April 2004

THE TWO KOREAS
LEE VAN CLEEF
THE SLATS
TREASURE CAT
RATSICULE
RANDOMNUMBER
MIND OF A SQUID
THE BESNARD LAKES

THE TWO KOREAS

WAVELENGTH 207 — Sunday Apr 4, 11pm

Purveyor of: NNNN

The Two Koreas is not only a music critics’ band, it’s a band of music critics — eye Weekly music editor Stuart Berman sings, eye listings editor (and former Sun writer) Kieran Grant plays guitar and eye film and music critic Jason Anderson fingers the keyboards. Real indie musicians —ex-Hawaii bassist Ian Worang and The Magnetars’ drummer Dave Gee — comprise the battery.

The band subscribes to a very rough aesthetic. Forget polishing, these guys haven’t discovered sandpaper yet. Let’s hope they never do. I like the fact that Kieran can’t hear The Modern Lovers’ “Roadrunner” in their tune “Drinking With Estonians.” He’s been playing for 16 years, but still hasn’t learned how to do a flash solo — good for him. Jason infiltrates the mix with his tongue-in-cheek, Eno-esque noise terrorism. Meanwhile, the rhythm section is a reliable beast. While the three neophytes grow up in public, Ian and Dave let them Fall but never fall down. And now, a short history of The Two Koreas...

The Conception: Of his karaoke birthday party at Clinton’s upstairs last year, Jason says, “We were surprised to find that Stuart, singing to The Hives and The Strokes, wasn’t tone deaf.”

The First Meeting: “We had to come up with song titles first. Then we went and lost the sheet,” says Kieran. “We had some great ones — ‘Broken Social Scene Application Form’.” Current titles include: “My Postman (Ist Rad),” “Retarded Architect” and “It Is Our Birthright to Be Uptight.”
Know Thy History: “54 Is the New 27” was written after they figured out Warren Zevon, Robert Palmer and John Ritter were twice the age of D. Boon, Kurt Cobain, Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Chris Bell and Duane Allman when they died. “Our most intense rock history moment,” says Jason.

The Influence: At first it was going to be a Fall tribute band, but then they realized there were too many periods of The Fall. It would have to be in the spirit of The Fall.

The Name: Some people think it’s from Pavement’s “Cut Your Hair,” where “career” and ‘Korea’ seem to mingle. So there’s a play on careerism/not a real band. Kieran says, “No, it’s more like when I first heard it, I asked, ‘Why hasn’t anybody used that name yet?’”

The First Gig/ The Drake: “You could see this wave of relief going over people after our first song,” says Jason. “Hey, these guys aren’t a horrible, hideous embarrassment.” “There hasn’t been that much hostility from real musicians,” says Kieran. “I guess nobody wants to look like they don’t get the joke.”

The Singer’s Mystique: Stuart is away at South by Southwest when I’m conducting this interview. He’s a non-musician, but, according to Kieran, “He’s got a mathematical musical mind as an arranger.” “Pretty decent structural integrity for two-chord songs,” adds Jason. “You always have the impression that Stuart has this elaborate scheme, but he’s only letting you in on part of it.”

Conflict of Interest: “Well, Stuart’s the most conflicted for sure,” says Kieran. “As music editor, he has the power. What keeps him from going over the edge is that he has really good taste.” What happened when controller.controller played Cinecycle and it was gig of the week in eye? “We didn’t handle that right,” says Kieran. “Next time we’ll list ourselves as opening act. No ‘local upstarts,’ nothing. Just ‘The Two Koreas opening.’”

The Writer’s Conflict of Interest: I hired Stuart as music editor of eye. I hired Jason to write for eye way back when the paper began — I’ve known him for almost 20 years and he’s one of my best friends. Kieran is a good acquaintance. Jonny, editor of Wavelength, I hired when he worked at eye too. He’s also a friend, though I don’t see him much these days. I was a once in an indie-rock group called The Patabeatniks while music editor of eye.Tim Perlich wrote in Now that I shouldn’t quit my day job (in comparison, he’s practically canonized The Two Koreas, calling these “local upstarts” a “humourous homage to The Fall”). That enough conflict for y’all?

