By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
Revolver: First question: Why another label?
Slim Moon: I could pretend I don't know this, but it would just be silly; people have an idea about what kinds of records KRS puts out and we've noticed that when we put out a record that strays too far from that musical preconceived notion that the people who expected something else are disappointed and the people that may be interested in that record don't even know that it exists. 5 Rue Christine is definitely very modern and forward thinking. These are records for the future rather than records that are based on the guitar rock of the present and the past.
R: As opposed to KRS not being the future of music?
SM: At least musically, 5RC is all about new sounds. KRS is all about meaningful music, but it's less relevant whether it's new sounds or not. With 5RC, it's all about taking it to another level, to a new place that's never been explored before.
R: Where did the name come from?
SM: It's one of the places that Gertrude Stein lived in Paris. I wanted to call the label Gertrude, but it turned out there was already a label called that.
R: Why Gertrude Stein?
SM: 'Cause she's the greatest, and she claimed to have invented the 20th century. In some ways I think she's right, not just in fiction and poetry but in the way that people communicate in the 20th century, like in advertising. She sort of predicted and predated it stylistically.
R: So you intend 5RC to be an extension of that?
SM: We would like to have goals as ambitious as that for the 21st century.
R: What about Kill Rock Stars, do you feel that you're still maturing and evolving?
SM: I don't think our taste in music has been evolving. I think it's been fairly consistent. I think because times have changed and we've put out so many records that the public perception of KRS has evolved and will continue to do so. I think early on, people thought that we were really specific, and why wouldn't they? They didn't know we were going to put out Mary Lou Lord and Elliott Smith; kids thought we were all about Bikini Kill and Unwound. The more records we put out, the more people's perception of us expands. In some ways, that's good, for people who are willing to try a variety of things. In some ways, it's bad, for people who only wanted us to be a riot-grrl label or something.
(5 Rue Christine, P.O. Box 1190, Olympia, WA 98507-1190)
Suicidal Athletes: Speaking of baby labels, Seattle's Suicide Squeeze Records is swiftly making its mark on the ever-impressionable indie scene. Barely a year old, the label has already pressed exceptional records by Modest Mouse, Elliott Smith and 764-HERO. The latest seven-inch, from S.F.'s Track Star, is no exception. The threesome offers up two tracks of breathy, meandering pop. "The View From Space" is an ethereal rocker reminiscent of early Love and Rockets with subtle, depressive overtones ("Sometimes I think about my funeral/And who's gonna be there"). "Removable Parts" is a gentle acoustic plea for love that sporadically explodes into brief patches of electric noise and yelling. You can check out Track Star live at Stinkweeds Record Exchange in Tempe on Saturday, March 14.
(Suicide Squeeze, P.O. Box 434, 4505 University Way NE, Seattle, WA 98105)
Contact Brendan Kelley at his online address: email@example.com