1993-94_v16,n08_Arts_Imprint

Page 1


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He’s

What’s

got a kinder, machine gun

lett of Neil’s hair, blowin’ Neil Young CM Gmndstand August 19, 1993

by Sandy Imprint

Atwal stm

Neil Young’s halo is a little too bright for me. He is often referred to as the only musical artist of the 60’s

Hard

gentler ‘hand

in the wind. who still has his integrity intact Besides the’ fact that this ignores the achievrtients of musicians such as Lou Reed and Leonard Cohen, critits seem just a little too willing to ignore his less successful musical meanderings such as Tmns or Everybody’s Rockin’. However, after his inspired performance kicking-offthis year’s CNE,

rock

from

it’s easy to see why his detictors are so willing td forgive. Receiving a perfect m&al complerhent in the form of legendary Stax recording band Booker T and the MGs, Young performed some of his best known songs to a sold-out crowd, and proved exactly why he’s still one of the most respected artists in the business.

the

by Dave Imprint

Rock

ing noise-for-noise sake, their materiat rarely deviates from some very happening pop arrangements, They are, of course, onto a great combination -- pop melodies with punk energy. A mainstay in rock from The Who thru the Buzzcocks and onto Superchunk, it never grows tired. And Thrush Hermit, despite their youthful inexperience, understand the rules very well

bastian Lippa. The 2 I -year old vocali&guitarist possesses, as advance word had filtered down and promised, “star power.” It’s not just hype either. Hardship Post are startlingly profejsional and as anyone who’s ever met a Netie knows, they’re the most genuinely friendly people on the planet. Ali of this, of course, is secondary to the actual nature of the music

ahead rock of Buffalo Tom and the Lempnheads. Their songs feature great structured tension, lots of honesty and very little waste. Much attention, apart from that heaped on Lippa, also focuses on their new single “Sugar Cane” (not the Sonic Youth song) which some pundits and/or enthusiastic publicity types reckon is another “Smells Like Teen Spirit” Perhaps it is, but that’s the sort of kiss-ofdeath curse the band hardly needs at.this point of their young existence. The next “Underwhelmed” is probably more reasonable, and besides, it’s so far only available on seven-inch vinyl. In performance though, as great as “Sugar Cane” was, none of the set’s songs such as “I Know You Didn’tWantTo”and”Colourblind” were in any respect lesser. That’s encouraging as they’re now set to record Murderecords 03. Since the first two Murderecords releases were Sloan’s excellent Peppermint EP and Eric’s Trip’s tremendous Peter EP, Hardship Post have some very large shoes to fill. If the evidence of their live show is any indicator though, they’re mdre than ready. Tentatively titled )Juck, one

indeed.

itself

presumer

The evening’s headliners were St John’s, Newfoundland’s, Hardship Post There’s been quite a bit of buzz about the three-piece recently, mainly because of the reportedly engaging charm of their leader Se-

Post’s material stands on its own rather strongly. Whereas most of the Atlantic seems infatuated with the Sonic’s and Dinosaur Jr., Hardship Post’s leanings are closer to the straight-

Fisher stc@

If one couldn’t stand the thundering blasts from bands like New York’s Sonic Youth, then they’d probably loathe the starry-eyed music scene that’s bursting out of Canada’s Atlantic provinces. But that’d be their lossbecause love-it-or-hate-it the maritimes are currently offering our brightest new music. In what seems an on-going love affair between the tight maritime music community and Waterloo audiences, new kids Hardship Post and Thrush Hermit provided more fuel for the Down East mystique as they played their first-ever local gigs at Phil’s Grandson’s Place. Halifax’s Thrush Hermit opened. The young quartet has only recently branched out of their territory and are touring to showcase their new three-song Ammo single (available on Cinnamon Toast Records). Although Sonic Youth are an immediate signpost, Thrush Hermit are perhaps more reminiscent of their celebrated fellow-Haligonians Sloan. Like them, Thrush Hermit attack their songs with blazing guitars which create terrific washes of noise. And rather than just employ-

Opening with his Buffalo SpringField hit “Mr. Soul” and working his way through such timeless standards as “Like A Hurricane,” “Powderfinger” and “Down By the River,” Neil performed with the energy and electricity befitting a legend. It’s the same power that’s allowed him to redefine himself with Freedom and Rugged Glory, that keeps him goingand keeps his reputation intact. Few rockers half his age can play with the intensity and drive that Young demonstrates. Equally moving were his acoustic numbers; “The Needle and the Damage Done, ” “Harvest Moon,” “Helpless” and “Unknown Legend” were\ all perfomed with the kind of emotion that makes angels weep and fall out of the sky. Tipping his hat to one of his contemporaries to whom the critics have not been as kind, Young performed a great “All Along the Watchtower” with a dedication rivalling the original. Neil’s final song for ttie night is a testament to his staying power in the music industry. “[Keep on) Rockin’ in the Free World”’ although a new-ish number, may well be Young’s anthem and considering the longevity of his illustrious career it’s a remarkable achievment. Rather than burning out or fading away, Young manages to move from strength to strength. Although he might make a few mistakes along the way, he learns from them, always improving and adding to a body of work which is undoubtedly some of the most influential in rock history.

hard

Hardship Post with Thrush Hermit Phil’s Grandson’s August IO, 1993

Hardship

Post’s Sebastian

Llppa:

He loves

and

yer Sugar

the

hard-charging

Cane.

Hardship

it’l

feature

“Sugar

Cane,”

and probably catapult them into much greater prominence. In any event, they’re slated to tour in support of it this coming October, so you’d do well to check them out then.


B4

Imprint,

Friday, September

They Straitjacket and

put Fits

Arts

3, 1993

the

‘Fear

of

God

into

The Bats Lee’s Puke, Toronto

August 2, I993

Batgirl

Kaye

Woodward

and faithful

sonified, with their all-around bad hair days and geeky shorts (to say nothing of the socks). The Straitjacket Fits, on the other hand, were rock stars to the

sidekick

Paul Kean.

hilt, cooler than you are and don’t you forget it. They sauntered out with the. requisite leather and denim, cigarettes dangling from their perpetually sneer-

STUDENT NIGHT

Catherine

Wheel with Slowdive Lee’s Palace, Toronto August 20, I993

byChristopher special

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Friday, Oct. 8 thru Saturday, Oct. 16, 1993

time

bummed that they didn’t do “The Looming Past,” one of Feor of Gods best moments.) Still and all, though, it was a wonderful set As for the Straitjacket Fits, their set was defined by John Collie’s pounding, almost tribal drums, and the throaty bellow of Shayne Carter and Mark Petersen’s guitars. While they lacked the charm of the Bats, the Fits doubled them in intensity. Their good-sized set drew liberally on their latest record Blow, and I recall the set-closer “Whiteout” being a highlight. Throughout the night, Carter’s tortured howlings commanded centre stage and focussed the group’s considerable energy. A powerful performance.

