I used to be a fan of the Knitting Factory parking lot, as it was always cheaper than Ruby parking. When the Ruby lot was $7, the KF lot charged $5 and when the former went up to $10, the latter was only $7. Well, now that the Knitting Factory no longer stands isolated in that Hollywood and Sycamore structure, the parking has changed as well.

My gripe isn't that it now costs $8 to park in this building, it's the payment method. As I learned Saturday night when we left the venue, you have to pay with a credit card.

Now, I don't like using my credit cards for things other than gas and other business-related expenses. I had cash on me, $8 in exact change as well. I shouldn't have had to use my credit card. So when the machine that picked up my ticket insisted that I stick a card inside its mouth, I looked for an attendant. I found one standing over at the next exit, one that may have been cash friendly, but since we saw no lines advising anyone of anything, I wouldn't know for sure. I called the attendant.

"I want to pay cash," I said.

"You can't. You have to use your credit card," he answered.

"But I don't want to pay with my credit card."

He shrugged. I would have argued, but the line behind us was six cars strong. I stuck in the card. The machine spit it out.

"Well, your machine isn't taking my card," I snapped.

He ran over grabbed my card and stuck it inside the slot. Then I had to press a button to get the receipt. The barrier rose and we left, all while I was muttering stuff like, "this shit is fucking stupid."

This may seem minor to some readers, but I find forced credit card use to be problematic. Yeah, it might help if you have no cash on you, but since 99.99% of the parking lots at LA nightclubs are cash only, leaving home without the green stuff is a fairly stupid move. And, I firmly believe that the option to pay cash should be there for those of us who don't want to deal with transaction charges, interest rate increases, possible identity theft, etc. for an $8 parking spot.

From now on, I will be parking at the Ruby, even if it costs more, just so that I won't be forced to use my card.

When I mentioned this story to someone, the person asked, "Do you think they're trying to get rid of the parking attendants, like they did at Kaiser?"

This is certainly a possible motive for the switch to parking machines and it's something that I find problematic. Parking attendants are more than just the old dudes who get all crotchety when you have large bills and they have to find another attendant to make change. These people provide a sense of security that is needed when going out at night. Every light might have that sign that reads that the lot should not be held responsible for theft or damage, but, in the thirteen years that I've been clubbing, nothing has ever happened to my car, nor my rides' cars, while parked in guarded lot. Also, as a girl, knowing that walking back to the car by myself at 2 a.m. could make me a target, I felt much more at ease knowing that there is at least one person in that lot that I could call should I need help. Parking attendants provide a valid service in LA and I sincerely hope that their jobs do not disappear.

Labels: Parking

Originally released in 1995, Decadence is an overview of a decade Nettwerk, the Canadian label best known for housing electronic/industrial artists like Moev, Chris & Cosey, SPK and, most famously, Skinny Puppy. The limited edition, five-CD set is currently available for prices ranging from $14.99 to $105.82. However, I picked up copy number 6595 today at Soundsations in Westchester for $5.99. The low price is possibly due to the fact that the box is worn around the edges (a sign that it was once loved), but the main booklet and CDs are all in fine condition.

Packaged in a spiral-bound, cardboard-covered booklet, this is a true testament to the art of the CD release. (As I have said before, if companies took more care with packaging, MP3s wouldn't be such a threat.) The booklet is divided into five chapters, coinciding with the five discs. Each chapter represents a certain period of the label's history and consists of the following: cardstock chapter page, rice paper page with artwork, cardstock page with artwork, glossy page with text and a glossy CD sleeve.

The following is a rundown of the compilation's contents.


Skinny Puppy "Smothered Hope"

Disc One covers 1984-1987 and features an essay by Tom Harrison discussing Nettwerk's beginnings, as the Vancouver synth band Moev created the label to help further the career of both the band and other admired artists.

Skinny Puppy's track "Smothered Hope" is one of the standout pieces on this disc. Taken from the 1984 EP Remission, it is one of the band's earlier pieces and yet one of SP's strongest songs. Aside from being reaching anthem-level at industrial clubs, "Smothered Hope" lays the groundwork for what would become SP's signature style-- a mix of fucking scary and fucking awesome-- which would futher develop over the years and culminate in, according to this fan/writer, the band's greatest album, Last Rights.

Another important inclusion is "Ophelia" from the Tear Garden, which is a collaboration between cEvin Key of Skinny Puppy and Edward Ka-Spel of Legendary Pink Dots. On the Tear Garden's first album, Tired Eyes Slowly Burning, the duo perfectly melds Key's industrial background with Ka-Spel's Syd Barrett-styled vocals and moody, romantic lyrics.


