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[countess shazula]

Drakes Productions is delighted to bring to Aberdeen one of the Boston music scene's hardest-working indie-rockers, and underappreciated treasures!

CHRISTOPHER JON BROKAW's recording career began in full earnest in 1990 with the new york-based trio CODEINE, with whom chris drummed and played some guitar on two lp's for Subpop records. in 1992, chris defected to pursue full-time guitar and songwriting duties for boston-based band COME, who between 1991 and 2001 released four albums and several eps's on Matador and toured extensively.

around 1995 chris began playing with several other artists. he contributed guitar to tracks by cleveland's COBRA VERDE and gijon, spain's MANTA RAY, and drums to a mini lp by former Bullet Lavolta mastermind Corey Loog Brennan's LOOG. in 1997 he formed PULLMAN with Bundy k Brown (ex-Tortoise, Bastro), Doug Mccombs (Tortoise, Brokeback, 11th dream day) and Curtis Harvey (ex-Rex, Letter e), and recorded two cd's for Thrill Jockey. in 1998 he formed THE NEW YEAR with Matt and Bubba kadane (both ex-Bedhead) and Mike Donofrio, and recorded one lp for Touch and Go. chris has also recently contributed to recordings by THALIA ZEDEK, THE WILLARD GRANT CONSPIRACY, ROSA CHANCE WELL and MOLASSES

following the release of his first solo debut "red cities," chris toured solo throughout the US, canada, europe and the UK with the likes of Mogwai, Joan of Arc, Rebecca Gates, J Mascis, Low, Bob Mould, Bettie Serveert, Califone, Evan Dando and Brokeback. shortly thereafter he recorded and released the solo acoustic cd "wandering as water," as well as the second consonant lp "love and affliction." 2003 saw more touring solo as well as accompanying Evan Dando as his guitarist

CHRIS played the South by Southwest Festival in Austin earlier this month and will be on a solo tour of the UK april 21-30....

for more info/mp3's check out
www.chrisbrokaw.com and www.epitonic.com/artists/chrisbrokaw

SNAFU
MON 25TH APRIL
DOORS 8PM
£ & SUPPORTS TBC

wonderful this man

just wonderful

everyone should download "bricks" and marvel at the first line.

[HeinzHines]

Cock piss twat.....think we are playing in glasgow that night....rubbish!!

[countess shazula]

well thats just not on...where you playin and who you playin for?!

especially as its support from FUTURE GALLOWAY & DAVE SIDCA!!

you scamps

[HeinzHines]

Originally Posted by countess shazula

well thats just not on...where you playin and who you playin for?!

especially as its support from FUTURE GALLOWAY & DAVE SIDCA!!

you scamps

We are playing at a place called 'Bar Bloc' i think....with Wall Street Ammuntion Hero....dont know who its for? WSAH have been organising it.....it only 99% confirmed as far as im aware....

[Chris]

Once the entry price is set for this can you PM me and I'll edit the Calendar entry.

[countess shazula]

this show will be £4 entry...

here's a bit of info behind Chris' release, and soundtrack for the film "i was born, but. . ." by roddy bogawa...

When Roddy Bogawa needed music to score his autobiographical Asian American coming-of-age film "I Was Born, but . . ." he first looked to the bands that helped mould his youth in Los Angeles: local bands X and the Minutemen, plus punk and early hardcore bands such as the Dead Kennedys, the Clash, Buzzcocks and Minor Threat.
Licensing proved a hassle, so Bogawa approached a musician from two of his favorite bands to write and perform the score. Chris Brokaw played in Codeine and the intense Boston band Come, a group Bogawa would go see every chance he got and a song of whose he licensed for an earlier film.

In Brokaw, Bogawa chose a peer; though they grew up on separate coasts, it was to the same punk soundtrack. The score Brokaw wrote and performed, his first venture into writing music for film, hints of nonconformity burnished by the introspection of maturity -- a punk sensibility that's grown up and turned inward.

All instrumental and nearly all solo guitar, the songs share a woodshedding tone. You can easily imagine Brokaw watching a film, clutching a guitar and bursting forth with the Asian-inflected "Gristle" or "GPS," which nods to X's "Johny Hit and Run Paulene." The best of the batch, "Damon's Hawaiian Blues," blends slack-key sounds with a dash of Mississippi Delta.

Brokaw's fiddling with feedback works best when done briefly. The 11-minute "Chinatown" may enhance a visual backdrop but fails to truly compel on its own. On the swirling "Dust," however, Brokaw crafts a four-minute sonic dust devil, one of those capricious sand tornadoes so common in the desert Southwest: no film necessary

sweet thats the day of my birthday, ill be there!

[Dizzy Storm]

cool, someone's slightly interested!!