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FEATURED INTERVIEW with Justin Rice, lead singer of Bishop Allen by Kristine Howard \| (email) I first heard of Bishop Allen about a year and a half ago when I went to visit a friend in Boston. Within an hour of my arrival, Gina had loaded Charm School into the CD player and was bopping around her apartment telling me each one was her favorite song. I was pleased enough with their melodies to join her in bopping. Bopping progressed to full-on dancing when we managed to see Bishop Allen twice during my five-day stay in Beantown. It was during those live performances that I fully appreciated their energy, sound, and musicality. Theyíre great on CD, but theyíre nothing short of spectacular live. (And Iíll throw in an apology to Jack, the scorchingly hot drummer for being his token sexual harasser for the eveningóI imagine he doesnít remember, but I certainly recall drunkenly stumbling as I offered to help him lug his gear to their van. He declined.) A few weeks ago, I saw them for the third time at their April gig at CBGBís. There has been talk of the much-awaited second album and I was pleased to hear some of these new tunes, maybe even catch some rumors on when to expect Clementines on the streets. Their velocity and vibrancy was as Iíd expected, so after a few beers and a sustained excitement for their music, I approached Justin Rice, front man of the group, and asked for an interview. I lingered creepily beside him as he was in the midst of a conversation with who must have been another eager fan. Quickly realizing that this method of indiscreet stalking wouldnít pay off, I aborted my hovering and tapped him on the shoulder. Maybe I interrupted the closing deal of his new record label or maybe I saved him from a creepy chatter. I like to think it was the latter because, remarkably, he complied. And hereís what Justin, singer and guitar player of Bishop Allen (not to mention his new acting appearances), had to say. * * * * I was told your band name came from the location of an old apartment. True? Did you really toss furniture off the roof there? Central Square. Cambridge. We crowded in there for a while. We lived on the top floor, and walked up four flights of stairs every day to get there. There was a back stairway we'd take up to the roof. We threw ice after a party. Then fish sauce. And, eventually, furniture. A busted chair we'd picked up from the alley below, a desk that was missing a leg. There was an empty parking lot behind. It belonged to Genzyme. There were all kinds of weird biotech companies in Central Square, and they all maintained empty parking lots. And now you're in NYC. What brought about the move? Do you miss Beantown or are you completely and utterly thrilled with The City That Never Sleeps? Almost everyone we knew lived in NYC. It draws people like nowhere else. If you're not going home (say, like me, you were born and raised in Dallas, and you can't really imagine heading back), it's easy to end up somewhere where no one is really at home. I miss Boston. I miss the bookstores. And I know so many great people there. And it's great during daylight hours. But when I go back, it seems small and cold and dark. Hell, even New York starts to seem small after a while. You all toured relentlessly last year and, from my strategically placed informants across the globe, I hear you gave it your all at every gig. How do you keep your energy up? Spend five hours every day in the car, and you'll understand. The best thing about being on tour is playing. The rest of the time you're just getting somewhere. When you finally get to play, it's amazing. When that ceases to be true, it's time to give tour a rest. Christian has claimed himself to be more of a songwriter than guitarist, yet he has a distinct sound. How did he decide on, or come upon, the tone he uses? It's distinct, yet simple and defines quite a bit of the band's sound. Christian plays a Gretsch Nashville Junior through a custom Fender Deluxe. The amp has a Jensen blue back speaker and lacquered maple instead of tolex. That's all I can tell you. I know at least Christian is a fan of the Strokes. Other fans? What are your thoughts on their newest album? Truth is, we all like the Strokes. They're an easy band to hate. Or at least they were. I don't know how often people think about them these days. \But their songs are good. Catchy as hell. Interesting guitar parts. At times even gutsy. I like the second album better than the first. It goes a bit further. There's rarely a moment that shouldn't be there or an instrument that's doing something gratuitous. What are you listening to right now; what gets your groove on? Working on a record makes it hard to listen to music. I only listen to things I know right now. Otis Redding. CCR. The Yummy Fur. The Velvet Underground. When we were on tour, we listened to the Fiery Furnaces non-stop. And, of course, We Are Scientists, who are about to truly take the world by storm. After most of your gigs, you all can typically be found hanging out with fans in the bar. I'd like to know how you deal with awkward situations that may arise when you're stuck with someone that's kind of creeping you out. "Kind of creeping you out" isn't the problem. It's when someone's really creeping you out. Owens is likely the most susceptible to this. But there are four of us. And finding the others is always an excuse. And finding the others always solves the problem. Running for cover, circling the wagons. Mostly it's nice to talk to people who like our music. It's exciting to hear that somebody cares about what we're doing. *So is the due date for Clementines* still somewhat up-in-the-air? Have you chosen a label yet? Are there any still groveling at your feet?