can be packaged as art

• C2 CALGARY HERAlO lhu,s., A119. 27. 1987

Presentation proves sound

ALL AUDIO/NO VIDEO, a presentation of audio works by _eight Calgary art ists, ava1lable for lislen ing at E •1/Media, 1014 Macle od Trail S.E., lhrough Satu,day .

· Now for somelhing complet.el, differenl: gct comfortab le on Lh~

COllch at EM{M.?dia, clon a sel of h,adphones and listen for an hour to eight audio works hy Cnl ':ar:r a.nists in a prcscntation curnted by Steve Pctcrson,

T .e e,cnt is called Ali Audio- /No Video Lo make n couple of µoints. Like radio, these works arc sound without 1>ictures. Dut Pcterson points ou! Lhat souiul or audio ort took off as an inde- pendent form with the invenLion of _porlable video recordin g cqu1pment. H ence the Jink to

~!deo._ Though missing herc,

~,deo 1s acknowledge<i as impor•

tant LO the development of con•

LeJJlporary audio art.

Many arlists ncross Canada ore experimenting with sound as iln'·elcmenl of their vidco, perfor.

m., nec and installation art os :wetl as on inclependent fonn.

Howeve r, t:, work with the broàdest and ·;ost flexible po.ssi- bi l_ities in a . :io art toc!ay r,~- . · ~qu~rc_s ncces:!' ta ex pensive. sv- .. ph13t1ca!ed electronic equipment . : · ·rctcrson'.s intention in curot- 'ïng lhis prcsentation was to give Calgary BTlÎsts the opportunity to focus solely on sound. Those who r<;sponded to invitatio ns and an open co Il for submiss ions were given free acccss Lo four•

track rec~rding. sound nuxang and comput,:,, facilities nt l':M- /1-h là,

Co rutor Pclcrson reccivctJ e1i;hL proposa is; Lhc arLÏst-n.n1 _ (l;ledl:! cen re coinmLssioncd :i Il

·c~ght wor s. Thcir ~ualiLf is -cousht<.!n'tl stron~. \V1th on-t·

:cxcl¹pdDn. the ;Lrt•sts - Can· :Uruckne r. ll11•11d t:!. rk Chut:k ' r.~,u!-.tns, Slc\¹,c l lc111~lH·c· k1•r

!\'1:l:-i-Ul1 H1!11ric:ks. Cul11:t:11 r<L·rr:

i\.11 L' ;•.11th :uu·I l,orri,· .S:.w\·•.l,..,·u

Nancy Tousley

The u,e of saune! by visual artists isn "t new: its root.s reach back ·into eorly modernist mo,·e- ments such as Dada and Futur• ism and the ear!ics~ artists' per- formance work. Audio gained a stronl:"hold in the 1960s and '70s.

lnterest in audio in the '80s has bloomed wilh the flexibility of- fercd by electronic media. An addcd impelus bas been the _ç,r9.ssover of work by such artis~

as Lau.rie Anderson and Philip' Glass into the wor!d of popular music.

Still, audio srt ha.s not been widely avaïlable outside of art gallery pre.sentations, though it is sometimes,aired 011 alternati,e radio and such programs as

!!rave New Waves, on CBC-FM . AU Audio is the fi.rst presenta - tion in Calgary since the show, Software.. al the Alberta College of Art Gallery in 1983. The snme year, Audio by Anist s was mounled al the Walter Phillips Gallery in Ile.nff. Doth shows

· wcrn internatio nal antho!o"' ••

Ltnd ;ntrodu<::L~ons to audio 1Hl

for msny listent:-rs.

ln gcncrnl, oudio nrl hus dc- ,·dope d ulonc the thrce linc•

th1,t. clrn:ro.ct.eri:t.e- the wor:ks in /\ 11 Audio: sonE;S. aurai imog~s or soundsce pcs. and nbs~trnct ...... orks thu crentc u phy~ical o.r scu 1,,turnl S~llSC of SflllCl:. or

~·ourse. lhcs1.• oppronchcs c ln uvcrlnp. And ail kimls or soumis - dcrivi.:cl from n1.•w music. pur>

rnusu.::. fourni ::oun,b . zq11,rupfÏ n,t,

The wost complex work mi.glit be Gary Bruckner's ambitious Soundscape Opus 222, nn aura.1 interpretation of the birth of the p!anet, colored with · drnmatic o,·cr·tones of 2001. Lorrie Sewy- shyn"& PictureS er~nity combines

!he rhythms of natural forces ..

wind and water. wit!1 an oriental scalc to create a lyric a I tone ooem.

