By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
Remixes, synths--why not just get into quote-unquote electronic music? Baechle doesn't quite know, or care for that matter. "So many more people show up to raves," he says. "I know a guy in Omaha who does them, and thousands and thousands of people show up. They put a lot more money and planning into their fun." White goes a step further, giving that kind of music more credit than his own. "I would love to say, yes, that we're part of a movement, like hardcore bands in the '90s having causes and all that stuff. We play benefits sometimes. The rave culture--that is a movement. It's like our own version of the '70s. I so dig the fact that it's all electronic."
Still, White won't be delving into electronic music too deeply just yet. He's got other things more pressing, like the business he and Maskovich ran for the past year. "We had a beauty boutique here," he says. "We were traveling a lot, and we had to close it. We're moving after this tour. We're shooting for Minneapolis. We want to live in the coldest area possible."
Which would seem to cut off White and The Camera Obscura from its peers, perhaps fostering an electronic revolution whether he likes it or not. But that would have probably happened anyway. While rock and roll could never be completely programmed, technology has furthered a long-needed immediacy, one that is important to all three bands' blast from the past into the future. As Bobby Harlow of The Go says, writing in Vue's liner notes, "Last year's show is over, we want our future now. It's been a long time comin'. Rock and Roll is now, buy it, hear it, do it, 'til it's raw and swollen. Freak out!" Preach on.
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