
(Has it always been there in the grocery store fridge? Isn't it, um, redundant? I bought some, along with some banana-flavored bananas and some sugar-free mountain spring water.)
A King County Superior Court judge has sentenced former Dudley Manlove Quartet singer and Seattle Weekly staffer Paul Jensen to eight months in jail for stealing nearly $100,000 from his former bandmates.
Jensen pleaded guilty to counts—he was initially charged with 32 counts—and has been ordered to repay his bandmates $43,000.
Three Seattle artists—8-bit-funk machines Truckasauras, electro-rock magi Sleepy Eyes of Death, and tech-house producer Pezzner—have made URB magazine’s vaunted annual Next 100 feature. Go to the zine’s site, though, and it’s nigh impossible to find the write-ups. If you can figure it out, let us know how you did it. Some of the area’s tech-savviest minds have been stymied—including Stranger freelancer Donte Parks, who wrote about all three acts for URB. Well, there's always the print version—wait, nobody in Truckasauras has been able to find that, either. (Sleepy Eyes' MySpace blog has a screen capture of their page here.)
Whatever the case, congrats to all.
I found out too late for The Score this week, but the remarkable pianist Sarah Cahill performs pieces from her project, "A Sweeter Music" tonight. Inspired by the marvelous MLK quote that "We must see that peace represents a sweeter music, a cosmic melody that is far superior to the discords of war," Cahill commissioned piano music from Terry Riley, Meredith Monk, Frederic Rzewski, Kyle Gann, Larry Polansky, Jerome Kitzke, and Mamoru Fujieda - all are on tonight's program.

About her recording of Long Night, a piece for multiple pianos by Kyle Gann I described it as "...a 25-minute piece for three pianos whose mobile layers and loose, undulating lines suggest a half-dozen CDs of Erik Satie's melancholy Trois Gymnopédies dissected and layered in ProTools."
Catch Cahill tonight at the Chapel Performance Space, 8 pm $5-$15 sliding scale.
All of The Stranger websites are having trouble, actually. It has something to do with Arizona and routers and DDoS attacks or something? I don't know. Anyway, some people can still see us (hi iPhone users!), but a lot of people can't (bummer for you, G1's).
Some of those people who can't access the sites and blogs include some Stranger writers, so that explains why there aren't as many posts (or as many comments). But we're working on it! Or Arizona is. Or maybe Bill Gates. I don't know who's doing it, actually, but someone is.
I bet A. Birch Steen is the happiest old fucker in the world right now.
I *love* listening to music in the shower. And/or the bathtub. Do other people do this? Or am I just slowly turning into this guy:
I'm pretty fond of Friends of Old Time Music, a blog devoted to old, mostly out of print bluegrass and folk music. Today, they put up this video, of an episode of something called the Don Reno-Red Smiley Show, an old-timey bluegrass TV program:
And it got me to wondering: Why don't musicians host TV shows anymore? I don't mean a scripted show like Hannah Montana, or a competition like American Idol, I mean like the Johnny Cash show, kind of: A more fun variety show format. The obvious answer would be that they seem cheesy and old-timey to look at them now. But TVs whole thing is about taking cheesy shit and making it seem not cheesy at the moment, even though it looks incredibly cheesy ten years later. TV hasn't had an original idea since 1951, so why wouldn't they revive this sort of musician showcase? I bet people would love it, especially if you could put together a list of musicians as eclectic as Johnny Cash did, back in the day.
And as a side note, Don Reno and Red Smiley totally rock my world.

It's now corrected on the web, but earlier this week I made the error of attributing a rap (on "Something New") performed by P Smoov to Rik Rude, his partner in the Fresh Espresso project. P was not at all pleased by that error, which resulted from a lack of adequate production info for the unreleased Glamour album. The unstoppable Smoov kindly provided me with this information yesterday:
FRESH ESPRESSO - "GLAMOUR" (debut album released on OUT FOR STARDOM)1. Espresso - All Lyrics/vocals written and performed by RIK RUDE. Beat Produced by P SMOOV
2. Diamond Pistols - Chorus by RIK RUDE and P SMOOV. Verse 1: RIK RUDE, verse 2: P SMOOV. Beat Produced by P SMOOV
3. Big or Small - Chorus and Bridge by P SMOOV. Verse 1+2 by RIK RUDE. Additional female vocals by SARAH SMALLEY. Beat Produced by P SMOOV
4. Vader Rap - Chorus and Bridge by P SMOOV. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV
5. Something New - Chorus by P SMOOV with backup vocals by SARAH SMALLEY. Verse 1+2 by P SMOOV. Beat Produced by P SMOOV
6. The Lazerbeams - Chorus by P SMOOV. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV
7. Right Here - Chorus by P SMOOV. VERSE 1+2 by RIK RUDE. Beat Produced by P SMOOV
8. Girls and Fast Cars - Chorus by P SMOOV and RIK RUDE. Verse 1 by RIK RUDE Verse 2 by P SMOOV. Beat Produced by P SMOOV
9. Elegant - Chorus by P SMOOV and RIK RUDE. Verse 1 by RIK RUDE Verse 2 by P SMOOV. Beat Produced by P SMOOV
10. Gigantic - Chorus by P SMOOV and RIK RUDE. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV
11. We Desire What's Real - Chorus by RIK RUDE. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV. Trumpets by Luke Lenentine
12. All Around the World - Chorus by P SMOOV and RIK RUDE. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV
13. Show Me How You Do - Chorus by P SMOOV. Verse 1+2 by RIK RUDE. Beat Produced by P SMOOV
14. Coffee Talk (Feat. MR LIF and GRIEVES) - Chorus by P SMOOV, GRIEVES, and MR. LIF. Verse 1 by MR LIF Verse 2 by P SMOOV Verse 3 by RIK RUDE Verse 4 by GRIEVES. Beat Produced by P SMOOV.
