8 - The Michigan Daily - Tuesday, April 2, 1996 NOFX Heavy Petting Zoo Epitaph 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 Reprise 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! U 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 concert. 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. R1 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" werejustasimpre 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- ing. 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- ence. Pursuin a careew in Athletic Admni 7TI4TW-lu'. =1 1v mm=n=a=am==.== i Gain valuable experience by joining Team Blue The Michigan Athletic Department's Student Volunteer Intern Program. Donor Event Management Athletic Department Office Work Leadership B3ooster Clubs Sports Marketing Teamwork Promoting Michigan Athletics Nick Cave is cool. Game Football Management Recruiting A limited number of opportunities are available for Spring/Summer and Fall intemships Applications may be picked up at the Michigan Athletic Department's Office of Development & Alumni Relations in the Marie Hartwig Building (Icket Offie Building}. Interviews will be held during the first two weeks of April. 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