Volume 2, Issue 19 August 31 - September 13, 2000

Fenix tx

Fenix tx (formerly known as Riverfenix) came together on the north side of Houston in the balmy southern autumn of 1995. In search of a life bigger and better than a job at the local Gunspoint Mall, and being-- quite frankly-- bored out of their minds, the original three members decided to avoid the path that so many of their ghetto neighbors had followed. Leaving a life on the stoop behind, they picked up instruments and started a band. The droves of girls that followed were just a perk.

After a long drawn out search for the world's tallest bass player and the world's angriest drummer and after the original singer was injured in a tragic seagull-related accident-- the lineup solidified with Willie and Damon on guitars and vocals, Adam on bass, and Donnie on drums. When not avoiding drivebys or trying to convince vegan Donnie to eat bacon, the four devoted their time to writing songs and playing shows, building a strong draw in their home town. Early tours helped build a nationwide audience. That audience grew when Fenix tx moved their operation to sunny San Diego, where the humidity is often below Houston's 175%.

The widened audience drew the attention of manager Mark Hoppus and the Tahoe Agency, who began booking Fenix tx on large tours across America and Canada. They've played with such bands as Blink 182, Unwritten Law, BuckoNine, Reel Big Fish, and even one memorable show with '80's icons Duran Duran. With the single "Speechless" in full rotation on L.A. 's KROQ, Fenix tx merged their association with indie label Drive Thru Records together with MCA, subsequently remixing and rereleasing their first album along with two new previously unreleased songs. Most of the record was produced, engineered and mixed by Jim Barnes, with most tracks on the DriveThru/ MCA Records rerelease remixed by Jerry Finn (Blink182, Green Day). Ryan Greene (NOFX, Lagwagon) also recorded and mixed two new songs, "Flight 601 (All I've Got Is Time)" and "Surf Song." With a "new" album came a new name. Looking to leave behind the clean and drugfree image of their former namesake, and also to avoid a lawsuit with the mother of the real River Phoenix, Riverfenix became Fenix tx, paying homage to the state that spawned them. The rereleased album, now simply titled FENIXtx,covers a lot of bases. From the opening chords of "Speechless" to the album's glorious cock rock guitar solo played by guest axeman Ro Sahebi, FENIXtx is the musical equivalent of the Texas chainsaw massacre, only slightly less bloody and a lot more fun.

The band sings about normal things from everyday life, including multiple stomach pumpings at the E. R. ("Apple Pie Cowboy Toothpaste"), assassinations ("Minimum Wage"), and wasting your girlfriend's stepfather with a Louisville Slugger ("G.B.O.H."). The future promises to bring continually greater success for Fenix tx. A new album is in the not-so-distant future (the droves of girls are, of course, still just a perk). For now, with the album's re-issue and their touring schedule psychotically overbooked, it's all work and no play for Fenix tx. But that's the way it goes when you're young, gifted and blacked out. Watch for Fenix tx, coming soon to an emergency room near you.

Fenix tx will be rolling into the Fox Theater in Boulder on Saturday, September 9.

For a city the size of Denver and the steep competition to squeeze money from its ever-wealthier-SUV-driving-Super-Bowl-crazed demographic, the job of making classical music appealing and relevant may seem overly ambitious. Colorado Symphony Orchestra (CSO) conductor and music administrator Marin Alsop has risen the bar, so to speak, and faithfully assembles unique and challenging music for the orchestra and the patrons. Only those who attend any performances during the CSO's busy season know what a great big secret Denver has in this orchestra.

The Colorado Symphony Orchestra opens another noteworthy season with the Gala Weekend of September 8, 9, and 10. World-renowned violinist Nadja Salerno-Sonnenberg joins maestra Marin Alsop in a Tchaikovsky program that leads the way to a jampacked season of great music and stellar performers. So many of us are fans of classical music, but simply don't know where the hell to start. Following are three myths about live classical music performances that tend to repel the young urban hipster, or anyone else for that matter, who has not strayed into Boettcher Concert Hall on the weekend.

1) It's music for old people. That may be the perception, but how did it get that way? Chopin died at 39-- not old. Liszt could technically be called the first rock star; women swooned and flung themselves at him after witnessing his pianistic prowess. Mahler has some of the loudest music around in sections of his symphonies (or how about king o' drama Richard Wagner?), so I know the volume isn't an excuse. Any type of music can be found in this program although it's often mislabeled as "classical." Jazz vocalist Dianne Reeves appears April 6 and 7, March is Mozart month, and Rachmaninov, Stravinsky, and Brahms (all heavy hitters) are sprinkled throughout the impressive season. Maybe one reason why older people like the symphony is because younger people stay away from it.

