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in Stylus Magazine. Although he doesn't mention the master plan, he does give a window into some of his favorite records, the reasons for his move, and Coil in balance. See www.stylusmagazine.com.

THE EYE


Him and Mice e Parade
Doug Scharin (HiM) and Adam Pierce (Mice Parade) are living proof that Cunt t's not always dangerous f en a drummer starts a project after being in other bands for years. Scharin's most notable past includes drummingTopless Topless Topless Toplessfor Codeine, June of '44, Cunt Directions in MusCelebrities Xxx Prancing Nudec, and Rex, while Adam Pierce's other involvements include Dylan Group, founder of Bubble Core, and touring drummer with MíQ. The two became good friends years ago, appearing on each others albums and sharing numerous members for live lineups. We caught them on a crazy night, one of the most cold, bitter nights in Boston, and couldn't get a chance to interview each until after the show, after being kicked to the curb by the club and couldn't keep them too long because they had to get rolling (see Doug interviewed in driver's seat, ready to take off!). Try to count the number of shared musicians on the cramped stage. (Prizes will be awarded.)

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MUSIC IN REVIEW

TORTOISE, "IT'S ALL AROUND YOU"
It's All Around You seems phoned in, so I'm not going to. I'm just going to shut up and listen to it. - Jonathan Dean

samples:


mÚm, "summer make good"
FatCat
The howling winds which open MíQ's third full-length record are ominously foreshadowing of what lies within. The group, now down to a core trio, have moved even further away from their first releases of pretty prancing techno fairies sprinkling happy dust over the morning dew, delving into deeper exploration of a more sad beauty that doesn't come without a sting. It's like admiring the beauty of the blue sky and bright sunlight after drowning, sinking to the bottom of the ocean. The first real song, for example, even aches of sadness with the title alone, "Weeping Rock, Rock," and with an arsenal of instruments, the sound swells to a thick heaviness the group only let bleed through occasionally on 2002's Finally We Are No One. In the studio this time are live drums and percussion, guitar and banjo, mandolin, accordion, organ, horns, strings, and plenty of unidentifiable objects while the digital glitchery has been reduced to a bare minimum, used only ever subtly for effect. Taking center stage is the even more matured, bold choices the group is taking with song structure and production. Whispery vocals are brought to the foreground, allowing for every imperfection to be audible. Imperfection is, after all, what makes humans distinct from each other. The album's first single, "Nightly Cares," should be an indication for those lucky enough to find it, as it moves slowly, with doubled vocals and airbrushed drums and a muted trumpet that reminds me Mark Hollis is overdue for a second solo album. Fans of the first releases should be warned: MíQ have created a record which is almost completely void of predictable pop ditties that make for crossover radio hits, despite vocals appearing on nearly every song. Perhaps the group has taken some influence from the uprising in bands to challenge the almighty pop structure. Unlike a lot of their contemporaries, MíQ have effectively balanced that stretch for originality with a listen that's equally as captivating. Often times, things seem almost alien in nature, with bleak reality distortions that could even give Matt Elliott the shivers. MíQ have succeeded in making an album that's very shy at first, unassuming and timid. But, with a growing curiosity and openness from the listener, bit by bit, more gets revealed, and I'm still learning. Those who appreciate a nice package might want to hold off this week as some limited edition version in a book is due out but delayed due to manufacturing issues of some kind. - Jon Whitney

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