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Fishbone, Thursday 9

After a long opening set, and many teasing introductions of the upcoming headliner, Switch Hitter finally left the stage for Fishbone to work their anticipated magic at the Bouquet last Tuesday. As it was a Tuesday (and for most, not the ultimate partying night), the more Fishbone took it's sweet time to begin, the more aggravated tired audience members became. Around 10:45 p.m., they began to get it together to perform an energetic, crowd-pleasing show. The seven-member band produces a sound inclusive of literally every genre. You name it and it's likely to be in there somewhere. A bit of gospel and groove, ska and hard rock, it's amazing these guys pull it off without sounding like a high school band on Ridilin. But as everyone at their last sold-out run through town would attest to, Fishbone rocks. Tuesday's show may not have had people lined up outside to get in, but they played with the same fierce intensity mixed with relaxed playfullness as ever. Perhaps attendance of their shows in Boise will come in waves, and we would be so lucky. Just start earlier guys, Switch Hitter was fun and all, but attendees paid their 12 bones to see you.

-Jen Parsons

CD Reviews

Balls Deep: Mico de Noche

Seattle band Mico de Noche's latest disc is perfect for metal fans that like their music sludgy but think most metal songs go on too damn long. Of the 11 tracks that make up Balls Deep, only two pass the three-minute mark. For many fans, that won't be long enough, but it keeps the less-than-original approach the band takes on most of their work from grating. That's not to say that MdN doesn't have the chops to be more. Even if not all the songs are sparkling originals, the band is musically tight, and delivers enough bludgeoning bliss to keep even the most addled pit cronies happy. "Magic Tomorrow" and "Cannibal Theory" deliver wall-of-sound crunchy delight, with "A-100"--a relative epic at 4:33-mixing up the pounding with some vocals reminiscent of early Megadeth. But MdN has ambitions beyond just breaking eardrums. "Rancho Ramona" is a strange spoken-word piece that takes place in a Mexican restaurant; scored with flamenco-style guitars, it's the most accomplished song on the album. The sludgemeisters wind things up with "Fiddler," the album-closing instrumental. With a pace that ranges from somnolent to lumbering, it's perfect for lulling exhausted fans to sleep. Worth a listen.

--Brandon Nolta

Krispen Hartung Vincent Miresse: Live at the Kulture Klatsch

The self-titled "Krispen Hartung Vincent Miresse" is a CD comprised of spontaneous compositions supposedly recorded live at the Kulture Klatsch on two different occasions. I say 'supposedly' because there is not a trace of audience, not even a spoon falling to the floor which is a shame because I believe that audience response would heighten the sense of spontaneity. The music here is a soundscape for cosmic travel by two guys who improvise with each other. Krispen Hartung's acoustic

guitar is looped (an electronic process by which rhythms and lines repeat themselves), and this repetition threads the astral tapestry while Vincent Miresse adds aural colors with a variety of instruments: didgeridoo, chimes, dumbek, udu and singing bowl. There are no tangible melodies here, and despite the use of ethnic instruments there are no earth rhythms. This is not meditative or spiritual fare--it is a study in repetition and abstract wandering (not a slur, as I believe that this is the intent). Of the eight titles which clock in at 79:34, I would have chosen 'Saga of the Lord Abstractomondo' to define and give the CD a title.

-Larry Conklin