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December 10, 1993 - Image 19

Resource type:
The Michigan Daily, 1993-12-10

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The Michigan Daily - Wednesday, November 17,_1993-19

Continued from page 17
comfortable prowess resulting
from a life-time of familiarity with
the music. Subsequent to its record-
ing, the song became one of the most
widely referenced melodies in coun-
try music.
"Diamond in the Rough" epito-
mizes the talent and unadulterated
beauty of the Carter Family's music.
While the RCA rep who first recorded
the Carters in 1927 was skeptical of
their talent due to their back-woods
dress and rough appearance, their
home-grown skill and roots in rural
tradition made them priceless assets
to American music's heritage.
- Chris Wyrod
Various Artists
Cuneiform Records
In the beginning, it was just a
crazy idea: take the twisted tones of
avant-rock band Doctor Nerve as a
starting point. A couple dozen com-
posers and improvisers took to the
idea, resulting in "Transforms."
As if the antics of Doctor Nerve's
sound surgeons weren't already di-
verse in their uniquely skewed art-
rock bent, an array of new music
composers and musicians have re-
agitated the Nerve events. The mixed
crew rebake the unleavened licks with
all sorts of technology, leaving them
deliciously avant-charred.
The exchange can be as simple as
"liberally using the repeat and scan
features on your disc player, as in

Yves Duboin's contribution to "Trans-
forms." Some musicians rely on inte-
grated computer manipulation to re-
configure sampled Nerve bites, while
others use low-tech four tracks and
their human ingenuity as inspired by
the good Doctor.
Digital manipulation and uncom-
mon instrumental techniques are the
basic components of these dynamic
sonic pallets.
While Ted Apel's remarkably
placid piece relies on natural path-
ways electromagnetically blazoned on
a 3-foot steel plate by a single Nerve
event, Tom Erbe and Judy Kien are
more comfortable with a scholarly
computer hacking approach.
The varied results give the listener
glimpses of diverse sonic textures,
compositional techniques and com-
puter wizardry. But, more importantly,
"Transforms" lets us browse through
the diverse creative potential of lesser
known new music artists, advocates
and academics. "Transforms" frames
less flamboyant, home-body new
musicians, such as local-yokels Frank
Pahl and Doug Gourlay.
Even if Nerve's "Beta 14ok" didn't
inspire you, "Transforms" will jar
you out of complacency and get you
.- Chris Wyrod
Bill Morrissey
Night Train
Bill Morrissey has the gift that all
singer-songwriters wish for: the abil-
ity to pare a lyric down to its bare
essentials and still leave living breath-
ing characters on the page. His latest

album, "NightTrain," is another shin-
ing collection of stories of New En-
gland workers and dreamers, lovers
and loners. A cold winter wind blows
through these 12 songs and if you
listen carefully, you can hear
Morrissey's voice in it as it blows
against the walls of the woman in
"Birches" who spends an evening in
front of the fireplace watching the
flames die even as the passion be-
tween herself and her husband does
the same. The same wind blows
through the half-hearted denials of
"So Many Things," in which a man
tries to convince himself that while "I
dreamed of you last night /1 dream of
so many things."
Morrissey knows when to inject a
bit of humor into the situation as well.
"Letters From Heaven" recounts the
observations ofaman whojams with
Charlie Parker, goes steady with Patsy
Cline and buys Robert Johnson a beer.
In "Ellen's Tune," he gives thanks
that his wife "goes for lyrics not gui-
tar licks." Spare percussion and vio-
lin work is used to great effectthrough-
out the album. "Night Train" is an-
other moving collection of songs by
one of the best writers today.
-- Dirk Schulze

Continued from page 16
ality (is) bullshit. When you're
born, you don't ask to be born some-
where. So why should you be proud
about being born from such a place?"
Although Max Cavalera's English is
a bit choppy, he gets his point across.
On "Territory,"
Sepultura does not take sides on
the issues, but merely condemns the
mechanism that propels factions, like
the Israelis and the Lebanese, into
warfare. The band also speaks out
about the problems in their home-
A track called "Kaiowas" is about
a Brazilian Indian tribe that commit-
ted mass suicide to avoid persecution
from the government. "Brazil is
fucked up. We're the only band (from
Brazil) that can really say that. All the
rest don't speak up. (They) have so
much fear."
Sepultura's current tour should be
a good mix of old and new songs. In
addition, there will be a new and im-
proved Max Cavalera. "I'm not drink-
ing and I'm playing better. Every-
body that drinks to the point where

you don't remember anything, has a
drinking problem. I realized I have a
band that I love. I have a lot of people
that are expecting my music. It's time
to quit. I did the whole (European)
tour sober and it was the best tour I
ever did because I remembered (it)."
Recently, Sepultura completed a
major tour with Ministry and Helmet
where the band generally received a
poorreception from the audience. "We
pissed off all their fans. It was great.
There was a lot of hype. There was a
magazine in Chicago (that said) 'How
to dress to go to the Sepultura-Minis-
try show.' What is this shit? You
dress the way you fucking want. You

go to hear and watch a concert. You
don't need to fucking dress up for it."
Sepultura is the classic example
of a band that truly believes in their
music and refuses to succumb to the
trappings of the music industry.
Metallica was that band five years
ago until they lost their edge and went
pop. Will Sepultura keep its brutal
edge or is Metallica's path the inevi-
table next step? "Just if I die. Other-
wise, it's always gonna be like that. I
can't change. I'm a pissed-off person
and that's it."
Seputtura will be playing at
Harpo's on Friday, December 18
with Fudge Tunnel.

P e -,

I 1 ! Y r r ,


Monday, January 17,19948:00 p.m.
The Power Center for the Performing Arts
This award-winning musical group has developed a
sound that reaches past borders and boundaries.
The brothers, Marvin, Carvin, Michael, and Ronald,
have pioneered a new genre of music-Urban
Contemporary Gospel-by combining their uplifting
message with various diverse musical styles.
Tickets are $10 for U-M students, $20 and $15 for
all others at the Michigan Union ticket office
and all TicketMaster outlets. Call 763-TKTS or in
Detroit call 313-645-6666.
This event is sponsored by the University of
Michigan Office of the Vice Provost for Academic
and Multicultural Affairs. The concert closes the
1994 Dr. Martin Luther King, Jr. Day Symposium.
Please contact Michael Jones-Coleman at 936-1055
for more information.


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... . . . . A d A ..a'd"'d ie . ,.,
.. iii i i i NI

Forecast For Finals Week:


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* 14



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