There’s something about 3hive’s hard drives and Coltrane Motion. Sam’s crashed three years ago shortly before posting about Chicago’s Coltrane Motion, and mine recently had to be replaced, too, shortly before posting about them. I had intended to also post some photos I took of Coltrane Motion when I saw them in May 2006 while in Chigaco, but I may have to blame a different hard drive crash from last summer for misplacing most of those. Which is rather unfortunate, as they played in an old church, and I got a sweet shot of Michael Bond bouncing under an enormous lighted cross while still trying to keep his mouth at microphone level and not tipping over his laptop stand. Michael, the driving force behind Coltrane Motion, is also a dead-ringer for 3hive’s Sam, but alas, that photographic evidence is also missing. I did find an poor quality shot I took with my phone inside the church, which is below. Sam’s description of Coltrane Motion still holds true, as further demonstrated by their first 7″ release “The Year Without A Summer b/w Maya Blue,” out tomorrow.
Original Post by Sam on 14 Jan 2006:
My hard drive crashed this week which, as reliant as I am on my PowerBook, is like suffering short-term memory loss. One of the few artists I remember having on tap for 3hive is Coltrane Motion, who are members of a Midwest artist-run collective/label called, irony of ironies, datawaslost. These tracks are a good representation of Coltrane Motion’s “sound” — in quotes because they seem to have as many “sounds” as they have songs, due in part to their habit of making their own software and instruments. This makes remembering what I wanted to say about Coltrane Motion even more difficult. Was I pogoing to the urgent dance-punk of “I Guess the Kids Are OK” or singing along to the sizzling crooner pop of “Pi Is Exactly Three”? Cutting rug to the cheeky Beck send-up “Supersexy ’67” or stroking my chin to the backmasked glitch ‘n’ beats of “The End of Every Movie”? Couldn’t tell ya. So I guess I’ll own up to liking all four. And, please, before you start downloading: a moment of silence for my hard drive…
If you’re an impatient Mark Richard fan like myself you’ve stopped waiting for his next fictional foray. After being crowned one of the kings of contemporary literary fiction (read: big fish in a really small pond), he left for Hollywood to write for television (Chicago Hope, Party of Five, Huff) and film (Stop-Loss and the adaptation of his story “The Ice at the Bottom of the World” due out next year). Outside of that bubble I highly doubt he’s made any new fans with his screenwritings. Mark Richard discoveries take place tete-a-tete, with loaner titles being passed mano-a-mano. I love digging up used copies to pass along as gifts and now, sharing with a wider audience. Take a deep breath before you dive into the first story. It’s two sentences long. One sentence slightly longer than the first and chock full of images you may want to consider before you move into that charming apartment after moving out or losing your house to this lovely market we’ve been experiencing of late. 
I recall an interview with Robin Guthrie of Cocteau Twins many years ago where he said that in his head the music he wrote sounded like death metal. I get the same sense with King Loses Crown. While this San Francisco duo exercises their love of hooks and synthesizers analog and digital, somewhere in their heads perhaps their music sounds more like death metal than the electronic power-rock of their self-titled debut EP.
Patience. Give it a moment of your time. You need a break from your lightning paced life. Breath in. Hold it. Breath out. Repeat three times. Now that you’ve fed your brain a healthy dose of oxygen, feed your head a healthy dose of ambient beats courtesy of Jon Hopkins, pianist, composer, self-taught producer. At once his compositions soothe and haunt. Audio rorschach tests, you hear what you are, where you are, where you want to be. Hopkins merely holds a mirror up to your soul—you decide what it means. The break down at the end of this track signaling a break from tranquility, or a break for lunch. Me? I’m always up for the latter.
Besides music rattling around in my head most of the day, words take up residence there too, sentences, stories, novels. I’ve wanted to add stories to our offerings at 3hive for a while now and it’s time to stop wanting. The arrival of Mary Robison’s novel One D.O.A., One on the Way has been looming for too long. It looks ready for reading finally. The curt and sardonic Eve Broussard narrates the story of her life in post-Katrina New Orleans in quick snapshots detailing the decline of her husband’s health and the pair’s relationship. It’s not unlike the fragmented and funny Why Did I Ever? the novel Robison scratched out on 3×5 cards, often while in her car waiting at stoplights. Both perfectly consumable novels for the clinically distracted. Tune in again next weekend for another edition of WordHive.
After checking through our voluminous archives of 3hive’s unpublished stuff, I found that my friend and colleague Sean was thinking of posting Canadian singer-songwriter Barzin back in November of 2006. Since the statute of limitations has expired, I’m gonna run with it. Like Josh Hayden’s old band Spain, or maybe Mark Kozelek’s Red House Painters, the songs of Barzin move at a snail’s pace. What may not be clear, though, is that it’s a beautifully passionate and intricate snail suffused with longing, filled with the heartbreak of being trapped in its rigid shell. In other words, Barzin rocks it low and slow, with strings here and vibraphone there, never losing control of the specific and delicate emotional precision of a moment. Over the course of three albums, Barzin has stayed quiet, which is naturally a welcome if not absolutely musical necessity in a world of big cities and small children, machinery, televisions, iThings, etc. Give these tracks a shot; you won’t be surprised at all.
Rae Spoon is, according to the publicists, “one of the world’s only transgender country singers.” He’s also a clever songwriter and a bit of a wit, and really not all that country, at least on his most recent release, superioryouareinferior. This disc is a trip through musical styles, from lo-fi indie pop to mod folk. Drop a buck and download “If You Lose Your Horses” if you’re looking for a classic country track, or check out the album’s opener for an example of Spoon’s songwriting smarts — I never knew I wanted to write a song for the Great Lakes until I heard his. Oh, and if you’re looking for a record full of what it means to be a transgender country singer, you might want to keep on looking, because this isn’t it.
What can you expect from Dan the Automator and Russell Simins? Everything and more! After shelving the album last year in order to record material and bring it up to their collective high standards, the two are reportedly releasing Naturally next month. Dan’s manning the programming and electronics while Simins is once again ripping apart the drums, guitars and vocals. Of course this dynamic duo knows how to throw a party, so they’ve invited Sean Lennon, Cibo Matto (my best guest as to who’s singing on “My Balloon”), The Mooney Suzuki, and The Yeah Yeah Yeahs. The song title that best represents the sound on this album is “Rock Party,” because, well, that’s exactly what this album is. Overall the album is a gritty, rhythm and blues attack with the Automator’s beats and programming ratcheted up something fierce. Then there’s “My Balloon,” this airy, psychedelic treat in between the sound and fury. The album slowly mellows and concludes with a few reflective indie-rock slow jams. Fans of the Blues Explosion will probably dig this more than the Gorillaz gang, but all y’all should give it a spin!
The Awesome Snakes are Danny and Annie carrying on the legacy on their dear, departed Minneapolis band