** We've been chatted up by a few folks, and we'll figure it out as soon as we have to. Today we recorded more. So even if someone wanted to put out the record, they couldn't. It's not done. There's nothing to put out. The details of negotiatons are top secret. Negotiations. Does the name of the album have anything to do with that movie Eternal Sunshine of the Spotless Mind? No. It's from a line from one of our new songs: "Though the years have been unkind, like a winter clementine, we can only come of age in the cold." I believe that clementines are in season in the winter. Little, tiny, sweet, orange, happy moments in the midst of the grim, horrible, freezing doldrums. If that's not true, and they're not in season in winter, I'm just going to say they are. Oh, my darling, oh, my darling, oh, my darling . . . Sad part is, we prolly started working on the record when that movie was still a glint in Charlie Kaufman's eye. Where was the album recorded? Will there be any hidden sounds (rain? trucks?) we should try to listen for when we're stoned? Car alarms, burglar alarms, cursing and spitting, "Learn to Speak English" tapes. Most of it we recorded at home or at the practice space. A band called Longwave practices next door. We're doing our damndest to keep them off the album. They determine our recording schedule. Gotta get in whatever we can before two in the afternoon. Any plans for videos in the near future? Yes, yes. Hold your horses. I promise there will be at least one. Prolly several. As many as we have time to make. Maybe even one for every song. I want to shoot something at the horse races. And in outer space. I've heard there's going to be piano, some horns, and other new and exciting things on the new record. And a lot of time has passed since Charm School. Would you say that your sound has changed much? We make songs that have more energy. Charm School was recorded by Christian and me, and we didn't have a drummer or a bass player, and we'd never played live, and nothing sounded right that required a drummer or a bass player. Now that we've got songs with more energy, we want to muck with them, figure out what they sound like with this and that thrown in just for the hell of it. My, how we've grown ambitious. Who are your top three most annoying celebrities? Musicians? Dave Matthews, Anthony Keidis, Perry Ferrell. George W. Bush. If Oprah ran for President, would you vote for her? (I totally wouldn't; in case you were wondering) Ugh. On the way to a show, we stopped off at a Manhattan polling booth so that someone in our band could vote in the presidential election. We were running late. That person voted for the communist candidate. Why? I don't know. Not because we're communists. I guess that person wanted to prove a point at the polls. An anonymous point. If Oprah ran against George W. Bushó or his ilk óI'd vote for her without blinking. *How'd your spot on the flick Saved* come about? Is one of you secretly working in big Hollywood, and, in a strange series of events, lead to the major rift between Paris Hilton and Nicole Richie?** The phone rang, and it was someone from the movie. They said they'd had a hard time tracking us down. I was in Hollywood last week. I think I just missed Paris. Christian Owens is friends with her, I think. She seems to know everybody. Also, our friend, Andrew Bujalski (who lived with us on Bishop Allen Drive) just released his movie, Funny Ha Ha. It's playing in theaters in selected cities. New York, LA, Dallas, Houston, Austin, etc . . . Christian Rudder is one of the stars. I'm in it. Briefly. Covered in dirt. It's obvious that you all work very hard to maintain a kickass band. Are you happy with results you've seen? We're in limbo at the moment. I think I remember when we were playing show after show, and people came to see us, and they were happy, and we were happy. For the past six months, we've been wrestling with a record that just won't seem to give in. I like the way the songs are sounding. And tomorrow I will wake up and take some small comfort in the fact that I like the way that the songs are sounding. And I will wrestle some more with those same songs. But results? It's hard to see around what's consuming us right now. It's hard to imagine that anyone will ever hear what we work so hard on. It's easy to get lost, and to forget that there is any such thing as "results." We're like 3 weeks into a 3 month diet. When I was in LA, I saw some friends play to an audience of 10,000 people. You stand in front of that many people, and it's something. It's: "HOLY SHIT." Everything that happens to us happens so slowly. Every time you look in the mirror, you're a little older. But do you notice? How will you maintain continuous forward movement? It's time for a frantic push. When we're done with this record, we're going to play in every damn city in the world. Three times. And again. And again. The whole time working