-- GO BEYONDTHEEDGE-into the
FRIDAYFURYOF THEb/U~WINE
Student Recession PUB NIGHT with
QQ Lld/~J
SATURDAYS Check Out our Saturday Concert
St/// Absolutely PARwin
the
BlGGEST & tk e UNIVERSE
the Ii/
Listinqs .
WILDEST
The Tea Party - Wednesday September 4th Rob Base 8~DJ EZ Rock - Saturday September 6th Carlos Morgan - Saturday September 13th
DJ’s Mark Oliver (Joker, Better Days) & Yonexx (The Underground, industry)
RETROAT THE METRO DJ Mark Masters (Joker) Featuring Top 20 Alternative Rock
Metropolis will be giving away U2 tickets every Friday this September. All entrants will qualify to win a Kokanee Hot Tub from Labatt’s.
IMPRINT,
Friday, August 29, 1997
ARTS
B3
Not just Sonic, but Psionic The hardest working band in show business Tristan
Psionic
by Sandy Atwal special to Imprint
I
f you ever get the feeling that there are too many goddamn bands around, you’re not alone. It seems like every show in Southern Ontaridsports alineupof seventeen go-nowhere bands trying to eke out a living by hitching their stars to the wagon of indie-rock and spewingsubstandard music to a sparkly-faced gang of skateboard riding 16year-olds that are just a little too cool to care. This sad state of affairs is all too obvious to the crew at Sonic Unyon, Canada’s watershed label of bands that don’t suck. The lab4 has had somewhat of a difficult year in 1997. Poor record sales and low turnout for live shows have affected the entire record industry and Sonic Unyon have not escaped this downward spiral. That being said, Sonic Unyon’s history is a tale of succc=ss through perseverence and triumph by keeping themselves firmly grounded in reality. The label was founded in April of 1993, as a method by which Hamilton rockers Tristan Psionic could release their own records. Today, the label boasts some of Canada’s best bands, including Hayden, Kittens, Shallow North Dakota and, of course, Tristan Psionic. In addition to bands on their label, the SU crew have snapped up Canadian distribution rights to several American record labels including Merge, Dischord, Alias, and Smells Like Records (run by Sonic Youth drummer Steve Shelley). With a little help from their friends, Sonic LJnyon is run by Tristan Psioriic. Sandy McIntosh (guitar and vocals) produces advertisements and artwork, Mark Milne (guitar and vocals) deals with many of the smaller indie stores, Tim Potocic (drums) has the pleasure of dealing with larger corporate assholes while April
Sabucco (bass, hair) deals with promotions and publications. The label receives over 50 tapes and CDs a month from bands hoping to join the Unyon team. “That’s probably the best one we’ll hear all month,” says Tim, pointing to a plain 90 minute cassette the label received in the mail today. “Lots of bands send us tapes and they go straight into the garbage because they’re like from these 80’s hair bands that have done no research on our label,” explains Tim. While the Bon Jovi tapes go straight into the circular file, bands which catch the ears of the Tristans can get free advice from the band. “I look at that tape, and it’s like ‘we were those guys.“’ For many of those bands, Tristan Psionic suggest the same strategy that worked for them - put out your own records. “It doesn’t help that few bands have realistic expectations about what it takes to be a successful band,” Tim explains. Many bands feel that once they have their CD in their hand, they’re done and that’s just the beginning. “A lot of bands aren’t realistic. Once they’ve got the CD, you have to start touring and promoting it or we can’t help them,” adds Mark. Sonic Unyon’s philosophy has helped them move over 130,000 units since their inception. The band looks to move over 100,000 next year alone, bolstered by new releases by Hayden and Tristan Psionic. “What some bands don’t understand is that video and radio promotion doesn’t necessarily translate into sales. MAdE and treble charger are both signed to major labels, but they don’t sell any more records than Tristan Psionic,” says Mark. For a practical guide to what it’s really like to be in a band, Mark points to Steve Albini’s infamous essay “The Problem with Music.” Albini presents as depressing a picture as possible of how bands can be driven into a spiral of debt by labels looking to rip them off. “It’s one hundred percent true,” agrees Mark.
Not a boys club anymore. The band often seems inseparable from the label. Sonic Unyon is Tristan Psionic and Tristan Psionic is Sonic Unyon. A new album is scheduled for release in the spring - an album which has already been delayed by the demands of the label. “We love playing music, but we’re realistic and we’re trying to build a career,” says Mark, explaining the pressure of running a label and a band simultaneously. The album is an especially exciting proposition for April. Her bass work and kinetic physical presence has been a welcome addition to the band’s live set, but the new album will be the band’s first release to feature April on all of the tracks. The addition of April has undeniably been an asset to the band musically, but has also given the band a crash course in how male the music business is. The twenty-year old April has put up with her fair share of misogyny from stage hands and sound board meatheads who refuse to allow that April (a girl!) is indeed in the band. Mark explains that “Almost everywhere we go, someone’s like ‘She’s not in the band’ and I’m like ‘Yes she fucking is.“’ There’s no shortage of contempt in Mark’s voice for these neanderthals.
The band’s last album was somewhat of a commercial disappointment, despite the fact that it stayed at #l on the college charts for four weeks. The band cites a lack of radio play as at least partially responsible for poor sales. The band plans on taking longer to record the new album, and if the tightness of the band’s live show is any indication, the new release will see the band continuing its musical evolution, and may well contain some of the band’s most exciting material. The band and label share an uneasy co-existence, but the members of Tristan Psionic couldn’t be happier. Tim is happier running a label than working as an executive because, in his own words “Yeah, sometimes it’s frustrating, but if we were working for Apple or Home Depot, we couldn’t be in a band.” Contact Sonic Unyon at: PO Box 57347, Jackson Station, Hamilton ON L8P 4X2 (905) 7774223 http://www.sonicunyon.com jerks@sonicunyon.com Tristun Psionirphys the Bombshelter Ftiduy, $eptemk 18 wit/r lubtdwutes the N&a GfU?ld.
album. On the last album, half of the songs were written that way, but. half were Graham as a song writer and the rest of the band as a back-up band. This is a little moreofa fuller band effort. The songwriting duties were spread across the board.
ing that we’d be seen as in the same ranks as the Headstones, Junkhouse, 54-40 and a11 those bands.
Almost as big Barstool
Prophets
by James
Imprint
Russell staff
T
he Barstool Prophets recently re IeasedLus~clftkeB~gCu~eHclnfers, the follow-up to 1995’s Crank. Guitar playerA Morier took a few minutes to talk to Imprint before a recent show at Mrs. Robinson’s.
Good question. We recorded this album in Memphis, Tennessee with Joe Hardy who is 22 Top’s producer. He’s worked with Tom Cochrane, Colin James, a lot of Canadian artists. It was different in the sense that WC worked with a very recognizable name for a producer. Just that was pretty different. We’d never worked with someone who had that much experience and knew his shit. It was amazing.
The
main difference
was that he had
better gear and he everything and bring added the icing on what he’s supposed
was abIe to enhance out the best parts. He the cake, but that’s to do.
It’s almost like you’re answering your own question by asking it. No matter what we play, it’s always going to sound like that because of the wuy we play. We’ve never gone into the studio saying we want to sound like Beck or like The Hip. We’ve always done our own thing. That seems to bepart ujthe P fophets phdusup~y . Do yaw own ?..ing, have a good time. Yeah, yeah. Exactly. This album here; the tunes grew organically in a sense. When we came off tour for Crank, our last album, we didn’t have enough tunes yet to record again. We ended up taking eight months, just writing and writing, writing as a band. We’d bounce ideas off each other and the songs just grew out of nuggets of melodies. Next thing we knew, we had a full
I think so. In a sense, we’re not fighting with each- other, but it is a little bit of that “I want my ideas in there too” kind of thing. But we’re all very diplomatic about it and it’s a democracy. It can create problems in that we’re beating around the bush coming up with ideas when all the song needs is a few loud guitars!