I993

Friday, October 8/93

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every

ing mouths. And true to those first impressions, the Bats offered up a sunny (though never less than powerful) collection of pop tunes, while the Straitjacket Fits’ set was loud, jagged and often punish- ing. After opening with “The Black and the Blue” and “The Boogeyman,” two great songs from their ‘92 tP Fear of God, the Bats proceeded to showcase their spanking-new effort Silverbeet. I haven’t yet heard the record, but if the show was any indication, the new material is every bit as good as Febr ofGod, and that makes it very good indeed. “Courage” and “Sighting the Sound” stood out, but truly it was a dudless set. My only reservations about the Bats’ show are trifling ones. The sound system could have been a little kinder to Robert Scptt’s vocals and Kaye Woodward’i harmonies, and at times the fragile beauty that the group can evoke on record was all but lost onstage. And since the Bats were the opening act (with the inevitable time constraint), some sinful omissions from the set list were inevitable. (Personally, I was

,

Last month saw Lee’s Palace bring in a double bill of talented Kiwipop, the Straitjacket Fits and the Bats. (It’s a shame we didn’t get an earlier leg of the tour, which had those two acts also playing with Bailter Space and theJeanPaul Sartre Experience, 0rJPS as they’ve re-christened themselves...). While they may share geogaphical roots and a love of the guitar, the Fits and the Bats are almost opposite sides of the same coin. While the headlining Fits were noisy and agressive, the opening 6ats were a kinder, gentler band, with a jangly folk-rock base. Happily, though, each band was entertaining in its own right. Even the respective looks of the two bands were diametrically opposed. The Bats were wholesome twerpiness per-

me

In what could have been billed as _ the “Space Station Tour,” British guitar bands Catherine Wheel and Slowdive landed in Toronto to play a sold-out performance at Lee’s Palace. Both bands have a song with “Space Station” in the title of their latest album; Catherine Wheel presents us with “Ursa Major Space Station” on its second album Chrome, while Souvlaki, Slowdive’s second album, takes its title from a song called “Souvlaki Space Station.” But besides this coincidental connection, these bands have very little in common. A fact thatwas blatantly obvious on this night. Last year, the members of Slowdive were called “shoegazers” because when they performed live, they stared at their shoes. A year later, Slowdive is playing the same dream-pop, but tired of their shoegazer label, they now stare straight ahead. What a difference a year makes. Slowdive took the stage early on in the night, which caused more than a few concertgoers to miss their performance completely, and performed withtheirtokenbashfuIbombast.These kids might be timid, but they sure can make a racket The power ofthe band’s

111

For additional information or tickets call (519) 886-761

70 BelcanPlace,‘WATERLOO, N2L 6A8

Waters

to Imprint

live show revived the tired material that appears on the disappointing Souv/& album, and filled it full of zest. ‘Alison” proved to be the highlight of their entire set. Catherine Wheel, headlining this night, is the reason why most of the capacity crowd is here. Opening for the Charlatans last year raised the profile of this band from obscurity to semi-obscurity. I was truly amazed that so many of those in attendance seemed to be familiar with Catherine Wheel’s new material, The new album has only been out for two weeks, but the kids are playing name that tune, and tagging the numbers in a couple notes. What a delight it is to find a common bond with a roomful of people you don’t know - they like Catherine Wheel, I like Catherine Wheel. What am I saying, this place is hot and crowded, and if that poofy-headed girl dances into me one more time I’m going to screamGhrome, quite possibly the album of the summer, is going to linger on into the new school year. Songs like “I Confess,” “ Crank” and “Pain” (which the band neglected to play on this good eve) take the pop-goth of the Cure, but remove its smeared lipstick. There is little surface in these numbers, but a whole lot of depth. Expect one or two of these songs to be sleeper hits on any of your “edgier” radio stations. Moreover, expect Catherine Wheel to return to these parts soon. With material this good, how can they keep from singing?

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Arts Leppards on CNE

Friday, September 3, 1993, Imprint

let loose midway

Def Leppard with April Wine 81 Ugly Kid Joe CNE Grandstand, Toronto August 25, I993

by Rich Imprint

Nichol Metal

Maniac

Leppards, wine, and some ugly kids. Sounds like the ingredients for onewild and wacky party, Above the din of rides, games, and attractions at the annual Canadian National Exhibition in Toronto on August 25th was the hard rock triple bill of Def Leppard. April Wine, and Ugly Kid Joe at the Grandstand. Ugly Kid Joe blasted off the event with their rebellious, energetic, brat-pack style of heavy metal. Their cover of Harry Chapin’s “Cat’s In The Cradle” got a rousing ovation from the fans who were there from the beginning. The highlight of their In the seventy-minute set &as “I Hate Everything About You”, the band’s most popular single thus far. Canadian rock legends April Wine then took the stage, enlivening the now-filled Grandstand crowd as they reminisced through their twenty-fouryear musical history. The collaboration included such Canuck classics as “Sign Of The Gypsy Queen,” “You Won’t Dance With Me,““Like A Lover, Like A Song, ” “Oowatanite,” “I Like To Rock,” and “Roller.” April Wine has enjoyed a resurgence of popularicy with their sixteenth and newest album Attitude. The

dead

of night,

LOVE BITES 111

sentimental first single “If You Believe In Me” and *‘Here’s looking At You Kid,” their latest airplay track, received great response from the faithful. Yet there seemed to be a little emptiness that this aging band could not avoid. Finally, the feature act, British popmetal kings Def Leppard, appeared for a riveting two-hour set. While some bands rely on elaborate, gadget-driven stages and pompous costumes, Def Leppard appeared on a steel-staired stage wearing ordinary clothes (lead singer Joe Elliott’s T-shirt had “Eat Me”

Ruined

in

by Dave Intprint

2, 1993

Fisher Stan

The New Order performance at Canada’s Wonderland’s Kingswood Theatre last month had, forgiving the location, all the elements of failure thrown onto it before the show had even began. For a start, they hardly have a reputation as a very exciting live act in the first place and they hadn’t toured in years. But far worse was the reason for this latest tour, that being their particularly lame new effort Republic. For a band that could alternately be the greatest white disco band of all time and then rock out with a brilliantly starkvelvets-inspired gloom, Republic had taken such an interminable duration in recording that some fans began suspecting they’d turned into Pink Floyd. That the album should fall so flat only confirmed it. Nevertheless, amidst all the cynicism remained those of us who’re still una- Peter Hook bashed fans, so anticipation was high, Perhaps unnecessarily. Alas, the first half of their show was not so terrific, to put it mildly. They kicked offwith a so-so “Ruined In A Day” from the new album before totally dive-bombing with a dreary “Dream Attack” (one of Technique’s

It’s worth mentioning here New Order’s almost complete lack of life or interest. Their weak-voiced guitarist, Barney, hardly ever plays guitar, Gillian the keyboardist looks iike an Eaton’s mannequin, and Steven Morris -- one of the greatest and most under-appreci-

best).

ated

A

relaxed

‘Xegret”

followed,

it’s opening chords being the best thing on the otherwise guitar-deprived new album, and at the point they played Brotherhoods “As It Is When It Was,” it seemed time to start breaking-out the cucumber sandwiches.

prwides

rock

an insomniac’s

drummers

ever

spray-painted on it) and let their internationally phenomenal music speak for itself. The content of this unforgettable concert consisted mostly of material from their three multi-platinum albums Pyromania, Hysteria, and Adrenalize. Highlights included “Women,” “Animal,” “Have You Ever Wanted Someone So Bad,” and “Love Bites”. The axework of Phil Collen, Vivian Campbell and Rick Savage shone in three of Def Leppards’ greatest hits, the salacious “Pour Some Sugar On Me,” the anthemic “Rock Of Ages,” and their signature tune “Photograph.” Elliott sent the stadium security into an instant panic when, only three songs into the set, he decided to walk out into the aisles around the floor seats. Later, the band surprised Campbell with a birthday cake and the traditional “Happy Birthday To You.” Elliott would not disclose Campbell’s exact age but did mention that there were only ten candles on his cake. The energy hit its highest levels for the encore numbers “Let’s Get Rocked.” and “Foolin.” Before leaving the stage for the final time, Elliott said in an exhausted Yorkshire accent, “Don’t forget us and we won’t forget you. We’ll definitely be back!” Currently ridding the success of their third multi-platinum album, that promise is one that will be kept.

a

New Order Kings wood, Toronto August

85-

excuse.

