KTRU 91.

7 FM

RICE RADIO FOLIO

FALL 2007
two most famous groups: ZZ Top and Destinys Child. In addition to these superstars, Houston also nurtures a thriving underground that is little-known outside the city. Its history can traced, roughly, to the Texas psychedelic movement of the late 60s. Houston was home to both the movements founding record label, International Artists, and one of its most inuential and long-lived bands, the Red Krayola. Wild, irreverent, esoteric, unprofessional, and bracingly confrontational, the band was supposedly bribed to stop playing in Berkeley. The Red Krayola provided a key foundation for the idiosyncratic and intensely anticommercial aesthetic that has continually pervaded much of Houstons underground rock, from the substance-abusing punk of Bark Hard and the Party Owls, to the sloppy, gloriously self-indulgent psych of Dry Nod, Charlambides, and Mike Gunn, to the deranged prog of the Slurpees and the snot-nosed garage of the Fatal Flying Guilloteens. The Red Krayolas most notable aesthetic progeny, however, include the Pain Teens, a dark, almost gothic noise band fronted by the coldly beautiful Bliss Blood, and Jandek, a notorious stage name assumed by an otherwise unassuming Houston man. Since 1978, Jandek has self-released more than 50 albums of weird, vulnerable psych-folk. His prolicacy, however, has been outmatched by his reclusiveness; despite capturing the imagination of three generations of music geeks, Jandek has given only two interviews in his entire life, and did not give the rst of his still-meager handful of live performances until 2004 (in Glasgow, Scotland oddly enough), 26 years after the start of his career. The unrestrained imagination of artists like Jandek has played an integral part in making Houston uniquely welcoming toward free jazz and creative improvised music, helped by organizations such as Nameless Sound, which brings a strong program of avant-garde performers to Houston each year. Traditional jazz has experienced a recent boom as well, with the inux of New Orleans musicians in the wake of Hurricane Katrina boosting the jazz scene considerably. Houston is also home to the International Jazz Festival, the only internationally-geared traditional jazz festival in the country. KTRU has traditionally played a major role in expanding the audience for challenging but intensely rewarding music. The innocence and creativity that mark Houstons underground tradition remain evident in todays rock community. The local indie rock scene is positively jumping with smart, fun, professional bands, and recordings are increasingly savvy and well-made. Notable names include Spain Colored Orange, Bring Back the Guns, and the Dimes, and acts like Motion Turns It On and Sharks and Sailors push prog rock into new and exciting territory. Local rock labels are popping up at a nearly unprecedented rate, providing a desperately needed foundation for local artists. Meanwhile, extreme heavy metal has been and continues to be one of Houstons specialties, with locals like Braced for Nails and Infernal Dominion attracting national attention as grindcore veterans Pretty Little Flower and Insect Warfare continue to defend Houstons place as the power violence capital of the South. Finally, Houstons diverse ethnic makeup ensures the presence of a wide variety of world and folk music, from reggaeton, to tejano, to zydeco, to gamelan. In the past two decades, Houston has grown from a Texas oil town into a booming metropolis that is widely considered to be one of Americas truly international cities. Today, it is a place of many avors, many colors, and many rhythmsall fueled by the unmitigated and uncorrupted joy of creation for its own sake, and by the ability of art to shape an urban environment that can often be forbidding or restrictive. In the spirit of the city, it is this abilitythe transformative power of musicthat KTRU DJs and listeners explore every day. Ian Wells and Daniel Mee contributed to this article

A Rookies Guide to the Houston Scene

By KTRU Staff Houston is one of the best-kept secrets of American culture. Though Houston artists have made fascinating and diverse contributions to popular music, the city has an unjustied reputation as something of a cultural wasteland. Part of that reputation is due to comparison to Houstons close neighbor Austin, which for decades was one of the capitals of American counterculturepart of it is due to a virtually nonexistent local music industry. Nevertheless, not everything from the asphalt prairies of southeast Texas escapes the notice of the music world. Along with Chicago and Memphis, Houston has long been considered one of the true homes of the blues. Legendary blues guitarists Albert Collins and Lightnin Hopkins called Houston home, and the city also played a part in the biographies of Leadbelly, Guitar Shorty and Townes Van Zandt. Yet, though authentic Texas blues can still be heard from the likes of Little Joe Washington and Grady Gaines in the setup bars of the citys Third Ward, blues has been eclipsed in recent years by hiphop, a descendant of the blues that has yielded many of present-day Houstons most innovative, expressive and thunderously ambitious artists, including Chamillionaire, Paul Wall, DJ Screw, Devin the Dude, and UGK. The old and new faces of blues-based music are worn by Houstons

What is the Rice Radio Folio?

The Folio is rst and foremost a programming and listening guide to help you keep up with whats on air at KTRU. We also include a healthy serving of album reviews, playlists, band proles, concert calendars, interviews and news and information about KTRU and the Houston music scene, generated by KTRU DJs for your pleasure. The folio was a more regular feature from the 1980s through early 1990s, when it educated and entertained readers on a weekly basis. The stations boost to 50,000 watts, and resultant lack of a reliable on campus signal until the late 1990s, contributed to its (partial) abandonment. This year, the folio lives again, in a longer, if less frequent form. If you are new to KTRU, the folio is a excellent place to begin what will no doubt be a long and fruitful love affair. If youre already in this relationship, the folio is just another way to get more of what you love.

AP PHOTOS

Austin-based Voxtrot plays to the masses

Austin-based Voxtrot plays to the masses in the Rice Village, on the KTRU stop of the Free Yr Radio tour.

The Body and Soul of Funk

By Ketch Morse Funk is a primal enterprise. The soul musician and the funk groover are locked in the mutual pursuit of carnal and spiritual pleasureloathe to be captured in the printed word. Shouts, wild guitar solos, psychedelic expressions of lust, and bass lines that coax the most timid souls into headlong syncopated grooves are just a few components of the intangible yet divine presence of soul. Funk is the pursuit of every freedomall at once. We cannot catalogue every urge, all the sin, or the sum total of vexed love released wildly into microphones and onto dance oors nor shall we attempt to. I suggest instead that you nd yourself with a willing lover in your arms and a cold drink in your hand on a Thursday night at 7 p.m., tuned to 91.7 FM. Turn it up, and be moved. Musical origins may or may not be relevant to a hermeneutics that rips through your gut with the rst chord and ensuing wail. The sweat on your brow and the longing in your loins are interpretation enough. Can we point back to the grand traditions of the spiritual in this country? Surely. Can we thank Black America? We should, and I do. Can we go and taste the gritty streets of Detroit with our own mouths? Indeed. These things have all made their contributions. I can tell you where funk and soul music came from, but there is a better question: Where will it take you? New Orleans, a strangers room on a steamy Houston night, a dark club in Brooklynthese are all places to receive the communion of soul. Funk is in some regards a history. Loosely, it began in the mid 1960s in this country and experienced its prime from roughly 1965 to 1975. New York, Houston, Dallas, Detroit, New Orleans, Oakland, and Macon Georgia all gave this country something great. This week I featured Dave Hamilton from Detroit, Minsato le mi Daihome from West Africa, and the JBs, among others. Charles Wrights featured One Lie (Leads to Another) is not just an artifact of Watts in the mid-1960s; rather, it is a rollicking tale of romantic unraveling t only for a party. I am partial to many nuanced variations of this wonderful music. Its jazzier side can send you barreling down the highway in a haze of bongos (see Grant Greens Sookie Sookie). Sometimes the sexuality is simultaneously subversive and thick (see Otis Reddings Open the Door). And sometimes its just overt (see Andre Williams Humpin, Bumpin, and Thumpin). But just as there are great men and women and great movements who pass

on, there are disciples. There are those who continue the grand traditions, at once paying homage to the past and modernizing it for the contemporary scene. Look to Brooklyn for the incredible Daptone Records. I kissed Sharon Jones in a moment of frenzied rhythms unbound. Scour the Bay Area for Now Again Records, or cross the Atlantic to nd Jazzman. All these record labels grip the esh of history in one hand and bang out new rhythms with the other. I invite you to join me each Thursday on the nest radio station in town. The party begins at 7 p.m. and jumps feverishly until 8 p.m. Your requests, experiences, and desires are welcome. If nothing else, Ill loudly broadcast a redemption for the evils that plague the condition of the contemporary (wo)man. So join me; weve got stuff to do: party, party, and party. 1

ALBUM REVIEWS
RICE RADIO FOLIO

KTRU SUMMER HITS 2007

FALL 2007 RICE RADIO FOLIO FALL 2007

By: Lindsey Simard During the late 70s and early 80s, cheap apartments in New York Citys dilapidated Lower East Side attracted artists of all kinds, especially musicians. Some of them, frustrated with the conventional song structure and macho posturing of punk rock, as well as with the commercialism of New Wave, created a small sub-genre of post-punk called No Wave. It started with Martin Rev and Alan Vegas Suicide in the early seventies. Vega half sang and half spoke over Revs electronic keyboard and drum machine. The duo delved into dissonance and conict, producing music that was dark and disturbing, yet highly rhythmic. Their song Frankie Teardrop is downright

Deling Rocks Corpse: No Wave

frightening, with Vegas story of the bleak existence of a factory workerthe eponymous Frankiebuilding to unearthly screams. Like their predecessor Suicide, No Wavers preferred creating challenging, detached music to placating or cozying up to the listener. No Wave music was dened by nihilistic lyrics and a harsh, confrontational nature, in performance as well as composition; saxophonsit James Chance, for example, famously assaulted audience members during shows. Lydia Lunch, leader of Teenage Jesus and the Jerks, kicked Chance out of the band for his behaviornot because she disapproved of violence, but because he had acknowledged the audience by ghting. Lunch herself made no eye contact with the audience and restricted her sets to a frustratingly short 10 minutes. No Wave artists generally had a background in a non-musical art, such as lm, poetry, or performance art, and knew little about the instruments they played. Those who had formal musical trainingChance, for example, who was trained by nunswere more interested in creating new sounds than in using proper technique. Instead of using synthesizers or unconventional instrumentations, No Wavers stuck to forcing out noise from electric guitars. Arto Lindsay of DNA developed an idiosyncratic, chaotic guitar style, while Pat Place of the Contortions, Connie Burg of Mars, and Lydia Lunch all

distorted slide guitar to create surprising sounds. Perhaps the best known No Wave album is the 1978 album No New York, which was produced by Brian Eno. It features sixteen songs from 4 different bands: Mars, James Chance & the Contortions, Teenage Jesus and the Jerks, and DNA. Other noteworthy bands from the era include Theoretical Girls, the Gynecologists, and 8 Eyed Spy. Hear a sampling of No Wave and other post-punk during The Modern Dance, Rice Radios post-punk show. Tune in Tuesdays from 7:00 to 8:00 p.m. on KTRU Houston 91.7 FM.