How ubout videos? We just recorded a video for “Last of the Big Game Hunters,” the title track from the album, in Toronto. MuchMusic has picked it up and it is in Light rotation now. I’m not quite sure what Light rotation means. They have all these strange terms for categories that they put their videos in. At first it was in “current optional” so I guess that means its a current video, and whether they’re going to play it or not is‘an option. But I guess they liked it enough to. bump it up to Light rotation.
?Vhut are your Ropes fur this album? Really what we want is a career and to earn our living from writing music and recording it and playing shows. And it’s finally starting to come around now where I can start to say that this is what I do fulltime. I’d like that to continue with this album, and I think it will bring us to that next level of professionalism where we work with respected people and I’m hop-
Is there one underlying message in the Bufstool Prop/ret.. ’ music? The message is that it’s al1 just music and it’s just meant to entertain. A song is’a song and that’s all. We don’t take ourselves too seriously and if we write a song about a sensitive topic, that’s what you’ve got to take it for, and nothing more. We write tunes and if you like it -great. And if you don’t, well, buy somebody else’s record!
ARTS
B4
Utmost intensity
photo
by Peter
Gluelee w/Bif Nakved and Face the Pain 77tiYLyriC
Thursday,
August
14
by Darryl Kelman special to Imprint
A
s the underagers forced their way to the front of the pit, Face the Pain took the stage to begin an evening of incredible music. Formerly known as Genocide, Face the Pain’s brand of hard rock and rap was the perfect appetizer for what was in store on this night. They had incredible energy and tried very hard to get the crowd going, but most in the pit were saving their energy for the acts that followed.
Friday, August 29, 1997
_Fitter; Happie
However, they did manage to get a response for their micro-hit “Recipe for a Riot.” Next up was Bif Radiohead Naked who instantly w/ Teenage Fanclub got a response from Arrow Hall the gathering in the Tuesday, August 19 pit, The entire band played with loads of by James Russell energy, as they Imprint staff pounded out song after song including the o be honest, I don’t really radio hit “Daddy’s care that most bands put Getting Married.” out crap. I’ve come to Their set ended to expect it. Perhaps this is why I get much applause and so bitterly dissapointed when a cheering as the keyband I had hopes for turns to shit boardist beat the shit out of his equipment. All in all, a good set. Finally came Glueripped leg, who through songs off Lenardon their newest release Clou!~~per like “Pistons, ” “Stack It,” “The Country Song,” and the latest release “Dragonfly.” They dipped into some older material like “Lilies” and “Heroic Doses” as well, and every song was delivered with utmost intensity. They played up the crowd brilliantly by asking them to sing backup on a couple of songs, and by crowd surfing along with the rest of the hooligans. It was such a solid performance that they’almost blew the roof off the old theatre. The only disappointment of the evening was that Toronto band Raggadeath (who were scheduled to play) were suddenly taken off the bill for mysterious reasons. Other than that, an excellent show that was well worth * the bucks.
T
He’s not Naked.
IMPRINT,
(e.g. The Smashing Pumpkins). But I had high hopes for Radiohead. Pablo Honey was ok. T&e Bends was a work of art. 1 waited with baited breath for. the follow-up. OK Computer is a masterpiece. The question you aIways have to ask when you hear an album as good as OK Computer, is how much of that is the studio? Can the band do any of that live? At this show, Radiohead made it quite clear; they are the musical geniuses behind they don’t need a studio to prove Teenage Fanclub came on stage around 8 p.m. Their fans called the show “tight.” I called it “dull.” Maybe my
Shortly after 9p.m., Radiohead
ger crowd
, show,
as “fit-
Amidst an excellent light toe Oancl began working l
I
.
I
I
.
through most ofOKComprrtfrand several tracks from TAe Bends. Radiohead also threw in a song or two from Pablo Hong, though they neglected to play their breakthrough single “Creep.” The musical ability of these guys is incredible. Thorn Yorke, Jon Greenwood on lead guitar and Colin Greenwood on bass all took turns throughout the show on keyboards. Jon played the glockenspiel and Ed O’Brien provided excellent backing vocals for Thorn’s warbling voice as it took the crowd to new heights. For the final&, Jon was playing his keyboard with the end of his guitar while he played the chords on his guitar! “Karma Police” was brilliant, as was the first single from OK Cumputer, “Paranoid Android.” People went crazy for “Just” and “Fake Plastic Trees” had the damn lighters waving in the air. Thorn was very quiet between songs, occassionally mumbling thanks. However, when the band came back for a three-song encore, he dedicated a song to the people in the first three rows for being crushed by all the “fucking assholes” behind. Despite the fact that it was being played in what appears to be a converted airplane hangar, the musicofOK&mputersounded even better than on the album. Radiohead put on a brilliant show, demonstrating live what they’ve already proven in the studio. I just hope I never see them doing a Batman soundtrack.
DELIVERIES INC, ,II PER
We Deliver: Beer, Liquor/mix Wine, Fast Food Cigarettes
I I :
DELIVERY
Empty
returnn
mttrrilmkln
>B
FREE:
81 dDELlVEF
m
l
i
OF AGE*
!
delzvery !! *MUST
BE 19 YEARS
w
lMPRINT,
Friday,
August
29, 1997
ARTS
B5
The Who’s Quadrophenia Old men kicking serious ass The Who M&m2 AmjUdhm~e July 29, 1997 by Rick Knight special to Imprint
E
ven the heartiest Who fan could be forgiven for thinking that their latest tour was just another in a long line of embarrassing cash grabs. This was a band, after all, who declared some 32 years back that they hoped they died. before they got old, and then ran with a wellhyped farewell tour in 1982. That was five farewell tours ago, and the decidedly aged British punk combo was looking even greyer and balder this time around. By all rights, then, the latest concert should have sucked, right? On the contrary. Indeed, for all the shameless excuses bandleader Pete Townsend has used in the past to justify these endless farewells, this year’s was perhaps the lone inspiring one; a full scale presentation of Quu&o&w~~, their legendary rock opera from 1973. A misunderstood album in it’s own time, Qua&op/rerrz’~ is considered highly in the Who canon, but it’s simultaneously one of the band’s least known works. The album didn’t generate any radio hits two
decades ago, and is routinely ignored on Classic Rock playlistS today. Nevertheless, the album is a brilliant, near flawless recording, and as close to a Who fans’ heart as any. For one reason or another, the Who .never toured QuadropRenia in North America. Townsend has long maintained that the narrative of the recording was impossible to translate in a live rock and roll setting, and thereby refrained from ever presenting it here. New technology, Townsend now contends, allows for the recording, over two decades after the fact, to be produced in a live setting for the first time. And he’s right, in fact presenting the rock opera with a vision that does justice to both music and narrative. Long a thorn in many critics eyes, Townsend’s extravagant rock operas have never made much sense. It’s always seemed as though the concepts in his head would remain forever beyond the grasp of most listeners, who were simply content to ignore the narratives and just enjoy the music. The successful stage version ofTommy, however, where the dynamic narrative and extravagant soundtrack finally made sense, must have opened Townsend’s eyes to the possibilities of Qu~~~u@e~ia, a work closer to his heart. It’s also a work that flies easily in the
Getoff vour ass,andgetout! J
by Kudra Alobar special to Imprint
K
itchener-Waterloo and a number of other cities in southern Ontario are in the midst of a cultural crisis. The last few years have seen a decline in the number of venues that feature live music, specifically new or indie rock, as a regular part of their entertainment programming. With the Volcano closing recently, the Korova Cafe having problems with noise compIaints, Fed Hall booking fewer and fewer acts and Phil’s Grandson’s Place seldom offering live rock bands, there are few places for new bands to play and fans to enjoy new bands. Mrs. Robinson’s and the Lyric seem to be the only places that book bands with any regularity these days. The reason for this is economic, both on the supply and demand side. With regard to the latter, there seems to be a decrease, along with worldwide record sales, in the number of people who come out to live shows. “No, I’d rather sit at home and listen to Big Shiny Tunes again because what if I go see the band and I don’t like them right away? Or my friends don’t? Or CFNY doesn’t play them?” It is not uncommon to see bands with fairly regular airplay on CFNY and MuchMusic play to a venue that is half full or worse. This is understandable in some ways, because for a lot of popular music today, live shows are almost like hearing a really good cover band play your favourite band’s songs. They are performed exactly the same as on the album, but usually the sound isn’t as good, you have to stand with a bunch of pushy assholes and beers are five dollars each. Which brings me to the other reason that live rock music is on the decline. For
the most part; the biggest chunk of the record buying public is below the age of majority i.e., they cannot buy beer. Some bands play a.&ages shows only, but why would a bar agree to be the venue for a live show if very few of the people there buy any booze? The fact is thae bar owners have come to believe-that live acts don’t make money. The way to make money is to play radiofriendly, get drunk and sing along hits to beer swilling twenty-somethings. That’s just the way it is at most places, and who can blame them? I like drinking a lot, and I like listening to good music while I do it. There are dozens of bands in the TriCity area, hundreds if you count Toronto and thousands in North America. Too many, really. They have a very hard time finding a place to play in K-W. I know these bands exist and want to play here because I have attended three different shows this summer by great bands at people’s houses! Tristan Psionic, Elevator to Hell, jale, and The New Grand have all been paid alright money to play shows in Toronto, but come to K-W a+ Jay in houses. Don’t get me wrong, they were intimate, energetic, cheap and enjoyable shows, but they definitely highlight the lack of venues. The only solutiorl is getting people out for live shows - a vibrant music scene where you go out to see a band and have a few beers, like a dance club. Many people have no sense of adventure when it comes to live music. Sure there is a lot of shit out there (Bush usually sells out - go figure) and every new band you go to see will not be an overwhelming musical experience, but how many times can you really sit there and listen to that Our Lady Peace CD? Get out and try something nfdw for a change.