on new songs. The pace will only increase until we fall down dead. And then we will take a nap and start again. What do you do on your down time? (assuming, of course, that you have occasional down time) Frequent naps. Summer barbeques with all of our friends. We still have friends, though we don't see them as often as we like. Wednesday night poker games. There's a bar in Brooklyn where, when you order a beer, you get a free pizza. I walked across the Williamsburg Bridge yesterday. Have you caught any good shows lately? Baseball games? Movies? Amateur strip clubs? I'm going to the Metropolitan Opera tomorrow night. I like to go once a year. To prove to myself that I can. That, yes, I live in New York, and yes, there is culture here. And yes, I can sit through something that comes from another century and that I don't really and truly understand. It's a test. Of patience. Also like a sweat lodge. Movies: note the above about Funny Ha Ha. Not bad at all. Not bad at all. Do you enjoy the smell of Windex (or similar cleansing products)? Amonia smells like cat piss. I like dryer sheets. Now that's fresh. My other job, besides interviewing rockstars for incredibly prestigious and prolific Internet publications, is educating high school students. Often, they will use "hip" terms that I am not familiar with. As a rockstar, are there any "hip" terms you can share with me that I can use to impress or even baffle my students with during tomorrow's grammar lesson? I'd appreciate it if you included definitions. raff: lackluster, listless, characterized by tongue thrust bunk: bored out of your fucking skull steve: anyone or anything, used with disdain deked: decoyed, as in shang-haied Rough Rider: I don't know, but the kids on the street used to call us that in Cambridge Those are the real deal. All I can think of for now. Ok, let's end with a bang, people. I want to hear a funny story (preferably involving all four of you) that happened recently. Us fans get fulfillment from feeling like one of the gang, and if I ask for all of them, then you only have one stalker instead of thousands. The story I'll work on and send you soon . . . For everything Bishop Allen go to BishopAllen.com or befriend them on MySpace. Their second album, Clementines, is expected out this summer.

Timber The New Gentlemanís Shuffle (Ships At Night Records, 2005) Rating: Nowadays, if youíre in one band, youíre in at least three. The art of the side-project (not the solo mission) is most commonly utilized to express oneís individual vision, which contrasts that of the original band. Either that, or the original band disintegrates and the members decide that music is the sole reason for their existence on this planet, so they hang on. But side-projects are rarely ever as influential as their original formations. As a matter of fact, the only ones that come to mind that can hold a fist up against their original are The Postal Service (Death Cab), Kings of Convenience (R–yksopp), Spiritualized (Spacemen 3) and, I guess Derek and the Dominoes (Cream). But I still wouldnít say that these bands have eclipsed the originals in any way. Timber, though, is a project that utterly shatters its membersí popular original bands. Warren Spicer is in category one. This is basically the acoustic version of his unpredictable instrumental rock trio Plants and Animals. And although it is Katie Mooreís first official band, she has contributed her country vocals to a very wide range of musical acts in the past. Lastly, David MacLeod, to whom the vision of Timber belongs, is just getting over the dismantlement of Spengler, an ancient Montreal name that helped bring independent label/production co. Blue Skies Turn Black into the limelight not long ago. The legacy of Spengler may only echo throughout the cold streets of Montrealís Mile End district, but Timber has the potential to stretch its young arms coast to coast. The New Gentlemanís Shuffle is one of the best albums Iíve heard in a long time. It is defined by Spicer and MacLeodís gorgeous guitar picking, weaved together like a quilt of folk history. Mooreís gentle vocal harmonies blend flawlessly with the beautiful slow progressions of ìWaysideî and ìCriminalsî. ìNew Gentlemanís Shuffleî and ìShowtuneî have a more hokey rhythm, revealing how loose and silly the trio can become at times. What separates Timber from its modern country counterparts is the fact that all superfluous instruments are left out. Drums appear only twice on the album, and are limited still. This creates the impression of the solo musician, and images of Dylan and Drake are often provoked. Timber is a hearty, honest testament to the power of local networks of open-minded musicians. MacLeod also plays bass for The Field Register, a post-rock ensemble that shares the shelter of newborn record label Ships At Night and debuted their catalogue. There are elements of Spicerís Plants and Animals that submerge as well as influences from Vancouverës Mohawk Lodge. Every composition on The New Gentlemanís Shuffle is indicative of the trioís talent and creativity. Itís one of the most beautiful quilts youíll ever hear and it goes against the tide of the side-projectís plight. -Jeremy Young \| (email)

