Ragin' Cajuns [2]
Steve Riley & the Mamou Playboys and the Bluerunners use rock's aggressive edge to amplify Cajun's rhythmic locomotion without drowning out its weathered rural grace.
— Tristram Lozaw, THE BOSTON PHOENIX
 

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Independent Label Round-Up Introduction [3]
Austin, Texas indie label round-up introduction.
— Raoul Hernandez, AUSTIN CHRONICLE
 
Framed! Records [4]
Owner Andrew Magilow makes like an anthropologist and hangs out with bands, observing their dynamics, before he sinks a wad of money into them.
— Greg Beets, AUSTIN CHRONICLE
 
Lazy SOB Records [5]
Asleep at the Wheel drummer and label owner Dave Sanger is finding a niche for "ridiculously real" country music.
— Christopher Hess, AUSTIN CHRONICLE
 
Doolittle Records [6]
None of his bands have day jobs, but with a powerful distribution deal backing him, Jeff Cole is doing a lot with Doolittle.
— Christopher Hess, AUSTIN CHRONICLE
 
Chocolate Records [7]
Chocolate's catalogue, featuring everything from Sumatran tribal music to locals Bongo Hate and Michelle Solberg, has at least one thing in common: dedication and sincerety that matches that of owner Russ Smith.
— David Lynch, AUSTIN CHRONICLE
 
Cold Spring Records [8]
What started as a vanity label for honky-tonker Chris Wall turned into a bona fide bills-paying indie, with successful releases from Reckless Kelly, the Asylum Street Spankers, and others.
— Andy Langer, AUSTIN CHRONICLE
 
Freedom Records [9]
By attacking the indie record market with a relatively simple game plan Matt Eskey fills the recurring void in the music industry -- and splitting profits 50/50 doesn't hurt, either.
— Andy Langer, AUSTIN CHRONICLE
 
Peek-A-Boo Records [10]
Travis Higdon has taken Peek-A-Boo from a fanzine to giant corporate monolith perpetrating power pop and punk music.
— Greg Beets, AUSTIN CHRONICLE
 

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The Book of Love [11]
The guitars that slice into the empty spaces of "Celebrity Skin" are sharp enough to cut through all the bullshit that's surrounded Courtney Love.
— Matt Ashare, THE BOSTON PHOENIX
 
Copy Machines [12]
Noel Murray on Rancid and Sloan.
— Noel Murray, NASHVILLE SCENE
 
Symphony of the Century [13]
Since 1909, Mahler's Ninth has hovered over this century like a very bad dream. The latest recordings raise troubling questions about the future of classical music.
— Jeffrey Gantz, THE BOSTON PHOENIX
 
Latin Invasion [14]
Rock en español -- in one form and another -- fills a cultural void.
— Franklin Soults, THE BOSTON PHOENIX
 

ollowing last week's feature on an independent Tucson label's swing venture, this week we look at seven of Austin's up and coming independent record labels. A follow up to a 1995 piece on the same niche market, The Austin Chronicle finds that life span can be quite short in a market where profit margins are slim and the products can be, well, inconsistent.

Spicing up the Music section this week is a feature on two groups bringing cajun-flavored music to the world via more rock-style accompaniment. What does the future look like for classical music? Today's adaptations of classics such as Mahler's Ninth don't bode well, according to Boston Phoenix's Jeffrey Gantz. Mexican rockstars may have long been suppressed but a new breed may be breaking out by mixing in international pop and singing in their native tongue.

Wrapping up Music this week are quick looks at new releases including Garbage, The Tony Rich Project, Chocolate Genius, Seam and Julianna Hatfield. Oh yeah...don't miss this week's interview with Julianna discussing her new album.

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The Real McCoy [15]
Juliana Hatfield's six-day wonder, "Bed," is where she went to get well.
— Jonathan Perry, THE BOSTON PHOENIX
 
In All Sincerity [16]
Michael McCall compares Mary Cutrufello and Ned Massey.
— Michael McCall, NASHVILLE SCENE
 

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Rhythm & Views [17]

• Garbage
• Hellacopters
• Vartinn

Now What? [22]
If you go gaga over the sultry smoothness of a symphonic glissando, just wait till you experience our transitions to cool and useful music links on the Web.
— WEEKLY WIRE
 

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