face of criticism about nostalgia, because nostalgia is the very nature, convention and narrative ofQtiu&@&z. It’s what the album’s all about. Concerned in 1973 about the battles between Mods and Rockers in the mid-1960’s, it’s a snapshot about a band’s heroic past, and a tale about a pro: tagonist’s search for identity through a specific place and time. Since nostalgia encompasses everything about the recording, there’s little irony in a long overdue concert presentation. Incredibly, the new concert setting, featuring stage actors, large video presentation, new dialogue to bridge the songs, and music performed with gusto, made far more narrative sense than the album, Townsend’s accompanying short story, and the 1979 movie of the same name put together. Commencing immediately with QuadraplleG, the Who didn’t intervene so much as once until the album was performed in its entirety. At its conclusion, the audience was not only rewarded with the reminder of a great rock and roll band, but a spectacle that made se&e musically, historically, and literally. Heretofore interior characterdialoguesand themesaboutyouth and rock music appeared wholly contemporary and relevant, including the ironic search for identity by joining groups, and
accepting these organisms disposable lifestyles of fashion, behaviour and thought. The disaffected punks, grungers and rave crowd of today, it turns out, realiy aren’t all that different from their parents. It’s also an indelibly moral tale about the loss of innocence and youth, and eventual salvation in a higher power. Love, Townsend has us believe, kicks the ass of fashion and pills every time. It doesn’t hurt that the music kicks ass as well, because if it didn’t then nobody would care anyway. In performance, the aging Townsend, Roger Daltrey and John Entwhistle, accompanied by a large backing band and horn section, performed with professional precision and grace, being careful to step back and let the spectacle take precedence. This was less a rock performance than a theatrical one, albeit one that could only be pulled off with the musical imagination and technical prowess of a truly great band. Once Qtiu&-q&zia was concluded, Townsend engaged the crowd, the band took turns patting each other in the back, then finished with classic radio fodder like “Won’t Get Fooled Again,” “Substitute,” and “Who Are You.” Such material seemed a mere appendix or a tired after-thought, however, The real deal was Qtiudw&-wi~, and on this night it was magical.
--
ARTS
IMPRINT,
Friday,
August
29, 1997
*Kitty, kitty, kitty What Cats Are hJei%amnu Chronicle 64 pages,
c
by Reni Imprint
TABLES NOW LICENCED
Snack Bar
Free Parking
HOURS: Monday to Thursday: 11:30 a.m. - 1 a.m. Friday & Saturday: 11:30 a.m. - 2 a.m. Sunday: noon until midnight
REITERATION
IALTERNATIVE
VIDEO
Books $12.50 Ghan staff
W
hat do you do when you find yourselfwith thirty differentphotosofcats? The answer is obvious: bind them between two covers and charge people money to own 6” x 5” copies of them. Who comes up with ideas like this? People like Sharon Beals do. Who spends$lZ.SUpurchasing such items? Well, somebody must. Beals has already published a similar book about dogs, titled What Dogs Do. It must have sold, or I doubt the publishers would have let her pull this one off. I suppose What Cats Are is great for an avid cat-lover who has a strong allergy to these friendly feline creatures, but sates allergy, I’d much rather have a real cat of my own, although it would cost more than $12.50. Thirty pictures of various breeds of cats doing cat things
“Marked for Death.” like staring out windows, laying in the sun, staring at dripping faucets and mangling cardboard boxes. Each picture is accompanied by a one word description such as “CIassic, ” “well-fed” and “curious.” It all seems silly to me. The quality of some of the photographs are great, but others aren’t. The photo titled “Soft” doesn’t portray softness - it leads one to look at cats as “tough” and “possessed.” The photo of the “sleek” cat, however, is a spectacular shot, as is the “sentimen-
tal” cat. And the “silly” and “helpful” cats are just plain adorable. But I still don’t see the point. I guess if you’re the type of person who buys books about cats, this is the thingforyou. You might even go so far as to call it a good investment. To me, it seems as pointless as someone spending money buying pictures of their favourite culinary dishes just to look at them and read the names of the creations. In this case, I’d rather purchase the food or the cat.
In the first two sections of the book, asteroid and comet impacts with earth are-presented as one of the main driving forces for evolution, refuting the Darwinian view of gradua1, natural selection as the main evolutionary mechanism, Nuclear fusion in the hearts of stars, where helium and hydrogen are cooked into heavier and heavier elements, and the explosive death of large stars as superriovas, seeding the universe with the elements needed to make life possible, are explained. In short, readers wiIl learn about the “smoking gun” that killed the dinosaurs, why stars really are diamonds in the sky and that all we are is stardust in the wind. All of these ideas are detailed in simple terms intended for those without a physics degree. Sacrificing depth of information for
third section of the book, the one dealing with& Big Bang, the one that started it all. In a merciful attempt togive us the “good parts” version of the creation and fate of the universe, theories of quantum physics are glossed over too quickly for the lay-reader, making the more abstract concepts diffcuit to grasp. Since many of these concepts are integral to understanding further ideas, the reader often comes away with more confusion than comprehension. Nonetheless, it provides a good introduction to some of the basic tenets and theories of astronomy and quantum physics, from red and blue shifting of wavelengths to open and closed models of the universe. For the sheer volume of ideas expressed, tackling this section of the book is worthwhile.
X
4% MEDIA=
ThOaE;f Comet
Crashes,
. Big l&ploding of the
Stars, and the Creation Universe
byZW~M~~a~~d Al!4hb-
C
207 pages,
$13.00
by Natalie Imprint
Gillis staff
omet crashes, supernovas and the explosion of the universe: this book is quite literally one catastrophe after another. Presenting some of the key ideas for the physical evolution of the universe -from life on our humble planet to stars and galaxies to space and time itself -i The T/tree Big Bangs shows how our universe and, consequently, our lives are dominated by violent acts. Divided into three sections and working through the events in reverse chronological order (from concrete to abstract), this book provides a good overview to the basic concepts and consequences of each of the titular cataclysms.
breadth,
the first
two sections
of
T3e T..ref Bl’gBizfigs are extremely clear and should appeal to the non-technical reader {anyone with some familiarity with these topics will find little they didn’t know before). This formula falls short in the
Though
at times
challeng-
ing, this book is generally an easy read. If you’re looking for something with a little more GUTS, though, you’ll probably want to find something with a little more meat. If you don’t know what GUTS are, this book is for you.