2) It's hard to understand. Maybe during an opera, this could pass as a poor excuse. In Western Art Music (the PC term for "classical" these days), the ears just have to expect something else. A melody or short musical phrase may be repeated in different ways, creating an entire symphony. The trick is to listen for how it's done (All-Beethoven program, December 13). The composer could be expressing his feelings directly to the audience through the wide contrasts between movements of a piece, allowing the sheer beauty of each melody speak for him (Dvorak, Symphony No. 9, February 23-25). A rare glimpse of history and culture can be revealed by a group of composers who lived through the same time and place (Russian Revelation program, March 9-11). A night could be spent listening to the gorgeous cello during a rare performance of Elgar's Cello Concerto (January 11-13). Other highlights speak for themselves, with the likes of classical guitar wizards Sergio and Odair Assad on October 22, a Gershwin tribute September 2830 and the hauntingly massive Verdi Requiem, May 24-26. Plus, there are helpful program notes, similar to Cliff's Notes, in the free program guide.

3) It's too stuffy and expensive and proper and dressed-up and weird. The arena is circular, huge, and hardly ever packed to the gills. The seats are comfy, the lights are mellow. The sound is magnificent. Sure, there are a few tiny rules, like don't clap until the whole piece is over even if the music stops. If you are unsure, wait until everyone else claps. Rome wasn't built in a day. Oh, and don't talk until the intermission. Is that so hard? Seats can be as cheap as $10 per person if you have a student I. D. Watching the players is interesting, especially the violin section and upright basses. People wear whatever they want. There is a bar strategically located right outside the foyer. Often there are preor postconcert chats with Alsop and the guest performer if you want to get a head start. Parking sucks, but is cheaper than most other lots. The shows have almost always concluded by 10 p. m. with the 16th Street Mall and LoDo just down the road.
--Judy B.
Now that you have no more excuses, check www.coloradosymphony.org or call Performing Arts Ticketing at 303-986-8742.

DJ Fury was by far the most controversial figure of the night, light-heartedly dogging all music that wasn't jungle, and making a few less-than-appreciated comments during his presenter stint on stage. Still, he made out with the big local award and got a chance to spin ahead of Mark Farina (as did everyone's favorite girl, Miss Audry). Here's a list of the winners. For the complete voting breakdown, visit www.localstation.com

• Colorado's Favorite National DJ: Mark Farina
• Colorado's Favorite Local DJ: Fury
• Best Breakbeat DJ: Jeremy
• Best Hip Hop/ Trip Hop DJ: Dijon
• Best House DJ: Skunk
• Best Jungle/ D& B DJ: Fury
• Best Producer: Seafoam
• Best Techno DJ: Vitamin D
• Best Trance DJ: Byron Holstine
• Best Up & Coming DJ: Nutmeg
• Best Breakdancer: Mecca
• Best Club of the Year: Snake Pit
• Club Night of the Year: Skunk Motel
• Party of the Year: Summer Love
• Promoter of the Year: Together
• Best Record Store: Casa Del Sol
• Most Supportive Male: Q Hefner
• Most Supportive Female: (Tie) Sarah Castillo and Space Pussy

And one more thing. For those interested in seeing injustice in action, Willie B.'s big court date is December 18.

Prince has been using his newly restored name to play Judge Judy in the music world of late. Recently, on his website www.npgonlineltd.com, he accused Carlos Santana of stealing his song "Calling" (off the multiplatinum Supernatural album) from Larry Graham. Prince posted a snip of Graham's 1973 song "People" (off the Graham Central Station album) and a snip of "Calling" to prove his point. Apparently, the publicity worked, as Prince has posted that "Carlos Santana and Larry Graham have settled their differences out of court like 2 gentlemen. Case closed."

Meanwhile, still in the realm of musical litigation, Madonna has sued pornographer Dan Parisi for "squatting" on the madonna.com domain name. Parisi argues that the name "Madonna" is in use by thousands of individuals, hundreds of corporations, and is trademarked in 275 worldwide courts. Precedent on these cases is fuzzy: Jethro Tull won the rights to jethrotull.com, but Sting lost his case for sting.com since his name happens to be a common word. Where the Material Girl falls is anybody's guess. The case is now pending in the WIPO, the United Nations court for international disputes.

And speaking of disputes, Garth Brooks peeved his neighbors with a plan that would turn his "Blue Rose Estate" in Tennessee into a Graceland-style museum and theme park. After an angry town meeting in Goodlettsville, where the sprawling estate is located, Brooks and his spokespeople backed away from the idea. No word on whether the people objected to the increase in traffic such an attraction would cause, or just in the name of good taste.

CD Reviews NGOMA: DO U NO?

