Concert Review
from Ink19
Brian Kruger
May 2001

PopCanon's Last Show Ever, with Squeaky @ Common Grounds Coffehouse, Gainesville FL 21 April 2001

   This was a gathering of old friends, in more ways than one. From trombonist Alyson Carrel distributing homemade PopCanon 'temporary tattoos' to the faithful before the show to a lot of folks in the crowd seeing each other for the first time in a while, PopCanon’s last show was one of those rare gigs that everyone knew beforehand would qualify as an 'event.'

   Squeaky, PopCanon’s longtime partners in musical mayhem, had the unenviable task of opening. As usual, they were up to the task. Rejoining the band of Karl Bullock, Steven Bottom, and Harry Monkhorst was Gainesville’s own musical master, Shermy D, of course not in his hip-hop persona, starting out on drums, then switching to guitar for a few songs before returning to the kit. Karl announced, “Tonight we’re going to be just like The Crustaceans,” in reference to the instrument-switching band from whence Squeaky originated. Squeaky’s raucous, good-natured set was peppered with funny anecdotes about PopCanon, the usual alternate tunings, giving out trophies to PopCanon, and even a cover of ABBA’s S.O.S, which rocked up surprisingly nicely.

   After a longish break – during which bubble-wrap was installed on the tiny dance floor and a couple of videographers set up – the original trio version of PopCanon, with Ned Davis on bass, David Hornbuckle on guitar, and Blue Lang on drums, took the stage to the Fight Song (where the lyric spells out the band’s own name repeatedly), followed in rapid succession by early favorites Astral Projection and Punk Rock Loser.

   Bassist Michael Murphy then joined to make the band a four piece, drummer Robby Copeland replaced Lang, and the horn section of Carrel and Don Undeen came on to bring the band to its full compliment for Wanda Tinasky. With the horn section standing on chairs in front of the tiny stage, PopCanon was briefly joined by its former violinist, Lorien Carsey. More favorites like Valentine’s Day and the seldom-heard Manchester followed, including a blistering fretless bass solo by Murphy on Bloomsday.

   As I tuned a Telecaster Ned unexpectedly handed me between songs (woo-hoo, I can now add 'official PopCanon guitar tech' to my resume!), Squeaky came back on stage for backing vocals on a song, as ritualized guitar destruction and more mayhem, like shaking up a beer and pouring it on Undeen’s behind (which usually makes a least a partial appearance at most PopCanon shows) during Curse Of Clang, followed.

   I could note more songs, like I’m So Squeaky, Things About Which, and something with the lyric “You can punch my lights out (if you’re Irish),” that this madness went on into a second set, that David played some keyboards, that Balzac, a member of Pain (another band PopCanon has played many shows with) appeared for the intro to Arthole, inexplicably only wearing an open shirt and boxer shorts, and a lot more wacky hijinks. But it wouldn’t do the band and its finale justice.

   (Neditor: We love Brian Kruger, or Brian Krashpad as he is known to us, but there are a few factual errors in this piece that our own David Hornbuckle was compelled to correct in an email to Brian, which goes a little something like this --
   Thanks a lot for the flattering, though factually impared, words. The show was pretty overwhelmingly long, complicated and odd in many ways, so I'm not surprised that there are a number of well-intentioned mix-ups in your observations. For your reference, I've listed a few of these below. As a former music journalist myself, I think it's important to set the record straight. I don't know if you will feel the need to print a correction piece, but use this information however you will.
   1. "Karl announced, 'Tonight we're going to be just like The Crustaceans,' in reference to the instrument-switching band from whence Squeaky originated." Karl was a member of the Crustaceans, but Squeaky did not originate from that band. If I'm not mistaken in fact, Squeaky's formation preceded that of the Crustaceans. Karl joined Squeaky after original bassist Kevin left the band, and until the Crusties broke up about a year later, Karl was a member of both bands.
   2. The cover of SOS was during Squeaky's set, but was performed by Project Dingo, which bumrushed the stage in mid-set. Dingo is a combination band consisting of Hairy & Steve (Squeaky), Ned & me.
   3. The Fight Song was performed by the full PC ensemble. After that first song, we transformed into the 3 piece for the PC retrospective portion of the evening.
   4. We were not joined by former violinist Lorien Carsey at any point in the evening. Fred Buhl, who filled in on violin a few times after Lorien quit, did join us for a couple of songs. An understandable mistake, although Lorien is much much prettier than Fred.
   5. Although I like the oddness of the lyrics you made up, the final lyric of the song Lights Out is actually "You can punch my lights out if you like."
   6. Although Balzac did perform his 'act' at Pain shows, he was not a member of Pain. We met him via our many shows with that band. Yet another very understandable misunderstanding of fact.
   Hope this was helpful and not too annoying.)

