1996-97_v19,n08_ARTS_Imprint by Editor Imprint

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Pistol aa.ipped The Sex Pistols in 1996: What a Rotten Day The Sex Pistols Mdmn Amphirhme

Monday August 12 by Sandy AtwaIl Imprint staff

otten picked up the jean jacket that had been thrown on stage, lifted it to his face nd blew his nose squarely into it for all to Rb see. Before he continued singing, he tossed it into the audience where the crowd predictably clawed each others eyes out for a piece of’Johnny’s snot. How things have changed from the era when “fans” would spit at punk bands in a show of proletarian egalitarianism demonstrating their refusal to show any respect to a performer just because they were on stage. uI am the Antichrist

. .please buy my mwchandise.” photo

Of course that’s not all that’s changed. In 1996, more people saw them at one Toronto show than ever saw them in England during their brief, brilliant career. At that time, they shared venues with the Buzzcocks and the Damned while now they share a venue with Michael Bolton, the Eagles and Gloria Estefan. Back then, the spotty faced green haired punks were their audience while now fans wearing Megadeth and Green Day t-shirts mingle with the safety-pin crowd. For faos of punk rock, it’s difficult not to feei some nostalgia for an age none of us really knew. We grew up in a decade of heavy metal hair bands and Michael Jackson and could do nothing but build the myth of punk up in our minds. As a result, it’s not surprising that life can rarely outperform art. As the crowd waits for the band to arrive on stage, they are tortured with nothing but disco music, a fitting introduction indeed. Then, as the music fades and the crowd explodes, the black curtained backdrop fails to reveal the headlines that the Pistols captured oh so long ago. The band shambles on stage and kicks immediately into ‘Bodies” - certainly one of B&c& highlights. Nine thirty at night and the Sex Pistols take the stage. Already something’s wrong. Who’s bed time are we observing here? (I’m

tempted to suggest that at their age, the Pistols might need to get to sleep a little earlier than their fans, but I’ll refrain from taking the easy pot shots about how goddamn old they all look.) Punk music is a nocturnal creature and there’s something not quite right about seeing the Pistols before night has properly fallen. Rotten’s voice has deteriorated surprisingly quickly since last year’s utterly brilliant Lemeld/ Lydon single. True, that single

It 5 easy -

manages to work almost perfectly on “Anarchy in the U.K.” But his voice isn’t the only thing missing. Sadly, Rotten doesn’t seem to be %imself?’ He is as funny, quick witted, savage and quotable as any musician and yet none of this shows through on stage. Appzrrently he can make fun of everything except himself He reserves his comments to almost nothing but the typical ccI can’t hear you!” chant of rock

extremely easy -

Sid Vicious was alternately a mime, acoat rack, a pathetic junkie (and possibly a murderer) but he wast2eperan important part ofthe Sex Pistols’ music. Whatever contribution he may have made to their image is surely eclipsed by his contribution to their demise. As a result, the Pistols deftly sidestepped his myth by avoiding any of his songs. All in all, including the encore (that most ignoble of rock

to ensure their failure, the Sex Pistols became a victim of the anarchy they so proudly embraced. This is especially tragic since it’s evident from Lydon’s material with Public Image Limited that the Sex Pistols under his dire&on could have become one of the few bands from the punk era to forge forward and remain an interesting band. Only something like M&dBux could have followed up BOkk5. But then isn’t that just making excuses? It’s easy -8xWWz8y easy - to forgive a band for its current indulgences because of their reputation, but then that’s just buying into the Dinosaur Rock mentality Lydon et al. were trying to destroy. The fact of the matter is that rwenty years ago, the Sex Pistols were a kick in the face to the pretentious components rock music had adopted and in 1996 the Sex Pistols seem to have embraced some ofthose conconventions) the Pistols are off ventions wholeheartedly. the stage in one hour. And yet. . . how rock is it to On the one hand, it’s difGzult make heroes out ofperformers on to criticize the Sex Pistols for what stage? Anyone looking at the Sex they’ve become - a sad bloated Pistols and expecting anything parody of ev4xyth.Q they used to anything at all - simply isn’t fiishate - because they were screwed tening to the words on stage, beso bloody hard by the music incause theyIre telling you in their dustry the first time around. The attitude, their style and in the BBC refused to play their number lyrics to ??retry Vacant” that We one album while a money hungry don’t care.” f&ion consultant acting as a Unfortunately, that’s all too obvious. manager did everything he could

to forgive a band fM-

its current indulgences because of their reputation,

but then that’s just buying into the Dinosaur Rock mentality Lydon et al. were trying to destroy. had the benefit of studio trickery to bring out Rotten’s whiny sneer but still, the g&shouting which greets the audience seems extraordinarily coarse. The crowd doesn’t seem to mind. They are a happy mass,

singing every word (no doubt someofthem better than Johnny.) His voice is better on some songs than on others. It’s positively wretched on “Holidays in the Sun” but the raw power of his vocals

stars everywhere. The rest ofthe show is equally predictable. Ail of &&cb with “Stepping Stone,” “Satellite” and (Did You No Wrong” thrown in to stretch the set out - in other words essentially the exact same line-up as Filthy Lucre Live. The

only other song they apparently have done on this tour is the Stooges’ “‘No Fun.” It should be clear to anyone at all interested in the band that

by James Russell

ARTS

IMPRINT,

Friday, August 30, 1996

More fun than a backpackfull of monkeys Radioblaster w/, Oramx Glass. Moon Sock& speidbuggy, Broken Girl Lee’s Pdiue

Saturday July 27 by Patrick Imprint

W-s staff

1PM ot twelve hours before, the first, I9+ release party for the Squirts Record&t& Of Ow Stu&d&se compilation had featured l-Head, Shortfall, Squirrel, Scratching Post, and Len. Now, less&an an hour from the Broken Girl, Orange Glass, Moon Socket, Speedbuggy, and Radioblaster all-ages counterpart, the high schuolers (and I) are lined up for two blocks outside Lee’s Palace, because this is the+ afternoon.

2PM The doors have been delayed halfan hour and the indie kids are still streaming in when Broken Girl starts to play. There’s nothing complex about Broken Girl except her simplicity. An oversize

electric guitar serves as a barrier between the Broken one and her fans, as does the stream of hair that obscures her eyes. The guitar’s bright red colour stands in stark contrast to her purple-blue jumpsuit. The kids love her because they cmz, because Julie is the ideal teenager, worried about lifii, afmid to speak up, frightened of performance. Julie of Eric’s Trip is a rock star brought down to earth; now that the band is gone, she’s been cast down to earth, and for her fans, Julie just is. 2:45 PM Julie doesn’t leave the stage for long, but picks up a bass and plays for Orange Glass (regular bassist Tara doesn’t like touring) s The OGs are another Moncton Band, and they play plain 01’ East Coast grunge, with their vocals run through that East Coast accent pedal that serves Sloan, Thrush Hermit, the Super Friendz, and Radioblaster so admirably. Orange Glass’ noisy, wall-ofnoise-building style works well on 7’ records because the listern knows he or she will be able to flip

the record over in less than 4 minutes. At the end of the live show, one senses the danger of an extended feedback se&ion, which does in fact take place. (Insert sound of needle scratching.) 3:30 PM The recychng oflllonctonites continues: Orange Glass drurnmer Chris leaves the kit to assume frontman duties for Moon Sock%. Thmkfidly, this band runs deeper than EC grunge,. with influences from country to metal. Two guitars and no bass warp the trio’s rock sound. Chris is another exEric’s Trip member, and in the contrast between the pop noise of Moon Socket and the unfiltered sentiment of Broken Girl, one seesboth sides of one of Canada’s greatest, latest, bands. 4:15 PM Vancouver’s Speedbuggy is down in Toronto for the fust time, and they are surprised at the popularity that their work Squirtgun has brought. Y&s is probably the most people we’ve ever played to,” they say, and the crowd roars in approval. They begin to play, and predictably, a few ten-year-

old boys, lacking certain fundamental rules of rhythm, begin to mosh. Speedbuggy are not moshable, at least not under this planet’s gravitational constant. Their widely-spaced notes soar, their harmonies are spot-on, and I realize that the sound that makes Speedbuggy nearly interminable on CD is what makes them work so well live. 5:OO PM Radioblas ter headline. It’s a credit to Lee Maslin that his Squirtgun label has found fame across the age barrier: Scratching Post can play 21+ shows in New York, and since treble charger and Hayden went stateside, no band in Toronto can draw the kids like Radioblaster. Fortunately, Radioblaster are developing from East Coast-derivative pop (taking your name from aThrush Hermit song doesn’t leave many options) to their own brand of happy yet cutting music. They’re ~LQ they’re intelligent, and they know how to rock.

Not just a buggy+@eedbuggy! photo

by Patrick

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TUESDAY,SEPt3*9:10

Wilkins

IMPRINT,

Friday,

August

ARTS

30, 1996

You Oughta Grow... Alanis Morissette

w/ Our Lady Peace, Dimsaur Jr, and Ffente M&n Purk Saturday August 10 by Scott Preston special to Imprint

e in attendance at this show on this beautill day, it became apparent that I had &out 10 years on most of the other spectators. I began to think back about the frost concert that I ever saw. The first concert *at I attended was deliniteIy nowhere nearly as cool as Alanis. Will the thousands of 5 year olds who got their parents to buy their 40 dollar Alanis t-shirts remember this one? Maybe. The crowd of 32,000 was half composed of children under the age of 15, many with their parents in tow. Some parents went as far as bringing their strollers into the “pit” area. Now thats dedication also downright stupid. The age differential was weil apparent when watching the concert and trying to peer around the wall of parents with kids on their shoulders. As for opening bands, it was a cut-and-paste lineup which really didn’t add to the betterment of the show. First up was the sweet Australian melodies of Frente.Theystarted&eshowwith a well-known hit, KLabour of l

Love” to get the crowd% attention, subsequently mixing in songs from their new album, Shtipe. As with most semi-known bands, polite applause was always recieved from the crowd. They played their most well known cover, “Bizarre Love Triangle,” as their last song, which capped a pretty predictable set. I was really looking forward to Dinosaur Jr., but their set was doomed from the beginning. Their type of music didn’t fit with the lame crowd, and their performance equalled the interest of the fans. It didn’t help that every 5 minutes J’ Mascis was either switching or tuning his many guitars. He even went so far as to stop the song “Qut There” a few bars in, and change guitars, resuming with another song. I%e got an idea, J, fire your guitar techs and tune them yourself. All in all, a very disappointing show for a bandthatiscapableofmuchmore. As soon as Our Lady Peace stepped on stage, it was a case of bad deja-vu. Having seen them 3 weeks ago at Edgefest, I pretty well knew what I was in for from the beginning+ Same show as always, with new songs to accompanyallofthehits.Verysdlidand predictable, until they played a Beatles cover. I won’t even go there. All of these appetizers were a lost cause to begin with, since all of the youngans had probably

never heard of most of them. It would probably be too much to ask to actually appreciate the music. After Qur Lady Peace’s set had ftihed, the anticipation built until some guy came on stage and shouted out “Gimme an A!” This was deftitely a requirement to hype the youngsters, yet it was cheesy as hell. Finally, 15 minutes later, and tier her makeup was complete, Alanis fin;a.Uytookthe stage, opening with “All I really want.” By thisti.me,itwa.s9:15,thekidshad grown tired, and crowd response was meagre at best, Alanis’ band was solid throughout, with a tight rhythm section which included lead guitarist JesseTobias, formely of the Red Hot Chili Peppers. The only songs that garnered any response fern the crowd were her Lchit~,” proving that Alanis is like any other band with videos and radio play, marketed by mass media, yet lacking any real substance or die-hard fans. .Her music, wrapped in that nice “Alternative” package, sells so well these days, proving that it was a good idea to stop making cheesy dance songs. The smallest shock of the evening came after she*played “‘You Oughta Know,” which lefi most of the crowd more worried abut the post-show tr& fit than what songs she’d play for her encore. Power to the mass media, you’re doing a great job.