Station Managers Thoughts

Now that summer is over, the station is rapidly settling back into its usual chaos. Ive been given some space to scrawl whats on my mind Its hard work keeping our little station aoat. We are student run and operated, and can always use more help. You can DJ. You can engineer and shock yourself. You can run concerts with some pretty sweet bands, or learn about audio production. You can work on KTRU News, or review CDs to your hearts content. Students do everything. Why broadcast? How else can you have your marvelous voice beamed into the depths of space for aliens to tune into in awe? You can meet neat people promoters, label reps, DJs, and tons of high listeners. All you have to do is play lots of rad music, and remember your alphabet. ABCDEFGHIJKLMNOPQRSTUVWXYZ. Remember it well. You can help out around the station, even if you dont want to DJ. We passed some signicant landmarks last year without fanfare; 2006 was the 35th year of our licensing and our 15th at 50,000 watts. 2007 marks 10 years out from hiring a general manager to help us keep the FCC and RIAA in line, and puts us 7 years out from the Shutdown, for those keeping score. Whats new around here? This folio is one thing, which hasnt been published since 2001, to my knowledge. New programs and lots of events. The vision for the year has us refocusing on our student (specically, Rice student) orientation in the running of the station,

simultaneously reaching out to arts organizations, nonprots, and the like in this fabulous city. But to get where we going, we might do well to remember where weve been. Heres a brief retrospective on 06-07. We came out of the gate taking Houston Presss Houstons Best Radio Station award and built from there. We home-built Robo KTRU that gave us an option other than the World Radio Network or dead air (bzzzzzz) when DJs could not be in the studio. With three brand new music directors, playlist took a pretty decisive turn away from the grating cat screeching ear fuck noises we have been putting on air of late toward something more listenable? Will this change stick? Who knows. We revived the ska show and mothballed the Navrang show and Scordatura show. We also set up the Revelry Report, which gives you the news, interviews, and live performances from the local music scene to live large in Houston. There were eight free concerts for Rice students and Houstonians during

the year, including California-based Sputnik Monroe, claymating comedy of Organ Failure; Houston hip hop with Studemont Project; shoegazing Antarctica Starts Here; a show with the Proletarial featuring The Castanets, Birds of Avalon and Ladyhawk; and a show with Austin-based The Politics. Moxie took the win at the KTRU Battle of the Bands, and The Good Fellows were a judge and audience favorite in second place. In April, The 16th annual Outdoor Show became the 1st Annual KTRU Indoor Show took place, thanks to cold, nasty rain, and featured Moxie, Houstons The Dimes, New York hip-hopper Despot, Norways dark electronic 120 Days, and NYCs Ratatat as the headliner. The show lled the Grand Hall and Sammys to capacity, and then some. We also teamed up with the Contemporary Arts Museum Houston on a monthly basis at their Steel Lounge Underground, and with Free Yr Radio to put on Voxtrot live and free in the Rice Village

The 16th Annual Outdoor Show/1st Annual KTRU Indoor Show

The 16th Annual Outdoor Show/1st Annual KTRU Indoor Show lls the Rice Grand Hall to capacity.

DANIEL REESE

The Origins of Dub

By Scottie McDonald Many people know that American rap/hip-hop had its roots in Jamaican Reggae. The Jamaican toaster deejays used to rap over the instrumental B sides of Reggae singles, and this evolved into Reggae deejay or dancehall music. The early American rap artists locked onto this dancehall approach and molded it into their own urban expression. It is these same Jamaican seven-inch singles, however, that also spawned the phenomenon we know today as Dub music. Jamaica has always been a singles market (possibly because a lot more people could afford them than they could full albums). All any artist needed was one song to put out a record, since the B side was almost always the version side (i.e., the Dub version!). Starting out by simply running the multi-track recording tape without the vocal, the early Jamaican recording engineers began to experiment with mixing the instruments in and out, and adding effects during this phase of the recording session. Having worked long hours to obtain just the right mix for the latest smash hit vocal release, this nal phase became the time when the engineer could stretch outletting go the constraints a structured vocal mix implied. The singer was rarely involved (since their part of the session was completed) and, thus, the engineer began taking more and more liberties with the tracks he had so arduously recorded. As the popularity of these Dub versions grew, the reputations of the top engineers grew as well, and names like King Tubby, Lee Scratch Perry, Scientist, and Prince Jammy became names on exciting Dub releases. Following many years of assembling these B side mixes into album collections, adventurous engineers began producing music specically for Dub. Names like Mad Professor and Adrian Sherwood appeared and became synonymous with Dubs innovative musical experiments. (An expose on Sherwoods On-U Sound record label would be a thesis in itself, with its birthing of Creation Rebel, New Age Steppers, Singers and Players, Dub Syndicate, African Head Charge, and Revo-

From the Music Department

By Adam Guerra The Music Department is in charge of the music we air at KTRU. This job isnt as simple as it soundswe deal with labels and promoters, lter the 50-200 albums we receive each week, and are forever sorting, culling, updating, and curating our stacks. We also select the playlist and then report it to the College Music Journal (CMJ), as we are one of around 60 core stations around the nation. We usually submit our leastknown playlist adds in the hopes that theyll make the weekly CMJ Top 200 charts and garner a little more recognition. Everyone adds Wilco and Interpol, but who adds Susan Alcorn and Mocean Worker? KTRU is constantly trying to educate both the community and our own DJs about music. Education can mean lots of things: In the 1970s, it meant including classical music in our stacks and performing radio drama. In the late 1980s, it meant aiming to become the truly alternative choice in Houston radio. Lately, its meant emphasizing specialty genres, from electronic to blues to noise. The most difcult task we face in the Music Department is judging whether a piece of music is t for KTRU airplay or not. These decisions are necessarily subjective, so we have an important role in dening what KTRU music is, and we take this role very seriously. We consider it our responsibility to bring Houston listeners another option beyond Clear Channel/Cumulus Media stations and their ilk, which dominate the airwaves. In other words, if you could conceivably hear a song on a commercial station, you will not hear it on KTRU. As a non-prot station, we have the unique advantage of being able to listen to music with both ears and our full attention. Consequently, we play music that is beautiful, interesting, and challenging, in many different ways. One of my favorite things about KTRU is the fact that you can hear electronic music, followed by jazz, followed by hip-hop, followed by folk music, all in one show. There is a massive divide between what you can hear on the radio and everything that is out there, and we are in a unique position to ll that gap. Were not a rock station or a country station. KTRU is a music station, and we aim for eclecticismif you dont like whats on now, wait ve minutes. If you dont like the specialty show thats on now, weve got different ones. The music department ensures that this opportunity is available to anyone willing to listen.
3

411 KTRU KTRU is Rices student-run radio station, broadcasting at 91.7 FM

for most of Houston, 24 hours a day, and at 91.5 FM in the Rice area, since Houstons downtown buildings block the signal from our main transmitter. We also reach listeners worldwide by webcasting all of our programming at ktru.org. With its awesome transmitting power of 50,000 watts, KTRU has a large listenership for a college radio station; in 1997 a survey estimated that KTRU had 23,000 listeners who tuned in for an average of three hours per week. KTRU started as the hobby of a group of Hanszen College students in the late 60s and grew to become an FCC licensed station in 1971. Ever since then, KTRU has been treating Houston listeners to a huge variety of non-mainstream music. KTRUs mission is to educate the station membership, the greater Houston community, and the students of Rice University through its progressive and eclectic programming, which includes jazz, blues, rock, electronic music, reggae, hip-hop, world music, folk and bluegrass, funk, experimental music, and many more genres. Whether its music minus one chromosome or ear enema radio, we try to deliver the best music and the least garbage of any Houston radio station.