IMPRINT,
Friday, August 29, 1997
ARTS
B7
A test of faith
Contact directed
by Robert
Zemekis
King’s Cdhgt? by James Imprint
J
Russell s&f
odie Foster has made a number of remarkable movies. TAe S&XUT of the Lambs, Nell, The Acctised, and don’t forget the young whore in Taxi Dtiwer. In COMLX~, Foster plays another strong lead character in a brilliant story, but a few crucial weak points in the direction prevent Cantact from being one of her greatest roles. Written by the eminent astronomer (now dead) Carl Sagan, Con#dct is a story of inner search at least as much as it is a story of outer exploration, weaving faith and reason together subtly but effectively. Eilie Arroway (Foster) is an idealistic radio astronomer who is intent on searching for evidence of extraterrestrial life, say-
ing “If it’s just us, it’s a terrible waste of space.” Arroway is not in for an easy time though. Funding for her project is cut, and then, after she finds private funding the government prepares to simply terminate her lease on the radio telescopes. However, in the nick of time she finds a signal from a distant star, a signal that contains instructions for building a machine. The government quickly takes control of the project, and Arroway is understandably crushed. She fought for this, and her enemies are taking the credit. Foster does a brilliant job of portraying someone who’s heart has been broken, though her greatest dream has been realized. The machine is built, though no one knows what it will do. Religious groups are upset, thinking that the activation of the machine will be the end of the world. Meanwhile, Arroway is becoming involved with a religious man, though she is an atheist. He attempts to test her faith, but she resists. The machine is activated, the world does not end, but now the climax is not what happens when the machine works, but Arroway’s struggle with the realization that faith plays as vital a role in all of our lives as does reason. She undergoes what appears to others as a spiritual revelation, and is caught in the middle as the world tries to come to terms with the fact that we’re not alone.
Arroway has repeated flashbacks to her childhood days, and to her father who died when she was young. While Zemekis attempts to get everybody weepy like he did in Forest Gump, he fails. One scene in particular is so cheesy that people were openly laughing. And while many of the effects are top notch, a few looked either
Thepretty
cool aKen machine.
$$$A::, :: : $$z$qj:,. ..*>:A:. Lp,.+::..: :a.:. .;. .*<.:,:c.: : >.t.:y:.: VA..‘.‘. q#::, &-.. ..* : ,:,
a. c&z . jf::. c. 3.
(includes home,single vbonplastic lenses, scratch resistant coating)
surprisingly cheap, or were misused, destroying the otherwise captivating drama of this movie. Thought-provokingandexciting, Cots~LZG~is definitely worth seeing. Foster is excellent throughout, and only some poor directorial decisions spoil an otherwise fantastic film.
THuRsDM
ALIENAIRWAVES No COVER
REVOLUTION IN
ARTS
BlO
Ann-Marie
Knees
MacDonald ktuge
566 pages, $18.95 by James Imprint
I
Russell staff
that a book succeeds so marvelously in draw-
t’s not often
ing the reader inside itself. Full on Your Knees is an absolute triumph in this regard. The story pulls the reader into the lives, the minds, the hearts of a family on Cape Breton island in the first decades of this century. You cannot help but feel their joy, and most especially, their pain. James Piper is an ambitious man, a poor man with lofty goals for himself, and more importantly, for his children. This is the story of his battle with the demons who refuse to give him peace, and how this battle ultimately affects the lives of his wife and children. The plot lines are complicated, as tangled as the family relations in this novel. The gen-
erations criss-cross in unpredictable ways, enticing the reader deeper inside the novel, if for no other reason than to solve at least some of the myteries in the Pipers’ geneaology. Throughout the novel, each of the Pipers takes a turn as the central character, allowing MacDonald to guide the reader through not just one set of hopes and dreams, but a half dozen. And in this regard, she does a truly remarkable job. Through Vonnegut-esque narration, jumping from time to time, character to character, place to place, there is always a sense of foreboding. This>s a family with a past it tries to hide from itself, and slowly the layers are pulled back. However, sometimes those layers reveal still more secrets. A beautifu1 story of broken dreams, Fall on Your Knets is a tragedy filled with the characters’ love and hate for one another. It is an incredible literary achievement that will affect Canadian writing for years to come.
Friday, August 29, 1997
Now that I’ve got your attention. .SEX!
A really good book Fall on Your
IMPRINT,
l
Sex on Campus
Leland Elliot and Cynthia Brantley Rundm House 243 pages, $16.95 by James Imprint
Russell staff
ex is dirty and evil. I’ve never had it and I certainly don’t want to. Celibacy is S what all the cool kids are doingjust ask my Mom. However, this book is the ideal informational guide on what all youpemeti. are up to, God have mercy on your souls. L&2. magazine had almost 2,000 university students fill out a comprehensive survey on their sexual habits, thoughts and feelings, and this book is the result. But it’s more than an analysis of sexual trends. Sex 091Capn-pus candidly discusses how to go about these acts safely and happily. Not just who likes getting blow jobs and who doesn’t, but why or why not, and how to improve the situation if you so desire, from both the male and female perspective. What’s enjoyable about Sex on Cumplrs is the tone of the book. It is not a textbook, it’s a fun book. There are jokes, wisecracks, even an excerpt from ClerRs; the scene when Dante finds out his girlfriend has sucked thirty-seven dicks. Probably the most useful thing abour this book is the variety of reasons given for so many different things, questions I’m sure we’ve all asked ourselves: Why does my dick do this? Am I normal? Will my girlfriend freak out when she discovers this about my penis? Can I fix it? Do I want to fix it? Any way, enough of that for now. What you want is the dirt on some of the most penetrating questions of our generation. Here
their boyfriends to have bigger penises l most men rate “personaIity” very low on a scale of attractive qualities in women, and “power or success” very high l 29 per cent of men have lied to get someone into bed l 39percentofmenand42per cent of women have had sex with someone they didn’t like because they were either drunk or stoned l six times as many men than women will have sex “whenever possible” l most people have had sex in a car, and more than a third in their parents’ bed. l 10 per cent have tried golden showers the reason most people l haven’t tried their fantasies is that they’re “too embarrassed to bring
them up” 0 17 per cent of people have had a tongue up their butts, and 31per cent of women have had anal sex l twice as many men than women say they “love” performing oral sex l 40 per cent of women say they “never” masturbate. 9 69 per cent of homosexuals hide that fact from their parents The book also discusses common sexual problems and STD’s, but the most useful part is the au&~. How do you fix what’s broken? How do you fine tune what isn’t? If you’re planning on having sex, this book is very useful. If you’re already doing it, this book is a must-read. Sinners.