CARRY-ON for the election of Comics, Magic,

$25 worth of Rage entertain the 5000 fans by performing an extremely intense, Varsity Arma energetic show. Friday August 9 Varsity Arena, however, again proved to be one of the by Peter zakrzewsti worst possible concert venues in special to ImpriM the Toronto area. If you ever get the chance to see a concert there, lthough rrn not a fan of don’t! Appalling sound quality RageAgainsttheMachine and stifling heat made what could A d their music, the fourhave been a decent show into one some from Los Angeles a&nitthat I was just hopingwould end. tedly made a valiant attempt to With the mercury soaring in the overheated mosh pit, many of the pitters opted to forsake the last threeorfour songs of the show to escape to the cool night air outside . I couldn’t blarnethem, as even sitting in the seats I was dripping with sweat bytheendof the show. As for I hate the system Now give me your money?! the sound, photo

by Scott Preston

&bass@-

tar was turned up so loud that singer Zach de la Rocha’s vocals were ofien completely drowned out, especially during “Bulls On Parade” and “Bombtrack.” This was unfotzunate as it is Zach’s opinionated anti-establishment lyricsthatgivesthegroupitsname. This anti-authority theme was further demonstrated bv an UDside-down U.S. flag &h t&e words K666.. .FAILuRE, FAILURE!” It is rather amusing, however, that a band with such strong ideals is cashing in on their successby charging $25 a ticket and recording albums for a gigantic ctimpany such as Epic. Not exactly Kraging against the machine= anymore, eh guys? The crowd, made up mostly of teenage guys looking to show off their newest mosh pit moves, only really got excited when the bandplayedcurrenthitslike”Bulls on parade,” and songs from the first album, which included ‘KnowYourEnemy,““Ki.UingIn the Name,” and set-closer Treedam.”

Most

of the songs

off the

current album Ed Empire only received a token response. At a better venue, the show may have been worth the $25, but at Var”shiv Arena, only the real die-hard Rage fans walked out completely satisfied.

32 King Street.

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ARTS Dishwalla w/Daytona

A Pack of

Vi&an0 Friday August 14

"T'+av&@

by De&

Dupuis

IMPRINT,

Friday, August 30, 1996

Bill. For almost an hour they played anenergetic show that kept the fans on their feet close to the

stand it, a dishwalla is a pack of entrepreneurial nomads that travel among remote villages in India

before stopping to talk with the crowd. Iln fact, before they played the current hit “counting Blue

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special to Imprint

Nomads

and%4inneap&,” both ofwhich are getting video and radio play. At midnight the main attraction hit the stage. Now asI under-

the stage first, Vancouver’s own Daytona started oRFriday’s double

ntie

of the Lain act. They played five very energetic and rockin’, tunes ftom their debut album, Pet 2%~ l%&x,

EEELFGEn%%~

crowd and the next half of the show was marked with much stige diving, to the chagrin of the bouncers. I really did enjoy the performante put on by DIshwaTla. They sounded great, used several sound effects and were overall quite energetic, especially lead singer J.R. who bounced around the stage so much you might have thought he had a pogo stick jammed up his aSS.

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The second last song of the set was the beginning of the Beastie Boys’ %ratitude,” then a cover of ‘Tainted Love.” Their encore included an interesting version of “The Car’s Just What I Needed.” Overall a good night ofmusic from an up and coming band. Don’t be surprised when you hear more from these guys, and if they come to town again, check it out.

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IMPRINT,

Friday,

August

ARTS

30, 1996

Heavenly somebodies

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offer

buy her a drink ‘causeshe wont say no. photo

Lush

w/ Thrush Hermit Phoenlrx Thursday August 15 by James Russell Imprint staff have enjoyed enormous successrecently, Lush has yet to really hit it big. And after this show, I think 1 know why; their management sucks. All the essential elements are present: sex appeal, solid albums, a tight live show, a signif&nt and loyal cult following, sex appeal, and most importantly, songs that you can hum to yourself all day long. So what’s going wrong? Somehow, Lush is being lost in the shuffle. CFNY announces tons of interesting shows, but I didn’t hear Lush get mentioned for either this show or the last one. Another problem was scheduling. I heard the show would be early,thenIheardthatLushwould hit the stage around 9 p.m. In actual fact, Lush went on at 8 p.m.!! I wonder how many people turned up at 9 (or later), only to be bitterly disappointed? If the show is going to start about 3 hours beforeshows normally start,

by Reni Chan

that fact should be very well advertised (tier Lush, I actually had time to walk from the Phoenix to the El Mocambo and arrive before the first of@r bands playing that night had even started). Anyway, bitching &d moaning aside, it was a really good show. Halifax’s Thrush Hermit openedup,withtheirgrungypoprock. I like Thrush hermit, but I think that there are several other bands that might have been more appropriate openers, Nonetheless, they put on a good show, playing a lot of stuff’ from an album that they said was due to be released in 3 or four months. I’m detitely looking forward to it. A note to Lush autograph seekers; hang out in the crowd near the stage when the openers are on. I have seen Miki up there, with a beer in one hand and a Silk Cut cigarette in the other, at most Lush shows I’ve been to. She’s always seems happy to chat and sign stuff, and according to a brief interview with her in the Lollapaloo= magazine, if you really want to make her happy, offer to buy her a drink ‘cause she won’t say no. Miki, Emma, and the two other people in the band (drummer Chris Acland and Bassist Phil

Rippon) hit the stage at 8 o’clock. Like their sold-out May 4 show at the Opera House, they opened with one of the best tracks off their latest albumkelfe, Weavenly Nobodies,” and proceeded through a set including “Sweetness and Light,” from their debut album (a collection of EP’s actually) G&, ccFor Lov$’ from Sp@y, ‘Hypocrite,~ from unlit, and the big hits Tom their latest, and of course “Single Girl,” “Ladykillers ,” WhileEmmawasalittlemore ‘subdued than usual, and Bassist Phil Rippon was his characteristic stoic self, Miki was having a fine time despite the early hour and the fact that she had barely had time to start drinking before going on stage. Chatting up the crowd and swigging beer between songs, Mi.Us enthusiasm was contagious. Despite the fact that she must’ve played all the songs about a million times before, Miki still seems to really enjoy the songs themselves, not just performing. It really is a treat to see. After a set which included most of LodjZ and a few older tracks which I’ve rarely seen them play (like the incredible “Light from a dead star” which shows Emma andMik.i’s absolutelyspectacular vocal harmonies), Lush took a brief break before their three song encore. Wesire lineP from Spli$ opened the encore. Emma’s chorused guitar just got louder and louder and louder until my head was completely filled with swirling beauty of her solo. I felt like I: was being swept away. It was fmtastic. You know when you have a song that you just can’t turn up loudenoughon your stereo? Well, this is one of those songs, and it was fmally loud enough. &terwards, I needed a cigarette. Closing with the same cover that they played in May (it might be called “Demystification” but I don’t know for sure, and I have no idea who did it originally). Lush left the audience as they always do, wanting more.

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and sponsored by Health Services, Single and Sexy is directed by Darlene Spencer and assisted by Aine Magennis. Admission is free

in& and Sexy is a one hour play that speaks to attitudes in the 90s. Re-vised annu-

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and takes place in the Theatre of theA.rtsintheModernLanguages building. ThLe is a premier for the

Donstodayat1:15.At2:00p.m. Monday September 2, there will be a special performance for UW parents, All faculty and stafF are welcome. Tuesday’s shows begin at ll:OO, 2:30 and 4:30. On Wednesday, the cast will be performing at Wilfiid Laurier Universityat11:0Oand2:OOandthe final performances will

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ARTS

IMPRINT,

Friday, August 30, 1996

jale w/Scarce, The Sadies

change has silenced those critics who had jale pegged as a “girl

the Imprint intcnkw

bud.”

by Patrick Imprint

Wilkins staff

Volcano

The critics have alwavs been hard cm jde-their reputation as f&r women who hit the stage not hawing how to play any instruments has dogged thus band for too many years. Has it stopped? “It should have stopped after we learned how to $ay,” Pierce

The period between jale’s acclaimed O~cn~rzcnkc full-length debut and thlyir most recent album So JVOUJ~~has brought some major changes. New drummer Mike Belitsky, also of Torontobased Maker’s Mark, replaced Ah-son MacLeod, who left to p&nd <‘jr the recently deceased Hardship Post. WhG’s &son doing now, 1 ask?“Dunno,” Pierce saps Zni~l\~, but at least the lineup

laughs, .and adds that- touring is the best way to do so. The recent skweck US tour hasn’t been entirely successful; at one spot in the south, Pierce says, ‘&we played to ten people. I was quite depressed. l3ut San Francisco and LA were such a ball!” Like Sloan and Eric’s Trip, jalr take a liberal approach to songwriting, with all members contributing songs. When Alyson lefi the band, her songs left with her, including crowd favourites such as “Not Happy.” Pierce says that the band may eventuallv f&e1 comfortable playing A&on’s

Monday August 19

Pierce took this photo herself. We just stole it.

tion with other members. Pierce sees an evolution in her songwriting. Now, she says, “The songs are not asdirty. We’re not af!raid of singing harmonies. Zn the past, we tried to be as masculine as possible.” And, she says, “I refuse to write another song about broken hearts.” songs, but only as covers. Mike A video for “Alley,” shot in Belitsky wrote nothing for SO TVuund, although one orhis songs Nova Scotia, will be released soon, and some side projects are in the will appear on an upcoming UK works. Guitarist Pierce and basssingle, and he is working on maist Laura Stein have a heavv metal terial on his own and in collabora-

band, and Eve is producing an extremely limited-edition solo release for November. Future plans for the band include a split 7’ with Eric from the Dambuilders, and something “just for fun” with Murderecords. Unfmmate&, a week ufiertmr interakv, the rerrtaindcr of tbejirle tour was cancelled.

t was the show that almost didn’t happen-jale guitarist Eve was called away for personal problems that morning, and the band cancelled once before calling the Volcano to say they would go on as a trio. There were, naturally, problems with the arrangement. None ofEve’s songs could be perf&med (although Pierce asked early in the show if anyone in the audience wanted to sing Eve’s part), so some new songs were unveiled-those involving drummer Mike Belitsky, such as “Despite.” For those who had been waiting months for jale’s return to Ontario, the show was a bit of a disappointment. The absence of half of jale’s repertoire, along with their newousness at playing without Eve, meant their set was about as short as a headlining set can be without causing a riot7

