12 U_ THE NATIONAL COLLEGE NEWSPAPER Life And Art FEBRUARY 1989 12 U. THE NATIONAL COLLEGE NEWSPAPER Life And Art * FEBRUARY 1989 Queensiyche: A new metal force to reckon with By Michael Sturm The Daily Athenaeum West Virginia U. I'm sure that by now most of you have heard of Queensryche. Unfortunately, most of you have probably not heard their music. Oh, what you're missing. Queensryche first hit the music scene in 1983 with a self-titled EP, and soon followed that up with The Warning, an effort that features some of the band's most impressive work. It was 1986 before their third album, Rage For Order, was released. This brood- ing record was a se- quel of the first mag- nitude to The Warn- ing and featured more imaginative writing Geoff Tate than the EP. Finally, the group hit with the cul- mination of years of work, Operation: Mindcrime, released early last year. Although the album was no monster commercial success, it is an awe- inspiring concept album often com- pared to Pink Floyd's The Wall and The Who's Quadrophenia. Even though most folks haven't rec- ognized them as one of metal's premier bands (yet), Queensryche has definitely become a force to be reckoned with. And why not? The band has a great many good points to recommend them to the discerning metalhead (or anyone else for that matter): production so slick it makes the average album seem re- corded on a portable tape recorder, great writing, the best vocals in rock music (not just metal) from Geoff Tate, and some of the best arranged in- strumental work around. Editor's Note: Queensryche is currently tour- inn with Metallica ~ k71 Edie Brickell (bottom left) and New Bohemians New Bohemians captivate with hearly mix of jazz, folk-rock Cocteau Twins swirl into moody musical territory By John Hastie The Daily Illini U. of Illinois, Champaign-Urbana "Itchy Glowbo Blow," "A Kissed Out Red Floatboat," "Suckling the Mender."0 No, you're not reading outtakes from a schizophrenic's diary. You're reading song titles from Cocteau Twins' latest album Blue Bell Knoll. This album is lighter than most of Cocteau Twins' early work. The music is simpler, mainly due to an admirable attempt at cutting down on the use of synthesized sounds. The drums are real. Synthesizers are now used almost solely as background instru- ments, and don't car- ry the bulk of the- melody. Instead, Robin Guthrie proves the competence of his Elizabeth Fraser guitar playing, including some acoustic, making his contributions the most ob- vious musical feature. The newfound simplicity carries over0 into the vocals as well. They've finally realized that the beauty of Elizabeth Fraser's voice doesn't need effects. At the same time, her vocals seem res- trained at times. You get the impression that Fraser is holding back, as if scared to reveal the full range of her voice. Apparently, Cocteau Twins have been trying out new styles. Most of the second side seems influenced by smooth0 island music, complete with marimba and conga sounding drums. Although Blue Bell Knoll does have songs that stand out, like "Carolyn's Fingers" and the title track, most of the rest of the album sounds somewhat un- exciting. The change in style is fresh and welcome, but at this point, it shows more potential than anything else. a campy cabaret By Steve Koziatek The Shorthorn U. of Texas, Arlington Dallas has never been a spawning ground for musical talent, but the de- but from Edie Brickell and New Bohe- mians should help remedy this bar- ren image. Shooting Rubber Bands at the Stars offers a moving yet simple look at life in all its variety. The band com- bines a jazzy, folk-rock-based sound with lyrics whose seemingly simple approach brings the listener in touch with life's ups and downs. Deeper issues aside, this stuff is just plain enjoyable to listen to. Musically the album meshes jazz and rock, although it may be unsatis- fying for those who have followed New Bohemians since their early days. This album lends itselfbetterto radio play. "WhatIAm,"the album's first sing- le, presents the dilemma of dealing with philosophical problems and the lyricist's unwillingness to get in- volved in technological debates: I'm not aware of too many things /Iknow what I know, if you know what I mean /Philosophy is the talk on a cereal box /Religion is the smile on a dog. One of the best songs here is "Air of December," a dreamy, magical col- lage of images depicting a failed rela- tionship. Brickell's vocals lend credence to her lyrics' complex yet childlike approach. She shows candid pictures of herself through her words, in the way one shares stories with friends. Edie Brickell and New Bohemians deserve their shot at the big time. To borrow one of their lyrics, they "fill in the negative space with positively ev- erything." Tom Waits hones his craft with By Eric Church a The Daily Cardinal U. of Wisconsin, Madison Tom Waits' appeal is not always readily apparent. His voice takes on about three personalities - all of them as soothing as the sound of a truckload of rocks falling to the ground. His tunes are frequently unhummable, and the notes from the band rarely land where you expect. But the man arguably possesses some of the most creative talent this country will ever know. His latest effort, Big Time, is mainly a collection of live pieces from Waits' last two albums, Frank's Wild Years and Rain Dogs, with some songs from Swordfishtrombones and other older albums. The album truly catches the spirit of Waits' music. Listen to "Train Song" on Big Time and darned if you aren't sitting in a broken down '68 Ford Falcon parked next to an aban- doned railroad yard somewhere near East St. Louis. Everytime you think Waits has reached an emotional plateau, with songs like "Falling Down," his gravelly voice Tom Waits scrambles to a new summit. But Big Time isn't out to win any tears. Waits means to entertain. Taking on the personalities and an occasions of a Las Vegas lounge singer in "Straight to the Top," and an are deeply movi evangelist in the terrific "Way Down the Hole," Waits is back alleys and t thoroughly convincing. In "Clap Hands,' Waits' rapport with his audience is unimaginably fresh The Fireman's b and honest in this era of coliseum concerts. And though it's et and a sad du sad for his fans that he doesn't perform more extensively in bottle full of rai the United States, it's probably for this reason that he is so For the uninit spontaneous and completely without pretension onstage. get used to Wait: This good-natured attitude is captured nicely on Big Time. more gruff than t His poetry is superb beyond description. Put to the music eccentric, truer- of his tight band of horns, a pump organ, bongos, accordions are nothing less 0 al piercing guitar, the images he conjures up ng. His musings on rain, New York City's trainyards almost bring those scenes to life. "Waits reads "Sane, sane, they're all insane / lind, the conductor's lame / Cincinnati jack- vck lame / Hanging out the window with a n / Clap hands." tiated, beware. It takes nearly two years to s' voice, especially in concert, where it's even the studio version. But it's a fair price. Waits' -than-fiction, slice-of-life musical portraits than genius.