--

spends

most of his time shackled behind a drum-machine. At least Barney had the nerve to sing; Steven and Gillian, on the other hand, didn’t have nearly as legitimate an excuse. In fact, so blase were they you’d have figured them more as

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glorified Karaoke-machine babysitters than actual musicians. None of this, however, is an) the fault of bassist Peg ter Hook, the coolesl member of the band and the universal foCal-point as he struts attacks, and all-around power-poses like the dashing slimeball rock. god he truly is, No lack of effort from his corner. Onward to “Round and Round” (yawn), a surprisingly strong “World,” and then came the Attack oftheTwelve-Inch Singles. Unfortunately, this part of the show commenced with “Bizarre Love Triangle,” by far their most overrated single and, on this night, as distressingly awful as it was unwelcome. And then something magical hap pened: the show suddenly grew wings and took off, beginning witt a stunning “Temptation.” Now the show mattered and the rest of the way -- “Perfecl Kiss,” “Fine Time,” and “Blue Monday” -- displayed a New Order that still seemed to care. By that time it might’ve been toa late but the capacity crowd, most 01 whom looked like they were probably grade-schoolers when Ian Curtis gave his big ‘Adios,’ didn’t seem in the least to mind. But as short as that afl-teebrief revelation was, the show on the whole was only just staved-off from being a near-total disappointment. From a band as illustrious as New Order, rightly or wrongly, one expects far better.

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B6

Arts

Friday,September 3, I993

Imprint,

Cassandra blue Cassandra Vasik u2 Humc7nities fheotfe Thursday, September I4

by Peter Btvum

try label, even though it’s been the genre in which she’s so far achieved her fame. So, to invoke that dreaded word- “pigeon-hole,” what does she sound like? Certainly some traditional country, as hit single and Patsy Cline tribute “Sadly Mistaken” proves, but also a more poppy Blue Rodeo sound. Jim Cuddy even joins her on “Almost Like You Cared” and its easy to imagine this song

Imprint stqff

First came the pop/rock bands claiming some country and western lineage -- Blue Rodeo, the Skydiggers, Prairie Oyster, et cetera. Then came the women who started singing pure country, but still found their way into pop and into the U.S. -- k.d. Jang and Michelle Wright, for instance. Then, along comes Cassandra Vasik who, with the release this year of her second LP, Feels Like Home, joins the ranks of Canadian country belles. Vasik performs at UW’s Humanities Theatre (Hagey Hall) on Thursday, September 16. This Bleinheim, Ontario native was named the Canadian Country Female Vocalist of the Year at the 1992 Juno Awards for her debut LP Wildflower. Since then, Vasik has opened for such country luminaries as Vince CIH, Randy Travis, and Clint Black Ail the while, she has resisted the coun-

~trOwrcle .. _51Y

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being performed by Blue Rodeo (except for the strings, which make this song sound a little over the top). Vasik is another example of a truly Canadian phenomenon: the sweet-voiced singer who is able to slide from country to pop to folk with apparent ease. Don’t miss her.

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B8

Imprint,

Friday, September

Shayne

Carter

Straitjacket Fits The Imprint Interview

by Dave htlpfint

Arts

3, I993

experiences were with his band the Double Happy’s and a separate project with the eponymous Peter Jefferies. Many critics regard that duo’s single, “Randolp_h’s Going Home,” as perhaps the finest three minutes and fifty-three seconds in New Zealand’s recording history. Carter subsequently formed the Straitjacket Fits with rhythmguitarist Andrew Brough, bassist David Wood, and fellow Double Happy John Collie on drums. In 1987 their debut release, the Ufe In One Chord EP, received a mddicum of attention after a coveted Single Of The Week billing in Britain’s Melody Maker. It didn’t lead to great record sales but its shimmering guitar wo.rk and intelligent arrangements generated a fair bit of interest. In the time since, the Straitjacket Fit’s haGe seen their ideas copped by a sfew of imitators such as Ride and Chapterhouse, had a share of disastrous tours and internal turmoil, produced three brilliant albums and a handful of valuable EP’s, replaced Brough with new-comer Mark Petersen, and somehow managed to scratch-out enough of a meagre living to make it all worthwhile. In support of their latest effort Blow, the band rolled through Toronto’s Lee’s Palace this past month for a headline performance with compatriots The Bats. Prior to the show, Imprint delicately coerced the usually reluctant Shayne Carter to sit still long enough to endure his worst nightmare: the dreaded interview.

Fisher stqg

mall even by New Zealand’s standards, the isolated southerly city of Dunedin is home to one of the world’s great music scenes. With very little fanfare the most important of Dunedin’s astounding mid-eighties bands -The Clean, The Verlaines, The Bats, and, most significantly, The Chills -- gained international prominence by almost singlehandedly defining the entire New Zealand sound. It was a scene where the short and impassioned jangly-pop melody rufed supreme. In the late-eighties, a second wave of kiwi bands started to emerge from Dunedin with a sound thatonthe one hand retained their collegues characteristic pop element, but began incorporating a harder and more bracing guitar component. This new legion included The Cake Kitchen, the Jean Paul Satire Experience, Bailter Space, The 3 D’s, and perhaps the snazziest critical darlings of the lot -- the Straitjacket Fits. The Straitjacket Fits were formed by leader Shayne Cdrter in 1986 after he’d tossed away a promising career as a journalist. Prior to his present band, Carter’s most formative musical