Artist Prole: Peter Rehberg

By Lance Higdon Laptop performer Peter Rehberg was among the vanguard of musicians who began to explore the sonic possibilities of nascent laptop technology in the mid-90s. After coming on board with Ramon Baur and Andreas Pieper to run the electronic music label Mego, he released his rst album under the name Pita. In addition to releases on Mego, Rehberg has released a dizzying array of records on labels such as Asphodel, Hapna, and Touch. Rehberg calls his aural output Extreme Computer Music, which is a fairly straightforward assessment of his aesthetic. Working primarily with sampled sounds and software applications such as Ableton Live and Reason, Rehberg produces pieces that reect their digital genesis with a metallic sheen and swaths of over-driven tonality. What distinguishes Pitas music from that of other artists working with these sources is a concealed appeal to melody often found just beneath the surface of the storm, as well as a certain introspective quality, leading some to brand Pita as melancholy noise. He has also collaborated with artists across a wide array of avant-garde micro-

genres. He participates in the playfully scattershot trio Fenn OBerg with Mego amigo Christian Fennesz and OG of underground music Jim ORourke. His most recent work with Sunn O))) guitarist and Southern Lord honcho Stephen OMalley, together known as KTL, has gifted the world with Extreme Analogue Black Metal..He is also a founding member of the laptop ensemble MIMEO. Such hyperkinetic activity resulted in his reception of the Prix Ars Electronica Distinction Award for Digital Musics in 1999. Despite such artistic success, Rehberg remains quite self-effacing about his contribution to laptop-based music. In a July 2007 interview with WIRE magazine, he claimed that laptop music was nothing more than music recorded to a hard drive, much like the majority of music now being recorded. Other thoughts include his understanding of the laptop as functioning simply as a synthesizer and his self-assessment as a nonmusician. Despite such humility, Rehberg remains a touchstone of contemporary composition and improvisation.

lutionary Dub Warriors.) Leading Reggae acts like Black Uhuru, Culture, and Israel Vibration began releasing companion Dub albums to their vocal counterpartsall to the excitement of the relentless Dub fan. Soon American record companies jumped on the bandwagon and began including altered instrumental and dance mixes on their top artists 12-inch singles; and with advances in digital technology, so, too, Dub formats expanded and spawned spacedout, instrumentally-intensive electronic, drum and bass, trip hop, etc. Remarkably, whether it be Mad Professor, Scratch, or Sherwood, most of the top names in Reggae Dub seemed to be coming out of the U.K. This continues to be the case to a great extent today with names like The Disciples, Dub Specialists, Alpha and Omega, Vibronics, Jah Warrior, Power Steppers, Bush Chemists, East Meets West, The Rootsman, and Dub Funk Associationall being based out of England. Some great compilation albums have resulted, and excellent collections include the Echo Beach labels series King Size Dub 1012, Tanty Records series Roots of Dub Funk 46, BSIs Docking Sequence Vol. 1, and many more. Releases that have resided atop KTRUs Reggae charts include Ras Commands Best of: Serious Smokers, local heroes Last Soul Descendents Inner Vision, Dubmatix Champion Sound Clash, Teledubgnosis Magnetic Learning Center, Bill Laswells ROIR Dub Sessions and Version 2 Version, and Vibronics Dubliftment. Featured regularly on KTRUs Rice Radio Reggae each Wednesday afternoon, this surge of U.K./E.U. Dub shows little sign of letting up. More and more Dub artists continue to emergeeach with something to add to the already prolic soundscape of Dub offerings. Get yourself a dose of some of this Irie Dub each week when Rice Radio Reggae explores the many facets of Reggae music. Encouraged also is browsing through the shows playlists on the KTRU Web site at http://bang. rice.edu/related.shtml and emailing questions, comments or requests for upcoming shows to reggae@ktru.org.

UPCOMING EVENTS/CONCERT CALENDAR

RICE RADIO FOLIO FALL 2007

SUMMER HITS/TOP 35 ALBUMS

RICE RADIO FOLIO
KTRU Summer Hits 2007
ARTIST Bikeride The bird and the bee The Blow Dead meadow Drop the fear The Ex Fall Fujiya & Miyagi Fursaxa Charlotte Gainsbourg Ghost of the Russian Empire The Human League Human Television Jana Hunter I Am The World Trade Center Meat beat manifesto Mew Mochipet Montag The One AM Radio Andrew Pekler The Sea and Cake Someone Still Loves You Boris Yeltsin various wax poetic ALBUM the kiss the bird and the bee poor aim: love songs dead meadow drop the fear singles. period. reformation post tlc transparent things alone in the dark wood 5:55 with ercest demolition reproduction look at who youre talking to theres no home the tight connection in dub frengers girls love breakcore lone, not alone this too will pass cue everybody broom a new groove brasil

FALL 2007
LABEL shmamm! emi k xemu massive music touch and go narnack tirk/ word and sound all tomorrows parties because music/like thirty ghosts caroline gigantic music gnomonsong kindercore run columbia daly city carpark dangerbird kranky thrill jockey polyvinyl putumayo nublu

Hit the Ground Running By Alice Chai and Philip Beck

Hot summer tours are winding down by August, but the Houston music scene still moves through fall. Houstons scene runs the gamut, so mark your calendars, checkout KTRUs upcoming shows website, and other sites that note upcoming shows in the area. Dont forget to ask around or make a call and see if the show is sold out. Also, stay tuned, and you just might pick up a few free tickets. PICK YOUR FIGHTS: Tuesday, September 11: Sabra Laval @ Super Happy Fun Land Tuesday, September 18: Rodrigo y Gabriela @ Warehouse Live Thursday, September 20: Henry Rollins (spoken word)/Coliseum @ The Meridian Thursday, September 20: Midlake @ Numbers Friday, September 21: Bloc Party/Deerhoof/J versus K @ Warehouse Live Saturday, September 22: VHS or Beta/Walter Meego @ The Mink Saturday, September 22: The Sea & Cake @ Warehouse Live Monday, September 24: Dan Deacon @ Walters on Washington Tuesday, September 25: Interpol/Liars @ Verizon Wireless Theater Thursday, October 4: The Octopus Project/Bring Back The Guns @ Numbers Friday, October 5: Rilo Kiley/Grand Ole Party/Art in Manila @ Warehouse Live Saturday, October 6: Okkervil River/Damien Jurado @ Walters on Washington Tuesday, October 9: Black Lips @ The Engine Room Friday-Saturday, October 12-13: The Axiom 20th Anniversary Reunion, featuring Academy Black w/Mike Haaga, Sprawl, Joint Chiefs and Fleshmop, Cinco Dudes, Blunt, de Schmog, Toho Ehio, Sad Pygmy, Bad Samaritans, The Cave Reverend, Grindin Teeth, Naked America, Turmoil in the Toybox, Jimmy Bradshaw (Squat Thrust), David von Ohlerking (The Awful Truth), and more @ TBA Make sure you check out calendars online for a full list of upcoming shows! http://www.namelesssound.org/ http://www.superhappyfunland.com/super_happy_calendar.htm http://www.spacecityrock.com/ http://www.superunison.com/

Upcoming KTRU Concerts, Events & Other Important Dates

*All items subject to changeStay up-to-date at ktru.org with maps, times, etc.

Friday, September 7, 10 a.m. -10 p.m.

KTRU Live Broadcast @ Rice Memorial Center Lobby

Saturday, September 8, 2 p.m. 5 p.m.

FREE Concert: Le Thargic, Earnie Banks, The Mathletes @ Ray Courtyard, Rice Memorial Center (Rain: Grand Hall, Rice Memorial Center)

Wednesday, September 12, 5 p.m.

Deadline: Fall DJ Applications

Saturday, October 6, 3 p.m. 6 p.m.

FREE Concert: The Blades, The Gowns, A Pink Cloud. @ Valhalla, Rice University (Rain: Grand Hall, Rice Memorial Center)

Saturday, October 20, 2:30 p.m. 8 p.m.

Unusual Animals: Our Ears Depend On You Featuring: The Wiggins, Space City Gamelan, Moth Fight, Future Rapper, Hearts of Animals, Cryptacize. @ Diverseworks

Friday, November 30, 8 p.m.

KTRU Dance Party: Mixing Live @ Steel Lounge, Contemporary Arts Museum Houston

TOP 35 (GREEKING OF 35 ALBUMS)

ARTIST Bikeride The bird and the bee The Blow Dead meadow Drop the fear The Ex Fall Fujiya & Miyagi Fursaxa Charlotte Gainsbourg Ghost of the Russian Empire The Human League Human Television Jana Hunter I Am The World Trade Center Meat beat manifesto Mew Mochipet Montag The One AM Radio Andrew Pekler The Sea and Cake Someone Still Loves You Boris Yeltsin various wax poetic Meat beat manifesto Mew Mochipet Montag The One AM Radio Andrew Pekler The Sea and Cake Someone Still Loves You Boris Yeltsin various wax poetic

ALBUM the kiss the bird and the bee poor aim: love songs dead meadow drop the fear singles. period. reformation post tlc transparent things alone in the dark wood 5:55 with ercest demolition reproduction look at who youre talking to theres no home the tight connection in dub frengers girls love breakcore lone, not alone this too will pass cue everybody broom a new groove brasil in dub frengers girls love breakcore lone, not alone this too will pass cue everybody broom a new groove brasil

LABEL shmamm! emi k xemu massive music touch and go narnack tirk/ word and sound all tomorrows parties because music/like thirty ghosts caroline gigantic music gnomonsong kindercore run columbia daly city carpark dangerbird kranky thrill jockey polyvinyl putumayo nublu run columbia daly city carpark dangerbird kranky thrill jockey polyvinyl putumayo nublu

Friday, February 1, 2008, 5 p.m.

Deadline: Battle of the Bands Demos and Applications

Friday, February 29, 2008, 7 p.m.

KTRU Battle of the Bands @ Lovett Undergrounds / Lyles, Rice University

Sunday, April 13, 2008, Noon to Dark

KTRU Outdoor Show (Date is Tentative) Some Field @ Rice University

Accolades for KTRU!

Rice Universitys KTRU gives Houston the very thing most other radio stations lack: quality. The kids cutting their teeth on indie rock, hip-hop and electro manage to pull off a better radio station than Clear Channel could ever dream up.

2006: Best Radio Station

Dennis Lees radio show, which broadcasts every Tuesday night out of the Student Center at Rice University, is three hours of unadulterated hip-hop ecstasy. The 50,000-watt outlet is a throwback to a time when stations were programmed by people who really liked music.

2003: Best Hip-Hop Show (for The Vinyl Frontier)

2000: Best Radio Station

SPECIALTY SHOWS
RICE RADIO FOLIO
Specialty shows make up around 30 percent of our programming hours, most during the evening hours between 5 p.m. and 1 a.m. These shows endeavor to play under/ unexposed music from genres other than rock. Some of our specialty shows, such as Chickenskin and Jazz, have been going strong for over 20 years; a majority are at least 10 years old. KTRU endeavors to play the greatest variety of music with the least trash of any station in the Houston vicinity, and specialty shows help us toward this goal.