'i'wo sor,gs by Nelson Hen•

·,icks and one by Devid Cla rf:

partnke of popular music forms.

Henriclcs wrote and sang nis works, most effectively in the aggressive and ironie This Song ls Ovcr. Cla.rk's upbeat f,"asttrack is a c91lag~ oi' rap, fÙ11k and a p JJ ro pr i ated recorded tex ts t h.:i t contains a social message.

Collage is a frequently use<i strat egy in current audio ar,t.

Ken ·s work, · Hartz Mountain Serenaclo of Shame, related to ber recent in.stallation in Place Settings. is an ,imagistic collage of cana.ry songs, organ and ma- rimba music and spoken texls that evokes a poignant 10s5 of innocence.

Cousi.ns's Witchcraft collages the voices of people speaking about their experiences in the occult wilh a relentless percus- sive rhythm. The snalches ·of lext seem to noat up frorn the depths / of a darkly ritualistic soun• dscape, given particular impact by lhe authenl.icity of the vo.ices, Heimbecker's Chime Varia- tion Graccland B, another per• fonnance-rele.ted work, and Mike Milo"s Untitled arc both abstract works lha,t crenle sensations of pl1ysicol sp::icc Hcimh~ckcr lets his worlc run on loo long and it occasionaUy grO'-'•'S muddy, but th~ ~~Ieee has a medita~ive power. Milo s abstraction on the th,•mc of cx1stcnt1alism h,u;. the stroni:

.,

can be packaged as art

e(foct of a chi Ili ng wind. Severa] of these works suffer problems of form. Cousins's !oses its punch in its lrailed-off end•

ing. If Heimbecker's is lengthy, Clark's is ahort: a!most tao

•hort for the medium lO deliver its message, Occasionally, con•

t,enl here is a touch 'too literai or sophomoric, But that's almost l,eside the point.

Ail Audio is a very credible experiment in a form tl;tese art•

isLS have usoo primarily as a secondory medium. EM/Media will make lapes of individual

works available for about apiece, Whether you want take one home or not, the prc talion is worth listening u discover arlists" interests sound. Bath gallery and cur are to be applauded for ma~H ha?pen.

Rock records

Bond 's back ·

E2

E6

SATURDAY, AUGUST 1, 198!

C:1l•>an-

,.,

ENTERTAINM ENT

Editor: Susan Scott

Rooms trans forr:n~ , 9 ,; iQtP ~QY: irônrnents

• 1" '°::4~, •: ·• '•;•;:-'(--i :~ -~( ~ ^{, 1 •• •~.-. •• ;,_ !. •f~"lf} .~~ ^',

By Nancy Tousley

(He.-akl staff wr1t«)

By the tù,;e she reached item, 13 on the' work achèdule for a,;

current show .of work by eix ..

young Calgary \u:tists, exhibition-;;) co-ordinator Anna-Marie• Larsen~\.

wae gaz.ing into a cryatal ball: • .• · . "Jul~ :2_i·~xhibitio/ ;op!:~.

w

Masses of culture-stsrved Stam-,: . pede tourists avoid the· opening-"

of the 1987 · Calgary Exhibition'"', and Stampede and come to see the,P\~ce ._Setlings .•~ibition ~,f.

stead. 1~-~- ·., ·~ .. ~ Ï; / ,' ·-~Jf:·

The.~pr~dicti~~ wu'•'wishful {' thinking .mixed .with',sa'~go~ '.j:..:.

humored splash of •ry J, After)Îi.

parking their cars; the gaggles qf-3{

touris'ts "ju&t' · Oocked past our.,_, door.''. Larsen~ saya:r:Hp'iF':'~ ... !-

looked 'into.the,former,:)1,,me of,?~· St. John "Ambulance.at 619 12tl!;\

4ve: S.E:,·they'd.have found·six:«, installati<>n' 'worke'r;"by I Judy!)! Cheung ,'',:'Mark ,i: .Dicey; 'Jim/ Goertz, Steve Hei;,,becker, Çol-•:~

leen ~err an~ Je!f Vi~~r. ·, ,.\ ;.~ Place Settinga ,I'-on view, .''·

through Aug. 16, is the· first '':

major off-site exhibition prescnt- ed by the city'e youngest artist- run gallery,· 2nd Story, whoee program fcatures youn·g, emerg- ing artists. 2SG's home base.is in a storeCront on Macleod Trail S.E. Because the space is limited, the gaUery hns looked beyond its own walls to mount large-scale projects.

