Tuesday, August 26, 2008

The Butterfly Effect - Now Everybody

In the summer of 1997, Ron G. mentioned he wanted to start a band with me when he got back to South Bend in late August. Later I found out that his idea was something where I was playing drums and he was on bass, but by the end of the summer I had a pile of new songs written on guitar (some left over from the end of The Cuba Five) that I was eager to play, and so The Butterfly Effect was formed. Vinny C. was living in Chicago at that point, but was convinced to come to South Bend on occasion as a temporary drummer. Not long after our first practices, Vinny moved back to South Bend and is still living there. About a year later, we recorded Now Everybody-- at Plinko Studios, our friend Garth's basement studio over Thanksgiving weekend. Four days before recording, I completely lost my voice. Timing is everything, as they say.

The tape included the following liner notes from Chris O.:

Though catchy in a grandmotherly fashion, the "From the mouths of babes" argument is hardly compelling. First, it seems to slight the unsightly. What right-minded grandmother would stoop to such a lowbrow dis? Perhaps if said grandmother had an envelope-pushing band of her own competing for market shares in the highly competitive South Bend, Indiana market and not simply biannual envelopes garnishing pop-up greetings and five dollar bills, one could start to see the seedlings of an intergenerational "scene conflict." And what sort of credence should be given to grandmothers making claims of "hipness" to current styles of punkrocity? Certainly their modes of thinking concerning current modes of coolness are outmoded. What kind of person is comfortable hearing their grandmother refer to a person as a "babe"? At the very least, it seems more grandfatherly! In the use of the word "babes," which seems most problematic, one might say that these aging laggard women mean "bab[i]es." The classic definition of the entire phrase then meaning "Interesting and insightful witticisms come out of babies' mouths." A few quick consultations with fellow consorts immersed in the "indie-rock subculture" revealed a short but thorough list of things that "hipsters" have witnessed coming out of the mouths of "bab[i]es": "a silvery stream of spittle," a "gaseous flow of small iridescent bubbles," and a "nickel." "The Butterfly Effect," then, seems to have very little to do with infant intellectualism.

At this point it should be noted that "The Butterfly Effect," the rock troupe, should not be confused with "The Butterfly Affect," a theory proposed in 1949 by Gerald Gootes and Florence Shingles of the University of Notre Dame concerning the higher IQ scores of Irish-American, Columbian-Italian, and African-American male toddlers subjected to the intensive spinning of Butterfly mobiles above their cribs as infants. (See "The Butterfly Affect," Nervous Parent Magazine August, 1949) The Butterfly Effect, with an "E," in fact rejects intellectualism in both grandmothers and infants. The Butterfly Effect rejects both the objectification of themselves as "babes" and the preposterous notion that they would resort to drooling or sucking on loose change to feign intellectualism. In fact, contrary to the opinions of the so-called "intelligentsia," The Butterfly Effect seek not to move your pituitary glands or bowels, but your sing-along mouth, heart and butt, respectively. The music seeks to kick and the lyrics seek to move. In the end, one must hope that if an emergency caucus was held, and all the infants, psychologists, grandmothers and vicariously emotional hipsters showed up, the Butterfly Effect would give them one heck of a sweaty show.

I should know.

The title comes from the final line of Thomas Pynchon's Gravity's Rainbow. The lyrics to "Little Ode on St. Anne's Day" are a poem by Jim Carroll. I gave him a copy of this tape following his reading at Notre Dame and he briefly joked about me hearing from his lawyers before telling a story about being in the studio with Rancid. The sample in "Fat Man and Little Boy" comes from the beginning of Patton. The effect at the end of "The Idiots Dance" is a deliberate rip-off/homage of Pink Floyd. "The Idiots Dance", "The New Gods of the Underground", and "Twenty-Three on Twenty-Four" were re-recorded for the second Butterfly Effect album a year and a half later.


see also:
The Butterfly Effect on MySpace

Tuesday, August 12, 2008

Streganona - 4:4

Ahh chilluns... here's a special treat for you. We're kicking off a new feature of the SBP90s blog today -- Friends of The Bend! Periodically we'll be taking a break from the SB 90s local scene to highlight some of the fine out-of-town acts that came through our little burg to show us a good time.

And talk about a good time -- who could forget the handsome lads of Streganona! Hailing from the Hyde Park area of Chicago, they ascended on The Bend (maybe twice?) thanks to a connection with our good pal Dave M., if I'm not mistaken. They rocked our bodies and stole our hearts, sparking much debate as to which band member was the sauciest (the drummer, of course!). Smooth and sexy basslines, driving and frenetic guitarwork, dual singing and screaming vocals, and oh those beautiful beats... what's not to love!

The four songs on this cassette were recorded on the bass player's 4-track in February of 1995, which is probably shortly before the time they came to play for us. I've got two copies, and they both have different covers. Maybe yours is different, too... I'm not sure how many variations exist. A note on the sleeve says "For optimum sound quality, Streganona suggests a decreased midrange and a maximized volume." I recommend you comply!


Got a suggestion for a future "Friends of The Bend" feature? Who was it you remember that came to town and rocked the house (or basement, for that matter)? Leave a comment and let us know! Thanks!

Wednesday, August 6, 2008

emiLy - engineering means i Like you

"It's Mike's turn to be in the zone! Mike, welcome to the zone... "

So, my first entry on South Bend Power Nineties. I am in the zone.

Imagine a time when you could load up the beat-up old Chevy Suburban, drive west all the way across the state of Illinois to a place called Galesburg, unload guitars, amps and drums, carry everything up a long flight of stairs into a small studio serving as a radio station at Knox College, set up and play a live set that was simultaneously being aired over the radio and recorded for posterity, then break everything down again, carry it back down to the truck, go eat dinner, then do it all over again that night, 'cept this time instead of a radio station it was a show at the campus coffeehouse with a crazy fast hardcore punk band called Haymarket (one of many). I get tired just thinking about it, but we're old now.

Well, we did it, thanks to two guys at Knox College, Trent and Cyrus, who heard our Finer Time 7" (see previous SBPN blog entry below), liked it, enough to invite us to their school to do the radio broadcast and live show. They were also nice enough to let us crash at their place before driving all the way back to South Bend the next day, and feed us excellent vegetarian cuisine. Oh, and allow moi a superfreakout nostalia session of Atari 2600 geekness: Yar's Revenge. If you're out there and reading this, thanks you guys.

"All right! ... I'm in a much better mood now... "

I think this recording accurately captures the intensity and range of emiLy at the time, the 1993-1994 version of emiLy. Joe had reached the zenith of his screaming-lyrics ways, the songs were getting longer and more complex, and we were still screwing up just enough to keep it punk.

According to Doug, regarding this recording, here's "other pertinent info gleaned from the insert: recorded in two hours on april 9, 1994 (FOURTEEN YEARS AGO?!?? ARE YOU FUCKING KIDDING ME!!!?!?) in the WVKC studio at knox college in galesburg, il." That about sums it up.



see also:
emiLy on MySpace
emiLy on last.fm