What are the main differences between what you were trying to achieve with early Beef Terminal – nearly 10 years ago — and your goals now? Ten years ago I was kind of just killing time. I was between bands, and I had written some stuff under the name “scarf” which was sort of like Beef Terminal but not really. Then I started expanding those ideas into something a lot more ambient and repetitive, ending up with tracks that were like 20 minutes long on four-track. I put a bunch of them on a tape and played it at a house party I had, and this guy that was all into like German ambient stuff was all over me, asking me if it was an import or something,so I figured I was on the right track. Then I started playing with Kennel District and sort of forgot about the Beef Terminal until we broke up. In a way though, my goals haven’t really changed,and the goalwas basically just to have a way to express myself with music.I’ve gone far beyond my own expectations. My goals now are just to keep doing it, but better each time.

On your website, why have you taken the time to explain the meanings behind some of your songs? I tried letting the music speak for itself for the first two albums, and in some ways that really worked, and in others it didn’t. Basically because the darkness of the earlier work, specifically 20 GOTO 10 this image of me started to appear in reviews of this sad depressed guy or something who never did anything but cry. So this time around, I decided to write a little paragraph ortwo about the songs onThe Isolationist. It was pretty tough to do, because some of that stuff, specifically the stuff about the death of my mother, was really personal and hard to write about. Ithought long and hard about doing it, and ran the material by Jon Isaak as well as Joe English from Noise Factory and they both encouraged me to be honest and say what I felt, so that’s what I did. I feel I have to push myself to go beyond what Iexpect of myself, so that was a way to do it.

To what degree does your idea of “the Toronto music scene” effect you? Really it has no effect on my music at all. I don’t really consider myself part of the “Toronto music scene.” Jonny and Wavelength have always been amazing to me, treated me really well, and the crowds there have been unbelievable. What Jonny and his crew have done with this night is a great achievement and they should be really proud. But that is the only place (in addition to The Ambient Ping) in Toronto that I’ve really felt part of things.

BY BILL REYNOLDS

LEE VAN CLEEF

WAVELENGTH 208 — Sunday Apr 11, 11pm

Purveyor of: Eleven eleven eleven elev (repeat)

Lee Van Cleef use drums, sax, baritone guitar and regular guitar, and are one of the most unabashedly nerdy bands in Toronto. Shamelessly indulging their proggy inclinations, this mix of jazz-school cats, indie rockers and Zappa fanatics luckily do the math with a smirk. Lee Van Cleef is also the the actor who played the bad guy in all those spaghetti westerns (The Good, The Bad and The Ugly, For a Few Dollars More, etc). Baritone axeman Mike Morency-Frame answered the questions fired off by LVC’s mortal nemesis, Clint Eastwood:

But being this is a .44 Magnum — the most powerful handgun in the world, and would blow your head clean off, you’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk?
Shooting me in the face would make you quite the back-stabber. I’m gonna cap a pop in your ass (pistol wink).

Wait a minute, do I get this right? You’re gonna play this creeps game?
Funny is as funny does.

How could somebody in my business go around with a contraption like this?
Wrong address fella, I spray rice patties.

Well how many men are you going to have to hang to heal your scar?
People with ropes around their necks don’t always hang. Me, Chad, Jay and Dean also play in Afro-beat ensemble Ultra Magnus. Playing with the same people in two bands makes Lee Van Cleef a tight crew.

Speaking of whaleshit, what have you turned up?
Dean Wales.

Do you suppose these gentlemen will be available to discuss business before long?
We’re entering pre-production for a very ambitious recording plan in April. We have ten pieces that are ready to go. The Wavelength show will showcase new Lee Van Cleef songs. There are other Lee Van Cleefs, and one Lee Van Cliff, but if you like a lot of activity in your music without all those words, if you apprecate your headphones being properly turned up, if you would like a throw-ride: keep reading... I hope you’re not expecting campfire-in-the-dorm-room songs.

Discuss the following propositions:
a. You see in this world there’s two kinds of people my friend, those with loaded guns, and those who dig... you dig!
Two can dig a lot quicker than one... dig.
b. A man’s got to know his limitations.
Lee Van Cleef limits itself to instrumental composition with a quota for weird time signatures and epic running times. With song titles like “Laughing Stock Car Pool of Blood Bath Bubbles,” I think the music speaks for itself. To the trained ear, one detects a hint of juniper.
c. When things look bad, and it looks like you’re not gonna make it, then you gotta get mean. I mean plumb mad-dog mean. ‘Cuz if you lose your head and you give up, then you neither live nor win, that’s just the way it is.
Poverty doesn’t buy you happiness — only peripatetic compunction with discophorous undulations about the parousia. In the long run, what’s done is dumb. You either music or lose it.
d. Don’t fuck with me buddy. I’ll kick your ass so hard you’ll have to unbutton your collar to shit!
Next caller you’re on the air.