This has happened twice be- forc. 2SG successfully etaged two

li!HTV MlK:0ougal~ Q,Jg,ary Herald

Mark Dicey's Measurement/Filter ( 1987) mokes good use of the room's attributes ' :..

um1>1t1ous orr-slte -evenrs· with Performance Focus last year and Dusk 'til Dawn· last epring. Both wcre cvcnings of performance art. The latter, an all-nigbtcr held at the junkyard known as, Grnceland, was especially wcll-

•nttended. And for mnny cu.rioue viewere, it marked a first brush with performnnce art - an art form tbat bas been around, in vnrious guise.a, for much of this century.

artlsl.s rcplied. Their submissions Design, came to Calgary, she sional art shows the most Her Dicey and Colleen Kerr make werejuried. found that little if any installa- inst.nllation, The Bentley Har- particularly good use of the site, Artists Grant Poirer, Bart tion art was being produced by vest in Dawson Creek, is the mnking the attributes of their Habermiller and Derek Dennett the city's younger a.rtisl.s. She foiled effort in the show'. These rooms integral to the overall fab- - rcspectivcly a video artist, n conceived Pince Setlings as a photographs of formere would rie of their pie<:es. Kerr tumed a sculptor and a pointer - select- way to revive interest in the · have communicated bctter had cagc-like st-0rage room into a ed th.c six participating artists. form. they bcen left _unembellished in a room full of cages, moving imag- Together, the artiots decided on-. Steve Heimbecker p9ints out.·· barc room. . , es and sounde in Birdcage. Sbe how to apportion the epace that "it's hard to do work in ;' Painte.r Màrk· Dicey'a Measu- comment.s.poetically on tbe.ways among themselves. They went to Calgary right iiow, becauae it's .~· rement/Filter, an lnstallation in in which wo are trapped by our work on the inetallations in bard to find money to ,make ·'·the building's kitchén, actually inability to communicate, espe- May. ' work." Without the budge~ Place ~; grew':out _of. hie performance ciallyouranger. • .

Ably administrated, Place Set- Settings provided, bis well-exe-

!,

~ isn¹t drnwing crowde. Though'¹ 'tunitiea to'do ao. ·Insta.llation ia 8., '1mcccsefully .z:ealize ,'projects h :j.p. my1,,tudio.in the, performanc• • Jrame.s hie i concerna,,.witb our · , ,the . Cirat jJ.~~nt·;fr~ques~ . waa f multi-med.iJ,,Am~ir9nme!)tal, fo~ j f ^~.aa"put 'for:w~ tinu(,and · agaiii es~ ^!o.,o~ng t.hem ·.into a opecjfiJ·:•;rapid d.iaappearance ~f ~ature:·in •. turned~'~o,vn• ~y 'the .Canada related .to. ac~l_ptu"!'I!' that ca.n m,fr_ 1n g~ant propoll;llla tl)~!-,1,all,.he,v.(l set~•~g ;~d ·, le_t .the!" atail~_,«?li · ; /,the·. con~xt _of,. the.livmg -l'li?\D .. ,

~ Counc,l, 2S_Çl,Ja1~ , '!'-budget, of, ₁clude ·art :obJe<:ta,\found · obJects, • been tun.ied dowru f;":\ ',·· ·:'•'l-1!;! ^lhe,r O"'.D18 a ne,r lhing.~ i'.U .; L\ànd, the famtly. ".J.n a cha~l-like "' •

j $12,959 :.Il! ·P~<><;i,ufe 't~_e, ^,'.•how, ", •?undA,jd~ ,'Jight(o_rganic "!!'~ \ '.:-: :''.'The whole:p,:oiéçt is a'suÎ>c ,;'iW'1~ 1Heµnbecker·•~nd"Jçfl' ;;,_~iderooin;,' Goertz 1•~•~• 1.~ight, ·,·

• rent the ·ofT-s1te .•p~ce µd _' pay ;-nais 1n '. the,r:,natural,:.~~~.: .. ~tc?,frl•id~11,'.'.":~ay• He,!"b.e~ker. ,, "ltJ Yin~r•~ork<:d: with• prê-plann<;d: :-,IIOund and!tranBJlll:ent 11Dages''!" ?,

\ two staff' ~emben . to_. ~~rdin~te Almoat, anY!J,m, 11.0•1•1.~'.:1~~-h' •·"•:,~ · :,,v~ry exc1t1og to. •oe~pie m. th~ 1deu'. lll~,itaï!or~ •!-hem'~ ,the,r ; . à ~•~pi,oro f?r ~•cl ... and ·'N-:.';·