Concert Review
from Moon Magazine
J. Maggio
April 2001

(this is actually a stitched-together version of an unpublished version of this review from February and the current one, because it's more cooler and self-aggrandizing that way...)

   It is always sad to see an amazing band end. It reminds music fans of their own mortality as well as the temporal nature of their existence: things begin and things end. This cycle is especially powerful in pop music, where myth is half of the sociological value. Our most myth-infected rock bands seemed to split during their prime. (I am thinking of bands as diverse as The Beatles, The Velvet Underground, The Sex Pistols or The Pixies). In addition, bands that have stayed long past their prime (and retirement funds) have often seemed like cartoons - think of how silly the Rolling Stones or the Who appear now.

   When a band is local, their split can have an even more powerful effect on the community. Such a split feels like the music scene is losing an institution, or even an old friend. This is the case with the Gainesville band PopCanon. They have rocked, riveted, annoyed and entertained us all for over six years. Now, due to the natural life developments of its band members, PC are finally getting out of the game.

   For my money, PopCanon were/are the most talented set of musicians in Gainesville. Their pure instrumental ability should put all other local (and many famous) bands to shame. As a famed bouncer/Gainesville-legend has said: 'they are just too good for this town.' No local band can execute the math-noise-prog intricacies of PC's music without looking like fools. Yet, despite this immense technical ability, PC never lets their 'prog' outweigh their 'pop'. Primary songwriters David Hornbuckle and Ned Davis write songs that are as catchy as they are complex. After you have heard one of their songs, even the noisy 'bleep', 'boops' and 'swquas' stick in your head.

   The penultimate PopCanon show started off with the solo stylings of Andy Wagner. He played intricate, often instrumental, acoustic guitar pieces. His tunes were funny and clever, yet they managed to avoid vulgar punch lines. And though there was a melodic similarity to all Andy Wagner's songs, overall I enjoyed the pure chutzpah of his performance.

   After Andy's set there was a long break while PopCanon tweaked their gear. There was a tangible feeling of tension in the air--the large crowd did not know exactly what to expect. The band, obviously sensing the awkwardness of the situation, just turned up their amps and started to play. They rocked out to fan favorites like Things About Which, Make Reference and Fishbee Island. All the songs crackled with intensity, and the crowd loved every minute of it. The whole band seemed elated to be playing. Drummer Robby Copeland and bassplayer Michael Murphy, in particular, should be given honorary degrees in physics for the twists and turns that they accomplish with apparent ease.

   PopCanon finished their set with a six song encore ("six more songs! six more songs!") yet the crowd still shouted for more. Finally, David did his goodbye wave, and we knew the show was over. As the band walked off the stage, I saw Ned cry a little tear and hug drummer Robby (Ned later claimed the tear was from the smoke in Common Grounds… hmmm?). There was a little bit of that hug and tear in all PC fans that night. Almost seven years of playing over most peoples' heads helped them win their way into many peoples' hearts. I felt consciously sad during the show, especially when David sang one line in his pomo masterpiece Make Reference: "This song will never make the top forty / unless the chart was made by Richard Rorty." In that simple couplet, PC's career is explained. (And hey, if you don't know who Rorty is, you probably didn't like PC anyway…)

   I estimate I have seen about 25-30 PC shows over the years (their immaculate website helped me out with this), and I swear this was the best damn show I have seen them play. Maybe it was great because the end is near.