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IMPRINT,

ARTS

Friday, August 30, 1996

More “knee-jerk” value than intelectual worth The Descent of the Child OxCard University Press 197 pages, $28.95 by Greg McMehen special to Imprint

laine Morgan’sTheDescent of the CL7ild is entertaining in a similar way to a baseball broadcast’s colour commentary. Both are permeated with gratuitous facts that are usem to the author (or broadcaster) more for their novelty than for their place in a structured, well thought our argument. Perhaps a scientist might find it interesting that some apes have sex face to face, while &hers use a less LLhuman” position, but to this humble hrtstrained scribe, this type of idormation has more knee-jerk value than intellectual worth. The purpose ofthe book, according to the author, is to speculate on why early childhood has evolved the way it has. However, The DesEent of the Child is more notable for its not-so-enlightening tidbits which Morgan uses to support her speculations. For example, scientists have disc&red a New Zealand snail than reproduces sexually when parasites are common in its environment, and asexually when their habitat is not infested: From these snails’ behaviour, Morgan hypothesizes that sexual reproduction in humans evolved as a “tactical” response to parasites and disease. (One can’t help but wonder if evolution uses “tactics .“) Another exciting fact is that baby lambs, while in the womb, simultaneously engage in rapid eye movement (REM) and breathing exer-

slips

cises.Morgan assertsthat the same she into irrelevant spouting is likely true of human fetuses, of so-called facts, as she explains and that REM during sleep may that the human brain is a costly be a “hangover” from our in-theinvestment, because it “represents womb exercise program. only about two percent of body These facts are probably sig- weight, yet it consumes some 18 nificant, but Morgan touches on per cent of the body’s energy.” so many of them that she leaves Interesting fodder for thought no room for explanations and dis- while your car transports you to cussions of the conclusions she school in the morning, or while draws from them. For instance, you lever a large load using a her treatment of parenting conwheelbarrow. In her race to cover as many sumes a whopping ten pages. Scanning the chapter titles illustopics as possible in as little space trates the diversity of the topics as possible, some of her prothat Descent covers. Some examnouncements can only be deples follow: Is ‘<SexReally Neces- scribed as ill-conceived. In her sary?,” “The Revolt of the Zychapter on “The Wanted [child] ,” gote,” “Walking,” and “The NaMorgan states that: “It is admitked Ape.” The result of this wide tedly unfair that [reproductive playing field is a book that presents assistance] is more readily availits sometimes controversial facts able to the rich than the poor: the the way the Bible pronounces world is an unfair place. But it some of its rules: the reader is left would not be made better if we to accept the truths as edicts from s&d of every new product of servthe scientific gods on high, and ice: ‘Until everybody has this, we gain no actual understanding nobody shall have it.“’ In the conof either their significance, or of text of technologies such as inhow they were arrived at. time fertilisation, this comment is At best, the book touches on somewhat innocuous; however, how childhood evolved, while in the context ofgenetic engineercompletely avoiding the why ing, it has much more relevant which Morgan to be implications. Taken to the exgetting at. At worst, the book is treme, are the rich going to be simply a long list of scientific novable to engineer genetically elties and blind speculations. In stronger, smarter babies, while general, this book is to evolutionthe poorer offspring are lefi beary theory what Cole’s notes is hind? Morgan brushes offthe ethiShakespeare: a skeletal plot sum- cal implications of such questions mary, a few brief character prowith recklessness, and she should + files, and very little substance. However, there are occasional coherent accounts of human phenomena. For instance, Morgan’s treatment of brain growth and her suggestions on why humans have such relatively large tickers is reasonably detailed and informative. Even in this account though,

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know better, This problem characterizes the whole book. Morgan does not get to the heart of the issues she deals with. Rather, the book is a series of tangencies with issues. The author herself acknowledges her lack of focus at the beginning, noting that librarians don’t liEe this type of book, because they

don’t know where to shelfit. She suggests they buy two copies, list one under evolution, and the other under sociology. Both librarians and readers would use their money I and time more wisely by investing in good introductory evoiution and sociology texts. The reading may be drier, but it will be more rewarding nonetheless.

The City of Waterloo and our community welcome you to Waterloo! Living away from home can be an exciting experience. A new community means new friends, new places to go and no parental supewision! No supervision sometimes *leads to:. loud parties - parking on lawns and boulevards - a build-up of garbage and junk where it doesn’t belong. The City has by-laws which regulate or prohibit these matters and they are enforced on a consistent basis. As you may be new to our community, we want you to be aware of these by-laws before you find yourself in conflict with your new community. The City of Waterloo Traffic By-law #83-l 9 does not allow overnight parking on City streets between 2:30 a.m and 6:00 a.m. This by-law also restricts parking

onall

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hours unless

signed for a shorter duration. Signage advertising these parking restrictions are posted at major entrances to the City of Waterloo. You have chosen our universities because they are well respected and they chose you because you have a lot to offer. It is your responsibility to keep your university

and our City proud of its students.

ARTS

IMPRINT,

Friday, August 30, 1996

hLWhj6 LANDSON ITS FEET

is coming to Centre in the Square for 5 performances only, Sept. 6-8. Star Gerry Sager, who plays Grizabella, took a few moments to talk to Imprint about her role in the longest running and most successfd musical in history.

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can you tell me a &tile ahut the charactev you pluy ? Grizabella is a member of the family of cats that’s called Delaco. It’s a trik of cats. And they have this ball every year. And at this ball> they choose the cat that will go to the heavyside lair, which is sort of their version of heaven, Grizabella used to be the belle of the ball. She was, to: put it in human terms, like the Homecoming queen. And she lefi to go and make her fortune and everybody had all these high hopes for her, and she doesn’t make it. She does well for a little while, but then she slides into the gutter. She comes back to the family to find acceptance and they don’t accept her. She’s not the same glamour cat that she was. So my story throughout the show is my battle for acceptance. And my learning to let down my defenses. How long have you played G+k&?ll~ ? Two years. Do you enjoy it?

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It takes a fat of training. It takes a lot of hard work, and a lot of luck. I would recommend training in every aspect. Not just voice, not just dance, not just acting. I trained as much as I could in all three. And I would really stress acting training. That’s what people are usually missing. My course of study was experience, and it took me a nzlly long time-1 knew I had it in me, but it took me a really longtime to tap into that. Whereas if you train, you go somewhere and they teach you how to tap into your natural talent. That% a lot quicker. Will the be wwre musicalpmductkms in the fiature than there are PWW? I think we’re on an upswing right now, but I’m not in New York so it’s kind of hard for me to say. But I’ve seen a lot more happening. I think the industry itself is a lot more aware of the fact that we can’t keep snobbing ourselves out of work. We need to make more opportunities for writers and the people who create these things to be heard. Not just the Andrew Lloyd Webbers.

Musical theatre was created in the United States, and we are its harshest critics. I’m not saying we need to let more trash on Broadway, but we need to let ourselves rediscover out gift to art. And that @ was musical theatre. But I think that slowly that is happening. But ifs going to be a real uphill battle. It used to be in the depression that the Arts were what everybody would spare because that was what took everybody out of their bad place in life. But now it seems that the Arts are what suffers when there are cutbacks. What-5 ytnwfmniest tour my? There’s a million ofthem, but I’ll tell you one that happened to me in this show, Of course the name of my song is L(Memory,” which doesn’t necessarily allude to the fact that I have one. I’ve been out with the show for two years and I go over my lyrics still. The song “Memory” is sung three or four clif&erent times, not in its entirety, and it’s different words every time, so it can get very con&sing. And at one point, I went out to do the song for the last time, the number proper, (whatwecall”BigMemory”) and I went up on the words, totally! I couldn’t remember what the one word was, (it was “moonlight”) so I sang “Memory, turn your face to the moo...moo...moo... moonlight...” I said moo three times. The conductor down in the orchestra is cracking up. The next day I come in-he gives me a cow,

Doing the part that I’m doing can be pretty stressfLl because the song that I sing is the song that everybody knows. So, it’s not like I can go out there and do my interpretation. I can’t tell you how many times in newspaper articles I’ve been compared to Barbara Streisand and Barry Manilow. Please! What I’ve chosen to take as my challenge for this role is to present it within the context of the show. And do my hardest to let the people know what the song means within the context of the show. It’s a very confusing song. It’s amazing how many people really don’t understand what the song is about. So my challenge is to, every night, get these peoplq to understand why this song was written in the first place, and do it within the context of the show. It’s very exciting. It’s a really amazing song.

Wht advice can you offer somebody This is not act&y who sings and dancesand dreams of

c&abelk

Its SMleshanks,

but that’s ok too. photo

by Carol Rosegg

IMPRINT,

Bll

ARTS

Friday, August 30, 1996

“Nothing more than killing time” WaitilJg for Godot by SamzcelBe&e23 Tom Patterson Theatre until September 13 by Dave Lynch Imprint staff

or a play that leaves few religious and existentialist stones unturned, Wi& &gf;w GO& is remarkably funny. In fact, it’s hilarious - for a while at least, until things turn very, very serious. At first, the audience laughs at the characters and their predicament. The play follows two tramps, Vladimir and Estragon, as they wait for Godot, a man who is to solve their problems. The description of the man does not get any more specific than that, but presumably you are there to discover more. Meanwhile, the bums’ banter is entertaining, putting shows about %othing” like Seinferd to shame as the two pick apart the inanities of everyday life. The play rolls along amiably as the characters kill time waiting for the mysterious Godot.

Then it is the players’ turn to laugh at the audience. Vladimir and Estragon chastise the audience for wasting their time watching a play where “nothing happens, nobody comes, nobody goes, it3 a*!” Suddenly the audience too is killing time. After all, why else would they be there? You start to feel a little self-conscious, and that’s the idea. You’ve had your laugh, they’ve had theirs, and now it’s time to be serious. You give the play your full attention, and asyou follow the two in *eir still hilarious run-ins with others and themselves, you realize that you should have been paying attention all along. The pleasant diversions are now puzzling and double as enigmatic statements and questions about Me, God, and existence. Are they waiting for God? Is He coming? Did they miss Him? Is anyone there? What are thy doing there? But the play is not nearly so direct. The questions are coyly phrased anddare you to

when of course, you cannot. Therein lies the magic of the play: there is no single or even widely agreed upon interpretation ofBeckett% most popularwork. Youtakefiomitwhatyoubrought with you. Stratford’s production accommodates this aspect wonderfully. The stage, consisting of a rock and a tree, provides a sparseness that is at first unne&g and then later

perfectly appropriate. Brian Bedford’s delicate direction makes no unnecessary impression on the@lay, leaving the audience to decide what is important. The play can scarcely be done better. Watching this entertaining and challenging play, I got the feeling that, in more ways than one, I was doing nothing more than killing time - md that is exactly why you should see Waitiqgjw G&t.