S

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I understand prior to music you had a career as a jburnalist? That’s right I was at high school and had a part-time job at a radio station in Dunedin doing general reporting and writing news for two years. I thought that was going to 6e my vocation in the real world but I was probably tired and cynical of the whole thing by the time I was only eighteen. You recorded the new album Blow in Los Angeles. Do you still tour fairly regularty back home? Not that often really. Mainly pubs around Auckland and the main centers -- Wellington, Christchurch, Dunedin. The thing is we don’t get played on commercial radio so playing outside of the main centres isn’t that ideal. Aren’t they playing the new album? The new single “Cat lnna Can” is starting to get played, but in our seven years existence it’s the first song we’ve ever had played on commercial radio in New Zealand. Whose decision was it to release “Cat lnna Can” as your first single, yours or the record company’s? The record company’s. * Were you satisfied with the choice for single? Ahhhhh...yeah, I don’t mind it. The thing is they’re always going to push the most obvious thing off your record. I didn’t necessarily think it was the most obvious. Well you can probably stand in a long &eue of people-who ithink the same. Y&&former rhhm-guitarist Andrew Brough used to kind of balance your materlal with a bouncier sixties poppy feel. He’s since departed. Did you give him the boot or did he leave of his own accord? Creative tension within a band can be a really great thing, and in most great rock bands you’ll find that it’s usually there. But at the same time you can cross the line to the point where it iust sets so tiring that you can’t wok It’s not just that we didn’t have the same vision...for a long time we had a sort of middle ground, but then it got to the point where Andrew wasn’t willing to move brief

beyond that and I felt the band was beginning: to get a little stale and archetypal. There has &ally nowhere else for us to go bicause for ten months we couldn’t actually get together and write another song. We had to take stock of ourselves. To be in a band it’s got to be fun and it doesn’t matter what the fuck’s happening, whether you’re obliged to put out three million albums for the record company or whether you’re just starting out in a p&se-room, it’s got-to be f6n and it wasn’t very much fun any more. It was very tense and the situatitin had moved beyond being a good thing and into being a bad thing. Andrew #was quite content to stay right where we were and I don’t think there’s any point in retreading the same old ground. There’s no hollower feeling than sticking to the tried and true, especially in rock and roll. That’s the point we were getting to and we had to change. We caught you live the last time you played Toronto in support of The La’s (July ‘91). Although musitally you gave a terrific performance, it seemed as though the gig was a terribly frustrating experience. Was that the case or was I just imagining things? You caught that show? Yeah. Well that was the point where Andrew left basically. That was such a terrible day and very reflective of the band at that very moment in time. If there’s any specific point where Andrew left the band that was it. How was it supporting The La’s? Horrible. They refused to permit you guys a soundcheck I seem to remember. That’s right, They were wankers. There’s just no excuse to be an asshole and they were maior assholes. They were just completely selfobiessed and it wa; no fun at all. They never allowed us to soundcheck the entire tour and we were trying to promote an album (Mek) nobody had even heard. Let’s just say we won’t be sending

-11

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.I

Arts

Friday, September

dirt

on

them any Christmas cards and if they’re ever in New Zealand and need a couch to sleep on they needn’t bother looking us up.

You’re now touring North America with fellow kiwis The Bats and the Jean Paul Sartre Experience. Billboard mentioned the tour

was being funded

land’s merit.

in part

by New

Zea-

department of Trade and DevelopHow did they get involved?

I’m not sure. We all had albums coming out at the same time, so the idea was proposed and here we are. I suppose to them they’re trying to encourage trade and development... if people are going to buy our records, they probably figure we’re exportable commodities. Not that we’re here to wave the flag. Every band’s only purely representative of themselves. We happen to come from New Zealand but we certainly don’t want to be judged because of that The Chills were once presented the keys to Dunedin by the mayor and The 3D’s were asked by a reporter if they’d like to be given the keys. They said they didn’t necessarily want to be a band the city would be proud of, and that’s pretty well the same way I feel about us.

Randolph’s

Going

We interviewed Shayne Carter tilts Martin Phillips (mustermind of the seminal New Zeulund rock bund The Chills) just prior to their last Toronto appearance, and it was on the day he’d been informed of their European tour’s cancellation due to poor album sales, and about a week before tie announcement that the Chills had dissolved. He appeared pretty downhearted... Understandably.

...and pressures companies.

expectation you down music as

he detailed a litany of financial he was under from the record Do you ever feel the burden of and financial pressure grinds or afVects the way you .approach your care’er?

Well...people are spending money on you. But that’s half the challenge, blocking all that shit out. The bottom line is that everything you do and everything that stems from the music you play, what the iour of you in the band create &ding around in the practise room between drinking coffee and smoking cigarettes or what you write in your bedroom, that’s what it all stems from. All the other shit is exactly that. I’ve got no qualms about selling heaps of records because I can stand behind our music and think, well, we’re not a bunch of creeps who just

the

Straitjacket

got together in a room and worked out a masterplan on how to assault the world and make lots of money. We do it because we play music and it feels good. That might sound trite and pseudonoble or something but it’s the truth. The bigger your band gets, the more people there are standing around going poke-poke-poke, whether it be record company people or management or whatever. You’ve got to block it out but at the same time be aware of what’s going on around you. Otherwise you’ll be like Etvis and become completely ignorant to what’s happening to you.

to do but the whole punk thing and post-punk. movement was a very important catalyst in motivating kids to believe that they could get up and play, even though you didn’t necessarily have to be very good technically. Enthusiasm and attitude were far more important. Martin reckoned that the ease with which young kiwis could receive the dole

(unem@oyment insurance) been a contributing factor young musicians to give time attention. That’s the other

might also have because it freed music their full-

important

Thanks thing, especially

musical

scene

and all the best.

Cheers.

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I’m twenty-eight now and sometimes 1 think, (singing) “Rock and roll, I gave you all the best years of my life.” Yeah, so I think, what am I going to be doing when I’m forty, I oftim think that. But then I could’ve stayed Home: a journalist and been untoward the big time. happy doing what I was doing, and at forty be in a cushy position with a really nice house. But I’d just be thinking, God, I should’ve been playing guitar when I could’ve. There’s absolutely no security whatsoever in doing this thing, especially when you’re a band like us that hasn’t sold a lot of records. But this is still the best. I get to play my music and live through it. That’s my ideal. This is my sixth time coming to North America and without music I might never have seen it. It’s real easy when you get up and play another shithole to think, “why am I doing this?“, butthen another time you’re playing in some completely surreal place twelve thousand miles ‘away from home and the answer suddenly becomes rather obvious. In your estimation, why does Dunedin,

I dunno, 1 think it’s just one of those freak things where a unique set of circumstances has just produced a scene. It’s a civ of barely IOO,OO0 but it’s a university town which means automatically you’ve got about 12,000 young people who are an important part of the city. Without the university it’d be a very staid and boring sort of town. There’s really not a lot

B9

in Dunedin over the other main centers because you can live on the dole. It’s not much of an existence but you can g&t by because rent is really cheap there and the cost of living is comparatively cheap. In a roundabout way, (laughing) there’s been a lot of musical careers in New Zealand that’ve been government sponsored from the start, so maybe the department of Trade and Development’s just funding our tour as a way of recouping some of their money.

Martin mentioned that the main reason the Chills went through so many different lineup changes (fourteen) was his dificulty in enticing members away from real wage-earning careers. Do you ever ask yourself how much of your life you’re prepared to invest in the Straitjacket Fits until you’re financially successful, even if that means forever?

tiny as it is, have the strong that it does?

