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The Michigan Daily
n.,
ARTS
Friday, October 7, 1983
Page 6
AW.9
,4I rue to the
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production of the EP. OK. But - the
comparisons stop with a tip of the ten-
gallon to their place-of-issuance. Based
on the show they gave Wednesday night
Larry Dean
dissonant attack at one instance, to a
somber yet driving passage, the next.
For a three-piece, they sure generate
ln}n ne i in f: n
'HIS. HAS TO be one of the finest Jiot of noise, and a variety of it, too. at Joe's, True West is a straight
months for out-of-town music ( on Halfway through their set, Larry and ahead rock and roll outfit with little or-
11 scale) that Ann Arbor has ever Ben switched off bass and guitar duties, no pretensions tying them down.
. While heavy weights Major Even- and the subtle differences in their No chaps did I see upon them whence
e up supervwimps like Roger Whit- playing styles made for a nice counter- they mosied out on-stage, nor any
r, fledgling clubs a-la Joe's are point. While they definitely have a rawhide jackets, or spurs. In fact, for a
ing such outstanding acts as Love trademark approach to the music, the moment I thought someone had mixed
gtor the Bongos, Chris Stamey of brothers' individual styles came alive up the tour schedules between True
dB's, and - dun-dah-duh- in whatever instrument they happened West and Little Steven and the
nnnnnPTrue West. First and to be playing, and drummer Franx Disciples of Soul! The fabled 'bandana
emost, I hope this isn't a fluke, and provided a consistently-tight backbeat. 'n' leather' motif was in use on one or
the bands who we usually have to In all, this is one of the finest "local" two bandmembers, and the rest seemed
all the way to Detroit to see keep bands ( although they sure don't sound almost casual in their garb. Only lead
s'ti-oiping off in good ol' Ann Arbor. If it like one!), and they deserve an audien- vocalist Gavin Blair kept alive any
is, then October...you were a fond ce as rabid and insistent as their music. semblance of psychedelia with a quain-
omemory. See these guys at all costs. tly out-dated tie-dyed, T-shirt peeking
The double-bill of Non-Fiction and I didn't know quite what to out from underneath his jacket. I guess
True West was a good one. While the expect out of True West. Most of it must have been comfy.
Miller Bros. plus drummer Billi Franx the press on the band lumps them in the The enormous sound that True West
had to endure a steadily-streaming-in same category with (here we go cranked out was a far cry from the
audience that finally peaked around the again...) the Dream Syndicate, Green primative garage-rock of Plan 9 or even
last two or three songs of their set, and on Red, etc., etc. the Dream Syndicate. While the latter
a cut finger on Larry Miller's part It's true enough that most of the revel in their free-form feedback
(which, of course, would make playing psychedelia revival bands are creeping melees, True West hit the audience
a bit of a pain), the Non-Fiction set for out of California - and True West is hard with some tight, guitar-heavy rock
the evening was stunning. The musical from Sacramento. Plus they used to and roll.
r mics were extremely high, with jam around with Steve Wynn of the D. The dual Fenders of Russ Tolman
,4iejr songs jerking from a frenzied Syndicate, who also lent a hand with the and Richard McGrath mixed nicely
.,
oNOCTOB3ER 193
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Daily rnoto by UUUG McMAHON
True West proves their musical virtuosity Wednesday night at Joe's.
together - Tolman's Telecaster under-
neath with jangly rhythm chords, and
McGrath's Stratocaster right on top,
cutting through with smooth leads.
Both players exhibited their fair share
of power chords, and the band was
usually in such utter syncopation that
when they got into the middle section of
"It's About Time," you got lost.in the
wall-of-sound they built with dreamy
facility.
The set True West played was short
- too short. More than a few audience
members seemed a bit irate at the
brevity of it. But you can't blame them
for their lack of material. The True
West EP only has five songs on it, and
this, as far as I know, is their first big
tour.
In their case, it's a matter of quality
versus quantity, and by the time they
had finished their two encores - covers
of the Stooges' "1969," and Screaming
Jay Hawkins' "I Put A Spell On You" -
the crowd was itching for more.
While they didn't have more to give, I
think most people left Joe's feeling
satisfied that they had seen a band with
a powerful, unpretentious sound that's
suited - likeNon-Fiction's - for more
ears. If they ever get a bigger crowd,
it'll be nice to look back and recall
seeing them in a more intimate setting.
And for True West, the days of larger
audiences might not be too far ahead.
Brainstorm ing for thrills
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By Bob Learner
D OUGLAS TRUMBULL'S Brain-
storm is a movie of and about the
latest in technology. Filmed in 70mm
super panavision, using multi-tracked dolby
sound and computer - generated
graphics, Brainstorm is an aurally and
visually striking film. It is also an in-
telligent one, though marred by a lack
of consistent direction.
The centerpiece of Brainstorm is a
technology that would make movies,
obselete. Scientists Lillian Reynolds
(Louise Fletcher) and Michael Brace
(Christopher Walken) have developed a
machine that records not only sights
and sounds, but emotions and sen-
sations as well. Any experience by an
individual can be recorded, and then
transferred to the mind of another via a
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special headset. This is a fascinating
science fiction premise that is given a
thoughtful, non-Star Wars-like treat-
ment. Brainstorm explores the im-
plications of this technology, and con-
Veys these implications with great ef-
fect.
In a series of astonishing sequences,
we "see" experiences of excitement,
love, fear, and pain. Trumbull
illustrates the double-edged nature of
technology by'showing how the value
and danger of technology depends on
who is using it and how it is used. The
film's major story develops from this
idea as different parties have different
uses for the technology. The scientists
want to use the machine for peaceful
purposes, whereas the military is more
interested in its application for fear and
pain. Brainstorm eventually becomes
a thriller as Dr. Reynolds and Dr. Brace
try to protect their invention from
military use.
Unfortunately, Brainstorm never
completely succeeds as a thriller
because excitement is never given time
to mount. Trumbull continually
digresses from the main story line; he
doesn't allow the film to build towards a
Ja
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climax. What remains is a series of
transient effects, some excitement
here, some horror there.
Fortunately, Brainstorm is more
than a pure thriller; its other elements
make it worth seeing. One of these
elements is the film's visual design.
Three distinct visual formats are em-
ployed in Brainstorm to differentiate
the mind experience sequences from
the conventional scenes. Conventional
scenes are filmed in wide screen for-
mat, and are distinguished by Richard
Yuricich's glowing and dimensional
cinematography. The mind experience
sequences are filmed in an even wider
format, alternating computer graphic
sequences with subjective sequences
filmed through an extreme wide angle
lens. The result of these distance for-
mats is an original looking film of con-
sistent visual interest.
Another consistent element of Brain-
storm is its inteligence. The film moves
quickly, propelled by interesting ideas
and details. Many of these ideas and
details aren't integrated into the story
as they should be, but do serve to main-
tam interest throughout. One leaves
Brainstorm with a healthy wariness
about technology, but also with a
refreshing awe of areas unknown that
have just begun to be explored.
00
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(440
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