Bel Canto "Shoulder to the Wheel"

Disc Two covers 1988-1990, the era when, according to an essay featured in a later chapter, the label actually started to make money. As this chapter's essay, written by label co-founder Mark Jowett, this is also the era when the label discovered some of its best-known artists. In these years, Nettwerk released Bel Canto's seminal album Birds of Passage. The single "Shoulder to the Wheel" became a goth club staple for an entire decade and singer Anneli Drecker has developed a substantial cult following in the States (she might actually be famous in her native Norway). And let's not forget that she provides the voice for "Sparks" by Royksopp. Meanwhile, a Texas artist who rave-ified hip-hop beats was picked up by the label and MC 900 Ft Jesus grew into a cult sensation. Seriously, everybody I knew in high school had at least a few tracks of his on mixed tapes. It was all very college radio of us.
The biggest discovery during this era, though, was Sarah McLachlan, who the label dudes first heard in 1987, when she was playing with a band in Halifax. What I find most interesting is that McLachlan's early stuff was actually pretty cool. Totally not soccer mom-approved mellow pop. "Vox," the piece included herein, finds McLachlan channeling her inner Sinead O'Connor. It's as sad as an Irish poet in a rainstorm and I love that.


MC 900 Ft Jesus "The City Sleeps"


With the essay for Disc Three, covering the years 1991-1993, former college radio DJ Denise Sheppard asks the label heads how groups were signed, which results in some insight as to how indie labels work and the need to keep the music on the edge while also making the roster marketable enough to actually sell records. It's a difficult balancing act, to be sure.

If anyone remembers the years of 1991-1993, you might remember how much they sucked. Recession, riots, blah blah blah. MC 900 Ft. Jesus taps into the fears of the era with "The City Sleeps." It is also important to not that this is also the era in which Nirvana trumped Guns n' Roses as Biggest Band in the World. Curiously, it was also during this time that Nettwerk brought in some of the guitar-heavy sounds of indie rock radio. However, to be fair, bands like Hilt and Mystery Machine were more of the Ride, Lush, Catherine Wheel ilk and the Hilt album came out before Nirvana's mainstream crossover. This disc also features "Inquisition" from the aforementioned Best Skinny Puppy Album Ever, Last Rights, and the nasty-but-hysterical club hit "You Suck" from Consolidated and the Yeastie Girls.


Delerium "Flowers Become Screens"

Covering 1994-1995, Disc Four features the era in which Nettwerk became a major player. Kevin Smith writes about the Nettwerk dynamic and how its business plan makes it a label to emulate. I couldn't agree more. To paraphrase, Nettwerk cultivated a small group of artists while also licensing overseas releases, ultimately building an identity for itself. Those of you who were there might also recognize this as the period when Sarah McLachlan found commercial success. Her rise to rock star status certainly helped the label, but what also says a lot about Nettwerk is that she didn't jump ship once MTV came calling.

Included in this disc is "Flowers Become Screens" from Delerium. This track hit the clubs not too long after I started going out regularly and it was a major hit with its 4AD-styled vocals and a beat just slow enough for goth dancing. Later on in the decade, Delerium (a Front Line Assembly-related project) would also crack the mainstream with some help from McLachlan, who offered her vocals on the track "Silence."


Sarah McLachlan "Full of Grace"

Disc Five, which, to be honest, is the least exciting of the pieces to this compilation, is the sound of Nettwerk settling. Clearly, McLachlan's success was a big deal for the tiny label and this review of 1995 shows the team clearly looking for the next success. There's quite a bit of slightly-melancholy indie madness on here, the most interesting of which is Autour de Lucie, a band for whom I have quite fond memories from my college years (the band's contribution is "Le Tournesol").

Nettwerk's next big hit, Barenaked Ladies, would also hit the college kid demographic, but had a decidedly different sound. Unlike many imprints, the label still runs a very successful operation today. Its artist roster (for Canada, US or UK, but not necessarily all) features, amongst others, Ladytron, Datarock, the Divine Comedy, Felix da Housecat, Ferraby Lionheart, Lisa Gerrard, Junkie XL, Kinky and, unfortunately, Sum 41. Aside from managing the heinous poseur Avril Lavigne, the label also works with Chromeo and Gogol Bordello (who I actually also adamantly dislike) and a host of others.

Nettwerk seems pretty cool about downloading, so I won't make some half-assed attempt to discourage anyone from taking that route. However, if you can find this boxed set at a reasonable price, I recommend purchasing the hard copy for both the excellent packaging and the informative essays.