   PopCanon will be playing one final show, with Ithaca and Squeaky, during Common Grounds' 5-year Anniversary Bash, Saturday April 21st. If you ever cared about them, or you care at all about experimental pop, do not miss their final set. I know I won't. (Sorry if this article is a bit pretentious - but hey, it is about PopCanon).

Concert Review
from Moon Magazine
J. Maggio
January 2001

PopCanon, Eurotoaster and Project Dingo @ Common Grounds Coffeehouse 31 December 2000

   As general rule, I avoid bands that do not write their own material. Any band that plays a majority of covers is almost guaranteed to be an artistic failure. However, the New Year's Eve show at Common Grounds was an exception to this standard musical axiom. All three bands that comprised the Human Jukebox were established local acts that have a slew of original songs, as well as large Gainesville followings. It was a holiday treat to see these fine musicians play tribute to some of their favorite bands.

   The show began with PopCanon's set. PC already has a reputation as the best cover band in Gainesville (even though they normally play 90 percent originals, and their own songs are as entertaining as any cover). They have learned The Clash's London Calling album, Rocky Horror, Jesus Christ Superstar and even a John Zorn/Naked City medley. Many of these songs were featured in their portion of the Human Jukebox. They also covered the Buzzcocks, the Police and Thomas Dolby's "She Blinded Me With Science." As well as the famous tunes, PopCanon also did some obscure numbers. They covered a song by Gainesville's Causey Way (which featured horn player Alyson Carrel on bass guitar). They also brought the house down with an amazing version of Dirty Poodle's My Little Van.

   After the packed house had a New Year's champagne toast, Project Dingo took the stage. Featuring members of PopCanon and Gainesville legends Squeaky, they began their set with U2's New Years Day. Though not an entirely original song choice, it nevertheless made the crowd go absolutely crazy. Project Dingo continued by playing songs by The Smiths, Bruce Springsteen, The Beatles, Elvis Costello and many more [Neditor: plus a fucking brilliant rockabilly/swing version of Purple Rain!] By the time their set ended, it was pure pandemonium.

   Eurotoaster closed the show. They played songs by the Pixies, Beck, Billy Joel and others. They also had a string of guest performers playing with them. These included Matt Brink (of Ithaca), Mike Cecchini (of The Remedies), and Eric Legend (of the Future Legends). By the time the last band finished at around 2:30 am, the crowd was obviously both elated and exhausted. There is nothing like a great show to start your new year.

Concert review from
Hardroad.com
Denise Ryan
8 November 2000

PopCanon Rocks Hard Among the Tomes

   The members of PopCanon knew that their show at Border's Bookstore in Gainesville, Fla., would not be a standard rock show. For one thing, the band was asked to play quietly--an odd request. They were also told to cut out any obscenities, meaning that every other line of their song Arthole was left unsung. Then once the band started playing, some members of the audience who were trying to study became irritated and walked out. Those who stayed, however, were in for a treat as PopCanon returned from their performing hiatus with a two-set show.

   It's not really that odd for this band to play in a bookstore, considering the many references to literary works in their songs. PopCanon is a band with intelligence. Not just because they have master's degrees in English, and not just because they mention philosophers and authors in their songs, but because they don't take the easy way out in their musical arrangements. This makes them a little difficult to describe, although they are quick to point out that their music is not ska (just in case you get the wrong impression from the horns).

   But don't think that PopCanon doesn't know how to groove or how to have fun. This band has two secret weapons: a great skill for interacting with one another musically and a knack for balancing fun with seriousness. You've got to love PopCanon. Just ask the children dancing to the music in the bookstore. Even one of the accidental spectators who left the show early in search of a quiet place to read complimented the group on her way out. It's not often you hear someone tell a band "you guys are great" as she's leaving during the set.