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technique that reminds critics of Patti Smith.

many ’

I continue to be abrasive

by Sandy

Imprint

in a manner thdt reminds many people of Patty Hearst. I guess the problem is that while I waste my time trying to write clever record reviews, Pj Harvey wisely spends her time actually writing records, and brilliant ones at that. The album opener, and

Atwal

staff

title track, shows the band’s . compatibility with producer PJ Harvey is the same age as me. Steve Albini. It opens with a This year she released her much acclaimed menacing bass line, and exfollow-up album Rid ofMe to her much acclaimed plodes like a chair across the debut Dry. ’ back of the head. It’s a song as aggressive and This year, I drank a lot of coffee, looked for uncompromising as the sex that Harvey likes to a job and hung around my friends. sing about. She continues to break down the taboos of With a solid rhythm section (includingdrumwomen and sex in Rawk, with an abrasive musical mer Rob Ellis who’s rumoured to have since quit

the band) Harvey’s voice builds her songs like a glass house, that dares voyeurs to peek in. It’s no wonder she doesn’t talk about her songs in her interviews, when she bares all (literally in the case of Dy) on her albums. She’s not as sexually aggressive in her lyrics as someone like Nick Currie (aka Momus), but she’s as close as we’ll get in the mainstream. There aren’t really any surprises on the

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For those of us who’ve wondered just how it is that pint-sized Icelandic songstress Bjiirk Gudmundsdottir could have such a powerful and enchanting voice, her solo debut Debut offers the explanation: she simply isn’t human. Perhaps it wasn’t the Vikings that settled that north Atlantic island after all;-perhaps it was a clan of impossibly gifted alien vocalists. Whatever the case, Bjijrk’s debut single, also the opening track to Debut, “Human Behaviour” offers us her observations on the human race. She may not be human herself, but she’ll at least allow us her insights. Set free from her role as lead femmevocatist for the Sugarcubes, Bjijrk roams the tundra of possibilities on Debut, settling occasionally on processional industrial (“Human Behaviour”) or a harp grounded ballad (“Like’ Someone in Love”). Unfortunately for Bjijrk, however, the production team (headed by Nellee Hobper) has decided to throw a dance beat on most of the tracks, leaving her to carry the songs with her voice, which is a feat I’m not sure even she can handle. Sure the added drum machine could help with the pop chart sales to dance hall princesses, but the extent to which it undermines the work is entirely unfortunate. Bjiirk seems lost out there alone -- without her fellow Sugarcubes to back

APPETIZERS:

from

album. Imagine new Harvey songs recorded by Albini, and there you have it. Her cover of Dylan’s “Highway 61 Revisited” is a surprise in that it’s good, and actually different. Rather than just rehashing the song, she’s done a good job of Harvey-izing it. Being a Dylan zombie myself, I’d have no problem telling you if she had fucked it up, but believe me, she didn’t. It’s the fact that she’s got a personality that makes her music all the more enjoyable, and if you want an idea of what that persona is, go back to the first album and “Sheela-na-Gig,” According to an interview in Spin magazine, a Sheela-na-Gig is a Celtic carving of a woman pulling her vagina open and laughing hysterically. That’s PJ Harvey, inviting everyone to look, to try to pigeonhole her, and to get her to fit into their Patti Smith moulds. But if you listen, it’s obvious that she’s the one getting off.

her up, without the half-crazed Einar to yell and chant back-up vocals (as he does so well on Sugarcubes’ albums). If only Bj6rk could have insisted on artistic integrity over danceability -- oh well. Disregarding the machinal drums though, Bj&k has put together a respectable debut album, insecurities and all. Her uninhibited voice is softened by an air of inexperience: that of leading the whole show and not simply acting as the front piece. Such intimate inhibitions only endear us to her even more, allowing us the opportunity to expect more from her as a growing solo artist. Debut is a solid debut. One that presents Bjiirk as is, with her immeasurable vocal qualities and endearing inexperience. While I wouldn’t expect her to up and quit the Sugarcubes: based on this debut, I hope she does continue to take time out and create more of her own music, free from the Sugarcubes and dance crazed producers both. Now if I could only figure out where she comes from.

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Home

is in

Your Head. The songs are short, lyrics are abstract; it’s avonte gurde pop. For those of you who have not heard of HNIA, let me tv and explain. His Name is Alive does not follow common pop conv&ions when assembling songs. Their

work is basically a collection of incongruous sounds. Noise, guitars, cellos, violins, samples and female vbcal harmonies blend and swirl, grunt and grind, into surprisingly pleasant songs. “8lue Moon,” is the prettiest and most conventional track. It’s followed by “Ear,” a disturbing narrative of Van Goth slicing off his ear, starting, witH”high at the back, hacking downwards fast.” Later he gives it away as a special gift. Mauth

ta

Mouth

is

their

best

effort

SO far-

Warren Defever uses his guitar more in this album. Karin Oliver, the lead vocalist, is joined on this album by three more female vocalists. Their harmonies are like crystals chiming in the wind. Oooh so pretty!!


Arts

Friday, September

by Larry Imprint

by Greg Nood-Morris Imprint stc@ Ah London. To be tired of you is to be tired of life. Who said that? I think it was Damon Albarn, lead singer of ex-baggy British band Blur. 5iur rode into stardom on the hazy lazy cryptic rhythms of Leisure. Remember “She’s So High,” “5ang,” “There’s No Other Way”? Those songs were all very, very modern, And we now know what Blur thinks of modern life. It’s rubbish. So where do we start our musical journey down the ancient streets of sleepy London town? Let us start at the Marquee club. The Who are playing tonight, mostly stuff off of their new My Generdon LP. You know the type of power pop only a Pete Townshend could write. It’s getting too damn crowded these days. Too many Mods. To live in those carefree days, a musical voyage over terrain covered previously by the Who, and T. Rex, and of course the Kinks. God save Blur. My god, food processors are great! These days it’s all technical flash, no time for the trumpets of Pepper’s or Ray Davies’ Sunny Afiernoon. Modern Life. Take me back to the brightly coloured lights of the Marquee, and the UFO and the Middle Earth, and the Roundhouse and the IO0 Club. Please say something else. Food processors are not great This business of living in the

perfect student.

nineties. It’s rubbish. We like agood tune. We like pilled up aggression. We like lazy shuffling melodies. We love the Small Faces. Ah, to listen to Chemical World (who needs it? It’s foockin’ rubbish) But listen to it on a Lary Sun&y Afiernoon. We drink a lot of ale, and take copious quantities of amphetamines, LSD, and Amyl Nitrate. Oh Miss America. If only, if only you could have met Syd Barrett at Bill Graham’s Fillmore West, Mr. Atbarn. Was it touring that caused you to hate modern life? I can see why. Unless you are like Mark Gardener of Ride, who loves Denny’s food, and the fact that you can order it at any time, then from the vantage point of hotel rooms and stages, I shouid imagine that America would just seem to be 100 percent technical flash. Enthusiasm for modern life would flag rather quickly. But we love London anyway. We embrace the summer of love, and all at once in afohnny Rotten sneer, we abandon it The lyrics. Ray Davies would be hard pressed to coqe up with more relevant ones. The music. Peter Townshend would have been proud, although he’d probably be a little offended at the unmistakably modern sound Graham Coxon is coaxing out of his guitar. Blur. You and your tremelo pedal. Never to be parted. Oh, Damon. You have created a masterpiece. A timeless, yet completily relevant, and oh so terribly British piece of wax. To us in Canada, the London of the sixties seems such a terribly remote place. But then again, to you, in London of the nineties, I suppose that the London of the Sixties must Seem rather remote as well. Modern Life is Rubbish. A beautiful power pop offering from agroup which by rights should claim their place in the sun among the pantheon of Brit rock gods. Lennon, McCartney, Townshend, jagger, Richards, Barrett, Waters, Bolan, Bowie, Lydon, Shelley, and Albarn and Coxon. God save Slur.