goes: 415 Hespeler Road, Cambridge (Across from McDonald’s) 622.7774 23 WallIngton
l
most
women
wouldn’t
want
Road E., Guelph (Across from K.F.C.) 623*5341
- ASUS VX97 Main Board wl i430V Tritun Chipset & 512K Pipelinti Burst Cache - Mini Tower Case wl LED Display & 230W Power Suppiy - 32Mb, 60ns, 72pins, ED0 RAM - 2.lGb Quantum Stratus IDE Hard Drive - 1.44M, Panasonic Floppy Drive - ATI 30 Xpression Video Card w/ 2mb ED0 RAM - Acer 14’ SVGA Monitor DP=0.28mm [Non-lntertaced] - 1Gx Acer IDE COROM Drive - Sound kster 16 Bit Sound Card wl Speaker - USR 33.6 Data/Fax Modem [Internal] - Mitsumi Win95 Keyboard & Logitech Mouse & Pad - Microsoft Windows 95’ wl CD a Manuals (Pre-Installed]
Pentium MMX ISS....,$i699.99 Pentium 166 .,.. 1,...,.,.. $16&99 Pentium 133.. ,.,...I.,.. $1599.99
- ASUS TX97-E Main Boardwl i43OTXTriton Chipset & 512K Pielined Burst Cache - Medium Tower Case wl LED Display & 230W Power Supply - 48f&, 60ns, 72pins, ED0 RAM - 3.2Gb Quantum Stratus IDE Hard Driie - ?.44Mb Panasonic Floppy Drive - Matrox Mystique Video Card w/ 4rnb WRAM - Sony 15’ Trinitron Monitor DP=0.25mm [Non-Interlaced] - t2x Creative Labs IDE CDROM Drive w/ Remote - Sound 8laster AWE 32 wl512K & Km 5W Speakers - USR 33.6 VoicelDatalFax Modem [Internal] - Keytronics Win95 Keyboard & Microsoft Mouse & Pad - Microsoft Windows 95’ wl CD & Manuals [Pre-tnstalted]
Pentium MMX 233.....$2749.99 Pentium MMX 200.. .. I$2549.99 Pentium MMX 166.....$2349.99
- ASUS KN97-X Mein Board w/ i44OFXTriton Chipset - Full Ttsww Case wiLED Display & 23OW Power Supply - 64h, 6Ons, 72pins, ED0 RAM - 4,lGb Quantum Stratus IDE Hard Drive - 1.44Mb Panasonic Floppy Drive - Matrox MilleniumVideo Card wl4mb WRAM - Sony 17’ TrinitrctnMonitor. DP=O.25mm [Non-lnterhced] - 24x Panasonic E-IDE CDROM Drive - Sound Blaster AWE64 PnP - Altec Laming 6W Stereo Speakers wl20W Subwoofer - USR 56K Voice/Data/Fax Modem [Internal] - Microsoft Natural Keyboard a Microsoft Mouse & Pad - Microsoft Windows 95’ wl CD & Manuals [Pmtnstalted]
Add A Lexmark 1000 Color Jet Printer To A Navigator Series System For.. .$175 Add A Panasonic Zip Drive To Any System For...$f75 (Parallel
Erternal
Modal
w/Tap
6 Cabb)
Upgrade To A 15” Monitor In The Navigator Series Systems For.. .. ..... . ,. $100 All Systems Include A Three Year Labor 8.2 Year Parts Warranty
Pentium II 266., ... ,,,. ..$4%9.99 Corporate & Government Pentium II 233., ., ,,-. .. $4 149.99 P.O.‘s Accepted ’ All Ptrcss Are Already Pentium Pro 200. ... .,$3999.99 I *,,sa,8sAn F,na, 3% Cash Dmcountad
IMPRINT,
ARTS
Friday, August 29, 1997
Bll
Worth checking out
.
Some Imprint picks for eating, drinking and being merry by the Imprint
staff
Note: these are the personal opinions of the authors. It does not reflect the opinions of Imprint Publications Ltd. or any one else you might want to yell at. It is your own personal duty to frequent each of these locations before graduation. All listings are in Waterloo, unless otherwise indicated. -The authors
Bombshelter, Student Life Center, UW Thecampuspubandsomuch more. A cool place to grab lunch, sit around with a coffee and chat, or Iesr we forget, drink. Wednesday nights are the shit, and so are the line-ups. Get there early. Fed Hall, UW campus One giant albatross of a liquor-vending unit. Fed Hall is really big, and has a good selection of beer on tap. Go check out the renovations. Wilfs, * Wilfrid Laurier campus The WLU equivalent of the Bombshelter - lower ceilings, lots of tables, occasional acoustic acts. The fries cost a buck, and are a meal in themselves. Not a bad place to hang out, except for all the Wilfrid Laurier students. Weaver’s Arms Pub W.C.R.I., 268 Phillip St, Straight out of ti, this pub offers lots of friendly faces and a comfy atmosphere. Lots of pool and Ricard’s Red. Wednesday drink deals. The
Turret, Wilfi-id Laurier The WLU equivalent of Fed Hall - big room, high ceilings, large dance floor. The Turret has some really cool concerts, but they never seem to advertise them outside of Laurier. Phil’s
Grandson’s Place, 220 King St. N A big hole in the ground with loud music that was good a few years ago. Cheap alcohol just about every night of the week $1.50 nights galore! Beat cover before 930 p.m.
Duke
of Wellington, 33 Erb St. W A bloody great pub. A fabulous selection of brews from around the UK and good food too. Drop in for a quick bite and a pint, or spend an evening with a bunch of friends; you’re going to have a good time.
it. Definitely an old-style with a basement motif.
pub,
The Lyric, 122 King St. W, Kitchener Ifyou likedancingwith 1,500 other people, this is the place for you. Used to be a big movie theatre. Some larger name bands play gigs here. Awesome lights.
Silver Spur, 28 King St. N .Yee-haw! If you’ve got spurs that jingle, jangle, jingle, or a yen for karaoke, then the Spur is for you.
Metropolis,
125 King St. W Kitchener Lower and upper levels. The place to beonThursdays for house music. Pretty cheap beer, really really high ceilings.
Club Abstract, 667 King St. W Another alternative bar, but -more alternative than Phil’s. Oriented much more towards the industrial and Goth scene. Giant video screen over the dance floor.
RevoIution, 341 Marsland Dr. . Really, really big. Formerly the Twist, and before that a roller skating rink: Worth checking out on Fridays and Saturdays. Go-go dancers, wicked lights and Iots of room to dance. Plus, they like us university students.
Lulu’s, 4263 King St. East Somewhere near the highway. Formerly the longest bar around. Currently concert spot for the dinosaurs of rock and assorted has-beens.
Al Madina, University Plaza Excellent Mediterranean Cuisine, and there’s lots available for vegetarians. Ic can be a bit pricy though. Try the coffee! It comes in tiny, tiny cups, and it’s really sweet and strong. You have to ask for that kind though, or you get the usual stuff.
Mrs. Robinson’s, 124 Weber St. W Part restaurant, part live-music bar, and the only place in the area for regular rock concerts. Check out their weekday music line-up.
Curry in a Hurry, University Plaza Basic Indian food, but nothing really special. It’s cheip though and the servings are good. Need we say the service is quick?
Club Renaissance, 24A Charles St. W KW’s only gay bar, but not only for gay people. Minimal cover, go-go dancers, cheap drinks on weekends. It’s a great atmosphere, regardless of your preferences.
East Side Mario’s, University Plaza Excellent food, good service, lunch specials and a patio. The wait is long, and it’s a little expensive, but hey -your parents paid for the meal card. McGinnis Landing is across the parking lot.
Walper Pub, 1 King St. W Weekday gigs. The place for variety of draught and large portions of food the way mom cooks
Mongolian Grill, University Plaza The only restaurant that has to explain themselves before you order. Pick your own raw meats and veggies, add oils and spices, Everything gets cooked up on a big round grill by some guys in tshirts. All you can eat for a reasonable price, and it’s always fun to play with your food.
Jane Bond, 005 Princess St. W This place has it all: coffees, teas, an exceilcnt vegetarian menu and now, a liquor licence! Drop by for a cocktail or a scrumptious desert. Km-ova Cafk 79 Joseph St., Kitchener A high-school student owned and operated caf6, so if you’re old enough to drink, you might feel out of place. It’s inexpensive, however, and the service is some of the friendliest in town. Watch out for cool indie-rock concerts here too. Moondance Cafe, 78 King St. N Live folk, jazz, and blues every night, comfortable atmosphere, great desserts. After two years, however, the Moondance just changed owners, so we can’t vouch for it in the future. William’s Coffee Pub, University Plaza Open all night, and always packed. If you want somewhere
fun to hang out at 4 a.m, or enjoy dressing up like you’re going to a dance bar when you just want a coffee, head to William%. The food is good too.