) ~d ~uperv:•~ the_P/'?Jec~ 1, ,,_.. . ~tàll~tlon artj!ts'.cteate l)nvi•··, · ,vuual arte. who baye_ go~!; mto spac,e•'. to(P~/><h!co ·!' dee,!ed, ~<>'.\ :. ~lief m the B1b_b_cal ~?"-, :'•\l;:t:f: j :·. · . .' · ;_ .~-; :·t ·• .. , • ,,r • ··'· ¹ rollD!ente for the v,_c-r~r. to ~nter;J performance ~ .~kot~he,r 1deas , suit, f?1ceY'.'•aye .t~at be and ~un,, ·· · By_!vi~ue'_o_f 1~·yery_. vane_ty,i,ll;

. ,Thel momes,Jpame .. from1-the. ~phys1C!'lly :.~d/or .,l!"ag!l!,",tively,;)\ •~d;expand ~~ m!ô,:."~ulpt , 0 Goertz,),wor~ed w,th ••;mater,als~l Pla~• Settings,IB a good mtroduc-;":

! CRAF. lmpr~ar,o pro_gram, the ·r.aod ·most demand: interactiv,e'·. en_yU'Onmen~.-.. :, \•\~-•:,: ;, .,!,; and. the "P'!Ce 'to ·rind. out, -..:hat\, tion to anyone who'migbl atill beiO Alberù\ Arts Foundation and a· ·ratherthanpllJ!SÎveviewing. ·,<• '.\' •tAllofthe artists iii<Place Sel' tl!.e"resul,t:would-.be.•;_~This ap-' , un!amiliar !-with·installation art.·:

federal government. ell)ployment • · ,The' form' is one inl_;which· · tings'•except 'photographer Jud' proach is'.aimilar to the wayart,:¹,. A 'well-done 'j,roject,' it's -a -i:bod '.:

·. progrnm. Research began last Canadian. artists' have excelled .. ,. Cheung have' been. involved .. ~

1 -_

<· :,

• \;••; '. ,·•' ,, _ .. •;-·;• , . ., ·,,, ._.· ... ,._1-.·~----... r; ·_ .. ,,-·'--::.\!·~-~-,1 ... ~ .. ~;~{-Ï-"''· _: ... :}1rt·,,.: i·,.~·;t::.;;,.!",;-•· .. :i~,-;-•t··:

Local Rhythm Monsters Hone Their Sound

By Dean Baker

~JC H,,u,az.,,he,-

/)u.. l't:/'1"7

hree ycars ago, right here in Cowtown, saints

T

"Thundercloud" Wallon have endured the harsh reality of carrying on atone.

The changes to this band have been dramatic. At first they had an uncontroUed edge that didn't satisfy the present members. Paul felt tbe music they were doing al the lime "had a lot of hostility in it.

Everything was black, a lot of bad energy with no hope." The lead singer and the extra guitarist bounced around in· their own world yelling "fuck"

repearedly, kicking a mannequin around. As a band, "That's been a really bard thing for us 10 live down. That's what people remembered for a long

time. •• .

ln November of '86 things changed. The lead singer and the extra guitarisl were dropped and the Bullets of Bliss (female backup voices) were added.

With the enigmatic Bart Habermiller on keys, the Beat Apostles came oui with a rock/jazz/bop/blues mixture, in total opposition to lheir previous edge of anarchy. They çonlinued working as a six piece, arranging new songs and learning a few covers. ln Jw1e of '87 they held the Mr. Ed Multi-Media Variely Show with an assortmcnl of sensitive art types. This party was 10 have summer-long residency al the Nash, but it wasn'I lobe. "We were going along weJJ and we would ha,·c stayed thar way excepl things necded to change somehow," Mark sai4. As it happens, the Mr. Ed Sho~ was not atJracting lhrongs of people, and eventually became the Mr. Ed is Dead show. However, from this came a live demo lape featuring their quasi-bit "Going to the Disco" and other such faves as "Running out of the Past",

"BuUy", and "Don'I Betray the Uni verse".

They have viewed these changes positively, as a

leaming experience. Paul recalls, "When we played witb rhose other guys, we would play the same song for an hour. AU that 1augh1 me was to kecp the rhythm and play through." Steve emphasized how important arranging becomes: "The old mcmbers were inlo free form, very spoatancous types of music.

We had to learn how to sing and arrange, and that's where Bari helped out a lot." When the lead singer left they needed someone ... anyone. Oui from be- hiad the drums, the long hair and beard came the suddenly ex1roverted Steve Heimbecker.