The Rinse The Rinse EP (Self-released) Rating: I first discovered The Rinse on myspace.com where I received an invite to be their friend. I get a number of these requests, but I normally take one listen and move along. When I went to their page and their music came on, I was hooked. It was only moments later that I was clicking on the ìBuy Nowî icon. The Rinse have catchy hooks and a British attitude. A lot of bands are trying to reinvent the 1980s. I have a bad habit of lumping many of these bands into the same category; however, The Rinse have found a style that is distinct and all their own. Lead vocalist Will Bates, London native and now NYC rocker, gives the band an over-the-top British sound, reminiscent of Iggy Pop and David Bowie. His vocals are fun and poppy without giving you a sugar overdose. To generate texture and even more of a party sound, The Rinse incorporate harmonies and shouting in the background that makes their tunes instant anthems. Along with Batesí British sass, he is joined by a group of rockers from Iowa to LA who bring their own flare. All 5 songs on The Rinse EP are winners. Each one will slowly seep into your brain until you canít get it out of your head. ìRollerskating,î the first song, is the catchiest and will make a great radio single. ìLo-Fiî and ìChief,î two of my favorites, have more attitude and less sugar. A moodier and funkier ìRecipeî is less of a dance tune, but adds diversity to this already great CD. This EP will be The Rinseís first step in taking over the world. And Iím sure when their done, kids from London to New York to Tokyo will be talking about how they are ìRinsing It.î Check out The Rinse at therinse.net or on their myspace.com page where they have three new songs that will surely not disappoint. The Rinse play at Rare in New York City on June 16th. -Gina Favata \| (email)

Seismic - Seismogenic (Get Richter Records, 2004) Rating: Seismic, an outfit out of southern California, is a jam band and proud of it. Indeed, their first release, Seismogenic, is pretty much what happens when you get a jam band into the studio... and that's not necessarily a good thing. From listening to the live MP3s on their website, it's obvious that Seismic puts on a great show with abounding energy. But since the very origins of the jam band, it's been a frustrating endeavour to translate that onstage performance to tape, at least with any consistency. Seismogenic definitely has its moments. "Sixth Avenue" is a real highlightóa great instrumental piece in the Allman Brothers tradition, with a gorgeous intro, beautiful blends of piano and guitar tones, and shifting major chords that are upbeat, accessible and still engaging. "Think About", the opening track, boasts some nice rolling piano lines (like those found in some of the more ragtime, bluesy Beatles songsóthink "Lady Madonna") and an unmistakable Phish influence. "Rosy Okenfold" plays out like a Garcia-style Dead song, with a fun chorus loaded in harmonies. But there are too many duds to really enjoy this album. "Slappin' It Down" has an 80s space-age weirdness to it, and a rambling guitar solo that's at times off-key and borderline unlistenable. "The Race" is another strange song; the snakelike riff underneath everything is enough to induce a bad trip in itself. "The Killer" has definite potential, but doesn't reach it on this recording. In the end, I guess that's the persistent challenge in trying to capture the live chemistry, vibe, and enthusiasm of a jam bandóthe songs depend so much on improvisation that it's always going to be hit or miss when they're finally performed in the confines of a studio. And Seismogenic is a perfect example. -Jason Holloway \| (email)

The Jumblies Catch It If You Can (Self-Released EP, 2005) Rating: I came across the Jumblies unexpectedly, at a Wake up the Earth festival in Jamaica Plain last monthó and it's no wonder, their recent show schedule has featured a relentless invasion of bars, clubs, radio stations, and festivals in the Boston area. Their latest release, the EP Catch It If You Can, seems to be a good sample of their pleasant, atmospheric sound. The songs are almost drowning in reverb, but it works for them, much like it does for bands like the Cowboy Junkies and Luna. The first two tracks are awash with lush female vocals led by Katherine Deakins. "No Silence" does a nice job of keeping a fast-paced song mellow, and benefits from Clara Kebabian's violin. "Morningside" is a soft, emotive song, with a lovely chorus and interesting guitar work throughout. The real gem of the EP though is the charasmatic title track, which probably should have been placed first. An addictive song with infectious guitar riffs and melodies, it's somehow a perfect combination of Brit-pop and the Screaming Trees, if there ever was such a thing. This is the only song featuring Mark Heng on lead vocals, and you can tell his voice has been treated a little, but it actually works well within the new-wave context of the song. While the Jumblies make for an enjoyable listen, there's not much about them that would make me jump out of my way to track them down. Their percussion and instrumental arrangements are terrific, but neither lead singer really stands out as being Something Special. By the same token, however, they're well worth your attention if you happen to run into themóand with their rigorous touring schedule, you're likely to! The Jumblies play the Lizard Lounge in Cambridge on July 30th. -Jason Holloway \| (email)