Our nomination blurb for the 2000 Hogtown Music Award for Favorite Pop Act (which we WON!):

These prolific Gainesville veterans invite an adjective pileup: horn-spiked college pop, tasteful party noise, artrock given to relentless parody, and unsparing self-subversion (check out their website for more). Whatever you want to call them, PopCanon's players are among the best of their kind in town. On balance, David Hornbuckle might be the most prominent songwriter and vocalist, but Ned Davis and Alyson Carrel also write songs and furnish lead vocals, and the result is a band that does many things well. As in Make Reference from their most recent album, PopCanon songs dare you to take anything seriously, and have been known to subject a philosopher or pop-culture icon to brutal ska-and-polka-flavored circus. (Neditor: umm, what?) If you think the high-concept stuff might scare you off, don't worry--these boys and girls will rock you plenty, and plenty hard. Look into their two generously-filled original CDs, and also their big-hearted local scene tribute PopCanon Covers It Up.

Headline: Gainesville's Hot 20 -- essential local bands.

PopCanon - A hyper-literate, classically-trained ensemble of genre hoppers, PopCanon mixes the intellectual with the profane, injecting free-jazz sax skronk, disorienting time signatures and avant-garde noise into painstakingly crafted pop songs.

07.14.00 - PopCanon (w/ Hialeah Jorge)
The Downtown Plaza isn't the greatest place to have a concert, unless you can stand up front with a big crowd. Since the big crowd was made up of mostly families, they were around the edge of the stage, and totally avoided the center area. Hialeah Jorge (say: hi-ah-LEE-ah HOR-hay) were OK, in that Spanish Folk Jazz Blues kind of way. As for PopCanon, the two
songs that stood out for me in this performance were 'Vidalia' [Onion Man] and 'Ironic' [Ironica]. I really like those songs and they have really great dances to go along with them. I definitely recommend a PopCanon show for anyone looking for a fun concert. According to my reliable source (Ned from PopCanon) their bassist is moving to Cali and that was his last show. It's really too bad, because I like the bassist ... bassists in general are pretty cool (with the exception of one. ..Hi, Bob! j/k). Anyway, so sum up the show: Who knew that a band could be well educated and kick ass at the same time? See PopCanon!

07.28.00 - MoeFest (w/ 93 Octane, DiCast, Drop Ten, PopCanon)
First of all, I'm really glad that Moefest happened. Really. There are tons and tons of great bands out there that don't get the recognition that they should. I was slightly disappointed with the turnout. Maybe it was just that everyone was someplace else, but Brick City (where I was most of the night) wasn't too crowded. Come on, people...support your fellow Gainesvillians! Anyway...now for the acts.
93 Octane: They sucked. Mediocre music and horrible, horrible sounds coming from their mouths. I couldn't tell weather they were singing or maybe getting electrocuted. It really was quite funny.
DiCast: They amused me. The lead singer was tall and the bassist was funny. Also, one of their guitarists looked like he could have been the love child of Amanda Garrigues and Carrot Top (I'm not trying to slander anyone here, this is just the impression that he gave off). Plus, free shirts and stickers. "Free" has to be one of my favorite words in the English language (other favorites include: aforementioned, alektophelia, and sale). But really, DiCast rocks!
Drop Ten: I just love, love, love these guys. They have to be the greatest hard rock band in town...possibly in other towns as well. They didn't play Somebody Stop This Pain, which is my favorite song, but I forgive them. I also talked to Steph's mom there (she owns the band). Their set was marred with technical difficulties...the lights weren't working, Doug broke a bass string (which was pretty impressive...those things are supposed to be thick. I've never heard of someone breaking a bass string before) and he had to borrow a bass from the DiCast bassist.
Now we move on to the Florida Theatre:
PopCanon: We I certainly got my PC fill this month! Great songs, a (relatively) huge crowd and cussing! My prior PC shows had been free and open to the public which means no bad words, but all bets were off for Moefest (which was named by Ned...good job, Ned). Their original bassist has taken an extended vacation in Cali, so Ned was taking over bass responsibilities for the night. Good job, Ned.
Sadly, the one night that I was looking forward to the most (Saturday at the Theatre) was the one night that I didn't go downtown. I heard that the bands kicked ass for the most part and next time I'll make a better effort to go see some great local acts.