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%7here’s the Content/Context?“, clrg: Hot Offthe Coast”, and KEnamels by Perkins: A Thirty Year Retrospective of the Work of A. Alan Perkins” The Ca~dtin Clay and Glass Gallery untiI September 2

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Friday, August 30, 1996

A seamless organic whole 1

jGET’EM WHILE i ,

IMPRINT,

fusion of glass and forged metal comes to us in the form of Nancy Pearce’s “Azu1 Obscura” and “Terra Alto.” Inthesetwoworks, Pearce sets a large glass pouring vessel into a fitted stand made of thin, rectangular metal rods. The glass vessels have voluptuous curves which approximate the. form of a female torso and this effect is retiorced by the metal rods which curl around the front in the shape of breasts. “Face Bowl” by Mark Gibeau ofAlberta, is a large, wide, purple glass bowl. Spanning the centre are a number of human faces formed from the hot glass, giving

ne of K-W’s best art exhibits of the year is currently taking place at the 0 Canadian Clay and C&US Gallery. There are three excellent displays featuring glass sculpture and panels hot blown glass anh enamels. Thd largest ensemble is the CcWhcre’s the One of K-W’s best ay-t Content/Context?” exhibition by the Glass Art Association of Canada. These works of glass are by Canadian artists west of the M&times and perhaps the most talented of the lot is James Norton ofAlberta. His “Poem Fragment” is a construction formed from blown and it a highly tactile quality. I didn’t hot worked glass Its architectonic notice these faces at first, but when structure comes across as a I examined the bowl closer, the gumball machine with an elonimages suddenly became obvious. gated crab’s claw grafted on to the The faces are rendered as though top, protruding tendrils just be- they were in a constant state of neath, and a b&are shaft at the flux, thus producing an almost base. surreal effect. My favourite piece from this Artistically pretentious perparticular display was Mary Filhaps? Not if you saw it firsthand er’s LcExuberance.s’ This abstract because although the components are diverse, Norton manages to work of art needs to be seen in integrate: them into a seamless, order to understand just how organic whole. “Deep Sea Creaamazing it is. Layered pieces of ture” is a smaller version of the thicksheet glass with broken edges previous example, but it displays are placed upright in a panel forgreater craftsmanship and attcnmation and all across the lower iion to detail. Here, &e sculpture half are dismembered disks of is almost totally subsumed within glass. This area is colored bright a network of flailing tentacles and it seems to burst out towards the spectator in a frenzy of movement. Lee Brady from Saskatchewan demonstrates how creative youcanbewithasimple plate. The plate in question, “A Question of Balance,” is made from slumped and fused glass, and features a green and white lines are painted depression in the middle which is in ramshackle fashion everywhere colored purple in order to set it off to create a cracking, shattered against the translucent navy blue impression. of the outer rim. The edge is The second display, entitled broken up into four segments of V6: Hot Off the Coast,” is by six

set of five “Spikey’s” by Lisa Safnphire are also worth a look. The objects are spheres with one end opened up and glass spikes protruding from the exterior. Either lightly colored or frosted, their inspiration may have been culled from deep-sea creatures near the coast. Up to this point, most of the art mentioned has been self-consciously decorative with little evidence of a deeper, transcendental meaning. This is to be expected given the medium involved, but some examples of symbolic art arc nonetheless present. Two pieces by Gary Bolt illustrate these ideas. “Moons of Jupiter Series-10” and “Dark Matex-

EZXLE~~F’i with austere geometric

hibits .of the year is cur- ;i;F;l;ffte;a; rently taking place at the EJpYEo%,ZTf tographs of the 1940’s and, as their titles sugCanadian Clay and gest, evoke intergalactic and cosmic imagery a la Glass GaUery. 2001.

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The third and final exhibit is a retrospective of the work of A. Alan Perkins, who specializes in enamel art. On hand is vast array of enamel and copper wine goblets and chalices which were hand formed with gold plating. They all display Perkin’s trademarkgreat mechanicalcompetence. His “Large Green Bowl” is a large, tzundinear fIattened bowl, embossed in enamel which results in a shimmering radiance. The other bowl on display has a ‘usty orange tone and squiggly metallic attachments that gravitate towards the centre of the interior. Probably his finest works are the numerous plates in enamel and metal which depict atmospheric disturbances, architecture from the Niagara region, or interiors of modern houses such as

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murals. The incredibly intricate detail of these murals belies their tiny size. When preparing the plates, Perkins had to fire them in a kiln at very precise temperatures or he risked destroying the graphite illustrations. For an excellent sampling of Canadian

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and enamel, I strongly recommend this showing. It’s not too often that the K-W region is able to showcase art of this calibre. All three exhibits will be on display until Sept. 2.

IMPRlNT,

Friday,

August

B13

ARTS

30, 1996

Hawk a loogie Gob w/Tilt,

Goober Patro

VlihWO Friday August 23 by Patrick

W-s

Imprint St&F

Canadian indie band W’aS headlining over a Califor ‘a Fat Wreck Chords group and a punk band from England, md the Volcano was packed. Obviously I had underestimated either the power of Mint Records, or the appeal of punk music in KitchenerWaterloo. As part of their never-ending quest to become a real radio station,

uFuck you too!” photo

by Patrick

Wilkins

CKWR sent a prototypical long-haired DJ to introduce the show and give away a tshirt to “the first person to show their ass.” Three people did; one got the shirt. Goober Patrol were the least punklooking people in the building; the<d look more brotherly with their nam&ke in Mayberry. They were also the happiest punk band I’d ever seen; no sour, sullen antiestablishme~tism-just a good-natured willingness to exchange “fuck you’% with the audience and each other. As a band they were immediately likeable, with an energetic stage show and surprisingly unpunkish melodies buried beneath their “oy” songs. The only disappointment: & ext&sivcly-hyped cover that turned out to be

“Spider Man.” It must be true that England’s behind the times, musically-no North American band would dare to walk where the Ramones had placed their leather bootprinw. Tilt’s attraction was obvious immediately: the striking flaming-haired woman with the microphone in her hand. It was more than just a gimmick; the vocals were among the best of all the punk bands I’ve seen. She could scream or belt out quick strings of lyrics just as well as she could actually sing. Super bonus points for an awesome cover of ‘Where in the World is Carmen SanDiego 3” Watching PBS will never be the same. Finally, Gob. I assumed that the Vancouver band had found some success through Mint Records, but the extent of their fanbase was unbelievable. Their latest album Too Late.. . NO E;icien& hasn’t been breaking any sales records, but the video for ccSoda” has apparently been well-received, as evidenced by the dozens of punk wannabees who spent most of the show yelling “Play ‘Soda’!“, in the profoundly stupid belief that either Gob weren’t planning on playing the hit song, or that they could get the band to play it early so they could leave and catch the last bus home. Gob came on and played a song. A minute later it was over. Then they played another one, and fift)r seconds later it was over. They’re one of thme kind of punk bands-brief bursts of three-chord energy, some incomprehensible screamed lyrics, and a lot of charisma. Punk, of course, is not as much about the music as it is about the personalities behind (or the behinds of the personalities, one might say after seeing one member of Gob moon t6e audience). Gob appeared just asdorky as the rednecks in Goober Patrol, constantly making dumb faces at the audience and showing off. Punk is anything but elitist, and ifit’s a bit dorky, at least everyone knows why. Gob were fast, Gob were stoopid, Gob were great. They hopped around the stage, snapped comments back at the “fLck you” boys (a fan tradition that’s rapidly getting tiring), and played a whole lot of songs in a very short time. “Soda,” for those who care, was three songs from the end. They did not do an encore. Gob were punk.

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The Music Man

university ii Canada! These years can be full of experiences and personal

local music teacher/librarian (Ms. Marian Paroo, played by June Crowley), that the town desperately needs a boys band. by Adam Evans Ms. Paroo being an attracImprint staff tive, single lady, you can imagine the method Hill employs to asrainy evening greets sure her of his legitimacy. Appartheatre goers in Stratford ently, you see, Professor-of-mun Friday, some destined sic Hill doesn’t know one note for the Festival Theatre and the from another, which would hinder eight O’clock showing ofThelMtihis promises to whip River City’s sicMan, sons into a unparalleled marching With a protruding, half-cirband. cle stage and an Orchestra ‘pit’ Some fancy footwork by Hill residing &aye the stage, our muhas the townsfolk in love with sical opens with a relatively loud . him, until another travelling salesoverture for a small theatre. Set in man arrives intending to expose River City, a small, early 1900s him once and for all. A climactic Iowa town, the premise is classic. chase ensues, leading to Hill, Harold Hill (Dirk Lumbard), Paroo, and the people of River a hustling travelling salesman, City all finding something they alights from the train at our un- had not planned on in a wondersuspecting town to sell the stoic fully horrible rendition of the residents uniforms, books, and Minuet in G minor by the rag-tag instruments for a boys band. Of River City marching band. course, this requires some conThe performances were aLl vincing everyone, including the high energy, with quick and catchy Festival TEatie May 10 to November 3

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tunes to leave the audience tapping their toes. The performances were all well done, though Ms. Crowley may need to be reminded that this is musical theatre and not opera. Special mention must be made of Winthrop Paroo (Johnathan Wexler), Marian’s brother, who spends the latter half of the musical singing with a forced lisp. Not an easy task, to be sure, but brought off with style. Marcellus Washburn (Scott Hurst) also does an endearing job as Hill’s friend and reformed business partner turned jovial Iowan. Despite an exhausted theme, all too similar to Crazy& Tou and, no doubt, numerous others, and the misplaced operatic endeavours of June Crowley, 72e MzkcMmwas a pleasant evening of melodious entertainment. When you think of Stratford this summer, don’t justthinkofshakespeare. Give The Music Man a vy, and march out of town tapping your toes.

.A drunken gigolo with VII Sweet Bird of Youth

‘* -

Friday, August 30, 1996

by Scott Draper special to Imprint

ome people just don’t know when to let go. Such is Chance Wayne’s situation in Sweet Bird of Youth. When he was younger, Chance was a promising young actor. He and Heavenly Finley, the daughter of corrupt politician Boss Finley, were madly in love. And at the time, everything seemed great, Then Cha& l&t town in-search of a bigger and brighter f?tture. Instead he became a drunken gigolo with a venereal disease. During one ofhis subsequent visits home, he gave Heavenly the disease and was chased out of town by her father. Years later, Chance returns to town with a burnt out movie actress, unaware that Heavenly had to undergo an operation to remove the disease. When Boss Finley learns of Chance’s return, he vows revenge on Chance for his daughter’s misfortune. Geordie Johnson, who plays parasitic Chance Wayne, is great. The pathetic optimism he gives the character is humorous and sad at the same time.

Even

though

his

character is manipulative and cruel at times, he still gives Chance a certain amount of charm that draws the audience to his side, Martha Henry is also terrific as the Princess Kosmonopolis. Her character also has pathetic quali-

ties. Ms. Henry is able to show great strength at times and vulnerability at others. Also worthy of mention are Tom McCamus as Tom Junior and Chick Reid as Miss Lucy. There are no real heroes in Sweet Bird ofTuutb. All the characters have some tragic flaw that prevents them from achieving any level of happiness. Boss Finley is a corrupt politician. Chance and Princess Kosmonopolis are altoholics and drug addicts. Heavenly has been disfigured in a botched operation and does not have the courage to step out ofthe shadow of her overbearing father. There is even an evil clown in this play.

The setsofSwcet Bird ofyQut1~ are beautiful. The speech scene near the end is very powem with its use of projected images. The bedroomand bar sets areeffective in their simplicity. The openness of the Tom Patterson theatre is perfect for this play because there are always characters coming out of the wings. This allows for a feeling of audience participation. SweetBird ofrotith is an emotional comment on the fleeting nature of youth and how people cope with this while battling with their personal shortcomings. Sometimes, as Chance learns in the end, following the wrong dreams can lead to tragic results.