I should also note that each disc opens with a multi-media track, which I have yet to try. I thought this was an unusual and forward-thinking move for 1995. The program runs on a minimum Mac 7 or Windows 3.1 (retro) and the liner notes have all sorts of advice for those who have never run a multi-media disc before.

Labels: CD Reviews, Nettwerk, Skinny Puppy, The Tear Garden

After a dinner consisting of both savory and sweet crepes (thank you, Estelle), Carlos and I headed over to Bang! so that we could catch my old DJ buddy, Frankie, play in the '80s room.

Right after I greeted Frankie with a big hug, he played "Chips on My Shoulder" from Soft Cell's classic album Non-Stop Erotic Cabaret. It was the perfect piece to get me dancing, on account of the fact that I had spent the whole week complaining about everything and anything. Felt good to dance it out, even though I'm kind of a trainwreck in three-inch heels.

Some time after that, although perhaps not the next song, he busted out Trans X "Living on Video," which, as you should know, is one of the best dance songs ever.



Following that was a special request made by yours truly-- Kon Kan "I Beg Your Pardon (I Never Promised You a Rose Garden)." At this point, I began dancing madly with one of my old school goth club pals who I haven't seen in at least a year.



The unexpected highlight of the set was Depeche Mode "Boys Say Go." Vince Clarke-era DM with all of the (now) uncharacteristically giddiness. Also, it's nose-ring era Dave Gahan, which I guess you can't gather from just hearing the song.




Since Frankie played so many songs I loved last night, I'll close this mega-video post with a clip for him. It's "Birds of Passage" by Bel Canto.

Labels: Bang, DJ Frankie, Videos

One of these weeks, I'm going to Severance. I have been saying this for the past two months, but I think next week's a go.

Severance is a Thursday night party going down at Roberto's, the only goth-friendly sports bar in L.A. Baron and Doomie (Violaine) are the DJs and will be spinning martial wave, neofolk and similar styles. Check out the club's MySpace page to get a glimpse of some of the choice artists they play.

In honor of Severance's theme, I am posting the following video of Current 93 covering Strawberry Switchblade's old school KROQ hit "Since Yesterday."



I really wish I didn't have to finish a story tonight.

Labels: Club News, Severance

You've heard Stereo Total in German, English and French and now the duo has added Spanish to its repertoire. Check MySpace for "Plastico," which is the Spanish form of "Plastic."

Stereo Total is playing TJ on March 12.

(Thanks to Maurice de la Falaise of Transistor for the tip.)

Labels: Music News

This piece in the Weekly (via boingboing) is inspiring. It makes me feel proud to be from L.A. and sad that I apparently drove past the billboard right before the art appeared and again after it was removed.

Labels: Art, Murakami

Radiohead "Electioneering," live 1997 posted by thismightbewrong on YouTube.

It's a fitting song for Super Tuesday, don't you think? I saw electioneering all over the 818 today. Down on Ventura Boulevard, the Clinton and Obama camps had staked corners. They have been set up there for days now. Ron Paul stickers were plastered over the bumpers of many a car stuck in today's gridlock. It's interesting, I heard on the news that pretty much everybody except for Ron Paul has a chance to win California, but as far as election bumper stickers, posters and the like go, I have only seen Clinton, Obama and Paul around Los Angeles. Well, I noticed quite a few Giuliani stickers for a while, but since he's out of the race, it's a moot point.

I voted. Felt awkward in the booth re-reading propositions and realizing that nothing makes sense and if the City wants more money, the City can take it out of Rocky Degadillo's car allowance. I'm a frustrated citizen, angry at City and State politicians who act like teenagers with mom's credit card, infuriated with a federal government that acts like overprotective parents who feel obligated to read our diaries and who is convinced that war is definitely the answer. I'm sick of a mainstream news outfits that are so clearly in love with war that they either ignored or slaughtered the two truly anti-war candidates (Dennis Kucinich and Ron Paul) and, at the same time, pumped up the drama of Britney and her ilk so as to make everyone forget that our people are dying on a daily basis for some non-existent reason that nearly everyone (most importantly, those who sent us to war in the first place) has forgotten. Oh, and top of that, our money is worthless, health insurance and pharmaceutical companies are running the world's biggest scam (really, why can't I just negotiate the price with my doctor?) and this supposedly capitalistic society we live in is just a big collusion between big government and big business.

This, dear reader, is why I voted. And considering how close the election is running this year, it looks like I'm not the only one who feels this way.

Labels: Musical Interlude, Politics