FEATURED INTERVIEW with Justin Rice, lead singer of Bishop Allen by Kristine Howard \| (email) I first heard of Bishop Allen about a year and a half ago when I went to visit a friend in Boston. Within an hour of my arrival, Gina had loaded Charm School into the CD player and was bopping around her apartment telling me each one was her favorite song. I was pleased enough with their melodies to join her in bopping. Bopping progressed to full-on dancing when we managed to see Bishop Allen twice during my five-day stay in Beantown. It was during those live performances that I fully appreciated their energy, sound, and musicality. Theyíre great on CD, but theyíre nothing short of spectacular live. (And Iíll throw in an apology to Jack, the scorchingly hot drummer for being his token sexual harasser for the eveningóI imagine he doesnít remember, but I certainly recall drunkenly stumbling as I offered to help him lug his gear to their van. He declined.) A few weeks ago, I saw them for the third time at their April gig at CBGBís. There has been talk of the much-awaited second album and I was pleased to hear some of these new tunes, maybe even catch some rumors on when to expect Clementines on the streets. Their velocity and vibrancy was as Iíd expected, so after a few beers and a sustained excitement for their music, I approached Justin Rice, front man of the group, and asked for an interview. I lingered creepily beside him as he was in the midst of a conversation with who must have been another eager fan. Quickly realizing that this method of indiscreet stalking wouldnít pay off, I aborted my hovering and tapped him on the shoulder. Maybe I interrupted the closing deal of his new record label or maybe I saved him from a creepy chatter. I like to think it was the latter because, remarkably, he complied. And hereís what Justin, singer and guitar player of Bishop Allen (not to mention his new acting appearances), had to say. * * * * I was told your band name came from the location of an old apartment. True? Did you really toss furniture off the roof there? Central Square. Cambridge. We crowded in there for a while. We lived on the top floor, and walked up four flights of stairs every day to get there. There was a back stairway we'd take up to the roof. We threw ice after a party. Then fish sauce. And, eventually, furniture. A busted chair we'd picked up from the alley below, a desk that was missing a leg. There was an empty parking lot behind. It belonged to Genzyme. There were all kinds of weird biotech companies in Central Square, and they all maintained empty parking lots. And now you're in NYC. What brought about the move? Do you miss Beantown or are you completely and utterly thrilled with The City That Never Sleeps? Almost everyone we knew lived in NYC. It draws people like nowhere else. If you're not going home (say, like me, you were born and raised in Dallas, and you can't really imagine heading back), it's easy to end up somewhere where no one is really at home. I miss Boston. I miss the bookstores. And I know so many great people there. And it's great during daylight hours. But when I go back, it seems small and cold and dark. Hell, even New York starts to seem small after a while. You all toured relentlessly last year and, from my strategically placed informants across the globe, I hear you gave it your all at every gig. How do you keep your energy up? Spend five hours every day in the car, and you'll understand. The best thing about being on tour is playing. The rest of the time you're just getting somewhere. When you finally get to play, it's amazing. When that ceases to be true, it's time to give tour a rest. Christian has claimed himself to be more of a songwriter than guitarist, yet he has a distinct sound. How did he decide on, or come upon, the tone he uses? It's distinct, yet simple and defines quite a bit of the band's sound. Christian plays a Gretsch Nashville Junior through a custom Fender Deluxe. The amp has a Jensen blue back speaker and lacquered maple instead of tolex. That's all I can tell you. I know at least Christian is a fan of the Strokes. Other fans? What are your thoughts on their newest album? Truth is, we all like the Strokes. They're an easy band to hate. Or at least they were. I don't know how often people think about them these days. \But their songs are good. Catchy as hell. Interesting guitar parts. At times even gutsy. I like the second album better than the first. It goes a bit further. There's rarely a moment that shouldn't be there or an instrument that's doing something gratuitous. What are you listening to right now; what gets your groove on? Working on a record makes it hard to listen to music. I only listen to things I know right now. Otis Redding. CCR. The Yummy Fur. The Velvet Underground. When we were on tour, we listened to the Fiery Furnaces non-stop. And, of course, We Are Scientists, who are about to truly take the world by storm. After most of your gigs, you all can typically be found hanging out with fans in the bar. I'd like to know how you deal with awkward situations that may arise when you're stuck with someone that's kind of creeping you out. "Kind of creeping you out" isn't the problem. It's when someone's really creeping you out. Owens is likely the most susceptible to this. But there are four of us. And finding the others is always an excuse. And finding the others always solves the problem. Running for cover, circling the wagons. Mostly it's nice to talk to people who like our music. It's exciting to hear that somebody cares about what we're doing. *So is the due date for Clementines* still somewhat up-in-the-air? Have you chosen a label yet? Are there any still groveling at your feet?