Our nomination blurb for the 1999 Hogtown Music Award for Favorite Pop Band:

Winners of last year's award in this category, these veterans keep on keeping on. Energized by wrapping up their new CD and by various road trips as of late, the band continues to produce smarty-pants art pop in the vein of XTC or They Might Be Giants. Skilled musicians, they use baritone sax and brass instruments to create a sound unlike any other band currently playing in town. Contrary to what some may think, PopCanon is NOT a funk band.

(Neditor: this is an allusion to our winning the Best Funk Band Award in an August '99 Alligator poll. But as strange as that prize is, look at the awards we received below!)

PopCanon won the following Gainesville Area Music Awards:

5th Best Overall Band
5th Best Live Performance
2nd Best Cover Band (um, we're not a cover band, people!)
2nd Best Ska/Punk Band (dammit, we're NOT a ska band!)
2nd Worst Dressed Band (!)

(Neditor: I think we received more awards than any other band, but none of them were for 1st Place. Ah, well, as I've said before, quoting my man Charles Ives: Prizes are for children.)

Congratulations to our own David Hornbuckle, who won 5th Best Acoustic Act & Solo Performer, and to sister band The Chairs who took 1st Best Acoustic Act and 2nd Best Pop Band (a category in which PopCanon was not even nominated! It was this kind of attention to detail that caused our Mr. Hornbuckle and Ms. Carrel to both leave the employ of InSite).

An article about the Minutemen tribute featuring Ned & Michael of PopCanon, and Watt's Tour Diary excerpt about the show.

Live performance review for PopCanon, Pain & The Causey Way at the Covered Dish, 10 September 1999

Billed as a night of 'maniacal rock,' tonight's show actually proved to be just that, despite this dubious coining of a new musical genre. Well, at least one band held up its end of the promised mania...

Locals PopCannon [sic] played first, and a bit early if you ask me. I arrived at 10:45 PM, and they had just finished. Quirk-rock auteurs with a skewed sense of humor that can only come from grizzled grad students, PopCannon [sic] probably freaked out not just one audience member; thus, we can refer to them as "maniacal rock." Still, with only one band thus far being potentially maniacal (again, I never witnessed PopCannon's {sick} set), this new genre has yet to be birthed.

Pain, an out-of-town band, was up next, and did as little as possible to make sure that Maniacal Rock would not be forced from the womb. Breech births, C-sections: Every sort of operation was attempted, yet no beautiful offspring came forth. Why? Because of ska-punk [sic], the ire of any self-respecting music critic, namely for its bastardizing gene-splicing. Yes, Pain could rock decently, but the same could be said about No Doubt, plus the latter's played in malls (teen-points right there, natch). Little rock, no mania, and sore eardrums, to boot -- the essence of true pain, I suppose.

Finally, Maniacal Rock gloriously burst forth the womb, and its physician was the Causey Way. Fittingly outfitted in stylish, all-white uniforms (their posteriors are too good for scrub suits), these rock doctors also performed CPR on our precious dinosaur, Rock n' Roll, by previewing select hymns from their forthcoming collection, With Loving and Open Arms. Naturally, the mood was of reverence for all things Causey, but that didn't prevent the congregation from engaging in religious dancing or singing praise for the Way's newest revelations. These hymns maintained a more dynamic presence than the previous WWCD collection, with more emphasis on pop hooks and rocking out when it was absolutely necessary -- sanctimonious stuff, indeed. Testimonials were heard, Maniacal Rock was birthed, and Causey even pontificated that he 'just says no' (in response to one delinquent's futile attempt to sneak a cigarette in the Dish's smoke-free environs): prayers answered.

(Neditor: well, the show *I* was at, we ALL kicked ass. Maniacally, even ...)

Headline:  PopCanon--quirks and all

'Coffeehouse shows are more unpredictable,' David Hornbuckle says. 'When we played at Common Grounds at the beginning of the summer, we had people chanting for "six more songs."'

Hornbuckle is discussing tonight's potential for unabridged strangeness as his band PopCanon teams up with Tom Miller's weekly variety show at the Common Grounds coffeehouse. Certainly, the band is comfortable expressing an odd sensibility. Specializing in quirky alternative pop that's rife with brainy puns, clever arrangements and witty allusions, the band seems tailor-made for musician/painter/politician/writer Miller's sometimes outrageous brand of entertainment.

