The Michigan Dailv -- Mondav. Aoril 11. 1995 --11

VECO RDS
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4 they'll remain" can't help but
,mund corny when filtered through a
Ake (I think, since he used to be in the
io scene) accent.
R The CD proceeds through the vari-
sa musical territories a technologi-
Sly-advanced album of this age can
9 expected to go through. It has its
'"usting, Zipp-fr-an-encore quiet
Roments (like the beginning of the
'track "No Fair Fights," with its weak
end poorly constructed piano part),
these are far outweighed by its
_k and screeching parts (like the
"laer part of"No Fair Fights," with its
heavy drum and vocals that appear
fitly through a haze of static).
The ultimate best reason for buy-
this album is found on the track "I
Vt It Bad," a guitar-based bit of
mayhem with the lyric hook spit out
tIh the rhythm. Now that's enter-
anment.
- Ted Watts
Misery Loves Co.
Misery Loves Co.
Earache I
Noteverything from Sweden sucks.
f(. This isn't your average ABBA /
Ace of Base kind ofjam. No siree, nor
is this another industrial-metal hybrid
like Drown or Stabbing Westward.
There is some requisite angst a la
Nine Inch Nails, but there's also some-
thing greater lurking underneath: Sex.
,.!"I Wanna Kiss Your Boots" has
.t% great sound of noise that makes
'&M almost necessary to perform
while listening. I'm not even sure
*hat the song is about, but the quiet
dihinous opening and thundering, al-
most gothic death disco pulse of the
rest of the song just screams out for an
"Exit to Eden" style adventure.
A If that isn't goonl enough (man,
you guys are picky) there's also a lot
of moody, Alice in Chains-style jam-
ming that is unique for an industrial
band. Plus, the dual vocalists switch
etween thrash metal and a cool mono-
tone dance voice (the latter sort of like
a cross between Therapy? and

ITIILMichiinr fiI vI - IMnndIUvnrl 1 11 Qsf7 -- to


Depeche Mode), making MLC a nov-
elty in a genre that relies way too
much on distortion rather than good
old-fashioned singing.
It's nice to know those pesky Scan-
dinavians learned to rock.
- Kirk Miller
Milo Z
Basic Need to Howl
Mercury Records
Seeking to imitate the blunt raw-
ness of street music, Milo Z sounds a
little too refined for the archetype
they try to copy. Nevertheless, Milo Z
and his backup musicians and singers
have produced a very decent CD.
"Basic Need to Howl" cpntains a
huge variety of singing and musical
styles. "Get On Up," the first song on
the CD, sounds remarkably similar to
EU's 1988 hit, "Da Butt." It also does a
good job of perking the listener's ear-
drums for the musical treats to come.
Other notable Milo Z efforts include the
splendidly engineered remake of the
oldie "Love Song" and "Change" which
features what is perhaps the most beau-
tiful and powerful instrument imagin-
able - the human voice.
Those who helped produce "Basic
Need to Howl" deserve a big pat on the
back. The' solid musical backing of
each song is a great plus for Milo Z, and
the imagination that flows throughout
is a rarity that should be appreciated.
- Eugene Bowen
Kustomized
The Battle For Space
Matador
On last year's "The Mystery of
Kustomized" EP, Kustomized was a
nauseating, boring blend of art-rock
and indie cred. On this year's "The
Battle For Space," Kustomized is a
raucous, rip-roarin' blend of noise and
explosive garage shock. What gives?
We can, however, forgive them
for past sins because this album is one
of the catchiest of the year so far.
Kustomized has forged itself into a
zany musical amalgamation of early
Butthole Surfers, Sonic Youth and
the Mono Men while, lyrically, the
group has many crazed yarns to spin