** We've been chatted up by a few folks, and we'll figure it out as soon as we have to. Today we recorded more. So even if someone wanted to put out the record, they couldn't. It's not done. There's nothing to put out. The details of negotiatons are top secret. Negotiations. Does the name of the album have anything to do with that movie Eternal Sunshine of the Spotless Mind? No. It's from a line from one of our new songs: "Though the years have been unkind, like a winter clementine, we can only come of age in the cold." I believe that clementines are in season in the winter. Little, tiny, sweet, orange, happy moments in the midst of the grim, horrible, freezing doldrums. If that's not true, and they're not in season in winter, I'm just going to say they are. Oh, my darling, oh, my darling, oh, my darling . . . Sad part is, we prolly started working on the record when that movie was still a glint in Charlie Kaufman's eye. Where was the album recorded? Will there be any hidden sounds (rain? trucks?) we should try to listen for when we're stoned? Car alarms, burglar alarms, cursing and spitting, "Learn to Speak English" tapes. Most of it we recorded at home or at the practice space. A band called Longwave practices next door. We're doing our damndest to keep them off the album. They determine our recording schedule. Gotta get in whatever we can before two in the afternoon. Any plans for videos in the near future? Yes, yes. Hold your horses. I promise there will be at least one. Prolly several. As many as we have time to make. Maybe even one for every song. I want to shoot something at the horse races. And in outer space. I've heard there's going to be piano, some horns, and other new and exciting things on the new record. And a lot of time has passed since Charm School. Would you say that your sound has changed much? We make songs that have more energy. Charm School was recorded by Christian and me, and we didn't have a drummer or a bass player, and we'd never played live, and nothing sounded right that required a drummer or a bass player. Now that we've got songs with more energy, we want to muck with them, figure out what they sound like with this and that thrown in just for the hell of it. My, how we've grown ambitious. Who are your top three most annoying celebrities? Musicians? Dave Matthews, Anthony Keidis, Perry Ferrell. George W. Bush. If Oprah ran for President, would you vote for her? (I totally wouldn't; in case you were wondering) Ugh. On the way to a show, we stopped off at a Manhattan polling booth so that someone in our band could vote in the presidential election. We were running late. That person voted for the communist candidate. Why? I don't know. Not because we're communists. I guess that person wanted to prove a point at the polls. An anonymous point. If Oprah ran against George W. Bushó or his ilk óI'd vote for her without blinking. *How'd your spot on the flick Saved* come about? Is one of you secretly working in big Hollywood, and, in a strange series of events, lead to the major rift between Paris Hilton and Nicole Richie?** The phone rang, and it was someone from the movie. They said they'd had a hard time tracking us down. I was in Hollywood last week. I think I just missed Paris. Christian Owens is friends with her, I think. She seems to know everybody. Also, our friend, Andrew Bujalski (who lived with us on Bishop Allen Drive) just released his movie, Funny Ha Ha. It's playing in theaters in selected cities. New York, LA, Dallas, Houston, Austin, etc . . . Christian Rudder is one of the stars. I'm in it. Briefly. Covered in dirt. It's obvious that you all work very hard to maintain a kickass band. Are you happy with results you've seen? We're in limbo at the moment. I think I remember when we were playing show after show, and people came to see us, and they were happy, and we were happy. For the past six months, we've been wrestling with a record that just won't seem to give in. I like the way the songs are sounding. And tomorrow I will wake up and take some small comfort in the fact that I like the way that the songs are sounding. And I will wrestle some more with those same songs. But results? It's hard to see around what's consuming us right now. It's hard to imagine that anyone will ever hear what we work so hard on. It's easy to get lost, and to forget that there is any such thing as "results." We're like 3 weeks into a 3 month diet. When I was in LA, I saw some friends play to an audience of 10,000 people. You stand in front of that many people, and it's something. It's: "HOLY SHIT." Everything that happens to us happens so slowly. Every time you look in the mirror, you're a little older. But do you notice? How will you maintain continuous forward movement? It's time for a frantic push. When we're done with this record, we're going to play in every damn city in the world. Three times. And again. And again. The whole time working on new songs. The pace