SPECIALTY SHOWS
FALL 2007 RICE RADIO FOLIO
If you enjoy the music of the 60s, but are sick and tired of the same old, played-out rotation of classic rock radio, youre not alone. Every Wednesday night from 9 11p. m., the Treasures of the Sixties Show revisits the decade of boundless energy with an ear for what sounds fresh. Youll hear cult artists such as Spirit and Love who deserve more, well, love. We like to play Texas legends like the 13th Floor Elevators, Sir Douglas Quintet and Mayo Thompson. Youll even hear album cuts from the likes of the Kinks and Otis Redding, artists with much deeper catalogues than commercial radio would have you believe. And with the armies of pop culture archeologists out there who make new discoveries every week, well prove the saying, If you havent heard it before, its good as new. Fight the tyranny of Oldies radio! Catch the 60s show on Wednesdays. From ancient Asian traditions to highly innovative Brazilian jazz, the KTRU World Music Show covers the globe. Natural indigenous music of the rainforest gets equal play with exciting Indian Bhangra and African pop. From the most talented musicians the world has to offer to the most joyous and liveliest, listeners can hear it all on Monday nights from 7 - 9 p.m. A rotating volunteer staff with experience in international music and cultural education curates diverse set lists each week. We present acclaimed musicians like Talip Ozkan, Ali Farka Toure, Vishwa Mohan Bhatt and Mongo Santamaria, as well as many underrepresented and independent musicians around the world. Listeners will nd out about world music events in Houston and the surrounding region. Occasionally the World Music Show may highlight regional events that feature international music, as well as Native American powwows and regional traditions with international origins.

FALL 2007
The Aegean Show is a two hour program featuring Greek music, on air every Saturday from 10 a.m. - noon. It is presented by the members of the Aegean Club, and the DJs rotate shifts, giving a unique avor to each show. The music covers a variety of styles, ranging from rembetika and folk songs (demotika) to the styles of the sixties and the music of today. Up until this past year, the Navrang (Nine Colors) Show covered the music of the Indian subcontinent, with a focus on music from lms, but also capturing the diversity of the region with Indian classical, folk, Indipop, Asian underground and Western fusion music out of the region in a spicy musical curry. Can you bring this music back to the masses? Let us know. The Scordatura Show, up through this summer, covered modern and contemporary classical music: i.e. experimental, electronic, or otherwise unusual music voiced for more or less traditionally orchestral instruments, generally since 1900. Representative artists would include Glass, Reich, Cage, Stockhausen, Pierre Schaeffer and the like, though we try to emphasize lesser known material, as our show bleeds across into the glitchiness of the Electronic Show, the experimentation of the Jazz Show and the noisiness of Genetic Memory. Want to start spinning these tracks? Email us. KTRU News has been more or less defunct for the last 3 years. News used to be huge at KTRU: through the early 1990s, we would declare the Thresher isnt the only game in town. However, the rise of the internet, 24 hour news on demand and strong, increasingly accessible alternative media, led us to question, What is the value added of having news on KTRU? As currently envisioned, news programming would focus on local (especially Rice University) leading thinkers, professors, news makers, community organizations, nonprots, arts organizations, politicians and the like, in a talk format, trying to capture what others might miss. Want to be a news producer? Contact us!

Specialty Shows:

The Jazz and Improvised Music Program presents the vast spectrum of the music of the moment which you can hear broadcasting every Sunday from noon until 9 p.m. Do you remember Saturday Morning cartoons? Do you remember the joyous anticipation that you felt on Friday night, knowing that Heaven was only a few hours away? Well, you can feel that joy, again! Every Saturday, the KTRU Kids Show digs up the songs that made your childhood. Old favorites and forgotten memories are intermixed with new classics and rarities that you may have never heard beforeand they are all family friendly and youth oriented! Hear cartoon theme songs, stories, childrens artists, child artists and more! Hosted by the lovable DJ crew of Jane, Jenny and Tom, its sure to be the most fun youve had on a Saturday in a long time! (Dont forget to let your kids listen, too!). Saturdays, noon - 2 p.m., only on KTRU! The Local Show brings Houston musicians to the forefront, with occasional forays into the rest of the Lone Star State. From Lightnin Hopkins to Jana Hunter, from The Red Krayola to The Fatal Flying Guilloteens, and from ZZ Top to Drop Trio, DJs Scott and Ian present over ve decades of Bayou City punk, jazz, blues, psych, noise and everything in between. Tune in from 8 -10 p.m. every Tuesday to delve deep into the scene. Bi-weekly feature shows broadcast live sets and interviews with Houston heavyweights and newcomers alike, direct from our studio. Listen and discover the incredible bands you share the city with. [See The Houston Scene in this Folio.] From The Depths, KTRUs metal show, features 3 hours of underground metal, without a trace of commercial pseudo nu-metal. Death metal, black metal, thrash metal, raw, ugly and heavy, with an impressive amount of vinyl: 7 inches, 12 inches, etc. Real metal from real metal-heads. From the old school to the newest underground releases. Sundays from 10 p.m. to 1 a.m. Need a x of the latest in underground electronic dance music? Not to worry - MK Ultra has you covered, and were one of the very few Houston radio shows that does. Every Friday night from 10 p.m.-1 a.m., we showcase 3 hours of live in-station DJ-mixes from the cream of the crop of local acts (and every now and then some international superstars). We hit all the sub-genres, whether its house, drum n bass, progressive, breaks, etc! You can check us out on the web, at http://mkultra.us for past set recordings, details on sending promos and how to submit DJ demos! Once upon a time, when todays college freshmen were little more than a staring complex and a bad perm, alternative, indie rock, garage, emo, grunge and hardcore all had the same name: punk. Every Thursday night at 10, the Mutant Hardcore Flower Hour explores the genre that gave birth to all the lame bands that annoy your parents, your roommates and your friends, proving that nothing is more cathartic than giving everyone the nger at the same time, including yourself. Like Steven Van Zandt, we play the Ramones, everyone who inuenced the Ramones and everyone the Ramones inuenced. If its fast and loud, if its angry, if it rocks, weve got itbut its more complicated than that. D. Boon of the Minutemen put it simply: Punk is whatever we make it to be. The Modern Dance, KTRUs post-punk show, airs every Tuesday night from 7 to 8 p.m.. Focusing on underground music of the late 70s and early 80s, we play all genres of post-punk, from the mutant disco of Cristina to the avant garage of Pere Ubu. Despite their differences, almost every artist that we play exhibits a willingness to play withand rebel against pop music clichs. Take the rebellion and brashness of punk rock and add an experimental aesthetic edge and you have post-punk. In addition to playing mixed sets and taking requests from our listeners, we often build the post-punk show around a theme. This year, for example, we have devoted entire shows to the Rough Trade label, to inaccessible music to synth pop. Tune into the post-punk show and youll get The Modern Dance. [See Deling Rocks Corpse: DANIEL REESE No Wave in this Folio.] Wednesdays from 5 to 7 p.m., KTRUs Rice Radio Reggae takes listeners on a tour of some of the many facets of Reggae music. While having its origins in Jamaica, Reggae now comes from countries across the globe, and each week Rice Radio Reggae attempts to present an overview of the genre. Youll hear the Roots Reggae Bob Marley made famous, instrumental Dub, Dancehall and more. Its eclectic (just like KTRU!) and, who knows? You could just hear a side of Reggae you never knew existed! [See the origins of DUB in this Folio.] The Revelry Report airs Friday nights from 5 to 7 p.m. and focuses primarily on local events in and around Texas. In the past, the Revelry Report focused on just about everything, including Austin City Limits, national art openings (occurring locally), SXSW (South by Southwest, for newcomers), College Music Journal and a number of major benets for various charities in and around town. Its current incarnation, the show also places a strong emphasis on live studio performances by local and touring musicians, interviews with artists and musicians and an overall coverage of events in Houston. By doing so, the Revelry Report has narrowed its focus, aiming to introduce our audience to alternative outlets for nightlife while exposing the many wonderful events in Houston that might otherwise go under the radar. The Spoken Word show offers performances from musicians, writers and poets and politicians and random diatribes. Saturdays 5 - 6 p.m. Tune in every Sunday evening from 9 - 10 p.m., as we explore the origins and reincarnations of ska. Ska was the direct predecessor of Reggae, and is characterized by upbeat emphases, high quality horn sections and inuences from other traditions, including jazz, soul, punk and more. It sounds like reggae, but often with a quicker tempo, and built to be danced to. From the rude sounds of the 1960s Jamaican originators, to the two-tone UK anti-racist ska of the 70s and 80s, through the third wave ska of the 1990s from America and across the globe, we seek out the best, the obscure and the unusual from around the world, as we give you an international take on the scene. Rude!