'It's a good mix,' Hornbuckle agrees. 'Tom, you know, has his ... routines. I don't know what he has planned; it could be poetry to stand-up comedy to performance art. We've shared bills before, and he's introduced us at times as well as worked on outside musical projects with various members of the band. There's no telling what he's going to do.'

Miller has made room for the band to play two sets tonight, which gives PopCanon the chance to stretch out a bit. 'We play more cover songs and our goofier material at shows like this,' Hornbuckle says, discussing the band's penchant for the offbeat. 'It's a little wacky sometimes. Our influences range from bebop jazz to late '70s, early '80s punk and new wave.'

That doesn't mean that the band, which includes Hornbuckle and Ned Davis both on guitar and vocals, Michael Murphy on bass, Robby Copeland on drums, Alyson Carrel on trombone and trumpet and Don Undeen on sax, shies away from writing real songs.

'There's definitely "crafted songwriter" influences like Elvis Costello, Squeeze and XTC. Our horn players don't play simple "ska parts." They use a more orchestral approach,' Hornbuckle explains. This somewhat more straightforward side of PopCanon will be featured at Durty Nelly's Irish Pub on Monday. 'It's a more conservative crowd, so we'll tone it down. It'll also be a two-set show, so we'll play a few more covers, more straight rock songs.' Hornbuckle says.

Various band members took part in a St. Patrick's Day tribute to Irish reprobates The Pogues, and Hornbuckle promises some of those songs will be played. PopCanon's returning fans may also want to listen for new songs from their forthcoming third album D'art.

For more information, check out PopCanon's website, where, among other things, the band makes its negative reviews available to fans.

Headline:  THE WACKY WORLD OF POPCANON

(Neditor: And the caption for our photo read 'And not only that, but this is PopCanon's official publicity photo')

In celebration of PopCanon's slick virtuosity and incredible song-naming ability -- a random sampling of songs includes such titles as 'the Abysmal Parkbench,' 'Onion Man,' and 'Codename: Snossage' -- RFG has decided to adopt an entirely new format, letting PopCanon speak to you directly.

RFG: How did PopCanon form?

PC: Out of the primordial soup we rose, kicking and screaming and rocking.

RFG: Describe the effects of PopCanon on an average listener.

PC: Sadly, the 'average' listener does not go to PopCanon shows. Only scary drifters looking to get out of the cold and rain come to our shows. But we love them!

RFG: How do you write songs?

PC: Not unlike Chumbawumba -- we vote anarchistically on every note and syllable, one at a time.

RFG: What is death like?

PC: You know when you're leaning back in a chair, and you're kind of balancing precariously on the back two legs, and then you start to fall and you catch yourself at the last possible second? Death is completely unlike that.

RFG: HA HA HA! Do you want some crackers?

PC: Please!

After this snack, PopCanon, led by saxamophonist Don Undeen dressed in his typical speedo / lingerie get-up, left to put up fliers for tonight's show at the Hardback, which will benefit Campus NOW (National Organization for Women).

No band is more worthy than PopCanon to aid in this gargantuan task of enlightenment.  PopCanon weaves humorous-yet-potent thoughts, such as 'Vidalia, Vidalia, be my onion woman / Vidalia, Vidalia, I want to be your onion man,' over a conveyor belt of beefy rock bouncing around in offkilter time signatures.

The band will so entrance you by slipping into experimental jazz-noise lines or exploding into their trademark jumping dance that you may never notice the lyrics about astral projection, Rene Descartes or the foolishness of deconstructionism.

[Neditor: I don't think any of our songs take a particularly anti-deconstructionist stance...]

PopCanon has recently released their first CD, The Kingdom of Idiot Rock, a 15-song album that proves they are no band of idiots.  The group's seven members contribute equally to the album, musically complimenting each other's styles, some being adept at playing classical music, others at jazz and rock.  Together they play an eclectic mixture of styles.

'We're six and sometimes seven different people, and we just put our heads together and try to come up with something we all like,' says David Hornbuckle, singer and co-songwriter.