will only increase until we fall down dead. And then we will take a nap and start again. What do you do on your down time? (assuming, of course, that you have occasional down time) Frequent naps. Summer barbeques with all of our friends. We still have friends, though we don't see them as often as we like. Wednesday night poker games. There's a bar in Brooklyn where, when you order a beer, you get a free pizza. I walked across the Williamsburg Bridge yesterday. Have you caught any good shows lately? Baseball games? Movies? Amateur strip clubs? I'm going to the Metropolitan Opera tomorrow night. I like to go once a year. To prove to myself that I can. That, yes, I live in New York, and yes, there is culture here. And yes, I can sit through something that comes from another century and that I don't really and truly understand. It's a test. Of patience. Also like a sweat lodge. Movies: note the above about Funny Ha Ha. Not bad at all. Not bad at all. Do you enjoy the smell of Windex (or similar cleansing products)? Amonia smells like cat piss. I like dryer sheets. Now that's fresh. My other job, besides interviewing rockstars for incredibly prestigious and prolific Internet publications, is educating high school students. Often, they will use "hip" terms that I am not familiar with. As a rockstar, are there any "hip" terms you can share with me that I can use to impress or even baffle my students with during tomorrow's grammar lesson? I'd appreciate it if you included definitions. raff: lackluster, listless, characterized by tongue thrust bunk: bored out of your fucking skull steve: anyone or anything, used with disdain deked: decoyed, as in shang-haied Rough Rider: I don't know, but the kids on the street used to call us that in Cambridge Those are the real deal. All I can think of for now. Ok, let's end with a bang, people. I want to hear a funny story (preferably involving all four of you) that happened recently. Us fans get fulfillment from feeling like one of the gang, and if I ask for all of them, then you only have one stalker instead of thousands. The story I'll work on and send you soon . . . For everything Bishop Allen go to BishopAllen.com or befriend them on MySpace. Their second album, Clementines, is expected out this summer.

Timber The New Gentlemanís Shuffle (Ships At Night Records, 2005) Rating: Nowadays, if youíre in one band, youíre in at least three. The art of the side-project (not the solo mission) is most commonly utilized to express oneís individual vision, which contrasts that of the original band. Either that, or the original band disintegrates and the members decide that music is the sole reason for their existence on this planet, so they hang on. But side-projects are rarely ever as influential as their original formations. As a matter of fact, the only ones that come to mind that can hold a fist up against their original are The Postal Service (Death Cab), Kings of Convenience (R–yksopp), Spiritualized (Spacemen 3) and, I guess Derek and the Dominoes (Cream). But I still wouldnít say that these bands have eclipsed the originals in any way. Timber, though, is a project that utterly shatters its membersí popular original bands. Warren Spicer is in category one. This is basically the acoustic version of his unpredictable instrumental rock trio Plants and Animals. And although it is Katie Mooreís first official band, she has contributed her country vocals to a very wide range of musical acts in the past. Lastly, David MacLeod, to whom the vision of Timber belongs, is just getting over the dismantlement of Spengler, an ancient Montreal name that helped bring independent label/production co. Blue Skies Turn Black into the limelight not long ago. The legacy of Spengler may only echo throughout the cold streets of Montrealís Mile End district, but Timber has the potential to stretch its young arms coast to coast. The New Gentlemanís Shuffle is one of the best albums Iíve heard in a long time. It is defined by Spicer and MacLeodís gorgeous guitar picking, weaved together like a quilt of folk history. Mooreís gentle vocal harmonies blend flawlessly with the beautiful slow progressions of ìWaysideî and ìCriminalsî. ìNew Gentlemanís Shuffleî and ìShowtuneî have a more hokey rhythm, revealing how loose and silly the trio can become at times. What separates Timber from its modern country counterparts is the fact that all superfluous instruments are left out. Drums appear only twice on the album, and are limited still. This creates the impression of the solo musician, and images of Dylan and Drake are often provoked. Timber is a hearty, honest testament to the power of local networks of open-minded musicians. MacLeod also plays bass for The Field Register, a post-rock ensemble that shares the shelter of newborn record label Ships At Night and debuted their catalogue. There are elements of Spicerís Plants and Animals that submerge as well as influences from Vancouverës Mohawk Lodge. Every composition on The New Gentlemanís Shuffle is indicative of the trioís talent and creativity. Itís one of the most beautiful quilts youíll ever hear and it goes against the tide of the side-projectís plight. -Jeremy Young \| (email)