Aegean

Kids

Navrang

Every Monday night from 9 p.m. -10 p.m., the Americana show explores the roots and history of American music (and sometimes, American history through music). For example, on MLK Day, we played speech excerpts from MLK, RFKs famous speech on the assassination, plus songs by Otis Spann, Nina Simone, the Staple Singers and others who recorded civil rights and MLK related material. On the birthday of the Houston blues legend Big Mama Thornton (now deceased), we played a selection of her music, and on Election Day well play appropriately themed songs (Blue Mountains Jimmy Carter, the Austin Lounge Lizards Ballad of Ronald Reagan). We try to cover as many American genres as possible - jazz, blues, bluegrass, gospel, cajun, zydeco, rockabilly, country, western swing, etc. Other themes have included Halloween, Veterans Day, Sarg Records (an obscure but important indie label from central Texas), the best of Bob Wills, the accordion, Motown, songs about food, Sam Cooke (on his birthday) and Townes Van Zandt (on the anniversary of his death). The Americana Show is hosted by the rotating team of Richard, Jane, Claire, Amber and Gerald. Join us on Wednesday nights for an exploration and insightful look at the world of blues. Taking the genre beyond 12 bars and 3 chords, this two hour program brings the stark beauty of Billie Holiday, the pleading of James Brown, the delta sound of Robert Johnson and the relentless sounds of Howlin Wolf, Otis Rush and many others to one meeting place here on KTRU. Its Blues in Hi-Fi; Wednesdays 7 - 9 p.m. on KTRU Houston! Chickenskin Music airs Thursday Evenings on KTRU from 8 - 10 p.m. The show rst aired on Tuesday, January 8, 1980. It subsequently moved to Thursday evenings, where its been for the last 20 years. The show gets its name from an old blues expression referring to music that gives you chickenskin, or goose bumps. At the beginning it was collage of bluegrass, folk, rockabilly, classical and jazz. The idea coming from a thoughtall music from A to Z is related, and can be played together. Its just a matter of how you get from A to Z. The show is a bit like a chameleon in that it goes through changes from time to time and sometimes will change direction with no warning. Live guests have always been a part of the show. Over the years weve hosted Lyle Lovett, Eric Taylor, Jason Eklund, The Neville Brothers, James McMurtry, Preston Reed, Sue Foley, Tish Hinijosa, The Billys, Peter Bellamy, Darcie Deaville, Clairseach, Roy Book Binder, Tinsley Ellis, Grady Gaines, Katie Webster, Bill Staines, Hugh Moffatt, Richard Dobson, Bobby Bare Jr, David Rodriguez, Ani di Franco and the list goes on. First there was the theremin, humming like a ying saucer to the wave of a hand. Then along came giant modular synths and Australian computer music. As the twentieth century trickled onward, electronic music developed from an academic experiment to the dominant force on many dance oors. It has rewritten pop music, re-arranged the classical canon and played a key part in the development of hip hop. But today, electronic music has emerged into an abundance of music in a genre all own. Undanceable IDM, blast-happy breakcore, synth-buzzing electro, glitch, lap-pop and more. You can sample the spectrum every Friday evening from 8 to 10 on the electronic show. As a special treat, on several occasions, the electronic show has presented electronic works from students in the Shepherd School of Music here at Rice. Funk is a primal enterprise. Its a rhythmic form based on soul, jazz and R&B that deemphasizes melody and harmony in favor of strong rhythmic grooves. Developing in the 60s, funk brings the bass to the forefront, with bass and guitar often played in a distinctively percussive style. It inuenced the development of disco and is often sampled in hip-hop music. You can ask where funk and soul music came from, but there is a better question: where will it take you? Find out by listening to the Funk show. We explore the originators of funk, the soul music that helped to inspire it and the disciples of funk who pay homage to the past and modernize it for the contemporary scene. 7 -8 p.m. Thursday. [See The Body and Soul of Funk in this Folio.] Genetic Memory is a series of three-hour experiments within the sonic void. It is a continuously redening aural enigma, wrapped around a divergent collection of reference points, from percussive implosions to explosive decompressions, from trepanned sound poetry to doomed Grimmrobe sludge, from the meticulous and improvised to the orchestrated and chaotic, from old school industrial to new school drone, from free-jazz freakouts to freaky prog noodlings, from primitive electrons to digital dust devils, from Dadaist spasms to Actionist Grand Guignols and a myriad of tangents in between. A rotating crew of hosts and hostesses gives each show a constantly shifting center of gravity, with each DJ formulating his or her own denition of music minus one chromosome. On Monday nights, from 10 p.m. to 1 a.m., follow the unraveling strands of Genetic Memory. The Vinyl Frontier airs every Tuesday night from 10 p.m. to 1 a.m. The show primarily covers the latest releases from the underground hip-hop world with the occasional classic thrown in. Multiple styles are coveredfrom abstract ruminations backed by laptop glitch to gritty street tracks from upcoming MCs and even a club banger thrown in for good measure. Select invited local DJs will occasionally appear on the show to illustrate their turntablism skills. Short interviews are also sometimes conducted with local and national hip-hop acts, and the roots of hip-hop and rap are explored by delving into the funk, soul and jazz breaks that started it all.

Americana

World

Local

Scordatura

Blues

Metal

KTRU News

MK Ultra

These shows have been on air in the recent past, but have had most of their DJs graduate or leave town. We would like to bring them back, so they are on temporary hiatus, until we can nd interested DJs. Interested in getting involved? Contact our DJ Directors Michael Weeks or Laura Greenwell to learn about them.

Defunct or Inactive Specialty Shows:

Chickenskin

The General Shift

What does a general shift, which makes up around 70% of our schedule, sound like? The answer is as varied as the DJs that spin tracks, but there are certain commonalities. Our playlist consists of around 100 albums. General shift shows include 4 playlist tracks per hour, plus one each shift. The hope is for DJs to try out new and challenging music, while leaving them by and large free to select their own tracks. You also will hear at least 2 tracks from underrepresented genres each hour, including blues, jazz, world music from Afghanistan to Zimbabwe, improvised and expermintal music, and even pure noise. Its not uncommon to hear a modern classical track, followed by indie pop, chased with drumming out of Cameroon, followed by hip hop. Its eclectic; its challenging; its KTRU.

Mutant Hardcore Flower Hour

Electronic

Post Punk

TIAN YANG

Studemont Project plays KTRU

Funk

Houston area experimental hip hop group Studemont Project played a Free KTRU Concert in October of 2006. Credit: Tian Yang

Rice Radio Reggae

Genetic Memor y

Revelr y Report

PLACEHOLDER
KTRU SCHEDULE

Hip Hop

Spoken Word

Ska

Jazz and Improvised Music

The KTRU Jazz and Improvised Music Program presents the living legends, unsung heroes, rising stars and timeless pioneers in the world of creative improvisation, from the innovations of classic American jazz to the rigorous explorations of todays European and Japanese free improvisers. From New Yorks downtown sounds to regional styles and beyond.

Treasures of the Sixties 7

SPECIALTY SHOW PLAYLISTS

RICE RADIO FOLIO
Chickenskin
Artist
Charlie Parr Sam Miltich and the Clearwater Hot Club Michael Fracasso Richard Dobson Trampled by Turtles Waylon Jennings & the Waymore Blues Band Papa John Kolstad Clint Hoover The Sorry Muthas Tinsley Ellis Koko Taylor Jimmy LaFave Eliza Gilkyson Eilen Jewell Mavis Staples David Olney Various Artists Joel Mabus Neil Young Paul Metsa with Sonny Earl Various

SPECIALTY SHOW PLAYLISTS

FALL 2007 RICE RADIO FOLIO FALL 2007
Label

Jazz & Improvised Music

Album
Jubilee Some of These Days Red Dog Blues Back at the Red Shack Trouble Never Say Die Alive and Well at the Ginko Greatest Hits Vol 3 Moment of Truth Old School Cimmaron Manifesto Your Town Tonight Letters From Sinners and Strangers Never Going Back One Tough Town Wilderness Plots The Banjo Monologues Massey Hall 1971 White Boys Lost in the Blues Wounded Heart of America

Label
Little Judges Clearwater hot club Little Fuji Brambus Banjodad Legacy Wampus Cat Wampus Cat Alligator Alligator Red House Red House Signature Sounds Anti Red Parlor Rosehill Fossil Reprise Maximum folk Hightone

Artist
David Fathead Newman Klement Julienne Arnie Lawrence Charles Lloyd Charlie Haden Dave Burrell Jan Garbarek Eric Dolphy John Surman/Dave Holland/Anouar Braham Paul Serrato & Co. Taylor Eigsti Tineke Postma Quartet Archie Shepp Schlippenbach Quartet John Tchicai-Irne Schweizer Group John Zorn Alan Silva Globe Unity Orchestra Sun Ra Andrew Hill Sunny Murray Manfred Schoof Don Cherry Albert Ayler Peter Brtzmann Octet Ornette Coleman Spontaneous Music Ensemble Miles Davis Nmperign/Axel Drner/Burkhard Beins John Coltrane Cecil Taylor Derek Bailey/Gavin Bryers/Tony Oxley

Album

Chickenskins 11 Essential Albums

John Hartford Phil Ochs Norman Blake Hank Williams Koerner, Ray and Glover Hound Dog Taylor and the Houserockers Richard Dobson Townes Van Zandt Eric Taylor Nanci Grifth Leo Kottke Aereo-plain Rounder/RCA Chords of Fame A&M Live at McCabes Takoma Greatest Hits Polydor Koerner, Ray and Glover Red House/Elektra Hound Dog Taylor and the Houserockers Alligator Back Tracks RJR Live at the Old Quarter Poppy/Tomato/Charlie Shameless Love Blue Ruby/Featherbed Once in a Very Blue Moon Rounder 6 & 12 String Guitar Takoma

Cityscape HighNote Panamerican Dreyfus Renewal Palo Alto The Flowering Atlantic Land Of the Sun Verve Echo BYG Actuel Witchi-Tai-To ECM Out to Lunch Blue Note Thimar ECM Excursions Grafti Productions Resonance Bop City Records First Avenue Munich Records Yasmina, a Black Woman BYG Actuel Hunting the Snake Atavistic Willi the Pig: Live at the Willisau Jazz Festival Atavistic Cobra Hat Hut The Seasons BYG Actuel Globe Unity 1967 & 1970 Atavistic Heliocentric Worlds Vol. 2 ESP-Disk Point of Departure Blue Note Homage to Africa BYG Actuel European Echoes Atavistic Mu Part 1 BYG Actuel Love Cry Impulse! Machine Gun FMP The Shape of Jazz to Come Atlantic Quintessence 2 (1973-4) Emanem Live/Evil Columbia Nmperign + Drner, Beins Twisted Village Giant Steps Atlantic Unit Structures Blue Note Joseph Holbrooke Trio: The Moat Recordings Tzadik