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Got the cash? Well then you to can be on a CD, that’s basically how the Giant Leap of Faith series has been run. For a certain amount of money you get one song on the CD and some copies of it to sell to hopefully make some of your money back. This innovative CD marketing technique has allowed some artists -- in this instance, Waterloo performers -- to be on a CD without the financial means of putting one out themselves. As I can’t have I2 mini-reviews of each song on the album and there is really no common thread running through all the songs, I’ll just say a few of the songs are really good, most are pretty bland and the rest I wouldn’t even make Moxy Fruvous listen to. The best few songs on the album are; Standing Waves with their song “Reverberation” featuring a laid back sound and vocals fighting with the guitars for prominence, “Alone” by Weasel, a catchy garqe vpe song, and local Celtic perform-

1 I 1 I 1

Bl3

ers Failte (pronounced fall-cha) who offer a medley of traditional instrumentals. I’ll be looking out for more product from these bands in the future. Most of the rest of the album sinks into an all too typical Chili Peppers style funky rock which I have been hearing way too much of lately. To break this up are a couple of songs by tribute bands; Vivid’s ode to Living Colour, Doreen Smith homage to Holly Cole and Blind Caddy doing it like only Norwegian rockers A-ha can. Far from anything else on the disc is Land Scar Department’s “Language as Machine” which can only be described as somebody’s sons gone bad and instead of taking up a life of crime they grabbed instruments and took out their revenge on them. Not for the faint of heart. Overall, a very uneven release which depending on how much you get charged might be worth the price. It will also be up to the bands to decide whether or not getting on a compilation like this is better than putting out a demo cassette of their own. You decide. -

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Deciding whether U2 is a decent band or if they’ve blown the last of their air is turning into a difficult task. With all the flake and grandeur of Zoo TV and Achtung 6&y! we knew they’d at last gone off the deep end. Now, with the surprising release of Zoorop~, we’can’t be sure if they’ve come up for air or been dragged up by a zealous lifeguard. To be honest, the only reason I give this album a chance is because I was actually slightly impressed by U2’s CNE gig of a year ago. Besides the Zoo TV schlock, that little acoustic set they nestled into the middle of the show somehow told me they weren’t really losers. But then again, I’m a left-over U2 fan from the days up to and including thejoshua Tree, so I don’t know what to make of this new techno-prophecy stuff. Zooropa, then, represents U2’s last chance to remain in the realm of worthwhile bands, and perhaps they know that Dedicating the album to the volatile state of Europe, perhaps they’ve taken themselves to represent Europe itself (in that they too have to get it together or be lost into irrelevancy). So have they gotten it together? Not really. A few tracks are innovative and mostly impressive, such as the opening, techno-ethereal “Zooropa,“‘,the Edge’s “Numb,” and the Leninfriendly “Daddy’s Gonna Pay for Your Crashed Car.” But the remaining tunes are either halfbaked embryonic U2, or full-fledged spurious U2. “The First Time” seems destined to pull at the hearts of sixteen year olds (the same one’s Bono likes to extract from the audience and dance about), and “The Wanderer” would be straight up holier-than-thou Rattle and Hum if it weren’t for the lead vocal spot being held down

by Johnny Cash. With Cash at the mike “The Wanderer” turns into an irony-rich fallen hero’s lament -- either that or Bono felt it would have more punch if someone with a greater ethos sung it. Either way, you might as well program your CD player to skip track IO. So, with barely one third of Zooropo worth listening to, U2 haven’t decisively renewed their presence near the summit of popular music. The few tracks that do succeed do so because of their innovative mixture of classic U2 and industrial instrumentation. The rest, however, either harp back to formula U2 or are just plain unimpressive. With that in mind, we will doubtlessly never really know if U2 has the ability to once again create an entirely decent album. Achtung IMy! was average, Zooropa is passable: will their next release even measure up to Rattle ond Hum? Perhaps not.

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Arts

Friday,

September

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by Peter Imprint

Brown staff

It’s patently

unfair to this group, Moxy Friivous to the Barenaked Ladies. Sure, both bands have staked success upon a playful and humorous (the cliched “wacky”) style of music, sprinkled with the requisite “serious” tunes. And both exude hipness by sprinkling their lyrics with references to pop culture (especially, in Fruvous’ case, the name-dropping “My Baby Love a Bunch of Authors”). But more importantly, they have had a remarkably similar rise to what passes for fame in Canada: paying their dues on the streets and in the clubs of Toronto, indie cassette selling like hot cakes, exploding onto national scene with help of f4uchMusic.) Borguinville is the clincher in this game of comparison. Like Gordon before it, this LP takes most or all of the songs from Moxy Friivous’ surprisingly successful indie cassette and slaps them together with ten more songs of questionable depth. But here’s where the comparison ends. Where the Ladies

but you can’t avoid comparing

by Tammy -_ ~Guber special to Imprint Catherine Wheel’s first release Ferment elevated them beyond the crop of one syllable British mood music. It was their loud, over-driven guitars and pure aggression, balanced with passionate vocals, that really set them apart. Their second release Chrome continues in Catherine Wheel’s tradition

had a couple of gimmick live hits that didn’t make it -&to Gordon, Moxy Friivous has expended their whole bull-pen for 8a~ui~ville. “B-1. Don’t Cry,” “My Baby Loves a Bunch of Authors,” “The Drinking Song,” “King of Spain,” and “Gulf War Song” all appeared on their cassette. “Spiderman, ““Fell in Love,“and “Stuck in the 90s” are all strong songs that Friivous fans will be familiar with, But after that, quality drops like a stone with “Video Bargainville,” “The Lazy Boy,” “ Morphee,” and so on. Again, like many contemporary albums, this one falls prey to the fallacy that because we can put I5 songs on a CD, then we ought to. (Fortunately for listeners, the same technology that forces atbums to bloated sizes also allows those listeners to program their CD players to skip the worst songs.) Still, all the strengths of this band -- the lush harmonies, spontaneous quality of their performances, and the self-deprecation -- are all here. Even when they are being serious, or sappy, they are still capable of undercutting that emotion with bittersweet cynicism. Witness “Fell in Love”: “And we fell in love / And the sunshine shone from the sunshine above / and we felt in love, whole loaf love” and “I made a meal of the lighting, this was exciting I we had a real urban drama” The spots where this LP falters are the songs in which Friivous tries to be too serious, with the exception of the poignant “The Drinking Song” and “Gulf War Song,” of pure music and inspired elements that make up the band (rather than just a pretentious outpouring of what CW think they have become). With their latest, Catherine Wheel manages to accentuate both the vocals and guitar work simultaneously to create an overall powerful force. But this isn’t to say that Catherine Wheel is one of those bands that ride every song on the same catchylsignature guitar riff. It’s impressive to see that every song has individual and new guitar sounds. just as one number catches on to the particular riff/beat of the song, they assault expectations and assuming senses with a solo or some deviation of pattern. This is a solid release that is worth the cash if you’re into intense guitar music. It will startle every time you listen to it, because you can’t just learn it and hum along. The first song sets the mood for the rest: “Kill Rhythm.” Enough Said.