The Rinse The Rinse EP (Self-released) Rating: I first discovered The Rinse on myspace.com where I received an invite to be their friend. I get a number of these requests, but I normally take one listen and move along. When I went to their page and their music came on, I was hooked. It was only moments later that I was clicking on the ìBuy Nowî icon. The Rinse have catchy hooks and a British attitude. A lot of bands are trying to reinvent the 1980s. I have a bad habit of lumping many of these bands into the same category; however, The Rinse have found a style that is distinct and all their own. Lead vocalist Will Bates, London native and now NYC rocker, gives the band an over-the-top British sound, reminiscent of Iggy Pop and David Bowie. His vocals are fun and poppy without giving you a sugar overdose. To generate texture and even more of a party sound, The Rinse incorporate harmonies and shouting in the background that makes their tunes instant anthems. Along with Batesí British sass, he is joined by a group of rockers from Iowa to LA who bring their own flare. All 5 songs on The Rinse EP are winners. Each one will slowly seep into your brain until you canít get it out of your head. ìRollerskating,î the first song, is the catchiest and will make a great radio single. ìLo-Fiî and ìChief,î two of my favorites, have more attitude and less sugar. A moodier and funkier ìRecipeî is less of a dance tune, but adds diversity to this already great CD. This EP will be The Rinseís first step in taking over the world. And Iím sure when their done, kids from London to New York to Tokyo will be talking about how they are ìRinsing It.î Check out The Rinse at therinse.net or on their myspace.com page where they have three new songs that will surely not disappoint. The Rinse play at Rare in New York City on June 16th. -Gina Favata \| (email)

Seismic - Seismogenic (Get Richter Records, 2004) Rating: Seismic, an outfit out of southern California, is a jam band and proud of it. Indeed, their first release, Seismogenic, is pretty much what happens when you get a jam band into the studio... and that's not necessarily a good thing. From listening to the live MP3s on their website, it's obvious that Seismic puts on a great show with abounding energy. But since the very origins of the jam band, it's been a frustrating endeavour to translate that onstage performance to tape, at least with any consistency. Seismogenic definitely has its moments. "Sixth Avenue" is a real highlightóa great instrumental piece in the Allman Brothers tradition, with a gorgeous intro, beautiful blends of piano and guitar tones, and shifting major chords that are upbeat, accessible and still engaging. "Think About", the opening track, boasts some nice rolling piano lines (like those found in some of the more ragtime, bluesy Beatles songsóthink "Lady Madonna") and an unmistakable Phish influence. "Rosy Okenfold" plays out like a Garcia-style Dead song, with a fun chorus loaded in harmonies. But there are too many duds to really enjoy this album. "Slappin' It Down" has an 80s space-age weirdness to it, and a rambling guitar solo that's at times off-key and borderline unlistenable. "The Race" is another strange song; the snakelike riff underneath everything is enough to induce a bad trip in itself. "The Killer" has definite potential, but doesn't reach it on this recording. In the end, I guess that's the persistent challenge in trying to capture the live chemistry, vibe, and enthusiasm of a jam bandóthe songs depend so much on improvisation that it's always going to be hit or miss when they're finally performed in the confines of a studio. And Seismogenic is a perfect example. -Jason Holloway \| (email)

The Jumblies Catch It If You Can (Self-Released EP, 2005) Rating: I came across the Jumblies unexpectedly, at a Wake up the Earth festival in Jamaica Plain last monthó and it's no wonder, their recent show schedule has featured a relentless invasion of bars, clubs, radio stations, and festivals in the Boston area. Their latest release, the EP Catch It If You Can, seems to be a good sample of their pleasant, atmospheric sound. The songs are almost drowning in reverb, but it works for them, much like it does for bands like the Cowboy Junkies and Luna. The first two tracks are awash with lush female vocals led by Katherine Deakins. "No Silence" does a nice job of keeping a fast-paced song mellow, and benefits from Clara Kebabian's violin. "Morningside" is a soft, emotive song, with a lovely chorus and interesting guitar work throughout. The real gem of the EP though is the charasmatic title track, which probably should have been placed first. An addictive song with infectious guitar riffs and melodies, it's somehow a perfect combination of Brit-pop and the Screaming Trees, if there ever was such a thing. This is the only song featuring Mark Heng on lead vocals, and you can tell his voice has been treated a little, but it actually works well within the new-wave context of the song. While the Jumblies make for an enjoyable listen, there's not much about them that would make me jump out of my way to track them down. Their percussion and instrumental arrangements are terrific, but neither lead singer really stands out as being Something Special. By the same token, however, they're well worth your attention if you happen to run into themóand with their rigorous touring schedule, you're likely to! The Jumblies play the Lizard Lounge in Cambridge on July 30th. -Jason Holloway \| (email)