Generation X, 69 Regina St. N Throw away thae Blockbuster membership card, because Generation X is the only place you’ll want togo foragood movie rental. Movies are sorted by director and Disney films are not allowed. Great mix of animk, documentaries, science fiction, gay films, classics, and pure kitsch. Dr. Disc, Waterloo SLC and 146 King St. W, Kitchener The UW branch stocks all the latest CDs and lots of singles, while the Kitchener store has a wider selection, including DJ and rock. And they’ll order stuff for you at no extra charge. Orange Monkey, 5 Princess St, W The hippesc music store in town. These guys specializc in the odd side of music - noise, punk, ambient, electronic, and a special section for DJs. If yot~r tastes are ecclcctic, you’ll find what you’re looking for at the Monkey. Encore Records, 54 Queen St. S, Kitchener The best place for miles if you’re looking for any sort of industrial music, including a lot of lesser-known bands that are big in the got11 scene. ‘I’hc imports get kinda pricey though. Ears 2 Hear, 37 King St. N A semi-Christian music and bookstore in uptown WaterloG. The CD selection is a little weak, but they’ve got an impressive selection of rock ‘n’ roll on vinyl. And, of come, piles of theological books and religious albums.
Face toFace: TheVideo Confierencing 1ncludesTahit~ dour
pentium Pl)9CELIOR
Ethel’s Lounge, 114 King St. N Ethyl’s motto is “one TV, no live music,” which pretty much sums the place up. Nothing fancy, but sometimes that’s okay too. Watch out for $2 Taco Tuesdays. Heuther Hotel, 59 King St. N The Heuther is really five bars in one - family restaurant, pool hall, sports bar, karaokelstrip joint. The best place in Waterloo for cheap food, cheap beer, and a game of NTN.
Mel’s Diner, University Plaza A SO’s themed diner complete with James Dean posters and the American Graffiti soundtrack. Famous for the all-day$2.99 breakfast special, simultaneously the cheapest and best breakfast in town. Not too expensive, and a fun place to .hang out and eat some grease.
TWO UN
PARTS
YEAR ANU
LABOUR
$63
E2Y
A BIT GETTER
Akoinchdes: Micrkoft Windows 95 l Microsoft Plus Microsoft Jntemet Explorer l VW live Player l 1.800 technical support m Windows 95 keyboard l Mouse & mouse pad l l
PERSONAL COMPUTERS
_
per
maath
*
C~NIPTERS
702 King Street West, Kitchener Phone: 744-7294 FAX: 744-5538
l
Surfacing a soaring success
by Reni Imprint
Chan staff
S
u@+&%g is McLachlan’s fourth full-length album, excluding 1994’s Tde Freedom Sessions and 1996’s Rarities, B-sides ami Ot,?w S~ff. With the release of each new album, we see her continually grow, mature and ascend in her sense of self. With this release also returns talented musicians Ashwin Sood on percussion, Brian Minato on bass and guitar and producer Pierre Marchand on keyboards and bass. Add to that the glorious vocals of McLachlan herself as well as her talents on guitar and piano and you can’t go wrong. What makes Su$a&gdifferent from her other releases over the last decade is her increased courage in facing her own weaknesses and sharing them with her
devoted fans. Listening to this album makes one feel closer to her than ever before. The album’s first single, “Building a Mystery,” is a great way to begin an album of this magnitude. From this powerful song, the album only takes off and leads us on a journey through McLachlan’s mind. It’s simple, yet intricate. The mix of electric and acoustic guitars creates a perfect melodic balance between hard and soft. McLachlan shows the capacicy of her down-to-earth vocals in songs like “Adia,” “DO What You Have to Do,” and “Angel,” where she accompanies her phenomenal voice with relatively simple music and allows it to soar far above and beyond any instrument used to help create the song. “I Love You,” by far the best on&@&-ing, is heavenly, lush and elegant. Her dreamy vocals make you happy and sad at the same eime and leave a tremenddus impact on the listener. And “Last Dance” is an instrumental that must be heard to appreciate. I’m left speechless every time I hear it. Clocking in at only two-and-ahalf minutes, it has the ability to take one’s breath away. It’s a perfect way to conclude such a remarkable album. Who knows what Sarah has in store for her fans in the years to come, but I’m willing to bet it’s only going to get better and better as she continues to grow, and us with her.
Peter Lenardon Imprint staff What!?, you are saying, what a childish name. Is this some sort of joke? Are they pornographers? Are they another “Yeah, tits” boy’s club? Are they noise-punk band?
by Debbra McClintock Imprint staff A benefit for Kicchener’s Korova Cafe. In ten words or less: intimate. The 23-track album features all previously unreleased songs from various artists who have had the Korova experience. Featured artists range from established bands such as Plumtree and Cool Blue Halo to first timers such as Sintoy and Astrokick. The aIbum is intimate for anyone who’s ever visited the Cafe, ‘as it captures the various moods born in the student-run coffee shop.
Fuck is none of the above. Purdon My French is well thoughtout pop that shows an understanding of the interplay between guitars, rhythm and vocals that is required for interesting music. Being the first release since the band was signed to Matador, this album invites a number of comparisons to other artists on the label. The pace, fei=l and song structure is not unlike that ofPavement, but with a far greater use of * .
city, it sits on the edge of Victoria park and is open from 4:00- 11 :OO p.m. most nights. Its purpose is to provide a drug-and-alcohol-free hangout for high schoolers, a place to hang their artwork and to express themselves. It is run and founded by Chad Krulicki, also a student. Cover on show nights is never over five bucks and it’s always all-ages. But back to the album. Anyone with the remotest interest in Canadian music, especially indie rawk will get their dose with this single album. It’s also the perfect CD for hearing the best local artists. Henry’s “New York Tall Tale” is in his classic storytelling
To be sure, the foundation of Fuck is excellent song writing which is intellectual while avoiding off-putting self-importance. Fuck isn’t trying to be hardcore or grandiose, they have simply combined different texturesand styles for music that just sounds good. Most of the best songs on Pardon My French are quite mellow, highlighting pleasant if not terribly original acoustic guitar progressions and a mixture of different instruments; horns here, violin there (“to my gurl”). As far as departure from standard 414 pop, some songs feel a little bit like country, while others like “Raggy Rag” are more deliberately stylized. Pardon My FretrrJis great Sunday morning music that won’t necessarily kick your ass or leave you gasping at its groundbreaking sound, but the music and texture are well-conceived and well-rendered, just like good pop should be.
folk-song style. Astrokick’s “My Favorite Boy” reveals their fragile rock and clever rhythms. Craig Cardiffs “Afraid” and Matt Osborne’s “Fisherman” are representative of their albums. Wilt’s “Hum” features his unique poetic lyrics and was recorded in his bedroom (how’s that for in timate?) Sintoy, Splurge, Preschool, and Purr Snickety are also local bands worth listening up for in the area. Overall, the combination of personal and engaging songs to hardcore highschool punk is perfectly blended and audibly satisfying. The CD is available in all the local stores, and all you new kids can cry out your Internet accounts by emailing them at RamonaR@hotmail.com Buy the album, support the Korova.
