tvatthing mutieal-xct- pt diteo, that it. . - I The RED Interview The sound on the many recordings, live, on formal albums, bootlegged songs (often by the band "We tape every show," said Dashow) and otherwise, is big, yet . Wjid-eye- page R12 2 ? r; the potential rrJre of cheese is vvhidi the bond Million is rorprisingiy resirained ani a revels, Drrmg mlcap t cwn its . right' intrlgidng in track ShadAE cf ""Neon feom tlie of Bwie emerge bnt , oncbvgM Torn" is the clisgrantifd bastard son oi Bowk's Ujox Toin. Arui i .e , - mayorrrjrynotbeinoatejfjpace. ; 7. " d Fresctoud "Siw Hung the ' from In the spuit of Bsy Mcon is a precious, reflective ballad with oypUc Seatifiesqu ' "I learned to play drums from being in bands," explained Johnson. "I've had friends show me different things, but mostly it was just from playing and listening to music" Atkins' guitar is often rrunimalist in a beautiful way, emphasizing the drums and lyrics and a few carefully chosen notes on the guitar. "I've always been a fan of dropping things out," he said. The lyrics, written by Atkins, are decidedly poetic without falling victim to typical cliches and They are personal, yet broadly applicable. put on a tight little thorn Friday night. - Yet considering e. O ' by BRBNTSAUA . i Driving a Million ' -Gwen Mars show. . . . , two-piec- 764-HER- - .gplfg ; think we complement each other in local favorite venue Kilby Court Friday, ithout a doubt, is one of the best indie bands around today. Straight off that beloved label Up Records, and out of Seattle an absolute Mecca for pop- and is what lovers be: to indie band tries dynamievery c, musical, brilliant, fun, talented, exciting, independently minded, the list goes on and on. ', - 2001 MAR01 R4 - BEAT - RED |