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April 02, 1996 - Image 8

Resource type:
The Michigan Daily, 1996-04-02

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8 - The Michigan Daily - Tuesday, April 2, 1996


Heavy Petting Zoo
With their slamming Cal-punk and
the coolest cover art in a long, long
time, NOFX has returned once again to
bless the world with their presence.
"Heavy Petting Zoo," the irreverent
punk band's sixth and latest release
covers all the ground of earlier NOFX
albums and much, much more. The best
thing about the album is you can easily
judge it by its beautiful painted cover.

The CD version features a farm boy
with a female sheep laying on his lap.
The guy is obviously enjoying this ...
bonding ... as his fingers are also ...
entertaining... the lovely animal. Hence
the title, "Heavy Petting Zoo." The vi-
nyl edition of the record is titled "Eat-
ing Lamb." It has ... different cover art.
Aside from the cover, "Heavy Pet-
ting Zoo" is the same-old, same-old
straight from the big, love-filled heart
of NOFX. Hard-hitting rhythms and
flying guitars create the intense energy
level the band emits on all its records.
With hard-hitting and not-so-hard-hit-
ting songs of sex, drugs, money and
more sex, the album propels the band
further down the road to the more me-
lodic and even funnier escapades that
they explored on their 1994 release,
"Punk In Drublic."
There are wacky songs like "What's
the Matter With Kids Today?" where
vocalist / bassist Fat Mike sings:
"There's something wrongwith the kids
in my neighborhood / They always lis-
ten to mom / They disregard civil dis-
obedience / They'd rather do what
they're told / They don't drink or fuck
or fight / They stay home and read,
expand their minds."

"Hot Dog in a Hallway" is even bet-
ter. Mike sings: "I'm her butter she's
my bread / She's like a mobile water
bed / And when I get on top of her I can't
touch the mattress / And when her flesh
begins to sag / She's like a human
sleeping bag / I feel so cozy, safe and
warm / She's my insulation."
Hell, that's deep. For NOFX at least.
- Brian A. Gnatt
Nick Cave and the
Bad Seeds
Murder Ballads
Sick of all the bloody albums about
love that have continuously circulated
through our culture since marketing
departments started pandering to the
squishy part of the consumer's soul?
Buck up, little camper, we have here at
hand a wondrous alternative to the point-
less, or perhaps more accurately, over-
stated theme of finding bliss in the arms
of another. Instead, we have the less-
looked-into but even more universal
theme of death, distilled into its most
precious form - that of murder.

We have here 10 stories of death,
with characters who kill or are killed.
From bad little girls to a hopelessly,
homicidally romantic adult male, all to
a backdrop of dark piano lounge music.
The music ranges from the slow and
understated on "Henry Lee" to the fast
and frightening tune of "The Curse of
Millhaven." Entirely appropriate for the
subject currently being autopsied.
The guest coroners are in, and in
force. Amongst them are Kylie
Minogue, Shane MacGowan and PJ
Harvey. Nothing like bringing your
friends in for a little of that glazy
ultraviolence, killing some of them,
being killed by others. Sort of a yin and
yang kind of thing. Cave still seems to
be doing a bit more of the killing than
the others, though. Well, it's generally
easier to have a voice coming from a
killer than from a corpse, and he does
hold pride of place.
The whole thing comes together with
Nick Cave and a ton of guests singing
Bob Dylan's "Death is Not The End" in
some kind of soulless zombie ring-
around-the-rosie effect. It's eerie and
it's worth the price of admission, and it
makes you sing along during the cho-
rus. Makes you feel like barbecueing.
The album can be more or less
summed up in the words of one of the
killers on it, in an asylum and safe from
the chair: "So it's Rorschach and Prozac
and everything's groovy." Why sure it
is. Can you see my teeth?
-Ted Watts

Canadians tll H111
Quintet amuses with delightfuli antics

NOFX is tiny, but it still ROCKS!


By Stephanie Love
For the Daily.
Five men wearing white sneakers
and all-black startled the audience at
Hill Auditorium Saturday night. But
there was no cause for alarm, since it
was just the Canadian Brass warming
up the crowd for yet another success-
ful concert in Ann Arbor. Playing the
Canadian Brass.
standard, "Just a
Closer Walk With
Thee," the group .
used the piece to
give the crowd its
first sampling of h
the quintet's hu-
mor. Tuba player
Charles Daellen-
bach then explained that the piece
was the group's first encore, marking
the beginning of a very entertaining
After taking their seats, the players
settled down to prepare for their first
selections ofbaroque music set for brass
quintet. Despite the serious nature of
the music, members of the ensemble
entertained the audience as if the per-
formance were a music history stand-
up comedy routine.
Daellenbach's explanation of pedal
point, in anticipation of Purcell's "Fan-
tasiaon One Note," allowed trombonist
Eugene Watts to take advantage of his
opportunity for a one-note trombone
solo. Watts claimed the spotlight with
his amazing ability to play a sustained
note, while the rest of the group soared
through running passages with un-
matched technique.
Trumpet players Fred Mills and
Ronald Romm gave very impressive
displays of virtuosity in Bach's
"Tocatta and Fugue in D Minor," ex-
ecuting intricate scale patterns up and
down the realms of their instruments
in almost flawless form. At times, it
sounded as if Mills was having some
difficulty with certain passages, but
there was no question that, despite
these small problems, he gave an im-
pressive performance overall. It was
also his last concert with the Cana-
dian Brass.


The group then switched gears, per-
forming three tunes from its new CD,
"Swingtime." The arrangement ofDave
Brubeck's "Blue Rondo A La Turk"
took the piece to a new level. The quin-
tet took full advantage of the opportug
nity to show off its jazz musicianship,
quoting melodies from the piece "Sen-
timental Journey" during a 12-barblues
_____ section, and return-
LEVIEWA ing to the main
theme with incred-
Canadian ible ease.
The arrange-
Brass ments of "'Round
l Auditorium About Midnight"
March 30, 1996 and "Sugar Blues"
sive. omm's
trumpet solo in "Sugar Blues" prompted
the group to break out into dance, an
obvious indication that the Canadian
Brass was having a great time perform-
The second half of the program was
definitely the highlight of the perfor-
mance, as the Canadian Brass showed
offits humor, presenting selections fro
Gershwin's"Porgy and Bess."Progra
ming Barber's "Adagio" next may not
have been the best choice; although
performed beautifully, the piece was
not memorable compared to the rest of
the program.
Bizet's "Carmen" was the most en-
tertaining aspect of the concert, as the
members of the group acted out their
"improved version" of the opera in cos-
tume. Daellenbach stole the show with
his performance as the bull and h'
ability to play the tuba while lying on
the ground. The audience wasWt will-
ing to let the group end without a real
encore, thoughand the Canadian Brass
didn't disappoint.
In its rendition of "Tuba Tiger Rag,"
the quintet showed off its vocal tech-
nique, proving that the players were
indeed all-around performance experts.
Once again, Daellenbach was the high-
light, performing while standing ono
foot in appreciation of the Ann Arbor
crowd, a gesture that was welcomed
and reciprocated by the standing audi-

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Don't just fc

ATei LcQ ate
Wbdle some women u
are waitng to ehaie,
tbjs one is reaj
to get even.
f . ,*A
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Wednesday, April 3, 6-8pm Michigan Union, Anderson Room
Applicants must attend one of these mass meetings
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Enrollment in Winter and Fall Terms 1996
Good academic standing



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