11 a.m.

to midnight

Every now and then a truly great song comes along from an album that is equally great. Covefdcrle Page is one of those albums. I was a little worried when the first single was initially released (what? Six months ago? So I’m a little slow with my review... sue me) -it looked like a massive case of radio overkill. There was simply no way the rest of the album could live up to my expectations. I finally just got the album, and haven’t looked back. With the phenomenal guitar playing of jimmy Page and David Coverdale’s much-wastedin-the-past vocals, songs with some pretty ordinary lyrics (“Pride and Joy”: “Take me to your river, baby/Take me to your sea./Purify my soulJAn’ pour your ocean over me”) turn into incredible tunes. Fears of growing bored with the tape have disappeared: six months

later, I still listen to the tape often. Page sounds as good as he ever did. He manages to avoid rehashing Zeppelin riffs (as opposed to Robert Plant, who can’t seem to resist sampling cuts from Zeppelin songs into his new stuff), while still sounding as fresh as he did in the 70’s. Coverdale, in turn, does sound like Plant it’s almost uncanny at times: his Zeppelin-mimicking abilities are undoubtable. The album sounds much like you would expect: Whitesnake meets Led Zeppelin. A fan of both, i figure they did a good job. “Feeling liot,” “Take a Look at Yourself,” and “Take Me for a Little While” sound like Whitesnake; most of the rest either like Zeppelin or a mixture of the two. The songs that “mix” the influences -- like “Pride and joy” or “Whisper a Prayer for the Dying” -tend to sound the best (the differing *‘sounds” blend remarkably well). Basically, a damn fine album.

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Arts

Friday,

The

Bacchae

by Euripides, Trans. Kenneth Cavender Tom Patterson Theatfe, Stratford Festival continues until Sept I8

Euripides Sophocles, his only four drama out of his ninety

never achieved the fame of lauded contemporary. He won awards from the Greek festivals, plays. Most of his works are lost,

in Semele’s story of her divine impregnation and chocked it up & rather mundane-m&l laxity. Unbeknownst to the royals, Dionysus survives the thunderbolt that killed Semele in childbirth. Travelling to the east in order to plot his strategy against the city that refused to honour his divinity, he there plan& the seeds of his new cult.

Some years later, after Cadmus ceded his sovereignty to his grandson Pentheus, Dionysus returns to Thebes accompanied by a gaggle of his female followers, the Bacchants. He drives the women of Thebes out of the town through drunken madness and into the woods for a frenzied worship of his divinity. Pentheus is not to pleased to have lost the ladies of Thebes on his watch and imprisons an eastern stranger whom had been praising the virtues of Dionysus. After escaping from jail, this stranger offers to lead Pentheus into the woods in

psycho-analytic myth revealing humanity’s innate orientation toward the strong father figure reprem sented by the noumenal. Iconoclast Camille Paglia reads it as a prefiguration of the Gospel, whereas Nietzsche had read it as a repudiation of the Christian message. Whatever school of thought can most honestly lay claim to The Bacchae, director David William’s highly stylized production takes the play as a proto-deconstructivist tale of primal passion. Iqthis era of minimal staging, William manages to maximize the minimal nothingness that is so close to the nihilistic heart of todays’ theatre. Nothing literally clutters stage in its nothingness, a claustrophobic emptiness threatening the players by punctuating them with sparse but precise lighting. This is a nothingness that is so absent that it is palpable. A nothing that is so manifest that all else must fight to maintain a presence on stage. Nothing is nothing if not a contradiction. But due to its purity, passionate action finds its proper place within this vacuum. Pure rage -Dionysus, the blood thirsty provocateur. Pure adoration -- the Bacchants, that true Greek chorus. Pure frenzy -- Agave, Iost even to herself. And pure power -- Pentheus, the leader who cannot recognize his temporal limits. William protects this purity through elaborate costuming, which belies his minimalist intent.

along with the entirety oft Thebes is forced to reco&ze that Dionysus has had his revenge, and that he is truly divine. Euripides’ treatment of the Bacchic saga reveals a‘weatth of readings that abound in dimetric oppositions. It has been read by feminists as a tale of female liberation, or opksitly as a

September

3, 1993, Imprint

Bl7

He goes to great extremes in order to portray his actors as capable of only one dimension, and crystallizes their single-mindedness in static masks. Thus, the play takes on the aura of a surrealistic masquerade wherein the stakes are not merely a de-masking at midnight, but the vel’y de-masking of the autonomy of human activity. The one dimensionality of the Euripidean characters symbolizes the poverty and frailty of human existence, an existence lacking the immortality of the gods, but sharing full well in their immorality. And hence the deconstruction -- by reducing humanity to its core atoms, Euripides shows us the limits of man. Mortal. Powerless. Absurd. Fallen. Thegods can temper their passion with their immortality, but man is made to suffer his folly. In his direction, William entertains the question of the ability of the divine to control us, and tike Euripides, comes to the depressing conclusion that human action is impotent in the face of an interventionist deity. In this Greek world free of any Christian notion of grace, human activity is interpreted as a losing battle against death and the gods. And duly, despair reigns at the play’s conclusion, with the moral inescapable: humanity may refuse acknowledge the divine, but that does not mean that the divine will remain open to man’s choice. Dionysus is no warm fuzzy.

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Friday,

September

Arts

3, 1993

A brief

compendium and

of spend Stanley’s Burgers 210 King St North Massive and brilliant home-made burgers, arguably the best in town. Upside: proximity to Phil’s Grandson’s; Downside: proximity to Laurier.

749-4082

Marcia

170 University Ave. West East Side’s is a chain, but has a surprisingly friendly atmosphere, and for the pig in us, huge portions with unlimited garlic bread and salads. A must for the pig in every one of us.

or Clark

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design graphics for all your T-shirts, and clothing needs. Great for your oor, Team, Club or Organization. Quality wear at adventurously low prices!! Custom portswear

burgers (offectionateb

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sliders”) and best chili in town. A Waterloo landmark for over sixty years.

‘CATCH THE ALMY~!”

The

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Huether 59 King

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Hotel

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StNorth

Great selection of home-brews, good cheapgru b, great pool room, and (sod/y) Shirley, the self-proclaimed Queen of Karaoke, on weekend nights.

McGinnis

landing

160- 168 University Ave. West This place has been open forever. And for good reason. The best bruscetta that ever was, definitely. Good student fare, at fair prices.

Olympic

Sonny’s Drive-In 256 Weber St. North The institution lives on!! Really greasy burgers and fries, in a realty greasy authentic drive-in. Open super late. Located on Weber, at University. Great alternative to food. Quicken the corenary.

The Bombshelter Campus Centre

.

Great food. Great beverages. Watch’ for the famous St. Paddy’s green beer festivities. Godd live music. In the past year it has seen Matthew Sweet, Consolidated, the New FADS, and more. Home away from home. Club Abstract 667 King St West Kitchener The nearest to alternative the majority of the population wants to get. Neat walls and ceilings. Packed on Thursdays. No British proggy type music here. If Seattle burned down, Club Abstract would close.

The Duke of Wellington 33 Erb St West Oi, matey, this is it. The closest you wit1 come to real English fare here inVV’Loo. Really olde quaint atmosphere. The prices are surprisingly good, fitI up on grog and grub for under IO bucks, Really dark, and has a dart board. L

Federation

Hall

main cumpus Oh yeah! Waterloo is now on the map. The largest student bar in the world! Bring your dancing shoes, and dance your bum off every Thursday. Fun events such as jell0 wrestling and sumo. Go to Fed and get stupid.