like lessons on how to throw your
voice.
You can try and figure out what
singer Peter (The Shark) Prescott is
gargling, but you won't be able to.
And that is the endearing charm of
Kustomized: Enough loopiness to
admire from a distance, but you can't
get too close to its wall of sound.
Highly wacky.
- Matt Carlson
Ailson Krauss
Now That I Have Found You
Rounder
As the youngest member of the
Grand Ole Opry, Alison Krauss has
certain expectations she must live up
to. This collection of her work proves
that she is just as capable as any other
current member of fulfilling the du-
ties the position carries with it. As a
fiddler, Krauss is nearly untouchable
in modern bluegrass and as a vocalist,
she is absolutely unparalleled. "Now
ThatI Have Found You" collects three
previously unreleased tracks, three
songs she guested on for other people
and six from one of her various incar-
nations, whether as leader of the blue-
grass Union Station, as a solo artist or
as a member of the gospel-based Cox
Family. As such, it is an excellent
introduction to her high-quality work
(even if a bit skimpy at only 13 songs),
not to be overlooked by fans of blue-
grass or folk.
- Dirk Schulze
Outside
almost in
Planet Earth Records
One can get easily fed-up with
what seems like carbon-copied same-
old-same-olds infesting music today.
Often, it seems everyone is out to
make a quick buck instead of making
music from the heart. It's then that
you should go back to a decade where
music was spiritual, music was ev-
erywhere. Let's go back to the days of
afros and bell-bottoms, the rise of
Black Power; these were the days
when if you didn'tfeel the music you
didn't write the song. All you need to
go back is a copy of Outside's "al-
most in." These 13 brilliant tracks, all
written by key boardist/drummer Matt
Cooper, will bring you to a level of
musical ecstasy rivaled by few mod-
ern releases.
Most of the cuts feature a jazzy,
rhythm-setting bass line upon which
a plethora of inviting contemporary
sounds lie. The steady beating of the
drums are sometimes superseded by
the cutting flute-though never shrill
enough to stop a trance-like revelry.
The pining piano will add mere sec-
onds of spice, bringing your heart to a
momentary frenzy before that dreamy
bass-line returns to mellow you once
again.
Perhaps the most provocative as-
pect of this CD is its use of voice. The
vocals of Origin can be found upon
many cuts like "Ruffneck Radio" and
"Big City," as can that ofAnita Kelsey.
The vocalists don't stand apart form
the music; rather, they are one with it,
their sounds blending together like a
well-mixed milkshake. Not even rap-
per Zinger Galliano tries to domi-
nate. This type of musical symbiotism

must be heard to be fully understood.
Outside is a brilliant musical
group whose work reminds us that
good, true music is still a possibility
in this age of fast cars, fast sex and
fast bucks. "Almost in" is ethereal,
defying all descriptions. It is so
beautiful it won't have you wonder-
ing if its worthy of becoming a part
of your CD collection; it'll have
you contemplating your own wor-
thiness of it.
- Eugene Boweni
The Jayhawks
Tomorrow the Green Grass
American
1992's "Hollywood Town Hall"
was a majestic major-label debut on
which the Jayhawks found peace and
beauty in fuzzy guitars and warm
harmonies, proudly waving their mel-
low country-rock flag in the midst of
a grunge revolution. Their latest, "To-
morrow the Green Grass" is a slightly
more scaled-down effort but it is by
no means less magical. It returns in
some places to the freer, breezier
sound of 1989's "Blue Earth," espe-
cially on "Over My Shoulder" and
"I'd Run Away" but strikes out for
rockier extremes on the joyous "Ten
Little Kids" and "Real Light."
Frontmen Gary Louris and Mark
Olson's harmonies are as sweet as
ever, augmented at times by new

The Jayhawks continue to make magic with their splendid new album:

keyboardist Karen Grotberg and
drummer Don Heffington.
The sweeping opener, "Blue,"
sets the stage for the record per-
fectly. A slab of harmony and
strings, heartache and love, "Blue"
is everything that classic songeraft
should strive for: An emotional

chord progression and a catchy cho-
rus. The rest of "Tomorrow the
Green Grass" only improves on this
formula, its songs painting a canvas
of loss, faith, innocence and hope
that is as beautiful to look at as it is
to hear.
- Dirk Schulze


Don't miss out on your chance to win a course
with the "World's Best Test Preparation"
Phi Alpha Delta and KAPLAN will be sponsoring a "Test Prep Giveaway"
April1 -" April 20. Stop by the Union
Ticket cost: $3 for 1 ticket or $10 for 4
For more information contact:
913-8545 or padinfo@umich.edu
-All proceeds go to the Seth Charison Memorial Scholarship Fund

Register Now For
., y
Join ~ESTIFAL;L9
.Jointhe fun, recruit new members, publicize your
organization.
September 8, 1995 on the Diag
Registration forms available at the Office of Student Activities & Leadership,
2202 Michigan Union, 763-5900.
Due By April 18
REGISTRAR'S BULLETIN BOARD
THIS IS IT!
THE END OF THE TERM

Kustomized prepare to battle for space. Those wacky punks!

ir -r At4V- 61%.L av~cid04 715 -t14kk ' -to ourvrmr

WINTER TERM GRADES:
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IXXLLTULZL. ':a::: ::: :::; :: :::u> IMI:.. r l :.tr - _ -FII I