TheLargest Movie Theatre inWaterloo! . AND THE BESTPRICESTOO! With a $‘7-O”annual Membership (easily purchased at our box office) you gain admission to any of our fine films (Hollywood, Cult, Indies, Foreign,Canadian) for ONLY $4u (nonmembers pay $79. EveryWednesdaywe feature THE TUITION BUSTERSPECIAL,all University & College students with a Princess Membership gets in for $3en! lOIN THE PARPI! SHOW THIS AD FOR A DISCOUNT! Saturday Midnight to see Mke Myers
Mayhe? in &ig
TO help us kickoff our Series bring in this ad & receive $2.00 OFF a non-member ticket Pawed at MOpm oh Saturday, Sept. 6thI
/
FILM GUIDES Availah at THE TURN KEY DESK \
IMPRLNT,
by Patrick imprint
Wilkins staff
My music collection had hit a dry spell; amidst dumb alternawanabees, third-rate punk bands, and cheesy folk singers, I hadn’t heard a really good album in nzont&s. And then I discovered country. Yeah. Country. Acoustic guitars and lap steel, lost loves and jukeboxes, name-droppings of hlemphis and Nashville. It’s all on the Scud Mountain Boys’ T4a Earl’y Year, which is authentic in the way that exactly everything one thinks about when the word “country” is mentioned, is not. The Boys hail from Massachusetts, and started out as an ordinary rock band before they ditched the drummer and started
by Debbra McClintock Imprint staff Locat artist Danny Michel has established his career nationwide, sharing the stage with the likes of Jane Sibery, the NeviIIe Brothers and The Rheostatics. Now with a brand new band, “The Collectables,” Danny has just finished his debut solo album &fun lie
World
wus
ARTS
Friday, August 29, 1997
Round.
playing slow country-flavoured tunes around the kitchen table. Both albums were even ~GO?I&QI around their kitchen table, live, with one microphone. The result is gorgeous 1 honest and raw right down to the occasional creak of the table legs. The vocal harmonies are off in exactly the right manner; subtle imperfection is one of the album’s many endearing qualities. The Early Ykzr is a Sub Pop re-release of the band’s first two, currently unavailable, records,and in its nearly-two-hour splendor offers more beauty for your recordbuying dollar than almost anything I’ve ever heard. A handful of old covers mix seamlessly with the Boys’ originals, and even thqugh the copyright date says 1995, it’s difficult to believe the songs were written during this century. If I could play one album for the entire world, it would be Pkm BOX. And the world would love it.
Confident in his artistic style, Danny delivers clear, colourful images in each song. His witty wordplay and crisp vocals remind me of a bright musical circus, swirling stripes of primary red and blue that are candy to the ear. Danny uses a refreshing mix of saxophones, piano and clarinet to compliment the main guitar/ drums/bass mixture. “The Graduation Present” is a soft, melodic piece that stands out above the rest. Others such as “Wrecking Ball” are fun, simple songs that are easy to catch on to. This may actually be a minor downfall. Some of the songs leave little for the mind to figure out, making them easily tiring. Nonetheless, the album as a whole is well thought out and entertaining. The twelve-track album is Danny’s third. Hiscareer includes four videos and fourteen tours, one recently through Germany and France. Danny is also the winnerofthe 1997 KWArtsaward, and you can see him every Tuesday at the Walper pub.
B13
by Mike Imprint Some of you may remember Lisa Stansfield from the 80s. She had a hit or two with some dancey pop songs and promptly faded into obscurity. However, in the almost complete absence of any listenable music today, the 80s are the hottest shit going and some genius decided that it was time for Lisa’s triumphant resurrection. Great. T’m not a mean or nasty person, but. . .Ten years ago this album would have been uninspired. Today there is simply no rational explanation for it.
by Matt Feldman Imprint staff Born of Joy Division and New Order, Peter Hook’s latest project has him teaming up with studio man and session guitarist David Potts. While some tracks do sound New Order-ly, with Hook’s distinctive bass lines very reminiscent of past projects, the album certainly stands on its own. It’s a brighter, fresh offering rather than
Scansfield (who has partial writing credits for most of the album) has managed to do also/ute!v notlltingnew in the genre of cheesy 80s’ pop songs. And the retro stuff she has come up with isn’t particularly good. Lisa Stansfield wasn’t partitularly interestingwhen she had a career, and she’s no better now.
a reliance on old standards to carry them through. “What do you want from me?” which suffered from radio overkill in major markets, starts off the album in a fastpaced style. It has enjoyed success on the charts, but it’s certainly not the only track that could get the job done. Its dance beat and singable, melodic cho- 1Y-xontrast the lyrics of a man in despair. “Sweet tips,” which is unfortunately disco is followed by the gem “Buzz Gum,” a gem that smacks of archtypical Britpop, some of the best Britpop, in fact, that Oasis never recorded. Another clear standout is the ravish, nine-minute electronica journey of “Junk,” perhaps the album’s best track. They aren’t breaking new ground, but they stand. surefooted in catchy, dance-rock sounds. Mtisic for Pieustm is just that. Not world changing, earth shaking stuff, but very enjoyable nonetheless.
Owen staff
When a band like Download gets together, people tend to pay attention. cEvin Key and D.R. Goettel, of Skinny Puppy fame, are well known for their abilities at mixing together odd assemblages of sounds that can assault the senses and challenge the pop music crud. ’ The Eyes ufStonhyPain was their second album, and an excellent one at that, but Download haveverydefiniteIychanged their sound for C%zr&+ Family. The most obvious change is the complete lack of vocals on the album, which consists solely of tapestries of samples. The drum machine is also virtually gone, and the only things used to hold beats are samples, though quite often the music drifts off into a sort of ambient vein with forboding overtones. This could actually bc quite a relaxing album if the samples weren’t quite so often corrosive feedback and whining. There’s a very definite sort of return to the roots of industrial music on this album. While it isn’t the crashing and screaming of Throbbing Gristle or Einsturzende Neubauten, the sound is definitely reminiscent of such bands, but in a slightly more laid back sound. This album is a major departure from the current trend to produce nothing but beat driven songs with a lead singer bellowing something incoherent about the angst or mental stress brought about by multi-million dollarcontracts. .It isn’t that industrial techno isn’t fun, but a change can be very pleasant. . Download have once again made such achange available, and this album is more than worth the price for anyone into industrial or experimental music. Not only is it a great album, but it’s also great for driving soft rock roommates insane.
!
--
the
*
futon
s
*Buy Uirect From TibWbMhu~acfurer* + *CUf Out 7% Middlqan & Save*
55 Erb Street, E. WATERLOO
h
(across
from L.L.B.O.)
88633430
AVAILABLE!!
ARTS
B14
catchy and happy pop songs. Synthesizer beats and super-slick popping bass lines are all here for your mousse-slicked head to absorb. It is easy to hear this album and wave it ‘away as cheese, but you would miss the ultimate fact that the most revolutionary act while in the midst of revolution is to deny revolution. Swing Out Sister have stuck to their original style. With lyrics like “If you keep on believing, your dreams will come true,” this is the ultimate iconoclast album in the “Know your enemy” nineties.
by Peter Lenardon Imprint staff Eleven years after their debut album it’s better to travel and its hit single “Breakout,” Swing Out Sister continues to crank out sugary dentist office musak just like they did in the eighties. This is not a well-timed eighties nostalgia play like a jaded listener might expect. S.O.S. has been at it all these ‘years, releasing four albums and a greatest hits package to an appreciative, if mostly Japanese audience. Their latest outing, s/rapes and Patterns, sounds like another soundtrack for one of those life-affirming Hollywoad romantic comedies in which woman meets man, they fall in love, man betrays woman, woman is hurt and dejected, man betrays himself by doing the “right” thing and gets the woman back. Songs with titles like “Somewhere in the World,” “We Could Make It Happen, ” “You Already Know,” and “Always” sound pretty much like you would expect. Ballads alternate with all too
This hard-rocking outfit does not disappoint on it’s newest release “This Apparatus Must Be Earthed.” These boys grind out some great heavy tunes including “Backbone, ” “Greenhorn” and “Cuz,” the finest three tracks on the album. “Replace the Herzog” is tedious but overall the album delivers what it intends to with superb consistency. Non-metal fans may want to steer clear, but if you have a soft spot for punky-hard-core-noise, Shallow, North Dakota may be the ticket. Beavis and Butt-Head would love these
by Candace Rutka special to Imprint
culture never had it so good.
..