A conversation with Bishop Allen at South by Southwest

With Revelry Report DJs Philip Beck and Matthew Wettergreen. Justin: Hello, Im Justin Rice. I sing and play guitar in Bishop Allen. Christian: Hi, Im Christian Rudder, and I also sing and play guitar in Bishop Allen. Philip: And Im Philip and Im not in the band. Matthew: Im Matthew, and Im also not in the band. OK, so you recently completed this EP project, which was a whole year of EPs, one released every month. Can you talk about that? J: It was kind of a crazy idea that we had at the beginning of last year. We were sort of frustrated trying to nish up the recording of our new album. So, we would go to our recording studio, our little practice studio in Brooklyn, every day, and just work and work with these severe, newspaperreporter-like deadlines hanging over our heads. And we spent a year like that, in a room with no windows, working and working and working on the EPs. But it was really cool because all that we did last year was work on songs; all that we did was work on music. We didnt try and get anyone to buy it; we didnt have to do anything promotional for it. We didnt have to think about anything else but the songs. There was this wonderful purity to it. It was actually really rewarding, and Im really glad we did it. M: The August EP was actually a live EP. Did your schedule break down or did you plan that originally? C: So, we hadnt planned on doing a live EP at all, but I got married in June All: CONGRATULATIONS!!! C: And that thanks, guys took a lot of time, and we knew we had this tour booked, and we were kind of groping for a way to get a breather, so we put it out live. And also, we wanted to do something different. We had just done seven studio EPs in a row, but that was only like eight days of touring. Then we did a live EP that month, and then we were on tour for all of November, and we still managed to do a studio one, so we could have probably done a studio one in August after all. J: Yeah, but there are two new songs on that August EP, so its not even all old songslike 12 old songs, two new songs It was denitely the kind of project where if you completed August in the middle of September youd be screwed because you still had September to do. Every deadline had another deadline stacked behind it until December obviously, so if you fell behind it just ruptured the entire thing, so you just gotta gure out a way to keep going. C: We wanted to make sure that we had December done before New Years Eve because we didnt want to be doing it in 2007. And we did nish on time. P: You guys are playing 4 times here at SXSW. How do you hold up playing that much? Have you ever stacked shows like this? C: Its actually easier at SXSW because you dont have to drive between them; I mean, were here anyway. Its much better than sitting in the parking lot. Weve played two shows in one day once, in Dallas after driving 10 hours, and yeah, that was kind of rough. P: How does that affect the sound? Does that come through; is there a concern that itll be at? J: I feel like these shows are different; like this show at Birds is in the parking lot of a barber shop, and its sort of a nice laidback thing, and the show tonight is at a club, and it will be a lot more crowded and more ofcial, and those shows feel different. I think we end up playing slightly different based on what it sounds like and what it feels like. But whenever you play a show you sort of respond to the situation as best as you can. You have to take cues from your environment. Its not just like rote; its not routine. P: So many of the bands that play SXSW are already signed. What do you hope to accomplish at SXSW? C: We just want to play for people we havent played for before. We havent been to England, and weve never played Hawaii and probably never will. But people come here from all over to see this, and we can come to play for them. But more than that, SXSW is cool because there are a lot of people, like our booking agent and the guy who runs our label, who we dont really see and who dont really see us play, and they all come here and have business to do. And these people that we work with, we actually get to see them and, you know, theyre not giant corporations; theyre individuals who work hard because they like the music, and we like

Reggae (Rice Radio Reggae)

Noiseshaper Various Artists (dub) Tony Tuff Kush Arora (dancehall/dub) Nasio Fontaine Various Artists (dancehall) Michael Franti and Spearhead Tanya Stephens Monty Alexander (instru) Third World Various Artists (dub) Various Artists Adrian Sherwood (dub) Luciano Last Soul Descendents (dub) Voicemail (dancehall) The Samples Ernest Ranglin (instru) Collie Buddz Various Artists Alpha Blondy Ras Command (dub) T.O.K. (dancehall) Sinead OConnor Various Artists (dancehall) The Samples Doug Wimbish (dub) Gyptian Various Artists (Espaol) Finley Quaye Real to Reel Roots of Dub Funk 6 Say Something From Brooklyn to SF Universal Cry Strictly the Best 35 Yell Fire! Rebelution Concrete Jungle: Music of Bob Marley Black, Gold and Green King Size Dub 10 Reggae Gold 2007 Becoming a Clich / Dub Clich Child of a King Inner Vision Hey The Very Best of The Samples Surn Collie Buddz World Reggae Elohim Serious Smokers: The Best of Unknown Language Throw Down Your Arms Ready and Willing (RAW riddim) Live in Colorado Trippy Notes for Bass My Name is Gyptian Suena El Sur Vanguard Miracle Sounds Tanty Minor 7 Flat 5 l Records Greensleeves VP Anti VP Telarc Shanachie Echo Beach VP Real World VP Chill Mode VP What Are Records? Tropic Music Columbia Putumayo Shanachie Waveform VP Chocolate & Vanilla VP Live Concert Network On-U Sound VP Delanuca Epic

Genetic Memory
Acid Mothers Temple & the Melting Paraiso UFO Acid Mothers Temple & the Melting Paraiso UFO Tetuzi Akiyama & Jozef van Wissem Alberich Astral Social Club A Bad Diana Boris and Michio Kurihara The Dead C Death Ambient Desiderii Marginis Diagram A Halings Islaja Makoto Kawabata Kemialliset Ystvt KTL Andrew Liles Lustmord Merzbow Vs. Nordvargr Monument of Urns Nordvargr Pauline Oliveros People Like Us and Ergo Phizmiz Pulga Eliane Radigue Shallow Waters Sickness:Slogun Smegma Sunn O))) Teeth of Lions Rule the Divine Throbbing Gristle John Wiese Richard Youngs Richard Youngs and Alex Neilson Zavoloka and AGF Crystal Rainbow Pyramid Under the Stars Important Nam Myo Ho Ren Ge Kyo Ace Fu Hymn For a Fallen Angel Incunabulum Heat Death Rare Youth Neon Pibroch Important The Lights Are On But No-Ones Home Durturo/Jnana Rainbow Pedal Records Future Artists Ba Da Bing! Drunken Forest Tzadik Seven Sorrows Cold Meat Industry GO-DEAD Self-released Cough It Up Accretion Ulual Yyy Fonal Hosanna Mantra Important Untitled Fonal KTL2 Editions Mego Black Out Beta-Lactam Ring Juggernaut Hydra Head Partikel II Cold Spring Cruelty Hand Hewn Timbre In Oceans Abandoned By Life I Drown Essence Music Accordion & Voice Important Perpetuum Mobile Soleilmoon Pulga Loves You Fire Museum Jetsun Mila Lovely II Truculent American Violence Ninth Circle/ Circle of Shit 3313 Important Oracle Southern Lord Rampton Southern Lord Part Two Mute Soft Punk Troubleman Unlimited Somerled No Fans Electric Lotus VHF Nature Never Produces the Same Beat Twice Nexsound

them for that. Its nice to have a margarita with them. M: Lets talk about Charm School. That album is reallysparkly. How do you stay so happy? Do you listen to childrens music? C: Ummm that was a different time in our lives. I mean, I dont know. I dont think the EPs are the same way, with that sort of gloss, but J: Actually, when I listen to Charm School I personally think its kind of sad, you know I think a lot of the lyrics are kind of downtrodden and sad. Its about wandering around without having anything to do. Its about long-distance relationships that arent working out. Typical stuff, but the palette is bleak gray lyric-wise, and I denitely dont feel like Were happy so lets make happy music; I feel more like The world is hard to live in. And I also dont think that were outstandingly happy people all the time, but I do feel that Charm School is a response to that. Its more of Lets make something thats cathartic that looks at the grimness of reality and responds with a smile. M: But even so, theres still the gleeful childishness of throwing furniture off the roof. J: Yeah, there is a little bit of that too. But that was a time when, you know, we would throw furniture off the roof. Those were sort of The Heady Days of Furniture-Throwing. Ever ybody has those. Ah, youth.