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B17

ARTS

D al King Lear Ftxtivul T..mtw until November 2 by Elaine Imprint

Secord staff

he Stratford Festival is billing Gy ttw as “Shakespeare’s greatest tragedyperhaps even the greatest plav ever written.” While this descripbon is certainly debatable, the 1996 Stratford rendition of the enduring drama is well worth seeing. The strength of William Hutt’s performance asLear provides reason enough to rush to this show at vour first opportunity; the numerous other merits of this production are icing on the cake. The play follows a king’s descent from’ absolute power to tragic subjection. Having made a grievous error when dividing his kingdom among his three daughters, Lear’s inner state collapses into chaos just as the external world crumbles around him. The themes of love, deceit, loss and loyalty still ring true today. Stratford veteran William Hutt (now in his 33rd season kth the festival) delivers a mammoth pdormancc in the title role. He carries the audience along with him on his agonizing journey of suffering and madness. “He will tear your heart out,” I was warned by someone who knows a lot more about Stratford than I do. She was right.

of his craft. By the end of the I saw more than one intensely moved audience member reaching for a tissue. The standing ovation which met Hutt for curtain call was hard-earned and welldeserved. The cast as a whole is quite strong. Geordie Johnson deserves a special mention for his outstanding work as Edmund (“the bastard”!. He skilfUy strikes a balance between being purely evil and being the kind of vilIain who attracts our guilty admiration. For me, the most problematic portrayal is that of Colombe Demers asCordelia. She seems so wooden! And yet, how much room does an actress have to make Cordelia interesting? She is an Elizabethan feminine ideal, and Demers depicts her loyal virtue in a quiet, unobt rusive and unemotional way. I was not overly fond of the stylized England/France battle, but that is the only complaint I can make about artistic choices in this production. I do have one

complaint about the audience: about fifty watch alarms went off amund me during the climax of the play. Why wouldn’t you turn off your watch alarm before entering the theatre? Especially when there are reminders at tile entrances and in the programmes?

When the cast has so carefully enabled us to suspend our collective disbelief, what kind of idiot wants to shatter this beautifbl imaginary world (already all too transitory) with a beeping digitai watch? Showsomeconsideration! Overall, this year’s Stratford

production of K&g tiar is truly wonderfbl, and William Hutt is a delight to watch. An excellent interpretation of a classic drama, featuring some fine acting, provides a consuming emotional experience. The Stradord festival has outdone itself.

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Noise: Canada’s be’st export by Patrick Imprint

Wilkins staff

ast year, four Canadian independent iabek released the, four-band, four-song T’ compilation 0~ SW pid Noise. On July 26, 1996, Squirtgun Records released a follow-up CD, entitled Mwe @‘Chw Stz@d Noise. This time around, it’s a somewhat larger project, with twentytwo Canadian (mostly) independent (mostly) acts that read like a who’s who of the Canadian music scene. This is essential listening for indie music fans, and those who aren’t could easily find themselves converted. There’s metal, pop rock, hip-hop, and the nebulous catagory of lo-fidelity art music. Even the artwork is beautifiAy post-modem. In short, this could easily be the best Canadian music compilation, ever, Forget Oh W&at ii FeeliBd; with Mm-e.. . Squirtgun has completely captured the spirit of Canadian music. Highlights: treble charger, “Bubble and Star (Here’s Where the Guitars Come In) : I) For once, a treble charger song that sounds nothing at ail like “Red.” The pseudo-live

by James Russell Imprint staff Before you skip over this review, I just want toknowonething; thisalburnfucking rocks! I have to admit, I picked up this album for one reason. I thought the Jackie Chan song (it’s actually called “Kung Fun) was pretty cool, Not unlike many of the CDs I review, I kriew nothing about the band at all. But I can honestly-say that &is is the best suprise album bf the year. From the opening track “Lose Control”jwbichbeginswi&bescreamofatiefighter blistering past your head) until the end, this is a great album. Absolutely no disappointments. I will elabomte. CCLoseControl”’ shows Ash’s metal roots, but don’t let that ‘Ltlm you off. They have developed far, far beyond that. Now, they play fast, they play hard, and the bitchin’ metal overdubs fit in perfectly. You see, Ash has discovered a trick that most other hard rock bands never learn; they actually write really good songs first, and work in the screeching guitar later.

mix is excellent, and this song is the first to show that these guys are worthy of all the attention. Radioblaster, “CoNew You:” This scathing anti-commercial radio manifesto shows-that Radioblaster are more than catchy song writers-they also have intelligent -thouihts to accompany their East Coast-inspired pop. With an opening query like “What’s this shit on my radio?” this song should quickly be banned at CFNY and become a favourite at campus stations across Canada. I&u Barlow, “Blown Pony:” One of the compilation’s two non-Canadian artists, and another home recording. The man from Sebadoh doesn’t need much embelishment to put forth a addictive twominute tune. Elevator to Hell, ?Xns/Green:” Eric’s Trip is fully represented on Mwe of Our Stlcpid Noise, along with all of its side (now, posthumously, Ml-time) projects. Rick White’s contribution is sounds distant, but comes clearly though the fourtrack haze. Noah’s Arcweld, “Friend : b Arcweld is the acoustic side project of hHead’s guitarist and vocalist. “X.&end” is crisply produced and charged with cold-shoulder sentiment. It’s Noah’s first release, but here’s great promise for a full-length here. Orange Glass, “Feel 500:” Although

And, for their next trick, they also have pretty songs which are as rock solid astheir harder sti “Goldfinger,” “Girl from. Mars” and “Gone the Dream” are excellent examples of this. Love songs undoubtedly, but with an edge, Ash’s sound is guitar-based, but that’s not what catches your ear. The subtle overdubs, the soLd vocals, even some string arangements (listen to &Oh Yeah” to see what I mean) m&e this album something you can listen to again and again. For a couple of yomg guys (they’re British ifyou want to know), the breadth of this album is remarkable. There are songs on 1977 that you can mosh to, and many that are as soothing as you want soothing to be. Mer hearing1 977, I don’t think that there is an emotion that Ash crr;ts%evoke with their guitars. Unfortunately, whenever I review an album this good, I fear that words cannot properly express just how damn good this music is. But believe me, though I hear a lot of WK” music, I rarely hear stuff that real& knocks me out like this Ifyou thought “Kung Fu’” was even OK, buy this album. Ash can do far better, and hey have. Its all right there, just check it out. You won’t be disappointed. In fact, I’m pretty sure you’ll become a big fan in a big hurry.

mixed by Rick and drums provided by Chris, Orange Glass is not an Eric’s Trip project. Must be something in theMoncton water system, then. Thee Suddens, ccARhyme That No One Understands:” Or maybe ifs not the water. Thee Suddens put out a genuine Moncton VU& song, thus proving that not everything Rick White records is intended for scratchy T’ acetate. Purple Knight, “Fireball 500:” What is it with Eric’s Trip and the number 500? Does Rick White only own one microphone? Purple Knight is ET drummer Mark Gaudet’s baby, with a noisy percussionbased piece. The drumming’s so fast it sounds like a studio trick, but such trickery would surely be below the Monctonites.

Hip Club Groove, cc16Jabs:” One of Canada’s few popular hip-hop bands, and the only one to seek fame among the indie rock community. The lyrics are mostly the same old posing rap shit, but the wordplay is funky and sldw beat is entrancing. Eric’s Trip, “So Easier Last Time:” An appropriate title for the last ever recorded Eric’s Trip song. This song alone makes the compilation a collector’s item. As for the song itself, it’s Eric’s Trip. If you like it, you’ll love it. If you don’t, chances are you just don’t understand. Hayden, “A Fortune I’d Kept:” A song about living in Datid Geffen’s basement and watching TV in Los Angeles, and then seeing a woman at a Neil Young CD release party and being too shy to introduce himself because he’s from Canada. Just kidding. It is about a woman, though. Unfortunately, the central joke about a fortune-cookie is a flop: Hayden’s twosecond pauses between bars means the timing on the punch line is shot. It’s a standard Hayden song, and should hold the fans until the next full-length. Len, “Making Our Dreams Come True:” Recorded for the CRC Radio’s wonderful Realtime program, Len contribute a lively cover of the Lawme &Shirley heme. An incongruous yet hilarious ending to what could be the best Canadian music compilation, ever.

beats with tons of imagination etched into every groove. It can also be an album of subtlety, as Leffield show patience with their listeners Take the first track”Release the Pressure”rather than go for the obvious and lay into thomping bass, the song starts out atmospherically, light keyboards and soul that suggest a Massive Attack project.. . before going for the dance jugular, which continues on into the Chemical Brothers workout of Vi&o-LefP Ifs not entirely an exercise in adrenaline overdrive. =Melt” sounds like Autechre if they got about a thousand times better, while”0rigi.nal”seesex-CurvewornanToni Halliday wrap herself around (surprise) a tense claustrophobic beat. But the main emphasis is on speednot necessarily the stuff to rip you from your seat, but music to make your mind race in a positively agitated state. There’s even a little internationalism mixed in as well, with impressive raggavocals in VfroLeft,” and devotional Indian singing in “Song of Life.” If I haven’t convinced you yet, then beg, borrow or steal a copy of “Open Up” and you’ll understand in six minutes the l

by Greg Krafchick Imprint staff SO what’s up with record companies delaying the releLaseof albums? Le&eld’s Lej%m originally came out in February of ‘95 overseas, but the domestic release here was over a year later. ThaiZs an awfully long wait, and & you listen to the album you can’t help butspeculate ifthe band actually sound a&tbiaj like this today-a lot cG change in a y&r, especially for a techno band: ISthiS dburn s6l.l a tie snapshot of the band today? Well, the &swer ultimately comes with “Open Up,” a song that first Saw the light of day in November of’93. British critics of the day were quick to hail the sheer genius of this record, its pounding house and howling John Lydon vocals scoring it among the singles of that year. Yet it still sounds like it could hae beenkcorded vesterdav, and fits in verv well with the rest of this eiieptionally wefi cr&ed album. It also

goes

show

their

sound

is not

passmg fad-there is a timelessness here hat m&es it one of the better techno longplayers of tie past few years. House music is re&ly the best way to describe LefiS?B, but inevitably that’s going to turn people OfE Perhaps intelligent house is better then, because that’s exactly what this is-pounding, enthralling dance

power

inherant

in this

album.

It’s a white-

knuckled rollercoaster of a song, and when John Lydon cries out %urn Hollvwood Burn!” it’s hard not to get an incredible rush from the experience. And if you like that, well there’s ten more tracks where that came from. Sheer brilliance-and one of the albums of the year.