Business Services & Desktop Publishing Business
Services
l
Full & Self Service Photocopying Fax Service Lamination
l
Scanning
l l l
l l
l l l
Internet l l l l
Binding Digital Colour Output & Copies Resumes
Cafe Services 1 l Light bunches * Flavoured Coffees
PC&MAC
l
Graphic Applications
l l
Computer Software
& Sales
Motdrola 9 Custom
“Star Max” Built PC’s
l
Services
E-mail accounts Residential dialup Cfiat lines Video Confereticiq Training
l
Surfing
Nintendo Network Games . and Tournaments
At the University Shops Plaza
160 University Ave, West, Waterloo Phone 7252900 Fax7254899 wvmsgckom I I
2for1Coffee & I 15minutes Surfing foraLoonieI Limikdlme Offer
,-~I~~I--m-
97M6
I
Friday, August 29, 1997
by Darryl Kelman special to Imprint
Imprint Arts: Pop
MPRINT,
-
The title of the second major release by the brash young lads of Supergrass, a trio from Oxford is, in fact, blatantly honest. They are in it for the cold, hard, crispy cash, the kind that you can roll in, piles and piles of dough. And come on, who isn’t? Money drives the music industry and there is no one more deserving of some payback than this band. . They reached fame and fortune in their late teens when their first release, I UouldC~c~(whichcameoutin95)changed the face of Britpop. The past two years have been spent touring, writing music, growing up and starting families. Supergrass, who once wrote songs about the adventures of wild parties and brushes with the “fuzz,” have toned down their tempo, and broadened their musical and lyrical explorations. The work that they have put into this album shows that although they may like money, their first priority and love is still the music. The witty and youthful pop energy of Coca is still evident in their new material with songs such as “Richard III” and “Tonight.” But the overall sound of the album is broader and bursting with a plethora of new emotions, ideals and introspection. “It’s Not Me” and “You Can See Me” give us a look into the darker side of fame and the band’s desire to lead normal lives. __ “Sun Hits The Sky” and the final track “Sometimes I Make You Sad” (which makes some really funky sound on a rhythm track) will make you want to turn up your stereo and sing. along. Each song on the album has it’s own memorable personality that translates into hours of listening pleasure. Supergrass is back. And although some of their hair and a bit of their innocence may have been lost, so much more has been gained with this new album. In ItFor 2% Monqr is fresh, creative and cutting edge and promises to breath new life into British pop music. Pulp has all the style, Blur the credit and Oasis more than a fair share of the money, but Supergrass is the future of pop.
Internet Surfmg/Network Games
by Paul Holloway special to Imprint + Fates Warning’s last album, 94%&&e Out, was a satisfying if adventureless effort. The band had begun to stagnate a bit with songs sounding more and more like stabs at theirfleetingcommercial recognition. Since then, guitarist Frank Aresti and original bassist Joe Dibiase parted ways with -the band, leaving guitarist Jim Matheos as the only original member from the ‘84 lineup. Despite the odds, and the critics who said Fates were beginning to sound more predictable than progressive, the band has released their eigth album,A PleusmztShz& U@IZJJ. Clocking in at 53 minutes, this one song, 12 part effort stands as Fates Warning’s finest release to date. A PltxzsuntShade of Cmy is a complex exhibition of instrumental prowess and driving melodies. While most metal bases itself on speed and volume, Fates builds layer upon layer of heavy, restrained, oddtimed playing. Ex-Dream Theater keyboardist Kevin Moore adds all the pianolsynth work, and drummer Mark Zonder has again proven himself as one of the most intricate percussionists in rock music. Vocalist Ray Alder has never sounded better. His range has decreased somewhat through the years, but is more than made up for by an uncanny ability to sing with so much emo,tion. Rounding out the lineup is ex-Armoured Saint bassist Joey Vera, who’s playing style is a little more overstated than previous bassist Dibiase, but sounds right at home. Not enough can be said for Fates Warning and A Pleasant S/r&e of ‘Gray, and not managed to play 13 alot has. They’ve years, ducking almost all media attention and commercial success. And if a metal band .this tight and this innovative somehow slips through the cracks into the underground, album after album, fine. Hidden away from media monsters, Fates Warning will hopefully continue to release music this rare for a long time.
IMPRINT,
Friday, August 29, 199’7
noxiously feeding back for one of many distorted endings. “Edith” is somewhat reminiscent of The Doors, where instruments carry on somewhat subtly while lead vocalist Alejandro Escovedo relates the tale of an oppressive girlfriend. It is clear that where the band excels is in their totally unrefined approach. The Pawn S!wp Years
has Buick MacKane selling off overproduction and minuscule refinement in favor of a raw, authentic sound that is harsh and brimming with energy. The tracks come and go in unconventionally refreshing ways. Two songs begin with a band member calling out the timing of the song, blank pauses in songs and distohed, wailing endings full of feedback. With “Say Goodnight,” the album takes a slower turn, acoustic guitar and slower melodies showing a more mellow side to the album. But the calmness, if you can call it that, ends there. Loud and grungy to the end, the band wraps it up with a cover a wild, of the Stooges ’ “Loose,” careening track that sends the album out with a bang. It suits this energetic bunch to a tee.
He&-Doses, but is still essentially the same. The opening track is “Pistons.” Its heavy, almost dragging bass and meter-less sax riff complements the alternating rap vocals of guitarist Ruben Huizenga and bassist Andrew (Chowder) Charters. The next track, *‘See Saw Man,” features a fiddle intro by none other than Ashley M ac:‘Isaac. After the tight “Endless” comes the first real change of pace in the album. In “Mrs. Petrie,” sorrowful vocals and enraptured flute backups create a sad albeit calm feeling that could not be matched by any other singer but the distinctive Mr. Huizenga. The title track comes next, followed by “Stack It” which could have been lifted straight off the Chili Peppers’ Blood Sugar Sex Mtzgik. Another mellow, soulful tune can be found in “Let All Hear,” followed by the quirky “Fresh Pigs.” This is the band playing behind
an answering machine message. 1 won’t spoil the surprise. Three paint-by-numbers Gluelegtracks, “Dragonfly, ” “Titania” and “The Country Song” (don’t worry, it’s not m&I’ country) close out the album. Overall, this is a great album. Glueleg manages to be original without making themselves totally unaccessible to Johnny Q. Alternative. They’re one of those rare bands where every member can play his instrument (or in keyboardist/saxophonis t Andrew Wyse’s case, instruments) very well. While imitating some of the masters of rock, Gluelegstill manages to stamp a distinctive audio seal upon the music, due in part to Huizenga’s nasal vocals. As an added incentive to the . $10.99 price tag, with each purchase of the album you receive a sample called EarCondin’oning. It features King Cobb Steelie and Econoline Crush, among other bands.
by Matt Feldman Imprint staff Open the windows, crank up your stereo and piss off the neighbours. This album is meant to be loud. Tic Pitim Shp Yean, the debut album from Alejandro Escovedo’s new Texas-based band is a clash of punk rock rage and rock’n’roll power and volume that rocks hard from start to finish. “The End,” oddly enough, kicks off the album in a f’lamboyant style that sets the ball rolling. The “Black Shiny Beast” roars up and gets in your face, grungy guitars screeching away and ob-
by Kerry Imprint
O’Brien staff
Ciud.opper is the sophomore effort from Glueleg. The fourpiece Canadian band released Heroic Doses two years ago after tremendous build-up on CFNY 102.1 FM. C/od/ro~@~ is a little more polished and glossed than
ARTS
B15
37 King StNorth, Waterloo884-4232 l
l
Interior/Exterior
l
For MincwRepairs
Visit our booth Wed. SLC near Scoops!
~mmmmmmmmmmmmmmmmmmmm I Comics Cklectors Cards : I Hobby Supplies Star Wars I I Merchandise Manga : I is” Action Figures l
l
l
:‘lOOKlM~FiW ffEiPO&f EST.
I I
1989
1
on your next purchase with this coupon a
li Ask About Our Comic Subscriber Service I mmmmmmmmmmmmmmmmmmmm-m~
Gottabirthday?Waterloo’shappiestB-Dayprogram!! plus NEW THIS YEAR mm1 a handful of “Cheapdate” Saturdays with voyages to fun! I I
on campus at
Wlf rid Lau rier University
Live,engagingentertainment THURSDAY, FRIDAY & SATURDAY! (no coverbefore70!!) Fullservicefood & pubopen7 daysand nights! OURFRlElVDLY~
STAFFWELCOMES YOU!!!