PONG
Materializing out of the fog machine with 2001's Killer Lifestyle, one of America's great post-punk spawn, Austin's Ed Hall, added keys, a second guitar, and gave itself a New Millennium makeover: Pong. Fun replaced fury with funky, a lithe, robotic bounce – They Might Be Giants as opposed to Trance Syndicate. Twenty grand later, the video soundtrack to Killer Lifestyle's "Bubble Jungle" has ballooned into Bubble City, early android beefed up with Man or Astro-Man? And like Ed Hall's 1995 swan song, La La Land, this sequel never betters its opener, "Killer Lifestyle."
Sharp scales peel off into the broiling underbelly of bassist Larry Strub and Lyman Hardy's bedrock drums, up from which Shane Shelton's synthesizer burps lava lamp bubbles. Guitarists Gary Chester and Jason Craig zigzag it together with spidery weaves. Behold the first Red River anthem of 2005: "He's a real smooth talker, he drinks Johnny Walker. He says, 'Gimme Johnny Walker and water without the water.' He says, 'This is the killer lifestyle.'" Does he ever. "He say, 'Get into my limo, I really like your demo, it's snowing in July, and now inside it's raining bimbos.' He talk a walkie-talkie, he fly a helicopter. The best seats in the house like he's the Phantom of the Opera, singing, 'This is the killer lifestyle.'" A total bore, you know him well. "He's a fake punk rocker, he gets baked like Betty Crocker. He makes lots and lots of money, but prefers to eat a Whopper. He says, 'This is the killer lifestyle.'" At the end, cascading melodies fall like rain in the biosphere. Brings a tear to your eye.
The calliope intro to "Secret Meat" and space needling riffs don't miss a beat next, herky-jerky skeleton riffs à la Oingo Biongo. Batting third, the other hit is the Seventies cowbell intro and Grand Funk of "Interpol," aka "Interpol boogie," automated vocals et al. The rest of Bubble City never quite measures up to its lead-off trio of songs, but at 37 minutes, it cuts 12 minutes of flab off the debut and is as lean as fluorescent body paint. To its considerable credit, Bubble City's bob and bounce shore up nominal tunes better than any band has a right; Strub/Hardy are indie rock's Bernard Edwards and Tony Thompson. More Seventies ("The Owl") and a pastoral instrumental ("After School Special") give way to closer "Finally," a goof about Led Zeppelin's cutting tape (complete with Darkness/Young Heart Attack outro). Just as Houses of the Holy didn't include its namesake, Killer Lifestyle saved its best and brightest for Bubble City. This is the "Killer Lifestyle." - The Austin Chronicle
Who Is Moving Matter?
Moving Matter, the enigmatic Austin, TX-based rock and jam outfit, have released their 3rd full length album in 2007. "Live at Grego's" is a 2-disc showcase of the band's raw, live power, unmatched improvisation, and noteworthy songwriting abilities. Since completing their 4-piece lineup early this year with keyboardist Dustin Bozarth, the band has steadily built on 2006's momentum that included raging performances at Camp Bisco V, and Austin's ATX Fest.
Since relocating to the musical mecca of Austin from Ft. Collins, CO in 2003, the band has steadily progressed, continuing to hone its high-energy sound, and frequently garnering praise and comparisons to such acts as Sound Tribe Sector 9, Phish, and Particle. Bassist Chris Holland (deep pocket grooves) and guitarist Josh Pearson (soaring leads) share most of the song-writing duties, while drummer Dan Mcgreevy captains the ship with his rock-steady beats. Bozarth on keys has rounded out the sound with lush synth textures and screaming hammond organ.
Moving Matter's previous LP, "Infrablue" revealed the crafty songwriting and studio prowess that the band had found in recent years, but it is undoubtedly late at night, under the lights and in the smoky bars where Moving Matter creates its magic. Swimming the uncharted waters of live improvisation, the band has a knack for creating powerful music that is undeniably in tune with the present moment and teeming with the energy of those who bear witness from the audience. At their club gigs, its not uncommon to see the band rock into the wee hours, long past last call, as crowds refuse to let the party end and bar managers get sucked into whirling sounds and good vibes of the band.
Moving Matter has shared the stage with such artists as The Disco Biscuits, The Roots, Thievery Corporation, Sound Tribe Sector Nine, Tea Leaf Green, Little Feat, Particle, Tony Furtado, Brothers Past, and Big Head Todd & the Monsters. MM has rocked the stages of The Fox Theatre in Boulder, Antone's and the infamous Stubb’s BBQ in Austin, the Granada Theater in Dallas, and Wakarusa Music Festival in Kansas.

Killa Dilla
Two men, tattered and bruised, appear on the horizon. Unknown, their origin. Unknown, their purpose. Unknown, their struggle. Smoke fills the air as a faint rumble becomes present almost inaudible at first, then gaining strength as the very Earth begins to shake under one's own feet.
"This must be an apparition," a voice calls out "for I have never heard such an ominous sounding tone. Let alone one resounding from the Earth itself!"
Eyes play tricks, ears hear folly, the mind recoils in horror as the very visions once thought to be apparitions take physical form and through them, nay, from within them the very rumble grows louder and louder still until so voluminous that the very molecules behind the eyes vibrate in a wonderful dance of joy!
"This must be magic!" The voice calls again. "This cannot be human, for I have scaled Everest and I have seen the depths of the oceans and never in my life have I heard such a sound! Show yourselves!!"
And as quickly as the two men appear, they vanish.
In their stead is seen a small amulet, a disc if you will. And upon that disc is the blood, sweat, and tears of a thousand generations. A million millennia in waiting, this disc holds the energy of a thousand suns all condensed into a volume the size of the palm of your hand.
And now, as the brain struggles to regain senility, and the eyes adjust to the blinding light, a cry is heard on the horizon, "BEHOLD! We are the Dillion, and all the world shall know us as the Killa Dilla!"



Narcissia Dhial
Narcissia Dhial has had many creative incarnations throughout her life:
dancer, model, clothing designer, musician. While living in Portland, Oregon (1998-2008), she headed two music projects, the doom-swing band Cotton Jenny, and the Jennifer Faust Sextet. She also recorded her first full-length endeavor, Light as a Feather, Stiff as a Board, with Mike Coykendal (M. Ward, She & Him, Bright Eyes), produced by Christian Hurd (Howlin’ Maggy, Templeton, LookBook). Since moving to California at the start of 2009, Jennifer has formed an impressive band, featuring Michael Lindner (Aquavelvets, Mendocino Allstars) on bass, mandolin, and accordian, and David T. Carter (Trailer Park Rangers) on guitar and backing vocals. With her signature Gibson Flying V, haunting, dischordant melodies, and pitch-perfect shadowbox lyrics, Jennifer’s sound remains strictly her own. This year’s performance highlights include the Harmony Festival (Santa Rosa), Yoshi’s (San Francisco), and music featured in the surf documentary,The Find (2009 release). Her first West Coast tour is planned for November.
Sounding like what Pink Floyd would sound like with a sultry female vocalist in 2008, Narcissia Dhial’s songs about psychedelic cowboys are invigorating and amazing. With a voice reminiscent of Cat Power, Narcissia Dhial’s work is hypnotizing and warmly embracing all at once. Her 2007 release, "Light As a Feather, Stiff as a Board," as well as her work fronting the jazz combo Cotton Jenny , are exercises in dreamy folk pop. Not only is she a great musician, but she also spends time modeling and designing clothes for her label, Narcissia Dial. Multitalented, indeed.
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