Listen punk! To me you’re nothing but dogshit, you understand?
Wrong address fella, I spray rice patties.

BY CLINT EASTWOOD

THE SLATS

WAVELENGTH 208 — Sunday Apr 11, 10pm

Purveyors of: You can comb my hair, but you can’t make me take you seriously
www.theslats.com

The Slats are a three-piece rock ‘n’ roll band from Minneapolis and Iowa City. They’re bringing their style of D.I.Y rock madness to Canada and hitting up Wavelength in the process. Outoftheshine hit them up by email with a few questions about rock music, home recording, and Canada.

Who are you? Where are you from? What do you do? The Slats: Brian Cox (Minneapolis, MN — Vox/Guitar), Mark Tietjen (Iowa City, IA — Drums), Jon Hansen (Iowa City, IA — Guitars/Vox).

I hear a similarity to some of the more blues-based indie rock bands like Jon Spencer. Would you claim this movement as a musical influence? Brian: Yes and no. I think the similarities are more on the sonic side — we’re definitely skronky, stripped down, and raw sounding. Musically though, I think our songs come from a pop and post-punk type of place. Mark: I agree with Brian, it definitely comes out on the sonic side of things. One big difference is the blues/roots influence on bands like Blues Explosion or The White Stripes, while our influences come from more of a rock or classic pop background, bands like The Kinks or The Beatles. Jon: I like a lot of the blues but we’re really into a more structural kind of songwriting. More experimental.

Do any of your band members have other creative projects like film or painting that would be musically affect your music? Brian: Jon is a writer and I think his background in chemical technology and literature definitely come into play in his writing. I’m a graphic designer. I don’t know if that has too much influence on my music, but I will say that my approach to design and rock has some overarching similarities whether it’s a song, a set list, or our whole body of work, I’m always trying to paint the whole canvas; I think the whole should be greater than the sum of the parts, and needs to work together. Jon: I definitely think that Brian’s graphic design background is influential. I think it affects his lyrics. They’re very imagistic, but not really representational. He says things that make a visual impact, and juxtaposes images in ways that are interesting, even if they’re not really narrative. I write modern history and cultural criticism. So music ends up being another soapbox for me. The Slats aren’t really directly political, but I think my own political engagement affects the overall project by the way we go about doing things.

How do you feel about home recording and the ever-growing use of digital recording technology? Does it take the soul out of rock ‘N’ roll? Mark: I think that digital technology opens up a lot of possibilities for new sounds that you couldn’t get from tape. The potential for new sounds is endless. I think the trouble comes when trying to make digital recordings sound like tape. Accept it for what it is, and play with it like you would tape. Musicians have decades of experience with tape, we’ll see what happens with the digital medium after 50 years. Jon: Digital recording, these days, is the new D.I.Y medium. People should realize that the primary advantage to digital recording is that it’s cheap. Whenever people can afford it, they should use tape. But digital is great if you’re broke or want to do a lot of experimentation.

Why did you decide to go to a studio for this record instead of doing it at home? Brian: I think we just wanted to try something different. We’ve done a lot of recording at home and wanted to experiment with having easier access to a fuller sound. In the end, I think we took a real home studio approach to the mixing, so I think it ended up having a nice balance of fidelity and character.

Who is your favourite Canadian quasi-celebrity or comedian? Mark: I find Canadian entertainment to be dry and uninteresting. Personally, I think that all VHS copies of episodes of SCTV should be destroyed. Jon: I love Chris Jericho, Trish Stratus and Benoit. We also love this band from Kitchener, The Sourkeys. I hate Mike Myers. Not personally. He’s just not funny.

BY OUTOFTHESHINE

TREASURE CAT

WAVELENGTH 209 — Sunday Apr 18, 12am

Purveyors of: Is that a fancy drink in your pocket or is your pants just tight?
www.moreplastic.com

Treasure Cat is a squad of surprisingly articulate and rather well dressed young men who hangout in a backyard garage, smack-dab in the heart of da Portuguese neighbourhood of Torana. They always seem to be cooking something, and if the smoke don’t get you, the food will. Wesley J Ramos asked the questions and really put the boots to the lads, who in turn, put his lad to their boots.