Olde

English Parlour 77 King St North Who’s zoomin’ who? Which was first the chicken or the egg? Did Adam and Eve have navels? Did the OIde English

Located next to Mega Pizza, in the basement of a little plaza. Always on the forefront of music, especially British stuff, Plays everything alternative, from IO00 Homo DJs to Blur to Rage Against the Machine. Small, crowded, and gets quite warm sometimes. Great pool, every night of the week.

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Pop the Gator 44 Queen St South, Ktchener Blues, blues, blues. Called the Hot& Blues

Stingers 28 King St North Ooh, what a sting. Typi.cal AM IO9 type music; ie. slushy snowy type stuff. Good patio, though, because you can sit right on King Street drinking and peoplewatching.

The Twist 341 Mmland Drive The place is big. Did I say big? Huge! After all, it was once the Super Skate 7, and holds about two thousand people. Really loud dance music. M/ear your hottest fashions, and groove to the latest pop songs.

Volcano

bar in Canada.

Maybe.

Great

Club

,

276 King St West Kitchener New underground club featuring lots of live music and affordable beer. Hosted the Stranglers and will be presenting Utah Saints real soon. Hip and un-pretentious.

Yuk Yuk’s 140 University Ave. West No music, but plenty o’yuks. More than two, in fact. Very funny people here, like Emo Phillips. Cover charge not quite as

funny.

Acid

Sweetness

5 Princess St North Oh you want art? You want culture? You want a leisurely cup of java whilst sitting on little black chairs? Very alternative, and yet inexpensive.

Pogo’s 3 Regina St; North Open very late. Very Eastern. Be prepared to buy, buy, buy. Be prepared for grumpy owners. Many have grumpy Pogo’s stories. Located at the corner of Erb and Regina.

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The best light show this side of Pink Floyd. Good shows, like Thirteen Engines and the Ramones check in here. Joke: What’s the best way to evacuate Stages? Run in and yell “Your Camaro’s on fire.”

ParfourlDuke of Waterloo copy the Wellington. Resoundly yes. More expensive, and more yuppified. Good singalongs sometimes. And Scotch Eggs that cannot be beat.

Phil’s Grandson’s Place 220 King St North

SPE< DAL

The Red Pepper 384 King St North

stages 3 12 King St West, Kitchener

Gyros

170 Universiry Ave. West . Tasty gyros and souvlakis, inexpensive and always with a smile. Proximity to Fine Arts dept means you’ll get to eat with lots of guys wearing berets.

bands, though, and go on a Wednesday for the Blues Jam, to see Mel Brown frighten the pants off of would be musicians.

Good jammin’ fun on Tuesdays. wise pretty unmemorable bar.

Lunch

90 King St North Legendary greasy-spoon. Real ham-

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Arts

Friday, September

places OSAP Where to buy the stuff we’ll be reviewing by Imprint

Arts-stuff

Dr. Disc 146 King St West titchener Probably the area’s best bet for imports (American and British), indie stuff, and used vinyl. The “hippest” (i.e. most alternative-minded) record store in town. They will also try to specialorder stuff on request, but rarely seem to have much luck or speed in doing so. Still, probably the most varied and extensive selection of any area store.

Ears 2 Hear 37 King St North, Waterloo Not a bad repository of used stuff -vinyl and CDs (even some old 45s). Will never be on the cutting edge of what’s new and exciting, though.

Encore Records 54 Queen St South, Kitche~er Used to be a favorite record store. Nowadays they’ve got a decent used CD collection, and an even better CD rental selection. But as for new stuff, they seem to have been overtaken by Dr. Disc in terms of stocking anything even remotely off the beaten track..

HMV Campus Court, I50 University Ave. West If it’s new and on a major label, they’ll have it -- might be a bit pricey, though. There are occasional pleasant surprises to be found in the alternative section, as well as solid rap, dance, and jazz inventories. Also has the advantage of being close to campus.

619

to hang-out cash -

pop, rock and indie genres. Has just started to carry used CDs as well, at great prices (ten bucks a piece usually).

Orange

Monkey

5 Princess St West, Waterloo Brand new -- just opened on August i 8th. Across street from the Princess Cinema, this is the store downtown Waterloo has needed for a long time. The only real competition to Dr. Disc as far as-indie, alternative and rare stuff

goes.

town.

Orderly,

clean and classy.

UW

Blue Leaf Book

93King St. West,

South Ccrmpus Hall Just about the best bookstore in twincities. Naturally unbeatable in some genres (literature; for instance) but woeftilly negligent in others (i.e. photography, film, etc.). Still, you can browse for hours on end.

Words

Worth

Bookshop

-

36 Ontario St North, Kitc;hener Used books. Lots of gems and steals if you’re prepared to put in the time. Can be dusty and back-breaking, though.

K-W

Bookstore

306 King St West, Kitchener Features a solid used-book selection, but main attraction is the unbelievable magazine assortment. Far and away the best selection in town or anywhere else, they have over 4500 titles, in English and foreign languages. Magazine Heaven and hip staff, too. ’

Provident

Bookstore

140University

Ave. West One of the area’s most overlooked bookstores. Specializes in religious books, but also a surprisingly healthy selection of fine non-secular books. Worth a look.

Second

270King Arguably

60 Ottawa St., S. KITCHENER,

Ont.

Books in of

Shop K.itchener

Sort of hidden away (across the street from Sam’s and up the stairs) this is a slacker’s dream. Carries books and magazines others won’t touch (paganism, herbalism, UFO’s, anarchism, astrology, conspiracy theories, and lots, lots more). Check it out.

Casablanca

CALL BETWEEN 8:30 a.m. to 7:00 p.m.

Bookstore

100 King St. South, Wuterloo The best all-around fine bookstore area. Also features solid selection magazines and specialized books.

The Music Source Cumpus Centfe (basement) Great location for students, obviously. Passable amount of new stock in the

3, 1993, Imprint

Look

St. West, Kitchener the best used-bookstore

in

Carry On Comics 32 King St. North, Waterloo Waterloo’s only comic store. Not as commercial as Titans or Lookin’ for Heroes, but doesn’t have quite the variety of Now and Then. Despite this, it still has fantastic collection of back issues and a pretty good new selection.

Lookin’

Now

-iWI-iERE,

for Heraes

93 Ontario St South, Kkhener This store carries sports cards to the detriment of its comics. Again mostly mainstream titles, it also has a fair number of hard cover books.

& Then

,

ANYTIME

l

K3R PEOPLE OR PARCELS

AIRPORTSERVICEl FASTCOURTEOUS SERVQE

Books

90 Queen St. South, Kitchener Still the best comic store in town, Now and Then is the oldest and carries the widest selection of comics. Besides regular DC and Marvel titles and back stock, they carry a large selection of independent comics. In addition to comics, it also has a very extensive collection of science fiction books and various gaming accessories.

Titans of Tomorrow 150 King St Wesq Kitchener Almost exclusively a vehicle for DC and Marvel. It’s handy location on King St. makes it a convenient stop-over, but lack of back issues is serious handicap.

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