There it is! Also, tonight, Friday night, is P Smoov night. He performs in Fremont with both Fresh Espresso and Mad Rad. Fresh Espresso will be on stage at the High Dive at at 11:00 pm, and Mad Rad at Nectar at midnight.
As for Sylvain Debusschere, who is mentioned in the Up & Comings preview for Mad Rad's show tonight, he is a young Parisian who is a big fan of P Smoov's work. I will write more about him in the future.
The image, which is by Ben Blood, is from P Smoov's Myspace account.

We love the Vaselines. In this week's paper, in fact, we love the Vaselines two times—once in the Stranger Suggests:
The reunited Vaselines were an indisputable highlight of last year's SP20 festival—the Scottish indie popsters' simultaneously twee and raunchy songs sounded as fresh and foul-mouthed and giddy as ever. Founding members Frances McKee and Eugene Kelly look, respectively, hardly aged and like a benevolent, cool dad. Even though they've grown up, they haven't exactly matured: At SP20, they demanded nudity from the audience, offered to let folks dry-hump McKee after the show for $20, and referred to Jesus as "the David Blaine of his day." Adorable.
And once in album reviews:
Is it technically possible to love a band, to really love a band, if it turns out you mostly only really need to listen to their first two EPs? What if you're totally, staggeringly in love with those EPs (and a few other songs), though? This is the fly in the petroleum jelly that I've been wrestling with since receiving Enter the Vaselines, Sub Pop's deluxe reissue of the Scottish band's collected recorded material, much of which was previously compiled as The Way of the Vaselines.
[...]
Traditionally, the review of the deluxe reissue aims to tell you whether the extra tracks and tacky badge are worth plunking down for another physical copy of something you ought to already own (oh, don't tell me you don't have The Way of the Vaselines). But I didn't even make it through disc one—the previously released stuff—before discovering I only really needed, and was totally satisfied with, just its amazing first half or so. I realize that's kind of heretical, and yet I still think of myself as a sincere fan of the Vaselines.
But wait, there's more! A little less than a year ago, on the occasion of Sub Pop's 20th birthday party and the Vaselines' first ever US gigs, Stranger emeritus Sean Nelson conducted an interview with the Scottish twee-fuxxers as enlightening as either of the Q&As contained in the Enter the Vaselines booklet (sorry, Everett). You can read that interview in its entirety here, but here's a little excerpt:
There's a lot of innocence in the songs, but a lot of sex, too. Where did that contrast come from?Well, we were a couple at the time. There was a lot of innuendo and jokes in there. We had the freedom to sing about what we wanted, because we never thought anyone was going to listen to what we were writing. We didn't think anyone would be interested in our private humor.
We knew what we couldn't do as well as what we were capable of. We couldn't just go onstage and pose about, put our foot on the monitor—we were kind of anti-rock. I think a lot of that was going on at that time; people were annoyed by the scene around the world, it was kind of knee-jerk and heavy rock bands. We were trying to do anything opposite to that. We couldn't go and... headbang. I mean, we shook our hair a bit, but there was irony in it as well. We just... anything we saw David Coverdale do, we couldn't do it.
And I reviewed that first ever Seattle (well, Redmond, really—Marrymoor Park, represent!) performance by the band here:
Humor aside, the Vaselines sound simply gorgeous. An extra guitarist, bass player, and drummer, at least two of them snagged from B&S, fill out the songs without turning them into showy cover versions. (It occurs to me, during “Jesus Don’t Want Me For a Sunbeam,” that some of the younger kids here might just think these guys were hired to play some Nirvana covers, and the thought makes me kind of happy.) The band brought out a guy to play a squeaky little bike horn for the chorus of the ecstatic “Molly’s Lips.” There was a feedback-soaked harmonica on “Dying For It.” They played “The Day I was a Horse,” “Rory Rides Me Raw,” and Oliver Twisted.” I seriously didn’t stop grinning the entire time. It was just perfect.