Please introduce and explain yourselves!
Geddy Bossy: I play concussion.
Chico Paradise: Different balls.
Caladon Silverbrow: I play Bigby’s gesticulating organ finger.
Washinda Nakedmen: The Bang-o’s.
Lester Makon Vachon Da Tree: Phasrachik play-on.

Who are your influences, musical or not?
CP: Emmanuel Lewis.
CS: Woogie the cloud camel and Winnie vinegarbottle.
GB: Individual carpet fibres.

What does a band have to do to make some impact in a town like Toronto? Is there a formula for success?
GB: You gotta work it out in the corners and play 60 minutes of hockey. But, hey, a live blood sacrifice never hurt nobody some.
CS: We’re here to put the man back in necromancy.
GB: We’re here to shit the log back in sloganeering.

Is there a Treasure Cat web site in the works? How important do you think a band’s Internet presence is in attracting a wider audience?
LMVDT: Websites are for all nude dancers.
WN: Tug the nuts, tug the nuts, only good boys grow up to be strong.

Is there a recording of your original material available?
GB: There will be an EP soon.

What can we expect from your live show?
LMVDT: Gross diyspepsidence.
GB: Molecular bleeding.
LMVDT: Fine rose water poisoning.
CS: That’s a good one little Jimmy, you gonna go straight to the top. You gonna get saxamaphone, pianto music - cause I plays it with my feet - and the bang-os. All this cause we done learned how to musicalize from the professessor at the ufinersity of psychemadelicization.

What’s next for Treasure Cat?
CS: I gotta piss
LMVDT: Glorious statues in a Puerto Rican town square.
GB: Hysterically crying laughing, crying laughing, crying laughing and spilling the beer
CS: Treasure Cat: the next generation or . . . Initially, Much Orange Repeating Evil Pastry Lozenges Assimilating Super Transcendental Ionic Calculators.

BY RYAn mclaren

RATSICULE

WAVELENGTH 210 — Sunday, April 18

Purveyors of: Interview as la manifesto
www.joss.to/ratsicule

Kristi et Lisa, alleged Bardot sisters, form the pseudo-Parisian duo Ratsicule. Mark B exchanged words via e-mail to get the lowdown on this karaoke sensation.

Who is Ratsicule and what do you do?
Ratsicule est: la premiere electro-pop-punk karaoke freakout duo de Paris (and more recently, Toronto). We are a dancing, prancing, singing machine with many outfits tres sexie, move-busting tunes and gear-grinding hits. We are an internationally renowned phenomenon, oui, oui.

What’s your connection to Yex Gainsbourg? Is this guy fictional? Yex Gainsbourg, our esteemed producer, is not at all fictional. Pas de tout! Yex is simply an international man of mystere whose producing talents are equal to none. Les femmes de Ratsicule met Yex many years ago in Paris, where Yex continues to make his home, although no one, certainement, can say exactly what he looks like. Describe what each member brings to the duo. The relationship between les soeurs Bardot is a complex symbiosis of variant colour schemes, dangerous brain divergences, special musique shake, et frisson! Both of les Bardots bring lyrical dexterity, multi-instrumental talents and vision to the Ratsicule project. However, if you must know, while onstage, Kristi provides restraint and harmonie, while Lisa is more inclined toward tambourine shake and wiggle.

What’s the story behind the name? Ah, we are asked this many times since coming to Canada from Paree! Certainement, les theories abound. To nous, Ratsicule est un mot avec plus d’interpretations. Par example: Interpretation Numero Un: “Ratsicule” = a rat on a stick, but en francais, bien sur. Therefore: ratsic(u)le. Comprend? Numero Deux: “Ratsi” = rat-like; “cule” = derriere. Une theorie self-evident, mais assez cleveur, n’est-ce pas? Et Trois: Une challenging combination of many mots en francais et anglais, i.e., “vehicule, ridicule, ratsicle, supercool!” Oh! Should all the world be chanting such bon mots together! We are open to new meanings also. We are not so close-minded as zat.

What about the song, “I’m Too Slutty To Go To Your Party”? Kristi et Lisa were, one evening, on their way to une soiree tres chic. Donning a very small skirt, Lisa Bardot looked up curiously, asking Kristi: “Am I too slutty to go to this party?” K. widened her eyes, realizing instantly the importance of such une question! The rest, as you say en anglais, is histoire. Mais Ratsicule est never too slutty to go to any party, non, non.

