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January 10, 1995 - Image 9

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The Michigan Daily, 1995-01-10

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The Michigan Daily - Tuesday, January 10, 1995 - 9

RECORDS
ntinued from page 5
Night"), US3 ("Flip Fantasia") and
Hi-Five ("What Your Love Means to
Me"). Aaron Neville sings "I'll Love
You Anyway" with his characteristi-
cally beautiful voice that permeates
the song with its vocal charge.
Perhaps music like that on this
soundtrack is what tugs people's sub-
conscious to put up with an hour of
* show. Hell, if I start-hearing more
music like that on this CD, I too may
become the next person drooling over
the tube while Kelly continues to be
passed around like a sex doll and
Dylan returns to his alcoholic ways.
(Ho, hum.)
- Eugene Bowen
Butterglory
umble
rge Records
Butterglory, a duo from Califor-
nia, write great, catchy pop tunes, low
on distortion and high, on melody.
The songs are short, simple, and
bouncy. To add to their charm, they
even have one male singer and one
female singer, who rotate singing on
the 15 songs on their first full-length
album,;"Crumble."
*Their sound is hardly original; an
easy comparison would be to Pave-
ment, the reigning kings of indie
hipness, as they share similar o-fi
tendencies, guitar stylings, and the
singing delivery is remarkably simi-
lar to that of Steve Malkmus. Their
songs are more basic and poppy than
Pavement, and have less dissonance
and changes. The lyrics are cryptic
a hard to understand with titles like
e skills of the Star Pilot" and
"Waiting on the Guns" but it doesn't
make much of a difference.
"Crumble" won't be breaking
down any new musical barriers, but
their songs are happy and catchy
enough to make you wonder why
their is so much frenzy for over-hyped
bands like Veruca Salt.
- Ariel Gandsman
Orchestra National de
Lille, dir. Jean-Claude
Casadesus
Debussy: La Mer, Nocturnes,
La Damoiselle elue
Harmonia Mundi
It's probably safe to say that
w en it comes to French music, none
more apt interpreters than the
French themselves. This collection
of Debussy orchestral works capa-
bly illustrates that fact, as Jean-
Claude Casadesus and the Orchestre
National de Lille capture what are
quintessential French qualities of
elegance, clarity and refinement.
Casadesus studied at the Paris
Conservatoire in the '60s, and later
411 Pierre Boulez, before becom-
ing the permanent conductor of the
Paris Opera and Opera-Comique in
1969. He founded the Orchestre
National de Lille in 1976, and since
then has made about twenty record-
ings with the group. Not exactly a
household name, but one shouldn't
be put off by the fact that they aren't
the French equivalent to the New
Y*rk Philharmonic.
The ensemble captures all of the
shimmer and spontaneous details of

"La Mer" with subtlety and refine-
ment. "Nocturnes" are equally at-
tractive, although tempos tend to
run a bit fast, diminishing the
music's poetic qualities somewhat.
"La Damoiselle elue" is a sort-of
miniature oratorio that Debussy
composed early in his career for
*rano, mezzo-soprano, female
chorus, and orchestra. The Ensemble
Vocal Michel Piquement captures
the radiant harmonies that Debussy
was just beginning to explore in
SO YOU'VE ALWAYS
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RESPECT...
NOW'S YOUR
CHANCE !!
POSITIONS ON ALL
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1893, and would soon come to help
define his musical persona.
The sound quality on this disc is
excellent, as is normally the case
with Harmonia Mundi recordings,
and highly informative liner notes
are included, making for an overall
good buy.
- Brian Wise
Bone (Thugs-n-
Harmony)
Creepin on ah Come Up
Ruthless Records
Eazy-E ain't the most popular rap-
per nowadays. And so, like any per-
son would do in his situation, E turned
to producing. The four members of
Bone are perhaps the most well-known
people under Eazy-E's tutelage.
After dropping their hit single
"Thuggish Ruggish Bone," the group
became the talk of rap town. Consid-
ering the cuts in Bone's debut release,
the hype ain't fake; it's all for real.
Although "Thuggish Ruggish
Bone" is arguably the best song on the
CD, other songs also attest to this
group's interesting rap style -
hardcore rap with a twist. "No Sur-
render," "Foe Tha Love of $" and the
title track, make Bone's love of slow,
bass-filled tracks apparent.
Many may have a problem shell-

ing out too much loot for this CD;
usually, eight cuts implies a little bit
of skimpiness. But, not in this case.
"Creepin on ah Come Up" isdabomb,
and I'm talking nukes.
- Eugene Bowen
Kerbdog
Kerbdog
Mercury
Along the same lines of Helmet
and Metallica comes the Welsh quar-
tet Kerbdog with their self-titled
debut. The group definitely sounds
like they've been around fora while,
though - all of the songs are very
well developed and rhythmically
tight, even through some crazy syn-
copation and time signature changes.
Lead singer/guitarist Cormac
Battle's growling, angry words
sound very James Hetfield-esque,
but the similarity is not all that ob-
vious.
Maybe it is the fact that the lyr-
ics are rather unintelligible, or it
could be that Battle isn't saying
anything of grave importance, but
the fact is that Kerbdog comes off as
a hard-rocking outfit; they aren't
the least bit concerned with preach-
ing at the listener or conveying a
"message." And with each of the
songs at four minutes or less, this is
an album that leaves no space for

anything other than loud music.
If this is your bag, you might want
to check them out.
-David Cook
Godflesh
Merciless
Columbia
Listening to Godflesh's latest re-
lease, "Merciless", is about as much
fun as cutting off your own fingers
with abutter knife. The disk is incred-
ibly hard to listen to in one sitting -
and there are only four songs on it!
The band (actually just two guys who

like to play around in the studio)
spends most of its time trying to prove
how heavy they are, and just ends up
putting the listener to sleep by pro-
ducing the same song four times over.
Each of the songs on "Merciless,"
with the possible exception of the last
track, "Flowers" have the same slug-
gish tempo (we're talking slower than
the Melvins), the same grindcore gui-
tar sound and the same super-dis-
torted vocals (surely meant to depict
life in the lowest plains of Hell or
something). When the vocals actu-
ally are audible, they usually just con-
sistof the normal psychopathic drivel.

For example, on the second track,
"Blind", someone (the band is so dark
and scary that they don't bother to list
the names of band members) sings:
"My eyes are blind / Hopeless dead
mind / My eyes are blind / Can't feel
no more." Occasionally, we are treated
to some ultra-cliched, industrial
sounding sample, but otherwise it's
just power chord after power chord.
Basically, Godflesh manages to
create a pretty cool sound, and then
takes it absolutely nowhere.
- Mark Carlson
See RECORDS, Page 10

r~

E / Laughtrack Present:
Stand-Up, SKITS & Improv CoMeCdy of...
_ Selected,
Thursday, January 12'
10:00 PM in the U-Club
$5.00 (Entree Plus accepted)
If you need sign language, interpreter or assisted listening device, please call 763-1107 one week prior to event.

;

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