Part of PopCanon's style comes from the assortment of instruments played: violin, cornet, sax, tuba, violin (Neditor--so great he mentions it twice!), fretless bass and 12-string acoustic guitar.  Each instrument lends its distinctive tone, giving their music a rich sound, capable of great flexibility in range and dynamics.

Kingdom displays this range with jazz-influenced 'Labyrinths', a song heavy on the horns; then there's country-sounding 'Valentine's Day', where the violin is played like a fiddle. Other songs are reminiscent of early punkrock and bands such as They Might Be Giants and XTC.

PopCanon is original and direct, playing catchy chord progressions highlighted by clever lyrics. The riffs come right at you, at first, but then turn and hide, and a new instrument will come in and steal your attention--similar to a burlesque striptease.

'There's plenty of sound no matter how many people are playing,' says Ned Davis, guitarist and co-songwriter. 'Even the set breaks are noisy.'

PopCanon members have played in several other local bands, such as the Tonewelders, Rosa Rugosa, the UF Orchestra and the UF Jazz Band.

When PopCanon formed, Hornbuckle says, 'I brought a whole bunch of songs. After a while Ned brought a few songs--and then we all collaborated. The instruments we ended up with aren't things we sought out. They're just what our friends played.'

The freefall way in which the band formed comes across in their songs, specifically in the vocals, which can be soft at times and harsh at others, with both serious and ridiculous lyrics, every song seemingly about either a postmodern author, another local band or rock n' roll in general.

The band keeps a tight schedule, currently playing the music for UF's performance of Jesus Christ Superstar. Look for them performing at the Harn Museum on December 14, as part of the Live Arts, Improvisation Performance and Spectacle.

PopCanon is a band that must be heard personally to be known.

For a good time, you can mail PopCanon at < us @ popcanon dot com > to get CD information and an up-to-date gig schedule. To hear them on the radio tune into 97X, and to buy the CD, seek out your local store.

The performance began with an acoustic guitar feedback solo by guitarist Dave Hornbuckle that segued into the first song, which told the story of the band's name. The band used to be known as the Semantics until a major label person saw the name on the internet and threatened legal action because one of the label's bands owned the rights to the name.

Several songs later, the saxophone player had stripped down to his traditional costume that consists of women's lingerie (yep, he's an exhibitionist). The attire was somehow appropriate for a song about the famous mathematician Descartes. There is no way to approach such a serious subject matter with a straight face. Then Alyson Carrel switched from trombone to tuba for a few songs. On one song, guitarist Ned Davis switched to a bass guitar, which in addition to Michael Murphy's 5string bass and Carrel's tuba created an incredibly thick booming rock sound. A lull in the action at one point resulted in a spontaneous solo version of 'Take Me Home Country Roads' by Dave Hornbuckle (ahh, West Virginia). You never know what to expect at a PopCanon show, but it's always fun.

PopCanon will take smooth guitar and rhythm arrangements and pair them with a trumpet or a violin. Lyrics and vocals compliment the quirky sound with stop-and-go verses and wavering pitch. Taken as a whole, you could spend an entire day with PopCanon. And you'd enjoy yourself.

Fans of the Semantics, one of Gainesville's strangest rock bands, will be happy to learn that the band is still alive and crazy as ever--only the name has changed. 'There was already a band in Nashville called the Semantics,' according to David Hornbuckle, vocalist, songwriter and rhythm guitar player.  'They had a copyright on the name and were just signed to Geffen Records, so we were kind of forced to change our name to PopCanon.'

(Neditor--well, we weren't forced to change our name to PopCanon, but we did have to change the name.)

  For people who may not be familiar with the Semantics or PopCanon, they perform original music; this music is so original that it is difficult to describe. These enigmatic stylings are what Hornbuckle refers to as 'idiot rock'. Citing XTC, the Meat Puppets and Squeeze as influences, Hornbuckle says, 'We just run with any idiotic thought we might have--sometimes we might get a little too strange.'