Any advice for the young French girls who aspire to be you? To the many aspiring young filles francaises, we say: Travel widely. Learn everything you can about yeye, punk rock, and les strategies conceptuelles de Brigitte Bardot. This will improve your mind like no other college program can. Accumulate many exceptional outfits. Practice the many languages of the world in the best international karaoke bars. And do not be afraid to sing about what you know: espionage, foreign lands, cooking, sexy ladies, hommes feminins, voitures, Americans in Belgium, l’amour, and, of course, la vie francaise. Ole!

BY MARK B

RANDOMNUMBER

http://discontents.teamcatmobile.com

Randomnumber, a.k.a. Matthew Robson, crafts challenging electronic music that he describes as ”Craggy and lonesome, dirty, yet wholesome.” Matt weathered a barrage of bizarre questions from Bunk Bedouin, and in the process we all learned that perhaps they weren’t so different after all. It was like a buddy movie!

What’s the most important thing in the entire world? Love.

Aren’t you worried about losing your hair? I imagine it will be an issue as I explore the wild terrain of being thirty-something.

Aren’t sine waves the coolest? You can use can use them for sound and math! Indeed they are, although I wouldn’t want to sit down with a raw sine wave and do mathematics with it. I’m a sociology graduate, not a sound design/music technology grad. At the end of the day, I’m interested in making music.

What motivated you to apply for this job, and what unique skills do you feel you possess that would make us choose your candidacy over other applicants? I was motivated by the inescapable fact that the rent man needs paying, the electricity bill arrived today, the gas is long overdue and I owe my mum a tenner that she lent me towards a nasty-cut bag of skag. I have been completely de-skilled by the complex division of labour inherent in advanced market based societies, and thus, posses little more skill than an educationally challenged monkey.

Simplify: sin x3 +b x + c = 0. Speaking of which, if I had a calculator handy...

Do you still find me as attractive as you did when we first met? It’s not that I don’t find you *attractive*, it’s just I want to sleep with other people.

Are you mad at me? It’s not just you, I’m mad at everyone right now, you’re all just screwing up way too much.

Do you think having our bandwidth clogged with trivia and other semi-meaningless factoids might negatively impact our capacity for meaningful thought and/or discourse? There is no hierarchy of information, everything is raw data, it’s just how we choose to impose meaning upon it.

I read Idoru at the airport last week. Are you one of those guys who says stuff like, “There are two types of people in this world: people who love Stevie Nicks, and assholes”? Just curious. Perhaps I was being a bit too glib. There is indeed “truth” out there, however all actions and information are mediated through people or the products of people, so the notion of an absolute truth is inherently problematic.

Let’s be honest. There are two types of musicians in the world - those who make music because they simply have to, and people who make music to get chicks. Which are you? Don’t lie. No word of a lie, I am commensurate with both of the above-mentioned typologies.

Is making mistakes something that you find becomes part of your compositional process? Or is rigid adherence to concept your thing? Mistakes are just something that comes with the territory, with creating music in the digital medium - the magic UNDO and REDO buttons allow you to do dumb stuff on purpose, just to see if the result might sound good anyway.

Did you know that for literally centuries, whale vomit was used as a binding base for perfumes across the globe? Sweet.

BY BUNK BEDOUIN

MIND OF A SQUID

WAVELENGTH 210 — Sunday Apr 25, 11pm

Purveyors of: Let’s get Kraken
mindofasquid.com

Tripped-out and strangely bluesy local foursome Mind of a Squid are riding high on the recent release of their first record Down Low, along with their westward tour of Canada. This Wavelength appearance should mark the ending a full month of touring, which took them all the way out to British Columbia and back. Squid guy Erik “the Atomic Cosmonaut” Culp had a little chat with our very own Kristine K.

What’s the story behind the band name?
The name is phrase in Newfoundland which means things are unpredictable, people mostly. Squids, as well, can’t think independently, they can only function as a collective, and at the time we came up with the name, we were an improv band... so it seemed quite appropriate.