IMPRINT,

Friday, August 30, 1996

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by Greg K&chick Imprint staff Here it is-the past, present and titure of Neil F~M, all in one review! With the corpse of Crowded House not yet cold, EM1 has put together the requisite greatest hits package to squeeze that last bit of cash out of the band. Thefve even resorted to the tactic of slapping on three new tracks from the band, perfect for fans (like myself) who simply must go the cornpIetist route and acquire these songs. Motives aside, Recurrin&EWPH is a fmtastic record of a substantial career. By skipping their one and only truly bad single “Chocolate Cake,” the band (who say they picked. out the tracks themselves) have assembled exactly 19 arguments proving that Neil Finn is one of the premier songwriting talents of the past decade. No, really. There’s not a duff track amongst them all, and basically

the band’s musical pr&%sion through the years. The first album’s raw fun charm would have segued into the darker co&ssionals of their second, Tempb of Luw Mm (such as the harrowing “Into Temptation”). From there itwouldbethesmoothermusings of Wuodfr;ce, easily their weakest album, though the best moments like “Fall at Your Feet” and Weather With You’) are present here. Finally the wonderfully lush production and musical savvy of TtyethmAEane would reveal tressures like “Private Universe” and its Maori d rumming, and the rolicbg, Y’ll be &mnedifI could figure out why this wasn’t a hit” single “Locked Out,” And to top things off, the threenew works, allofthem brimming with melody and featuring drumming by dearly departed Paul, make you wonder why the band’s breakup had to happen. As for Finn Brotbm, the albums reunites Neil with his older,

the embarrassingly croonsome “All I Ask.” So it’s with more than a little trepidation that I approached this project, bursting with childhood photos of the brothers. Fortunately though, most of the lead vocals have wisely been lefi to Neil, though all the songs are credited to both men. Besides that though, the biggest surprise here just how different from Crowded House this album sounds. Not radically so of course-Neil’s Beatlesque instincts are still intact-but liberation from a band dynamic has evidently given Neil the impetus totrynewthings. Or, Frhaps more accurately, the brothers are free here to play close and intimate music-the quiet percussion of “Only Talking Sense,” the lonesome piano in aLast Day ofJune,” and the acoustic strum of “Angels Heap” to -name three-that’s too personal to try in a band setting. As a result, it’s not as instantly hook-laden and catchy as a Crowded House release, but given some time and patience it yields fme rewards. The only harder edged song is the apparently live %iss the Road of Rarotonga” that closes the album on an upbeat note. Finally the duet “Eyes of the World” would make the best single here, though the chorus sung by Tim in an arty and warbly (read pretentious) manner would be best left behind. In the end though, the challenge to listen to this deep collection of solemnity probably makes 7%e F&n Brothers a concern of fans only-or those who like to listen to their stereo closely.

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Ugh, If I could sum this album up in just one word, it would be that one. Ugh. Yuck. Gross. Disgusting. Yes, kids, it’s the new Voice of the Beehive album, Sex & Miseq, which is apparently about the former, and offers far too much of the latter. From start to finish, I was in agony listening to this. Now I know, I’m a music snob, I’m a picky listener, etcetera, etcetera, but this time, you just have to have some taste to know that this album STINKS! I had to force myself through it, taking breaks every four songs or so to switch to a band that didvt? want to make me projectile vomit. According to the liner notes, this album wasa “labour oflove.” Well, they got the labourious aspect right; it was a chore just

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•~rrIr~r~~r~~~~.~~~~~~III -.. sampling it. be &rent; and if you return, I’ve noticed that the first sin- nothing really will havechanged.” gle, “Scary Kisses,” has been get- Deq. I was moved. To tears, ting wrne air play on Energy Z08. really, crying for the death of This shocks me. I know the modern music, killed by larnentaplaylists on dance music stations bly trite syrupy crap like this. are usually pretty awful, but this Even more disturbing about one is worse than usual. It fea- this album, is that, as with most tures the lyrically inspired (ha!) bad music, it gets stuck in one’s chorus “Baby, I want scary kisses, head far too easily (Think I want hits and I want misses. I ccPeaches.” I rest my case.) I found want hell and I want bliss-and all Voice of the Beehive in all their that soars between it. And if you c inanity bouncing about inmy head You can ... give me safety, in a short time I’ll for hours after that horrible lis0 take a Distance Education be driven crazy; I would rather tening experience. Be warned: Do course when you have a cart add Distance run and fall than take no chance at NOT LLSTEN TO 7HIS! And course conflict, the course Education courses to all,” Wow. Stjmin~. Or this, more importantly,DONOTBUY you need is full or is not your Fall schedule up to “And if you return, nothing will 7mS!! offered on campus September 20, 1996. I suppose3 going back to me 0 continue working towards the music snob, someone who your degree when you are isn’t as demanding as 1 am might of f-campus l Call 888-4050 to actually (perish the thought) l&e request a calendar this piece of schmaltz, but I sense a study at home, at work, in that whoever that person might the car, wherever you are or be, s/he would be unfortunate l Contact your facultvd a choose from 264 courses in enough to lack a brain stem. In advisor for more 50 subject aieas over all other words, avoid this album like information. thephfltie! Just don’t even go near three terms it! And ifsomeone you know and love buys this, call 911 and have distance@corrl.uwaterloo.ca that person exorcised! http://www,adm.uwaterloo.ca/infoded/de&ce.html

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by Klaus Steden Imprint stalf To say that Skinny Puppy was jwt a band would be wrong. To say they were influential would be an understatement. To say they will be sorely missed is gospel truth. It was nearly a decade and a halfago when n&K Ogre and cEvin kEy formed Skinny Puppy and released the legendary Buck md lcmth. Arguabiy the most important band ever signed by Nettwerk, Skinny Puppy forged a brilliant career, bound by a love of the bizarre and frightening in sound, creating some of the most haunting and disturbing music ever produced in the past twenty years. They, along with Ministry, were responsible for transforming industrial musicfrom the clanging and banging offhrobbing Gristle, SK, et al. into something that was actually listenable, influencing dance, trance, and ambient artists as well. The Puppy side project area is also quite vast. Over the years, the individual members were responsible for or part of Pig$ace, Doubting Thomas, Dead Voices on Air, PTP, RevCo, W>E>L>T, and many others. Sadly, side projects are now all we have left; with Dwayne Goettel now the late Dwayne Goettel, and Ogre and cEvin no longer on good terms, the madness and

magic that was Skinny Puppy is gone forever. The motivation behind Brap is all cEvin’s; Ogre is by now more interested in sex’n’magik with Genesis Porridge. Still, despite the r lack of involvement by the man who made Skinny Puppy as disturbing as it was, hap is still a good investment. First off, I should add that the album is labelled incorrectly. The live tracks that are on 4 are listed as 3, and vice versa. The Ford (side 4) stuff is a compilation of live material from 1990 to 1992, featuring music from as far back as Mind: ll?. for CCGod’~Gift (Maggot) ,” and including the better-known later Puppy stuff, like ‘&Grave Wisdom,” “Tin Omen,” ccSpasmolytic,” “Love In Vein”, and CCT.F.W.U.” As with all machine-driven bands, it doesn’t sound much different live, but then, Ain’t It Dead Tet? seemed to sell, so those familiar with live Puppy know of what I speak. Back (side 3), on the other hand, is exclusively studio material, featuring unreleased stuff like the very annoying “YoYo Scrape,” the strange and dirgey “Splasher” and “Double Cross,” and remixes of “ . ..Brap” (originally on Rem&&), “Dead Doll,” (from Bites) and excellent reworked versions ofc(Deadlines” and “Last Call” (also from B&es). Some of the material is stellar; some was understandably never released before. The most significant thing about Brap,

however, is the multimedia material. Hot on the heels of Sarah McLachlan’sFreedom Hessiansand Decadmce, the computer geeks at Nettmedia decided to show off a bit more. If you feel inclined to buy this exclusively for the multimedia, be careful to pick up the Nettwerk version; the Off-Beat version does not have ANY CD-Rom material. Back features video clips of most of the stuff from 22” Anthology, like “Dig It,” the terrifying “Testure,” and the obnoxious “Stairs and Flowers,” as well as bits of “Smothered Hope,” “Killing Game,” and the banned “Spasmolytic .” Also on&ck are some lyrics, a history of the band, and snippets of tour info, including the story of their arrest in Cincinnati. (By the way, look for a trailer for a film called “Chunk Blower,” featuring Dwayne andogre.) As forJ%A, it is a bit different, putting

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the viewer in a dark room, with lightsources (TV, candles, floor lamp) that can d be switched on and off with a click of the mouse. Each light source lights up a different area of the room, allowing the user to find various neat things, like live concert fmtage, an essay titled =How Skinny Puppy Changed My Life,” and home movies of the band in various locales, like an Amsterdam hash bar, their jam hall, backstage in London, at the Berlin Wall, pre-show warm-up at U.B.C., etc. Both discs also feature a comprehensive discography, with looped song samples, all the album notes, single information, track listings, and various miscellaneous data associated with each official release. Sadly, Brap is, unofficially, the band’s farewell tour. Like the Smiths’&&+, this is a post-humous anthology intended primarily for fans; I suggest that unless you’re a Puppy die-hard, &m&n or 12” Antbdon are better ways to spend your money. However, if you have accessto a multimedia computer, buy this album as a resource if for no other purpose. The material on Brap would take years to compile (think of how hard it is to decipher lyrics, and then of all the video footage) but it’s all conveniently in a two disc package. As a band, they are no more, but the legend and the mythos that was Skinny Puppy will last for years to come. B;ap on.-

by Peter Lmardon Imprint staff The Stray Cats on speed? Shadowv Men on an Art Deco Planet? Thrashabill;! Get out your silver polyester suit and string tie and pay homage to the Reverend Horton Heat. They’re a twangy guitar ‘n’ standup bass playing, suit wearing, slick-haired, driving in a big convertible three piece straight out of a Quentin Tarantino movie. The RHH’s newest effortJt-‘rMatini Z~ze, while being completely derivative and genre driven, has some of the earmarks of 90’s rock. First you have the tendency toward unrepentant penis worship. “Big Red Rocket of Love” is abou’t a car? Or...same thing anyway. Next you have demographic angst. The title of the fourth track, cLGeneration Why,” is just plain corny. Maybe their record company, in that oh so perceptive record company way, forcedTRHH to put it in to “appeal to the young slackers.” “Generation Y, Generation Z/ Who the hell are you to put a label on me?” Perhaps they should have read page two of the Selltng to the Generatbz X Hand&a&-the part about how Gen Xer’s hate to be blatantly pandered to. Fimlly, It+ Ahwtini The pumps up tie rockabilly genre by adding some speed to the songs in some areas, some heavier drums, distorted guitar string raking and

Here UT lm-e mother product ofkter xtcmpts to broaden our horizons through his Real Wxld label. This particular en&avow- is a soM3oration of Celtic muskians from across western Europe and a number of African musicians. The press releax QVS it has “an all-star ensemble of African and Celtic musicians.” I’ll halre to take their word fw it (the Lynch clan back on the Emerald Isle will be disappointed in meI. ,in~~.a~., ifvou have ever seen or heard the soundtrack from T11eLa-t Ttmptation of C/II%T, you’ve got half the picture. Throw . in the Br~-~zAwz soundtrack and you’ve got the other half. The result is listenable, but don’t bu)! this and expect to have a foot-stompin’ good time. The bagpipes and uillcann pipes meander through the album, while various middle eastern instruments that I can’t quite put my finger on weave in and out of the mix. LModern dance beats and synthesizers also move into the fray without upsetting the chemistry. They all combine with the occasional bursts of lyrics to proIride something that is introspective and soothing. It’s great for atmosphere. Put it on as !~ur falling asiecp, as you’re reading, or if yu’rc like mc, as you’re doing both at the same time. If an>rone asks about it (while you’re still conscious I, \WU can sound incredibly cultured: “It’s ai cckctic mix of Celtic and African influcnm combined with modern sounds designed to product music that is ncithcr here nor thcrc - a bit ethereal, GJbrid’s

dl)?

that special somebecause it is pretty good, even ifyou’rc actually listening to it.