  PopCanon has been one of the Gainesville's most active bands. Aside from playing gigs, such as the Common Grounds first anniversary party, they've been writing lots of new music. 'We've been working on our new CD,' says Hornbuckle. 'We've cut 12 songs so far, and we're hoping to get 18 on the album.' The CD is due to be released in the fall. Hornbuckle is confident that having an album out will open up many more out of town gigs for his band.

The folks in the Semantics would rather worship the Devil than talk about their music. Actually, they'd rather just play their tunes than be subjected to deconstructing them through language. Kind of ironic, but hey--it's the nineties.

'Satan lives in my guitar,' claims Ned Davis.

Davis didn't talk about anything but Satan, and he's looking more and more like Jerry Garcia all the time...could he be THE Friend of the Devil?

David Hornbuckle, also on guitar and vocals, swears the band's only demonic expression is through their love songs.

'That's as far as our Satan worship goes,' he said.

All the same, the Semantics' trombone player, Alyson Carrel, promised me that the next time the band plays in town, she will personally crucify saxophone player Don Undeen.

You see, there's more than mere music at a Semantics show. The horn section adds a touch of performance art to the band's shows, actually pantomiming the songs when they're not busy blowing on their respective horns.

'We've already alienated our conservative Christian following,' Undeen said.

If some of the aforementioned names sound familiar, it's not because the members of the Semantics used to be Charlie Manson's house band. The majority of them were, however, in the now deceased band Planet Ten. But they don't like to talk about it. In fact, for a band named the Semantics, they don't seem appropriately interested in talking about much at all.

None of that matters, though, because the best thing about the Semantics is their music. Upon first hearing their original tape (Some Antics by the Semantics), you will be instantly hooked on their groove. The band is currently recording over 50 new pieces of material, which will include horns (unlike the original tape). Most of the new work will be recorded under the direction of Ron Richter and Pat McKinney of RMS Studios, where the first catchy Semantics tape was created. Some of the new material may also come from a live show at the Covered Dish, where a recent show was taped for prosperity [sic]. The Semantics may be better known at the Hardback Cafe, however.

'I understand we're a Hardback band now,' Hornbuckle said.

'We're also the house band at Chef Willie's Zygii Pub in Lake City,' said drummer Blue Lang.

The band hopes to tour throughout Florida and possibly even Atlanta in the future. If they reach their goal of producing a 7", a new tape and a CD full of songs in the coming months, Atlanta should not be out of reach. If you listen to their original tape, you'll see what I mean--they're musically talented and have witty lyrics.

'We're not a ska band, and we're trying desperately not to be a novelty pop band,' said Hornbuckle. 'I'd like to think that we're somewhere in between punk rock and Dixieland jazz.'

They don't take themselves all too seriously, however.

'Currently in our effort not to be a novelty band,' adds Hornbuckle, 'I'm working on a set of pogs with our pictures on them.'

This would be in addition to the band's previous marketing efforts, which include spatulas with the band's photo slathered on, meat grinders as prizes for skanking contests at live shows, and even a homepage. Yep, you can check out sound bites from the Semantics' tape, band photos and drawings of the band at www.purplefrog.com/~semantics.

'We're going to have an interactive paper doll set on the home page,' said Hornbuckle, 'with changing outfits.'

At the beginning of my talk with the Semantics, Undeen crawled nimbly on top of the car the band was roosting on and commenced to skank. Halfway through the interview, it started to rain. Nobody moved.

'We're the band that's too dumb to come in from the rain,' said Undeen.

At the conclusion of our discourse on the Semantics, Undeen swung back and forth vigorously in some tree branches, bare-chested like Tarzan. If you'd like to check out some antics by the Semantics yourself, witness their next show at the Hardback July 5, when they play with Squeaky and Blow Mimosa. They'll revisit the Hardback July 26 with the Root Doctors. Bring your Satanic Bible and your best skanking shoes--you may go home with a meat grinder for a trophy. If you still haven't had your fill of them, check out the split Semantics as Martha Quinn's Posse (three Semantics, actually, are in this band too). They play at Richenbachers and frat parties, paying homage to the first decade of MTV smash hits. If this still isn't enough, 10 years down the road you may be able to acquire a Semantics' greatest hits album, tentatively called Some Antiques by the Semantics.