The Vaselines play Tuesday, May 12th at Neumos, 8 pm, $20, all ages, w/Hallways.
First of all, Fresh Espresso play the High Dive tonight—Charles Mudede, in his profile of the local duo, said this:
Fresh Espresso are all about the post-Jay-Z mood. The money is gone. No one can dream of selling millions of records and hiring a posse of hundreds to follow them to heavyweight fights in Vegas. Recently, Ice-T pointed out on CNN that he went to a fancy club and found it had 90 percent women. Why, he wondered? And then he realized it's because sisters can get in for free and expect booze from brothers who are bling-blinging. But the recession has hit hard, and brothers can't afford to go to "da club" and spend twenty at the door and fity for the Hennessy. The bling is out. The recession is in. And what are the brothers doing? They are in the studio, like Rik Rude, making beats and rhymes.
Also tonight, as Data Breaker will tell you, is Dietrich Schoenemann. Who? Exactly:
Dietrich Schoenemann is a very busy man with a huge, quality-laden discography—but you've probably never heard of him, let alone heard his music. With that mouthful of a handle, he's not exactly a household name, even among underground-electronic-music aficionados—although he has remixed Philip Glass's "The Thin Blue Line." So, much credit should go to the Knightriders and Bonkers! crews for bringing Schoenemann to Re-bar on May 8.
But that's not all, my friends. This week's Up & Comings have even more options:
Damien Jurado, Laura Gibson
(Crocodile) Local singer-songwriter Damien Jurado has been churning out emotionally bruised indie rock and folk/country-inflected acoustica for well over a decade now, laboring not exactly in obscurity but perhaps in less limelight than he deserves. His latest album, last year's Caught in the Trees, is one of his stronger works, recalling the relatively amped-up tone of 2002's I Break Chairs, in service of another batch of bitter, heartbroken songs with just slight linings of hopefulness. On Trees, Jurado's singing, alternately sturdy and softly shrinking, is supported by bandmates Eric Fisher and Jenna Conrad on a variety of instruments, allowing for such highlights as the upbeat barroom swing of "Gillian Was a Horse" and "Go First," whose carefully paced electric guitars and choral harmonies recall Low at their liveliest. ERIC GRANDY
Spaceman, No-Fi Soul Rebellion, Captain Oh Captain, Thee Satisfaction
(Comet) The dirty, smelly, wonderful Comet exists for acts like No-Fi Soul Rebellion. The dive bar's less-than-flawless sound system will make No-Fi's pre-recorded beats sound even fuzzier and dirtier, and the cramped "showroom" floor will be the perfect stage for singer Mark Heimer's constant thrashing, dancing, and dry-humping. Bonus: The married duo (Mark's wife, Andrea, mans [womans?] the music while Mark takes the mic) will no doubt be in the mood to party extra hard tonight, as they're celebrating the release of their new full-length, Oh Please Please Please, which is the sonic equivalent of Prince dropping a lot of ecstasy and trying to cover every song on the Valley Girl soundtrack. My only question: Why the fuck aren't these two opening for Lily Allen to a sold-out crowd at the Showbox? MEGAN SELING
Cloud Cult, Say Hi, Ice Palace
(Neumos) Led by Craig Minowa, Minneapolis septet Cloud Cult mongrelize scrappy indie rock, underground hiphop, and orchestral pop with whimsical glee. Winsome melodies and dramatic song structures conspire to make Cloud Cult's deft, patchwork compositions a warmhearted delight; this music embraces you with sincerity, and only the most ornery curmudgeon would push it away. On their second album, Wonder Subtly Crushing Us, fellow Minnesotans Ice Palace create knotty, rustic rock that bears a Midwestern toughness about it, which comes from enduring soul-destroyingly cold weather for nearly half the year. Seattle's Say Hi (Eric Elbogen) pens literate, understated pop gems that come off as casual as web-surfing at Bauhaus—especially that one with eight Ohs in its title from the newish Oohs & Aahs. DAVE SEGAL
Staxx Brothers, Mad Rad, Prof & Rahzwell, T-Spade, Vaughn Kreestoe
(Nectar) Who is Sylvain Debusschere? He is a Parisian. What does Monsieur Debusschere love to listen to? He loves Seattle hiphop like nobody's business. The 206-hiphop-obsessed Frenchman says: "At the moment, all I listen to is from Seattle. The Saturday Knights, Mad Fucking Rad, Fresh Espresso, Champagne Champagne—all is so good!" Which Seattle hiphop artist is at the top of Monsieur Debusschere's list? P Smoov. Who is this P Smoov? He is a member of Mad Rad and Fresh Espresso. Why does Monsieur Debusschere like this P Smoov? "The man is a genius as a producer." What makes him a genius? "His flexibility and beat instincts." Have you told the truth? "Nothing but the truth." CHARLES MUDEDE
Search for all these shows and more in our music listings.
There is a lady on Broadway shouting, "What did I do to you? What did I do to you? WHAT DID I DO TO YOU!!??"