The hip hop scene in Denver has been trying to breath some life for awhile now and things seem to be grabbing hold. Make no mistake, nGoMa might ust help lead the way. The Do U No? CD is the vehicle that will no doubt put the air in their tires to get them rollin'.

With 18 tracks of smooth and solid beats, this duo raps eloquently over all of them. There are no little nursery rhymes and hibby-to-the-hibbity-beat stuff here. nGoMa is able to put good substance and culture into their lyrical prowess while adding catchy tunes to back to. My favorite is track number four which nGoMa added a cameo appearance from a chick called Voice. She backs her shit up too.

Listening to this disc gives you a good feeling about the hip hop scene that these guys represent. The come out steppin' big with proud lyrics about being from Denver and actually being on the map. They may have some east coast style, but I think they are applying it up in here with guts and, more importantly, talent.

This CD is very slick. The production is top notch, which gives me even more to say about these guys. Sure, they might have had a little help on some mixing and mastering, but ultimately you can tell there's a lot of blood sweat and tears put into this project. All in all, I must say, if you like rap or hip hop, check this one out for sure. nGoMa deserves to represent Denver.
"A+
--Tenswing

PEARL JAM: BINAURAL

If imitation is the sincerest form of flattery, then Pearl Jam must cringe every time a band like Creed graces the airwaves. The growly, passionate vocals, the weak-kneed '70's metal guitars, the anthemic catharsis in every song-- few bands suffer the weight of the grunge movement more than Pearl Jam. Which is too bad, because beyond their watershed Ten album in 1991(!) they've taken huge artistic and commercial steps away from that arena-ready howler, much to the chagrin of the critics and the masses. So at this point, you think you know Pearl Jam, but actually, you probably don't.

Binaural is a compelling reason to step back into the fray, for despite highprofile collaborations and performances with legends such as Neil Young and The Who, the influence of those luminaries is fleeting at best on a modern Pearl Jam album. And thank god, that tepid "Last Kiss" from last summer is nowhere to be found. Instead, the band churns and burns through some of the most wandering grooves of their career, rolling the dice once again when all along they know they could just rework "Jeremy" and become adolescent heroes for another summer. For example, "Breakerfall" lays down hard, yet dodges melody in all the right places, and sets the stage for Fugazilike rhythms throughout. "Light Years" rolls as a ballad. "Nothing As It Seems" is another epic single if you like songs that don't sound like they should be on Top 40 radio.
A
-- John Davidson

POE: HAUNTED

It's been five long years since Poe released her first album, and although it's questionable whether the reclusive singer's latest opus will receive even half as much attention as her debut, Haunted stands out as a breathtaking, almost frighteningly sincere effort. Ghostly sound effects and dark triphop beats guide Poe's bleak vocals through dark, winding soundscapes drenched in regret and longing. The CD's opening track is a creepy phone call, with Poe singing to someone who refuses to answer her pleas for communication. Here, her voice sounds far away, almost like the faded warbling of an apparition as she croons into the phone's mouthpiece. Elsewhere, on tracks like "If You Were Here" and "House of Leaves," the fog of melancholy is lifted a bit to make way for a more sentimental sound, but these moments only take away from the album's ominous tone. Like her namesake, horror master Edgar Allen, Poe is at her best when she digs deep into her vivid imagination and spins morbid tales of death and isolation. Sure, the guys from Korn might have plenty of "Issues," but it's nothing compared to the spooky shit going on inside this woman's head.
"B+
--Morie Benjamin

RICHARD ASHCROFT: ALONE WITH EVERYBODY

Whatever the reasons for The Verve's latest breakup, frontman Richard Ashcroft seems content to continue the band's smooth Britrock tradition. And why shouldn't he? The triumphant Urban Hymns was composed mostly of songs Ashcroft penned after the band's previous split, and which he'd intended for a solo project anyway. Consequently, there's no stylistic or thematic shift on Alone With Everybody. Ashcroft continues to wear his heart on his skeletal sleeve, so the abundance of sweeping strings on Alone isn't uncharted territory.

If Ashcroft suffers at all from the loss of his bandmates, it's when Alone lacks the muscular sound of a group at full steam. Occasionally, his airy melodies don't boast enough backbone, and he relies a bit too much on midtempo arrangements that can blend together. Still, there's none of the swirly space filler that sometimes bogged down The Verve, and when Ashcroft's in full trancelike swing, few can match his phrasing and singing style for sheer emotional impact. Alone lacks anything as transcendent as "The Drugs Don't Work" or "Sonnet," but the brisk weaving of longing and hope Ashcroft crafts in songs like "A Song for the Lovers" and "Crazy World" provide an even more solid foundation for the emotional peaks he strives to reach.
B
--Andrew Gilstrap