The Michigan Daily/New Student Edition -Thursday, September 10, 1992- Page 19 Sensual Brit duo Curve go 'round the bend, live to tell, and relate what it's about ideas that we really weren't happy with," Halliday explains, "and then we came up with this thing that we'd be quite fascinated to see: what a doll's graveyard would look like ... There really isn't a great kind of thing behind it. We just loved (the photo) and that was enough." If My Bloody Valentine have captured the aural landscape of the earth, Curve have mapped the terri- tory bubbling below the crust. Doppelganger isn't particularly sin- ister, but brutish and cavernous. Garcia builds noise that's harsh, but not hard. And while Curve is basi- cally guitar-based, their use of techno and industrial elements con- structs a wall of sound that sounds like a distortion laden-Cocteau Twins with a purpose. The songs on Doppelganger that work best - "Already Yor, "Split into Fractions," and "Fait Accompli" - convulse with the ten- sion between the real and the unreal, the guitars versus the synthesizers. Though the striking verbal images created by Halliday come from mundane life, she ripens them to fruition, matching the musical taut- ness in robust words. Take for ex- ample, this snippet from "Fait Accompli:" "Everyday there is some kind of darkness/ that just won't go away no matter how hard I try ... it becomes a ball that you drag around to every party." "I never get into the literal thing of why a lyric exists," Halliday says. "It just does exist. It just comes out and I have no idea where it comes from most of the time and I never really get into a literal kind of expla- nation. But it's observational really ... I'm a great people watcher ... I like to see how they react to normal situations, or what I consider a nor- mal situation ... I could literally write a song about a guy going into a supermarket and pulling the change out of his pocket and looking at it ... I guess it just how you see things and what you focus on really." What some fans focus on is not the potency of the music or the words, but on Halliday's impressive looks. A strong front-woman with a style as distinctive as Siouxie or Annie Lennox, Halliday risks falling victim to the "face label." "I don't think you can do it just on that alone. I think there has to be far more kinds of different elements. "And some nights, I get up there and if I'm in a bad mood, they (the audience) knows about it ... I get on stage and I feel really ugly. Inside, as a person, and I react like that as well and my whole face contorts ap- parently, and I look really vicious and nasty. (Laughs) So it's not like I get up on stage and I grind my groin into the mike stand or anything like that ... "But then when I see the pictures, I think, 'God, I really look kind of like, you know, in this certain type of sexual way' and I can't believe its me sometimes. Like in the video for 'Fait Acconpli,' I couldn't believe it when I saw the footage. I went, 'That's not me,' and the girl said, the video director, 'Yes it is.' And I said, 'No it isn't, I don't do things like that.' And she went, 'Oh yes you do.' "It's like a revelation to me really because I never really saw it like that. I think there's a way you put things across and the way you try and use your imagination to present your music is important. But I don't think necessarily that it has to be sexual to sell more records as such. I think it can be loads of things, look at KISS for instance." Like KISS's notorious live shovs, Halliday promises Curve concerts are a full-sensory experi- ence. Reflecting the essences of the band, the show is an exercise in exorcism. "It's like going to see Apocalypse Now. It is. I'm not kidding. If we don't make your ears bleed, you'll be blind." " t 4 , Lull~~~~M ~ l~~ F' Y i ii 14 ~ We know it's the first day back for y'all, but we felt it our duty to get you to go out and do something fun - trust us, we've been here before and this is your last chance. From the Kafka-desk Feel like someone's watching you? Are those old feelings of paranoia settling back in, now that you've returned to Ann Arbor? (There's just so many damn people!) Well, we know just the thing - someone a bit worse off than you are. Jeremy Irons brings the essence of Kafka in the Soderbergh film of the same name. We wouldn't miss it, but then again, we'd keep an eye over our shoulder on the way home, too. It's showing at 7:15 tonight only at the Michigan Theater. Call 668-8397 for more information. Be Goobered at the Pig Fresh off the release of their new (and only) CD, Goober and the Peas play the Blind Pig tonight. If you've never seen Goober and his pals before, you're in for one hay-throwing rockin' country good time. They're kind of a grungified Garth Brooks, only much more glamorous. Catch them before they play the Silverdome, with Ugly Stik opening. Call 996-8555. Allosauri debutantes You know T.Rex, the Bronto- saurus, and the Spoon-bill, but how about the Allosaurus? Being long-time advocates of the Allosaurus and its ilk, we couldn't have been more pleased when we heard about "Allosaurus Revis- ited" in room 1300 of the Chemis- try Building. Dinosaur expert James Madsen will discuss the updated Allosaurus exhibit, and other prehistoric topics. Drop by at 4 p.m., or call 764-0478 for the scoop. Curve's Dean Garcia (right) and Toni Halliday (left) hold each other tight, common orphans of the world's harsher side. They capture this polite anger and crushing frustration in their harsh-yer-haunting sound. by Annette Petruso h the devil is in me/Oh the spirit is in me" - "Doppelganger" "I've just had one of those lives so far," explains Curve vocal- ist/lyricist Toni Halliday. "By the time that I was eleven, I could have written a book about my life. I think (my strength comes) from growing up in Europe, and never having any money, and my father. Having to get back from Greece when you're like eight years old on your own. Living in the northeast of England, which is a really hard place to grow up and carry on." Such details of Halliday's life only scratch the surface of an inner brute force that Curve releases within her. Above partner Dean Garcia's machine-driven but guitar- controlled musical vehemence, Halliday's voice reigns supreme. On their first LP, Doppelganger, Curve seduces with its sounds, but the rest- less lilt in Halliday's confident vo- cals steals the show. As a package, Doppelganger sounds like a docu- mentary of the everyday life of a (tormented) soul in the modern world. "I definitely think My Bloody Valentine do that," Halliday says. "I don't know if we do that. I hope that one day we'll be able to do it really really well." Though Halliday modestly bows to the Valentines, the cover lauds what the album proclaims: some- thing beautifully harrowing bubbles within. Doppelganger's orange- brown photo of broken, forgotten dolls strewn en masse disturbs and intrigues. "We'd been through a couple of Jeremy Irons looks mighty paranoid inside the Kafka desk. 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