Hip Hop
Breakdown Brother Ali Common Market DJ Jazzy Jeff DJ Vadim Gabriel Teodros Glue Jake Lefco Kay Macromantics Marco Polo Mekalek Nicolay No Luck Club Oh No Phat Kat Pimp C Plastic Little Presto Rhymefest Spank Rock Storm the Unpredictable Strange Fruit Project Ugly Duckling Vertical Zar Social Studies The Undisputed Truth Common Market The Return of the Magnicent The Soundcatcher Lovework Catch As Catch Can And You Are? The Talk Show Moments In Movement Port Authority Live and Learn Here Prosperity Exodus Into Unheard Rhythms Carte Blanche Pimpalation Shes Mature Magic LP Blue Collar YoYoYoYoYo A2: What Should Have Been The Healing Bang For The Buck Denition of Alive Saving Grace Rhymesayers Mass Line Media Rapster/BBE BBE Mass Line Media Fat Beats Karma Response Unit self-released Kill Rock Stars Rawkus/Soulspazm Glow-In-The-Dark BBE Expansion Team Stones Throw Look Rap-A-Lot Tone Arm Concrete Grooves All I Do/Sony Big Dada Domination/Ty-She Om Fat Beats Lost Man

Mutant Hardcore Flower Hour

The Stooges The Black Lips Bad Brains Scratch Acid The Minutemen Bikini Kill Fugazi The Reigning Sound Boris The MC5 Drive Like Jehu Dinosaur Jr. The Replacements The Grifters The Mike Gunn Unsane The Clash Radio Birdman Really Red X The Melvins Big Black Don Caballero Jawbox Minor Threat Rocket From the Crypt Saccharine Trust The 13th Floor Elevators Agent Orange The Meat Puppets Mission of Burma Deerhunter The Descendents Sugar Shack Napalm Death Fun House Elektra Let it Bloom In the Red Rock for Light Caroline The Greatest Gift Touch and Go/Quarterstick Double Nickels on the Dime SST Records Pussy Whipped Kill Rock Stars 13 Songs Dischord Live at Maxwells Telstar (CD)/Spoonful (LP) Pink Southern Lord Kick Out the Jams Elektra / Ada Yank Crime Swami Records Youre Living All Over Me SST Records Sorry Ma, Forgot to Take Out the Trash Restless Records Crappin You Negative Shangri-La Almaron Double Naught Scattered, Smothered and Covered Amphetamine Reptile London Calling Sony Radios Appear Trafalgar Teaching You the Fear Empty Records Los Angeles Rhino / Wea Ozma Boner Records Atomizer Touch and Go For Respect Touch and Go For Your Own Special Sweetheart Atlantic / Wea Out of Step Dischord Circa: Now! Swami Records Surviving You Always SST Records Elevators Live! Collectables Living in Darkness Rhino / Wea Meat Puppets II Rykodisc Vs. Rykodisc Turn It Up Faggot Stickgure I Dont Want To Grow Up SST Records Get Out of My World Estrus Records Fear, Emptiness, Despair Earache Records

World
Ali Farka Toure Los Lobos L. Shankar Various Artists Taraf De Haidouks Cheb I Sabbah Simon Shaheen Dastan Ensemble Boban Markovic Orkestar Jaipur Kawa Brass Band Annborg Lien Sindhi Music Ensemble Various Artists Six Nations Women Singers Various Artists Various Artists Los Pleneros de la 21 Les Amis Creole Various Artists Matisyahu Red and Green Nonesuch Acoustic en Vivo Los Lobos Records Soul Searcher Axiom Latcho Drom (Soundtrack) Mercator Continuing Adventures Crammed Disc La Kahena Six Degrees Turath Times Square Through Eternity Sounds True Live in Belgrade Piranha Fanfare du Rajasthan Harmonia Mundi Prisme Shanachie Su Music from Sindh Haus der Kulturen der Welt La Musica de los Viejitos Univ. of New Mexico Press We Will All Sing Sound of America Records Borderlands Smithsonian Folkways Best of Strakers: Ah Feel to Party Rounder Somos Boricuas: Bomba y Plena en Nueva York Henry Street Les Amis Creole Arhoolie NYC: Global Beat of the Burroughs Smithsonian Folkways Live at Stubbs Or Music

DANIEL REESE

The 16th Annual Outdoor Show/1st Annual KTRU Indoor Show

The 16th Annual Outdoor Show/1st Annual KTRU Indoor Show lls the Rice Grand Hall to capacity.

ALBUM REVIEWS
RICE RADIO FOLIO
Artist: Wolfgang Title: The Wicked Truth About Loving A Man Label: Hypnote By Claire Hein
On the far end of adventure kitsch music, there stands Wolfgang. The Wicked Truth about Loving a Man is aptly titled. Is this your average girl band? Perhaps a forwardthinking social activist group for free love? Good guesses, but far from the truth. In the liner notes, Wolfgang presents itself as a robot built in the 1980s to digest New Age songs in order to produce unlimited hits. Unfortunately for Wolfgang, that robot was given the ability to feel emotion; the album is, essentially, the chronicle of Wolfgangs discovery that robot-man love is not only forbidden but also impossible. Thats only the beginning of the story. The album offers some fun and quite nerdy tunes that the listener is apt to enjoy. Songs such as Binary, which expounds upon the utter sadness of only being able to count in 1s and 0s, and Not in Love (Not True), the title track of their EP, are quick, witty, and very human. Overall, the sound of the group is clean and dancey, with prominent New Wave inuences such as Depeche Mode, New Order, Pet Shop Boys, and Ultravox. Dark and fun, sad and clever, the human characteristics of this music-processing robot have won me over.

ALBUM REVIEWS
FALL 2007 RICE RADIO FOLIO
Artist: Xiu Xiu Title: Remixed and Covered Label: 5rc By: Amber Crain Release Date: April 10, 2007
Remixes and covers are tricky business. Both the potential for blasphemy and sucking are extremely high. So when I heard that a remixes and covers album of Xiu Xiu songs was being released, I became kind of stressed out. The album is a mixed bag. Trying to make one of Xiu Xius anxiety-lled train wrecks your own seems like a delusion of grandeur. The tracks that do work leave the meat of the original intact and simply tinker with glitch. Over Over gets impressively remixed into a smoother, less-panicked song with the addition of some shiny electronics. Kid 606 turns Fabulous Muscles and Bishop, CA into robot seizures that probably shouldnt work but do. Gold Chains transforms Hello from Eau Claire into some seriously ballsy techno, and This Song Is A Mess But So Am I remixes Buzz Saw into an impressive display of irregular and intricate beats. Fittingly, the best remix on the album is Xiu Xius own remix of its cover of Joy Divisions Ceremony, which is hands down the best song Ive heard all year. Xiu Xius initial cover already did justice to one of the greatest songs of all time and updated it, and this remix added even more depth. Thats three layers of awesomeness. Cant ask for more than that. Unfortunately, Her Space Holidays cover of I Luv the Valley (OH) is limp and colorless. Marissa Nadlers version of Clowne Town is basically a spacey country western songI dont need to elaborate on that mistake. Apistat Commander is done well by Sunset Rubdown, but its so like the original that its existence seems kind of pointless. And is the lead singer from Oxbow, who attempts to cover Saturn, secretly Dave Matthews on speed? No? Couldve fooled me. I would still say that real Xiu Xiu fans need to own this. It has some surprising moments of greatness, the better remixes dont venture into blasphemy place, and the Kid 606 tracks are extremely innovative and denitely worth checking out. The rest of you, proceed with caution. Better yet, just listen to the originals. Well, you should already be doing that.

FALL 2007
Artist: Melt-Banana Title: Bambis Dilemma Label: A-Zap By Danny Mee
Melt-Banana, a Japanese band prone to covering Devo and the Beach Boys, is fronted by a tiny woman who sings like a smurf and is quite possibly the worlds least threatening grindcore band. The band is also one of the most important acts in American underground music, even if its members live halfway around the world. Over the past fteen years, Melt-Banana has played a crucial role in bridging the gap between the open-mindedness of college radio and the thrilling violence of underground hardcore, slowly creating an audience who would understand aggressive, weird, brilliant bands like Deerhoof, Lightning Bolt, and the Blood Brothers. As the audience for Melt-Bananas music has grown, the bands sound has also become more accessible, elongating the spasms of thrashing noise into punishing rock songs and augmenting them with ingenious hooks and cyberpunk sound effects. On 2003s Cell-Scape, for which the band brought on veteran grindcore drummer Dave Witte, the bands gleefully destructive punk was formed into pop songs, compressed into a pancake, and cranked to the limit, making it sound like bizarro-world radio rock. That tendency is taken even further on Bambis Dilemma, which is so heavily compressed that it sounds like the band is using a drum machine. The songs are even more accessible, and almost saccharine at times. The records pop tendencies are tempered by a generous helping of noise and a compositional aesthetic that can best be described as economical; the albums rst 17 tracks average less than two minutes each. By grind standards thats still an eternity, but these songs make their point. They smack you around a little, and then move on without ceremony. Cell-Scapes longer songs gave the album the air of a dystopian sci- opera. Though Bambis Dilemma has a similar mood, it doesnt have the same scope, and its a somewhat lesser record for it. Fans waiting for Melt-Bananas apotheosis will have to wait a little longer.

Artist: Dizzee Rascal Title: Maths + English Label: XL Reviewed By Jacob Lindsey
As one of the most undeniably unique members of the global hip-hop community, Dizzee Rascal has been known for his typically incoherent East London vernacular. His most recent disc, Maths + English, continues to evolve the sound taken from its two predecessors in hopes of enhancing Dizzees many idiosyncrasies. Glittery layers of electronic beats dominate the album, making the disc seem more complex, though less ferocious, than Dizzees previous work. On World Outside, the albums opening track, Dizzee begins rapping over a swirling, mesmerizing whir. If it werent for the clatter of knives he uses to keep the beat, this introduction might even feel reminiscent of the Steve Miller Band. However, the lyrics stay close to Dizzees usual incisiveness; the song proves to be a solid opener, revealing the complications of reconciling worldly success with the ghetto lifestyle hes left behind. Dizzee furthers his criticism of the hip-hop worlds commerciality in the rst of the albums intriguing collaborations, Where Da Gs. Rapping alongside Houston rappers UGK, Dizzee freely takes aim at posers: You aint robbed nobody, shanked nobody, you aint bust no one/You aint seen no ghetto action, who do you think youre fooling, son? Another key collaboration, Wanna Be, features British pop singer Lily Allen. As one of the bounciest tracks on the album, the song initially seems too poppy for someone as grimy as Rascal, but the songs humorous and energetic banter quickly overtakes that kind of judgment. While conveying the excitement of a police chase on Sirens, Dizzee raps over sound effects evocative of a Grand Theft Auto video game. Other noteworthy tracks include Bubbles, which combines Dizzees immense ego with thick, funky beats, and Temptation (featuring the warble of Arctic Monkeys Alex Turner), a slower collaboration to turn up while driving with the windows down. Maths + English isnt trapped in the hood like Dizzees previous albums; its energy and accessibility contribute to what should be considered one of the best hip-hop releases this summer. No longer secluded as the boy in da corner, Dizzee Rascal has free reign outside his East London habitat. Taking aim at other rappers and the hip-hop community at large, his gritty Cockney snarl now seems louder than ever.