Yes, USC it to impress one, never

The first thing I noticed about Dianthus was the light on lead singer Jennifer Leeder’s bass. The body of the instrument was slung somewhat below her waist (where basses are wont to be located), and the flashing red light was located precisely in such a way that it appeared to be coming from her... urn... Anyway, so Dianthus put on a pretty energetic show, and itwas a while ago, but I remember that they weren’t too bad. I picked up their CD after the set, took it home, popped it in the stereeand was disappointed. Some bands were just meant to record on an &track in their basement. tier hearing their Noise Floor-recorded J$w pZn, I would include Dianthus in that category. Not to suggest a Pussy Galore ccone microphone shoved in a tin can” approach, but clarity is not an asset for D&thus. There is a balance between production and emotion, and Myopia falls short of being the emotional album that it should be. It frills between the genre cracks. Leeder does have something to say, about some pretty personal stuff’ and it’s a shame that her lyrics aren’t given the right vehicle. The one song that achieves success is the final track “Surreai Exploitation.” The guitars are fuzzed-up and laid waaaay back, and Leeder’s echoed vocals are ampleficd until they take up nearly all the mix, lending importance to her words of rejection. It works, andsuggests the proper path for Dianthus’ filture. This is a short album, though, and Dianthus have the right idea when it comes to live sound. Until their next CD, save your cash and maybe see Dianthus’ live show. At least there’s the blinking light to watch.. . .

your standard alt rock amplified noise. These three components of the album combine to make TREEI’s style a little more palatable to a younger crowd whose parents probably were the original market for the music. There is a danger, however, in simply adding modern elements to genre music like TRHH plays. Some songs sound like bastardized TV commercial versions of their stronger tracks or go tirther into straight alt-rock balladeering. The strongest cuts onIt’sA4mhi Time are the straight ahead, hard twang guitar numbers. “Slingshot,” a perfect song to drive to, “Spell on Me” and the edgy “Forbidden Jungle” are bright spots on an album that evokes images Cadillac convertibles and diners. The drive to nowhere or only trouble, the waitress beside you who you just married at a discount chapel, the mobsters chasing you, the hangover you are trying to outlast., .

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Marcus Roberts’ success lies in his ability to adapt and with the sit-nultaneous release of TimAnd CircutrrstanGeandP~~~~~e, Roberts’ vast expertise is on full display. Ptmmh Ii Bhie highlights the music of American classics George Gershwin and James P. Johnson asnever before recorded. Roberts takes the original scores, twists them to his own form and backs it all with a thirty one piece ensemble of both jazz and classical artists, with his piano at the center of it all. The final product is magic; I’ve never heard anything quite

by Patrick Imprint

Wtis St&r

London’s Pop minstrels strike again! After years of 7’ singles, through a name change (‘Trout’ wasn’t very catchy) and a guitarist switch, while Michael Clive made headlines, broke hearts andcaused scandal across North America (well, at least in London), The New Grand jumped from Bubblegun Records to Squirtgun Records to Sonic Unyon, fmally staying in one spot long enough to release their long-awaited first full-length CD. The fans won’t be disappinted; The New Grund has enough catchy two-minute sugarsweet pop songs to kill a diabetic at thirty paces, That’s twelve catchy twominute sugar-sweet pop songs, to

by Dan Zachariah special to Imprint West Coast gangsta rap has always revelled in its womanizing, &Ball swilling, drive-by shooting image and one of its most energetic proponents has been Compton’s MC Eiht. By the end of a typical album, he has inevitably wasted a small army of suckers with his holow points andspit out enoughvenom to put a cobra to shame. With one of the smoothest and yet sinister voices in the business-much like Scarface of the Geto Boys-he sets more trends than he follows,

IMPRINT,

Friday, August 30, 1996

like it . “Rhapsody In Blue” and “I Got Rhythm,“both by Gershwin, clearly contain his characteristic elements but Roberts has given an interpretation that is fresh and delighti. The songs are familiar, as both are American classics, but the fusion of jazz and classical in these arrangements is sharp and often sudden, and effective. The rarely recorded “Yamerkraw” by Johnson is placed as the second track (in between the Gershwin tunes; oniy three tracks total but the disc still runs at over sixty minutes) and serves we1 to contrast. Again Roberts’ rendition is an interesting mix of classical and jazz, a highly entertaining piece of music. Time And Circmwstunce chronicles a life long love affair, in pure jazz style. Two dominant themes resonate through the work, each noted by the bowed bass,allowing the listener to clearly note their transition. Like John Coltrane’s A Lope Szpem, Roberts’ theme and feelings are easily expressed through the music. Tracks like “Soul Mates,”

“TWO Rocks By The Shore,” and “In Retrospect” ckarly display Roberts’ emotion whether it’s through his energtid solos or his soft presence. Notably, on bass is Jason Marsalis, the nineteen year old from New OrIeans, and one of many in the clan Marsalis. His work is dominant throughout and often overshadows David Grossman on drums. Marcus Roberts never follows the standard and with the release of both TG~E Alzd Circumstance and PartraitsIn Bhe, he clearly treads his own path.

be exact. Twelve songs in twentyseven minutes total playing time. The New Grand’s specialty is in creating a melody, layering some harmony, repeating everything a few dozen times, and quitting before anyone gets bored. The entire album was recorded in Clive’s house, and it’s the best home rock recording I’ve ever heard pressed to CD. The album is partly a re-release of The New Grand’s previous 7’ singles; “Playing It- is the only track not re-recorded for dig-

ital reproduction. My favourites, “Bailey” and %.nner Year,” are better on CD, but “Ready Steady Go” and “Ham Fisted” sound clearer under the needle. This time around, the songs are clearer, the grunge is wiped away, and the treble dial is pointed all the way up* “Banner Year”meanders aimlessly for a minute before heading into the home stretch with a descending two-bar pattern ending with achingly perfect harmony. “Bailey” showcases another twobar pattern (the New Grand have good minutes, but great seconds) and funky soloing. “Ready Steady Go” is The New Grand at its best; catchy, bouncy, and just a bit nasty (“Today I realized you’re mountainsized, and I don’t feel well. Today I wake up to the same old smell...“). Their music is refreshingly uncomplicated; boys just wanna have fun, and it’s clear the rocklifestyle agrees withTheNew Grand.

After 1994’s We Come Stmpd and a brilliant appearance on Spice I’s1 99&SICK,MC Eiht’s stock has been steadily risingandnow wimeath r;breclstz-a collaborative effort involving Compton’s Most Wanted-he is set to put an indelible stamp on rap music. This is one of the freshest releases of the past two years, due primarily to the outstanding lyrical authority in combination with some excellent production from D J Slip. There are no pretensions here, no feeble efforts to achieve a higher artistic plane through misguided experimentation, just straight-up tales from the hood. ln “Run 4 Your Life,” MC Eiht, under the devious influence of high octane chronic, peels a few caps in the direction of some unfortunate muthafuckas. The

emphasis on pumping out slugs is omnipresent as exemplified by such ditties as ‘Fuc Your Hood,” KDrugs & Killin,” and “Killing Season.” In all these songs, the scratching and instrumental minimalism takes a back seat to the bloodsoaked verses in order to ensure that the no-nonsense messagescan be communicated with maximium clarity. As one of the original West Coast hard-core rap groups, CMW make for a fine addition to this album. Their street-tough sensibilities

are

orchestrated

Perfection with Eihfs in-yo-face dialog. With Death l%~eatz, MC Eiht upholds the tradition of top notch hip-hop which has been emanating from Compton ever since NWA arrived on the scene back in 1988.

IMPRINT,

Friday, August 30, 1996

quently affects a Lennon-ish accent. They don’t sound like Oasis, either, other than the usual Britpop commonalities. They’ve got melodic and spacey guitar noises everywhere, make gratuitous use of the tambourine, and sing lots of harmQn.ies. It’s good,

light, fkn music. No&&s too complex inMersey’s musical kingdom-but such is the way of aU gd POP, Also on Daisy Chain Records are Toronto’s Dionysian Smile. I’d heard rumours of their Britpopivity long before I heard the band. Granted, their favourite cover song is the Smiths’ “Lendon,” and the vocal patterns in “Suprateen” are disconcertingly close to Radiohead’s “My Iron Lung,” but Dionysian Smile are anything but derivative. The band dishes out soaring epics, and might be in danger of being labelled an art band were it not for the abundance of threeminute pop and punk songs in between. Overall, it’s a strange trip, through stories of lust, atheism, and horror (the chorus of “Dracula” is “Should I rape her with my mouth, or shodd I rip her throat out?“) masked by music of occasional beauty and consistant power.

to the quality of either performer’s previous work, but then both were pretty much past their prime. Still, it was a pretty good album. This time the music is as generic as the band’s name. The first single, “Forbidden City,” is a decent tune, but it’s all downhill .from there. Bringing out the trite electronic piano sound and some of the worst lyrics Barney has ever penned, the duo descend into making music that is simply and entirely forgettable. You don’t believe me? Try: “You’re drivin’ me crazy/Oh baby/You’re drivin’ me crazy/Oh baby.. .” And the music, oh, the music. I don’t know if I can go on. But Barney does, I read an interview a while back where Barney was discussing his experi-

ences with Prozac while recording the album. Well, that explains it. And you thought Trainspotting turned you off drugs for good! They should give copies of Z?e @aen is Dead and Bmth%md to someone and then make them listen toR&sc the Pwssure. This is your brain. This is your brain on anti-depressants. Ugghhh.. . What ever happened to the days when we could count on Barney to go into the studio on ‘cid or worse and produce songs like “Blue Monday” and UTrue Faith”? When Johnny could go into the studio with Morrissey in a and produce “Girlfriend Coma” and “Big Mouth Strikes 45 ain”? I guess this is the nineties, and as the book says, we’re listening to Prozac.

most housey feel ( LLFloor-esscnce”), making this compilation perfect0 for dance music lovers interested in broadening their horizuns without venturing too far off the beaten trail. There is enough variation ofstyles to please techno and club music fans alike. The CD flows seamlessly from one song to the next (like a good mix should), making it perfect0 for a house party or continuous play. Oddly enough, most of the music on Perfection is easy to dance to. The songs routinely ignore the steady “whump, whump, whump” bass that seems to congest most dance tracks in clubs these days. A lack of vocals

(“What?! There aren’t any vocals?! How do you expect me to dance to THAT?“) forces the artists to use more varied techniques in melody and harmony, giving a full and changing sound to the music. While the mood of the CD changes from track to track, there are also changes within each individual song as different effects are used. All this will ensure that you won’t get bored with the beat. So what’s bad about it? Nothing, really. Nothing, that is, if you’re into dance music of any shape or form. This compilation is not really for someone dead-set against expanding ‘their horizons or interests. In other words, if you only like the top forty domestic dance songs and your collection consists entirely ofMwhMtiDanmMti 93,94, and 95, don’t bother with this CD. Not a single song or artist is recognizable. If that bothers you, go back to your Chris Sheppard Pirate Radio Station mixes because this is no place for you. So isPe$ctianpetiection? It% close.

it’s going to live forever in Toronto’s Daisy Chain Records, so you may as well roll with it. Do Mersey sound like the Beatles? Of course not-no one can sound like the Beatles, although Mersey’s lead singer freby Patrick Imprint

