A lot of "local" stuff crosses the desk of this reviewer.

Granted, the term "local" is becoming increasingly hazy. New "indie" labels are popping up everywhere. And with technology such as it is, a skilled engineer can imitate big studio sound out of their house. For the sake of argument, we'll define "local" as lacking national radio support and an MTV video.

With these two elements absent, The Murfreesboro-based band Self fits into the "local" category. They do, however, have a deal with the upstart Spongebath indie label, distribution through Zoo Entertainment, and a record. Oh yeah, and it's a really, really good record. In fact, from a production, songwriting and performance standpoint, Subliminal Plastic Motives is way better than almost all that post-Nirvana regurgitated Seattlesque sonic sludge on "alternative" radio right now.

Self is a clever blend of hip hop beats, samples and pop melodies with just enough Smashing Pumpkins type guitar washes to make it "alternative". In creating their unique sound, brothers Matt and Michael Mahaffey share a mutual reverence for music's past, dissatisfaction with music's present and a clear image of where music should be headed.

"There's a lot of different influences," Matt Mahaffey said. "A lot of hip hop. Michael and I come from totally separate backgrounds, so we try to mesh it into the same thing. We're fans of all kinds of music. When it came time to make a record that was going to be released, there were a lot of things that I couldn't help but include. I'm really into older hip hop and hip hop producers, then we're big fans of Kiss, then British pop like XTC. We're fans of good songwriting."

Having an arsenal of home studio equipment enables Matt Mahaffey to exercise his own style of songwriting.

"I have a home studio, and I work with a lot of sequences and samples," Matt said. "It just depends on what instrument we're writing from. If it's a piano-based song, it will revolve around that. If it's written from the guitar, which a lot of songs on the records were, it will lean towards that. Some of them were written from the sampler, and so they're based around samples. Some were written at the drum kit. It's a very rhythmic album."

It's important to note that unlike most techno rhythm-oriented albums, Self uses the samples for more than a mere effect.

"I like to treat the sampler more as an instrument rather than just tossing them in there because it's kind of popular and trendy these days," Matt said. "I've worked with samplers for many years. It's been something that I really enjoy doing. When we play live, all the sounds that we make at the house are played live. We don't sequence anything. It's treated as a fifth member of the band. A lot of the songs wouldn't work without them."

Speaking of Self's live show, recreating their diverse palette of sounds creates special challenges. "We're not the kind of band that can throw a couple amps on stage and start playing five minutes later," Michael Mahaffey said, noting that drummer Jason Rawlings, bassist Tim Nobles and keyboardist Chris James complete the lineup. "We're trying to duplicate the record, which is harder than for most bands but it's worth it."

This record itself was recorded at the Bennett House with engineering by Jim Farci. Mastering duties fell on the expert shoulders of Bob Ludwig. Because of the effort of these two individuals, Self were able to blend synth, electric and acoustic instruments into world-class sounding record. Also of note, the cover art by Brian Bottcher is first rate, set very far apart from most "local" efforts.

Also of first rate is Matt Mahhafey's lyric themes. Demonstrating the 22-year old's preciousness is a collection of songs filled with powerful images and language twists documenting his disillusionment while "shopping" his tunes. "The record could almost be a concept album in the fact that a lot of the songs were written in a time where we were negotiating deals with labels," Matt said. "I've never done that before. A lot of the songs are about dealing with the industry in twisted, weird ways. A lot of the songs on the album are about dealing with business people. And how it's just a totally unlikely union between the business end and what I want to do with my music. Thus the title of the record which is Subliminal Plastic Motives. That's a line from a song on there called "Superstar." To me it's saying the record companies have their motive behind putting out a record and I have my own reason for writing my songs." This theme is evident in Self's first single "Cannon." The song documents the struggle of Spongebath founder Richard Williams. Playing off the expression "mouth like a loose cannon," Mahaffey paints a picture of an individual with something important to say. Unfortunately he's dismissed by many as a "loose cannon" and told his project won't amount to anything. The single has garnered significant airplay on local Nashville radio. Mahaffey says that listening to this one song doesn't paint a complete picture of Self, however. "Cannon" is different from anything else on the record. As far as a listener's point of view, it could be a trio from Boston or something playing that," Matt said. "There's one sample in it. To me it, doesn't really solidify the sound of the band." "It just came together and sounded really good for what it was," Michael Mahaffey said, noting that it still is a good first single. In the near future for the band is an EP designed less for live performance and directed more towards "studio heads." The band will also be "buying a van and hitting the road" early in 1996. The band also plans to continue to push the envelope of alternative music, striking a balance between all their favorite styles and sounds. "I'm a big fan of low fi recording, and then I also like nice glossy shit too," Matt Mahaffey said. "I wanted to have a healthy dose of both. And on top of that a nice dose of synthetic and acoustic instruments. That's really our goal, to blend that where it doesn't sound like some guy sitting at a computer, and then again, it doesn't sound like Dicky Betts in the studio with a sequencer. We want a blend of technology and vintage sounds." Mahaffey doesn't want to fall into the same trap as a lot of other bands on the radio these days. "To me, everything is in like post Nirvana stage right now," Matt said. "The same thing that's happening to alternative music is what happened to country. Country has been in that stage for like several years. And country sucks so bad right now, it's horrible. It's bumper sticker music. It appeals to the lowest common denominator and I think alternative music is going to be the same way. I used to be a big fan of hip hop. When it first came out, it was the shit. It was totally fresh and totally new, now it's regurgitated. "Alternative is kind of the same way and no one really knows where to go with it. What we're trying to do is to combine everything that makes us happy and pleases us and if it doesn't fit in then that's fine. But I think it does. I think it's a combination of everything and the songs aren't the same songs written over and over again with the same sounds. It leaves it totally open for new directions and it can reinvent itself. Michael Mahaffey agrees. For some people, the attention span is getting shorter and shorter," Michael said. "There's so much music out there that you really have to knock them over the head and keep them interested. If you think that way when you are recording it, it will separate you from the other stuff."