How did the band come to be? Mike, and Chris Bell (of Chore fame), and I used to jam in the Sonic Unyon basement, someone dug us, and booked us a show at the Raven (in Hamilton). From there we’ve gone through many changes. Mike and Chris had many commitments with Chore, and had to leave, and I found Blas (skins) about 2 weeks later, in Oct of 01 on an Internet chat group, Marina (keys/vox) joined the band in the spring of ‘02, and Scott (bass) in the fall of ‘02, to form our current line up

How much improvization comes into the public performance? (or not at all). It’s funny, it seems as though we have been forever marked as a ‘jam band’ by many media sources. We are anything but, now... I mean, bits, and phrases, are messed around with a bit, but every song has structure.

What is one musician everyone in the band is influenced by?
Erik - Miles Davis
Marina - The Smiths
Scott - Black Sabbath
Blas - The Police

The best place in the city to play a show? I really like the Rivoli, its a cool venue, with good sound and a great vibe... but the coolest show... Wavelength, of course.

BY KRISTINE K

THE BESNARD LAKES

WAVELENGTH 210 — Sunday Apr 25, 10pm

Purveyors of: Put the delay pedal DOWN!
thebesnardlakes.com

Tell me the history of your band. Olga: The band began as Besnard Lake in Regina, Sask. in the fall of 1999. We were more of an instrumental jam band, with equal weight given to each individual’s input. Jace and I took off for Montreal in September of 2000, taking with us one of the guys from the original line-up. We hooked up with a drummer and we were again a full band, this time around a four-piece rather than a five-piece. The first shows we played in Montreal were in 2002, We played a show that was a benefit for the Bookmobile Project (travelling ‘zine machine). Things changed quickly after that. Our guitarist and drummer left Montreal, and Jace and I were left alone. We decided to write and record a bunch of new songs together. We have both gone into the studio with other bands before to record songs that were rehearsed as a band. This resulted in Volume One. Jace and I play all the instruments on it; it gets a little weird when we try to isolate who plays what exactly. We are now a five-piece band and ready to rock the road! There’s Kees Decker on guitar and a little synth; Jeremiah Bullied on guitar and synths/organs; Gilles Castilloux on the traps, me, Olga Goreas, on bass, organ and vocals: and of course Jace Lasek on guitar, bass, and vocals.

Best and Worst thing that happened at one of your shows. Olga: Oh my god, the worst (or best) thing that happened at a show was when a friend of ours got into a physical confrontation with this other guy. Second-hand reports tell us that first guy basically went after second guy who was hitting on some guy’s girlfriend! Jace: They bear-hugged then hit the floor and rolled around together for a couple minutes, very sexual. We’re hoping to start jealousy fights everywhere we go. Olga: I must say,I’m a sucker for the drama. Nobody was hurt, thankfully. Jace: No blood, yet.

What do you guys do besides music? Olga: Jace co-owns Breakglass Recording Studios, helps build houses, repairs bicycles, graphically designs, makes art (Expo ‘67 is his current fixation)...and I teach English, am a child-care specialist, and I sell crack to fortify my income...Jace is also an excellent photographer. He shot the photos on our album.

Outline future plans/releases goals: Olga: Well, we’re doing this tour across Canada in April. We’d definitely like to tour some more, hit The States or Europe in the fall or something. But, we are a self-financed band and as such, we’ll need to see where the finances stand. Whoa, I rhymed. Jace: seven inch out soon. We’d like to tour the U.S. and zig zag in and out of Canada. V8’s are massive engines and consume shitloads of gasoline, especially when they are hauling 2000lbs of music gear (wear your earplugs: Hiwatt, Garnet, Ampeg, Hammond) and five human beings.

Tell me about “Volume One”. Olga: Firstly, it’s really hard for me to listen to our album. If someone says, “Hey, why don’t you throw on your record” I’ll say “NO!” I get uneasy about listening to my stuff. Secondly, I don’t consider the album conceptual yet Jace does. I think the songs on the record are evocative and mysterious. It’s art and science, yet it’s neither. Jace: It’s totally conceptual! Girl has novel burned, goes to a night club to drown her sorrow where secondary plot of spy turned musician is preparing to play a show...

Favorite piece of gear? Olga:That’s a tough one. It’s between the cat-o-nine-tails and the rubber ball gag for sure. I have to say my amp regularly blows my mind and shatters the eardrums. 1981 Ampeg SVT love, yessiree. Oh Mr. Ampeg, if you’re out there, I will gladly continue the glorified endorsement of your fine products if you gimme the late 1960s SVT please and thank you. Jace: Hammond tube organ built in 1959. I just removed the guts from its chassis and made it portable for the tour. It really has become a major part of our sound.