The Michigan Daily Monday, October 26, 1992 Page 5
When the Saints
come marchlng in
by Jill C. Banks
The thought of Utah Saints
may bring a vision of Mormons in
the west, living the "honest,"
Christian way preached by
Brigham Young - Utah Saint.
Utah Saints, Jez Willis and Tim
Garbutt, are anything but that.
These lads from Leeds combined
their talent, creating an outrageous
mix of house, techno rave, rock,
and disco in their EP "Something
Good." The ever popular "What
Can You Do For Me," which in-
cludes the vocals of Annie
Lennox, was the first display of
their impressive sampling tech-
"What we did was we pressed
a thousand copies up ourselves,"
deckman Garbutt said. "We did it
on this horrible color vinyl which
was a pukey sort of orange and
before we knew it, we signed to
London records. It all happened so
fast, the next thing we know, it
goes top ten."
"Something Good" was the
next song to hit the charts. The DJ
duo sampled the vocals of Kate
Bush from her track "Cloud-bust-
ing." "It is very difficult working
with samples," Garbutt said,
"because when you take a sample,
like the Kate Bush sample, you
have to take it how it sounds on
the record. You can't pull out
strings or vocals. You have to take
it how it is. This makes it very dif-'
ficult to fit it in your track."
The unique aspect of the Utah
Saints' work is that they don't use
samples from other dance tracks;
rather, these mix masters take
samples from a variety of music
classes, give it a little character by
adding their own musical talents,
such as keyboards, guitars, and
electronic drums, then release a
song that is more than just another
rave tune. "The most important
ingredient for all of our songs is
that they need to have a really
good homobility factor," Garbutt
said. And that, they do.
The new album, which is ex-
pected to be released in mid-
November display the vocals of
Willis on some of the tracks.
When asked if his voice will be
portrayed on the album, Garbutt
exclaimed, "I'm happy to be on
The Utah Saints will make
their way to the states for the first
time as an opening act for The
Shamen. "I've never been to the
States," Garbutt laughed. "I'm
pretty scared. I'm excited, but
that's why I'm scared. Some of
the distances between gigs that
we're doing, traveling most of the
time by bus, are bigger than
The duo is expecting a mixed
response from the American audi-
ence. Some places, such as the
west coast and Detroit, will have a
better response than others due to
the recent development of the rave
scene in the States. "I'm bringing
records over," Garbutt said,
sounding a little more anxious.
"They've lined up loads of things
for me to do. I'm DJ-ing in some
[record] shops and doing some ra-
dio shows." The rave scene is
dwindling in England and the duo
are both nervous and enthusiastic
to be coming over to the States
where rave is just beginning to
Not only will the Utah Saints'
concert be incredibly entertaining,
Schraderfinaly directs a winner
by Megan Abbott
Anyone who has seen "Taxi Driver" knows Paul Schrader is a genius as
a screenwriter. Unfortunately, the quality of his directorial achievements
have been decidedly mixed, ranging from the quite good ("Blue Collar") to
the very bland ("Cat People"). But with his latest venture Schrader has at
last reached the greatness he seemed destined for 15 years ago.
"Light Sleeper" plummets the audience, Dante-like, into a vision of per-
sonal despair as seen through the eyes of John Le Tour (Willem Dafoe), a
New York drug-dealer forever trying to go straight. Le Tour works for the
enterprising Ann (Susan Sarandon), dealing for a largely upscale clientele of
theologizing, impossibly reflective junkies. Ann is attempting to slowly
convert her business into a natural cosmetics firm, while Le Tour has vague
plans to go "into the music business."
Slowly, the audience descends into Le Tour's bleak consciousness as he
makes a series of desperate moves to break out of his oppressive melan-
Directed and written by Paul Schrader;
with Willem Dafoe, Susan Sarandon, and Dana Delany
choly. He reaches out to a former love, Marianne (Dana Delany), who fights
his efforts, certain it will send her back to addiction. She tells him she can-
not bear to see him; he is a "walking encyclopedia of suicidal fantasies."
Soon, circumstances drive him to a point of crisis from which there is no
Schrader gives us a morass of psychological pain here. That is his
specialty, after all. But in this film, like none of his others, Schrader's vision
pulses with a hypnotic beauty. Images of the emotional weight everyone
carries through life resound in "Light Sleeper." Le Tour, at one point, asks a
psychic he goes to visit, "What is there that's around me? What do you see?
Is it dark?" She responds that there is nothing around him, the darkness is,
of course, inside of him. And through the film, Le Tour nearly destroys
himself trying to expunge it.
The performances Schrader elicits give this film its lush pathos. Dafoe is
achingly touching as La Tour. As an actor, Dafoe can be an entertaining
ham (as in "Wild at Heart") and a moving Jesus (in "Last Temptation of
See SLEEPER, Page 8
Tim Garbutt and Jez Willis aren't from BYU, but they are Utah Saints.
it will be a cultural experience for
anyone attending. The crowd will
include an array of stage divers,
ravers dazed out on the dance
floor, and possibly some rockers
and teeny boppers. Garbutt com-
mented on what will be the better
aspect of the show, "All the ravers
don't understand the stage diving,"
Garbutt chuckled and continued.
"When the people stage dive, the
ravers don't know what to do.
They move out of the way and the
people hit the floor."
The Saints themselves will be
wearing their keyboards over their
shoulders, running around the
stage, with a long wire connecting
each of them to 9000 pounds
worth of equipment. "The key-
boards are small and petite. You
touch one key on the keyboard and
you get the most amazing sort of
powerful sounds. It freaks people
out." Garbutt concluded. "With
regards to what else you'll see
from us, I don't know. It'll be in-
UTAH SAINTS open for THE
SHAMEN tonight at Industry in
Pontiac. Tickets are $10.50. Call
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