Wkins staff

The only bad thing about Mersey is that they all look like Oasis. Or maybe they’re trying to look like the Beatles; these days, any retro-fab-four fahions are bound to give the wrong impression, somewhat iike trying to dress as Casper the-Friendly Ghost and being mistaken for a pre-election David Duke. No style points here, nor for their choice of CD jacket lettering (unreadable black ondark blue). Tempting as it mav be, though, don’t look fotwa;d in anguish to their debut six-song CD. Some might say that Britpop is alive and thriving in Canada-

by Dave Lynch Imprint staff It pains mc to write this. It really does. Barney, Johnny, what wcrc you . thinking? With a lineup consisting of Bernard Sumner (co-genius behind possibly defunct but definitely bri!lianteighties band New Order) and Johnny IMarr (co-genius behind definitely deflunct and equally brilliantrighties bud The Smi;hs), how could Electronic go so wrong? Their first, self-titled album was good, if not amazing in places, with tracks like “Tighten Up”and “Get the Message.” It was not up

Ian Stevens special to Imprint There is no question that the UK dance music scene (and Europe’s for that matter) is exploding and creating some of the best beats on the planet. While the North American scene sticks with its hugely overplayed HiNRG brand of dance music accompanied with cheesy vocals, the UK is taking techno to a whole new level and bringing sounds that were once underground into the mainstream. Perfect0 is just another example of Europe’s superiority as far as dance music is concerned. This CD is a compilation of artists featured on Perfecto Records, remixed live by one Paul Oakenfold. The songs range from energetic trance (“Tripping the Light Fantastic”) to mild acid techno mixed with vocals (ccLoving You More”) to more clubstyle genres (Y%ssion”) to an ai-

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I met Jeff Liles walking down Queen Street West in Toronto during the 1994 North by Northeast Music Festival. He was putting stickers on lampposts, garbage bins, and any other space he could find that was stickerfriendly. I asked him for a sticker, and he gladly gave me three, It’s funny that I met him, as he turned out to be the guy I was going to see. During the course of our conversation, this guy, who goes by the name Cottonmouth, Texas, gave me a copy of his CD and a VHS tape with three ofhis videos from the album. Nice, he was, and if I hadn’t spoken to him, I probably would have never acquired a copy of this disc. And what a great disc it is, too. Fourteen groovy, jazzy tracks about a guy who has no money, no job, a shitty relationship, and a mild addiction to illegal substances. Fourteen tracks about a guy who doesn’t understand why he got the shit end of the stick and some rich bastard with a

7259310 I

I I I I I I I I I I I 1 I I I I I I I I I I I

Listening to Sackville’s Law E&b EP, I’m struck with a strange sense of deja. vu. It’s not the feeling that I’ve heard this album before; it’s the feeling that L&02.& recognize something in the murk of buried emotions. The opening ((Messengers” is about the person I always wanted, never had... and yet I know I never knew. That’s the strange attractor of this low-profile EP: Sackville create beautiful litie pieces that push strange emotional buttons you never knew you had. Based in Montreal, Sackville is an i&e-rock “supergroup” that includes members of Milken,

by James Russell Imprint stafF “Sigh, yet another grungepop quartet,” you may be thinking upon hearing Pluto’s self-titled second album. I know I was, but after

seeing

them

live at Eden

Music Fest, I decided to give the album another listen, a.ndI’mglad I did. I’ll tell you why. These guys know catchy hooks. There isn’t a song without a good one, and some of them are f;mtastic. If you’ve heard the two

IMPRINT,

Friday, August 30, 1996

supermodel wife and two great kids and a faithful dog got all the luck, a guy who has to decide whether to spend his last four bucks on a value meal at Taco World or the latest copy of Hustler Magazine. It may sound depressing or disturbing, but it’s actually quite amusing. And unlike many other spoken word artists who scramble to fit as many words into a song as is humanly possible, Liles takes his time. He strolls through his stories as if talking about his uneventful trip to the kitchen as opposed to his trip to a store that gives change in dope instead of the standard paper or metal currency. “Hoops (and a search for the truth),” with music by the Toadies, opens up the disc and gives us a feel for what the mood of rest of the album is like. If you can’t

laugh about the what’s-wrongwith-my-life-and-what’s-goingto-happen-next nature of this song, I suaest you take the disc out of your player before you lapse into a serious depression. Unless, of course, you skip over to ‘Three Dimes,” Liles’humourous tr;ibute to celebrated porn star Ron Jeremy and his famous (?) ablility to satisfjr himself. Listening to the unlisted mystery track, however, is a waste of time. It’s actually three instrumentals crammed together into one track and is perhaps one of the most awful bonus tracks I’ve ever heard. Granted, it’s not as annoying as the track at the end of treble charger’s ncl7, but it’s certainly a bore to listen to. Why bands decide to put really bad songs at the back of their albums I’ll never know-why can’t they take some really cool song from their atbum and slap it on after eighty tracks of silence? Better yet, why not nix the mystery track idea? The novelty has certainly worn off by now and now it seems bands add mystery tracks for the hell of it, as if it were an excuse to make shit. Granted, there are some really good ones out there, but those are few and far between. Cottonmouth may make it big one day, but those instrumentals have gotta go.

Shortwave, Pest 5000 and Nerdy Girl. The formation band’s merely a side project for its members, with no long-term goals or touring plans. It seems, though, that the child is receiving more attention than any of its parents, and deservedly so. This is one of the most soti albums I’ve heard all year, contemplative but not navel-gazing, a meeting of the oldest forms of Southern country with the energy of modern rock music. Low Ebb is folk music put through the 10-c rock filter that ?-based bands like Nerdy Girl are accustomed to. The album has many of the marks of a lo-fi project: sparse arrangements, conseryativelength, and a sound that’s prominent on the high end. It’s CD-quality production, however, and in Lotp Ebb crisp perfection beauty hides, through just a shade less than thirty minutes of acous-

tic sweetness. The album’s defining sound is the soulfid whine of Genevieve Heistek’s violin. The standard rock instruments appear only tirequently, as counterpoint or accompaniment for the acoustic fiddie. Sackville is a curious hybrid of folk and rock, a creature that roars when it wants to, but is happy to live along the wide and windy Atlantic shores.

singles to date, “Paste” and ‘When she was happy,” you’ll know exactly what I’m talking about. This is the great strength of the album. The songs themselves are not in any senseground-breaking or experimental; it’s all pretty much straight-ahead rock ‘n’ roll,

and the lyrics are standard run-ofthe-mill paste-teen angst “girlfriend this” and “girlfriend that.” Pluto have already had some success.Formed in 1993, they’ve already toured with Pansy Division and Cracker. The thing is, where to from here? This album is fairly solid, and has already been successfulenough to ensure another, but Pluto is going to have to develop into somethin)j more rhan a competent garage band with an innate ability to generate memorable hooks if they are going to go much further. But for now, they seem pretty happy just writing damn catchy songs, and that’s ok with me.

IMPRINT,

Democracy little too

by Sandy Atwal Imprint staff The rapid ing Joke’s much

follow up to Killhyped

Pandmw-

nium has rapidly faded from view since its release. Although similar to the dub/industrial (dubdustrial? j style of Pandmwnium,

B25

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Friday, August 30, 1996

follows that formula closely and a little

less

ingeniously. The first single “Democracy” is one of the album’s only saving graces-not so much the album version, but rather the remixed and revamped versions on the two part single. On the album, the music takes a back seat to lead singers JazCOleman’s lifeless ramblings about how “I’m sorry democracy is changing.“The remixes of the title track however, expose the KJ fan

some

techno

remixes that most fans of the band would nrobablv not be ex‘posed &---in Britain, perhaps, but not here in Canada. All of this is due to the return of original Killing Joke member turned producer now once again Killing Joke member, Youth. Whereas Killing Joke’s sound used to be largely defined by the blazing guitar work of

Geordie Walker, Youth has managed to take some of the band’s

tracks and rework them into fUon eleven minute bass workouts. For Pan&Gti~n, the constant slew of singles became a bit much considering the fact that three singles had been released, each in a two part format, thus providing the listener with another six CDs to pick up (at no little cost*) However, since lhmmacy provides much less variety than their previous effort (which I would venture to say provided the listener with less variety than any of their other albums) the remixes are a welcome addition to this release. If I seem to be drawing a strong comparison between their last two albums, it’s only because it’s so bloody obvious. Pandmzun&n is a strong album, there’s no doubt about that, but it’s unnerving to think that their latest reincarnation could be a continuing trend. Their most ingenious work was a constant mutation of Geordie Walker’s guitar and the apoca-

lyptic “Let’s have a war” lyrics of Jaz Coleman. Lately, the trend has been toward much more anthemic and repetitive lyrics by Jaz and appropriately dirge-like powerchording by Geordie. The result works extremely well on tracks such as cLExorcism” or ‘YvhiteouP from Panhmonz’~m, but there’s nothing that touches those tracks here on Demcmy. The best choruses Jzz can come up with is “This savage freedom I love/ This savage freedom I love/ This. . *etc.” or (my personal favourite) “Another Bloody Election” which, because of Jaz’ screaming and the distortion on his voice sounds more like “Another bloodv erection.”

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by Wayrie Jefhies special to Imprint All They’re

right! Real ,McCoy! the bestband ever. T listen

to them 24 hours a day. They take dance music to new levels alid me with it. I have to buy all of their albums, singles, T-shirts, hats, soup bowls, etc. I am the ultimate Real McCoy fan. Ifthis is you, run, don’t walk, to the nearest record store and buy this album. And while you’re at it, get some serious help as well. According to the inside cover, this album was made for We ultimate Real McCoy fan.” 1 guess it isn’t nice to say that this album was really made for “the gullible fools that would actually plunk down twenty bucks for a bunch of re-hashed songs that have been twisted and mangled beyond rec-

ognition.” Such is a typical problem with dance music. It’s not so bad when a DJ or other musical guru takes a hit song and plays around with it a little, aslong as it’s confined to the single, the radio, or the clubs. But when a collection of these is thrown on an album and sold with the band’s name on it (indeed, the real artist should be ‘Various European Guys Who Get Paid Big Money to Destroy Dance Songs”) it is obvious that a shameless cash grab is being done. Okay, perhaps there are some hardcore Real McCoy f;ms out thcrc who would buy this album even if it was just a recording of the different band members taking a shit. But for those of you sitting on the fence, let me make it reti easy for you. DONT! This album sucks the whole way through. “Run Away” and ‘&Another Night,” two of the band’s biggest hits, were chewed up and regurgitated on this album. The result is something that

sounds quite similar to the fecal matter mentioned above. The other remixes are uninspiring at best and are all the same words from other songs put to different beats and background noise/music. How redundant. There are n;yo original tracks on this album, “Streetfighter” and “ Je Suis Amoreux.. . .‘I’ However, neither one is good enough to warrant spending twenty hardearned doLlars on this album. I can’t believe that the music industry thinks that little of us that they would release such an o&ious insult to our intelligence. It’s a shame that a decent band like Real McCoy have soiled their good name by releasing a blatant cash grab like this. While the “ultimate Real McCoy fan” may tiptoe through the tulips on their way to the record store to pick up this latest release, the rest of the world should pass on this cheap imitation and wait for... Pm sorry about this... the Real McCoy.

But there are highlights. “Intellect” brings out Jaz’ obvious Middle Eastern influences while allowing Geordie to demonstrate why he is one of the best guitarists playing today. “Another Bloody Election,” despite the embarrassing-sounding title is the kind of song most “industrial” artists would kill to be able to write. A somewhat disappointing effort, and certainly not Killing Joke’s best, but Youth stated tier the release of Panhitim that after they got one more album out of the way (this one) they would be releasing the best materiai Killing Joke has ever done. One drools in a.nticiDation,

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