Artist: Tap Tap Title: Lanzafame Label: Stolen Recordings By Philip Beck
Tap Tap is the brainchild of Thomas Sanders, a musician out of Reading, England, who has created an incredibly accessible pop album with a complex structure and undertones that keep it interesting upon repeated listens. Many reviewers have drawn comparisons to current artists such as Clap Your Hands Say Yeah and Arcade Fire, but the older inuence of The Specials, especially apparent in the latter half of the album, is also worth noting. The rst six tracks on the album introduce most of the sounds that you will hear in varying arrangements throughout the rest of the album. The rst track, 100,000 Thoughts, begins as a simple scale that grows impressively with the addition of each new instrument. She Doesnt Belong demonstrates Thomas vocal range and pairs it with lo- instrumentation. Track 3, To Our Continued Friendship, presents a very traditionally structured blues song, but the harmony and backing vocals show the layering of the production side of the album. Here Cometh, reminiscent of The Continuing Story of Bungalow Bill from The Beatles White Album, launches into a kind of honky-tonk/alt-country sound. I Am A Kite is the centerpiece of the album, combining a majority of the sounds heard on Tracks 1-4. The song is led by heavy bass, steady drums, acoustic guitar, and pretty vocals, making for a nice listen. I also hear some The Jesus and Mary Chain inuence in the guitar on the bridge. On My Way is a taster of the various sounds explored on the album. The rest of the album dabbles in a lot of the same sounds, minus the borrowed sounds which formed the backbone of The Specials music twenty years ago. Thats not unusual considering that there are only ve tracks left, but the interesting thing is that each of the rst six tracks have such distinct sounds, which allows the listener to clearly identify earlier songs to see how they are reinterpreted on the second half of the album. This strategy doesnt come off as cheap or lazy; rather, Thomas gracefully recreates the wheel while keeping it fresh. At rst blush, Talk Slowly sounds like a cover of something off of The Beta Bands three EPs. Off The Beaten Track is a bit more aggressive, playing up a postpunk vibe. Way To Go, Boy and Little Match (Big Fire) exemplify the inuence of The Specials. What A Clever Thing To Say rounds out the album by highlighting Sanders introspective songwriting. Overall, this album is great.

Artist: Thrushes Title: Sun Come Undone Label: Birdnote Records Release date: 06/18/2007 By Amber Crain
Every now and then I like to take a little sugar with my shoegaze. Not too much, mind youjust a pinch. Too much sweetness can ruin anything. Very few dream/noise pop bands are capable of striking this delicate balance of saccharin and gloom without compelling me to beat them to death with pixie sticks, but Baltimore four-piece Thrushes juggles these precarious elements with a deft hand. All the staples of quality shoegaze can be found on their debut record Sun Come Undone, but woven in between the feedback and distortion is a sweetness that sets the bands sound apart. The songs are loosely structured and dreamy, and Anna Conners honeyed voice emerges out of the noisy reverb to sprinkle sugar on everything. Its just sweet enough to make me feel all fuzzy inside, but not so sweet that I get the urge to smash Barbie dolls to pieces. Thrushes has done its homework, too. The band references everyone from The Jesus and Mary Chain to Joy Division to Yo La Tengo, but does so in non-blasphemous and subtle ways. When working within a genre such as shoegaze, its difcult to build upon the foundation of forerunners while still managing to sound unique. Thrushes pulls this off masterfully, as each nod to the past serves only as a starting point from which the group spins its own brand of sweetened shoegaze. Sun Come Undone is a strong rst release from a talented band thats doing everything right. I recommend this record.

Artist: Voxtrot Album: Voxtrot Label: Playlouder/ Beggars Group By Jacob Lindsey
Voxtrot, an indie rock quintet from Austin, has been slowly building up its fan base with a slew of EPs, including Raised by Wolves and Mothers, Sisters, Daughters & Wives. The band attempts to take its infectious indie sound to the next level with this new, self-titled LP. The albums opener Introduction is detailed and meticulous, like much of the bands other work, yet clearly seems more guitar-focused than previous Voxtrot songs. Laden with catchy hooks and eager sing-a-longs, the albums high points expand upon what Voxtrot does best. Kid Gloves is yet another emotional burst from lead singer Ramesh Srivastava, and is an energetic romp that gets your toes tapping. Ghost is undeniably Voxtrot, a smattering of piano over a smooth electronic background. Even catchier is the equally piano-heavy Steven. However, the expansion from EP to full-length album proves precarious for the band in other spots; Voxtrots momentum slows to a screeching halt with mid-album tracks like Brother in Conict and Easy, which accentuate Srivastavas limited range instead of the melodic arrangements for which Voxtrot is known. The Future Pt. 1 is similarly uninteresting, a bubbly slow jam you might nd an inexperienced band playing at a high school dance. Late album tracks like Every Day and Real Live Version keep the mood somber and the pace down, but show some of the albums most promising moments, including an uncharacteristic guitar solo and a little falsetto. However, the strings in Voxtrots nal three tracks only exacerbate the albums indulgent melodrama, and with a mind-numbing closer like Blood Red Blood, Voxtrots full-length debut seems to end with a sour note. Despite its shortcomings, Voxtrot is most denitely the work of an up-and-coming, though not yet fully matured band still working out the kinks. With more touring and studio time, Voxtrot will no doubt rene their sound. This album is a fun and generally entertaining debut, but within the vast pool of indie rock, Voxtrot just doesnt make that big of a splash. Look ahead for Voxtrot to grow up a little and strike back with a more mature, substantial sophomore release.

Artist: The Meat Puppets Title: Rise to Your Knees Label: Anodyne By Danny Mee
The Meat Puppets was one of the best bands on Greg Ginns SST Records, one of the most inuential record labels in the history of independent music. That statement is hard to understand when you consider that SST was a hardcore punk label, and the majority of the Meat Puppets music sounded more like psychedelia and country. But look at the other central bands on SST: the Minutemen turned punk into a funk-folk free-for-all. Saccharine Trust was essentially a jam band with a beat poet for a singer. Even Ginns own Black Flag spent half its career deliberately antagonizing its audience by continually striving to play slower, heavier, longer, and more disturbing material. Looking at the Meat Puppets in this context gives its unique sound more resonance as part of the aesthetic built on the democratic idea that everyone can and should make musican idea that gave rise to the independent music explosion that began in the early 1990s and continues to this day. The bands place in history was secured when guitarist and bassist, brothers Curt and Cris Kirkwood, appeared on Nirvanas historic MTV Unplugged performance, which featured three Meat Puppets songs. Sadly, three years later Cris left the band and sank into a decade-long battle with drug addiction that ended when he assaulted a police ofcer, who shot him, almost fatally. Cris spent three years in prison. The Meat Puppets reunion, then, is a surprising one, reuniting the brothers who, it seemed, would almost certainly never play together again. Musically, the Meat Puppets will probably never again match the clever, unstable, inspired work of its early career. However, as usual, Rise to Your Knees is marked by the smoothly layered textures and hypnotic vocal harmonies that make up the Kirkwood brothers unique style, and the album links up seamlessly with the bands past work. Vultures and Ice evoke the mystery of 1987s Mirage, while the even-tempered hard rock of New Leaf and Disappear recalls the bands grunge-era work. Best of all, songs like Tiny Kingdom, Enemy Love Song and especially Spit showcase the haunting choruses that made the bands career. Of course, like the bands 1990s albums, Rise to Your Knees is long, and few listeners will have trouble nding two or three songs to skip. But thats just one small quibble about an album that is so gratifyingly redemptive.

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IN CLOSING
RICE RADIO FOLIO
HOW CAN I CONTACT KTRU?
Listen to or read about KTRU at www.ktru.org. On air music requests: 713.348.KTRU (5878) You can also nd email addresses for all of our directors at ktru.org. General correspondence can be directed to ktru@ktru.org

FALL 2007
KTRU FALL 2007 FOLIO STAFF
Editor in Chief: Ann Wang EIC pro tempore: Nick Schlossman Layout and Design: David Wang Copy: Amber Crain, Danny Mee, James Wetuski Staff Writers: Philip Beck, Alice Chai, Amber Crain, Rosa Guerrero, Adam Guerra, Claire Hein, Lance Higdon, Jacob Lindsey, Katie Mayer, Scottie McDonald, Danny Mee, Nikki Metzgar, Ketch Morse, Rachel Orosco, Aaron Reese, Daniel Reese, Lindsey Simard, Claire Taylor, Ian Wells, Matthew Wettergreen, Diana Yen

HOW CAN I SUBMIT MUSIC?

To submit music for airplay consideration: Music Directors C/O KTRU P .O. Box 1892 Houston, TX 77450

HOW CAN I CONTACT OTHER PEOPLE?

How Can I Contact Other People? <Insert Name of Director/ Department/ Specialty Show> C/O KTRU P .O. Box 1892 Houston, TX 77450

KTRU STAFF LISTING

Station Manager: Nick Schlossman Program Director: Claire Hein DJ Directors: Michael Weeks & Laura Greenwell Music Director: Adam Guerra Assistant Music Directors: Alex Stoll & Diana Yen Music Librarian: Burton DeWitt Business Manager: Claire Hein External Communications: Katie Mayer & Claire Taylor Internal Communications: Jane Bocchini Folio: Ann Wang Small Concerts: Rachel Orosco Partnerships & Events: Jessica Streets Promotions: Alice Chai PSA: Amber Raley Sultan o Stick: Meta Weiss Operations: Lacey Pyle Socials: Nikki Metzgar Webmaster: Alex Stoll General Manager: Will Robedee Chief Engineer: Bob Cham Ofce Manager: Scottie McDonald

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