The mixture of jazz and blues in the background of each member links !te band together. The ·in- fluences and experiences are diverse. "l've always liked jazz, but il helped 10 play blues and country for money in the hard rimes, because it's go1 that swing 10 it," claims Thundercloud. Paul bas a good feel for hybrid jazz. He plays rhythm, touch.ing on the styles of Hendrix, the Clash and the Jazz Butcher, but prefers the twists of Snakefinger . Steve says wha1 be lis1ens to is a little more progres- sive lhan Paul, with heroes like Eno, Fripp, Philip Glass and Gentle Giam, but adds, "ll's just good music that drives us together."

Take the old forms of music, in1egra1e rbem with.

your own new art . stir into some indefinable blend of style, would tbat describe you? Steve (laugbs).

"Thal jusl about covers il". Paul adds, "Yeah, 1'11 take 1ha1, with a twist of Egyptian surf-funk . We play those types of music, but it's more like a lribute to those styles. We use rhem to try to expand.

We ail have an appreciation for the structures and formulae of ail music."

Their Cool Blue Series appearance Octobcr 28th at µte Westward )V~ yet again a differenl !pok. The holes left by the keys and the backup singers were fùled with an increased intensily in the overall rhythm.

This is lheir strong point. The band was much more hard-driving tban in lhe recent pas1, but as each member bas done his pan to fill in the gaps, the personality of the band bas changed. Depending

"Thal {}lllilicdy sliol lor Vox llas /o be around here somewhere, you guys. " P/Jolo: David Collins

upon who the singer was, this personalily would sometimes split. Steve sang in monotone fashion, albeit wilh powerful inflections. He sported the in- vogue crew cul, and the rock 'n roU black zoot suit.

When Paul sang, the characler change was a leap across categories. He looked like a red-haired Jim . Morrison standing in the street yelling al someone when be hung bis guitar to his side, steppcd up, grabbed bis mie and belted, "Ya give me Fœvaahhh!"

At limes it sounded as if three differem instru- ments were playing way out of comrol. Whether this was because they actually were going in and out of their own musical bead spaces, or whelher I had been inflicted with the sparseness of the three-man- driving-band syndrome, l'm nol sure. Llke walking, looking at your watch and chewing gum at the same lime, just three separate events happening simultan- eously. The link in the lauer is everyday people and the link for the band is the rhythm.

After ail this, "The Black Ed Blues" brought them back 10 the here and now, with griuy guilar (crank the distortion box and trade a pick for a spoon), thunder-·

ing backbeal and rumbling bass. Steve and Paul ex' changed stanzas as weU as leads. They endcd the set with their crazy version of "Wipeoul" and a fine danceable lune, "Riding High". A fast running rhythm, an art-bop bass and a jazzy motif made for good listening entertainment.

How bave aU these changes affecled the band?

Steve lighls up, "lt's tighter, cleaner, betler, il's got philosophie content and we're finally having some fun". Paul adds, "ll's got hope, it's more diverse, and it's got better energy". ·

"Change and development are signs of life", Mark philosophizes. "Life is variety, otherwise il would stagna te. We've •hit rock bouom, but we continue because we like il. Wherever ii goes it goes, but i1 's been okay so far". Paul leans into it here. "Before, when playing with others, il was free form . no ar- rangements, kicking, swearing and, of course, the anger. But the rest of us wcre ail, like, three Zen guys, the rhythm guys. The bass, the guitar and the drums were ail solid also. We also happen 10 gel along well 1oge1hcr, which bas helped 10 keep us going".

To set the record straighl, Steve wants to change the preconception people have about what they do.

"We don'I want 10 be remembered because of hos- lility and anarchy." How do they want 10 be per- ceived? "We've had Roxy Music comparisons. One nighl after a gig the doorman said that we were a cross between the Doors and Tal king Heads." Paul clùps in, "Talking Doorheads!" Mark lires, "That's outs!" Steve adds, "Talking Doorknobs." Obvious- ly they are enjoying this kind of elusiveness. "Yeah, that mcaas people will pen us as the Beal Apostles,"

says Steve.

-14 vox--- CJSW LISTENERS GUIDE---

P€t!:. . /7"!'7

'THE EME/('( WE,t(_' MMC/1 9₁/ff'r rs./t.'I:T: C6t..t.e5€ llll!::IAS~REJ'l)

Apostles headline Night Gallery

by J•clc Gennshled

Tbc.Beat·Apostles beadlined"

Rock Rodeo bdd as a bcncfit for One Ycllow Rabbit Pc1:formmc:c Theatre March 5 ar the Night Gallery.

Tot N"ighr Gallery is an old ball tbat has bccn convcned inro a home by Golden Calgarian Darrcl Bruno. Tbanks m him the home wu amvc:rœd back into a hallforthcni.ghL And wi.thafcw

=ion cord.s and some pet--

scvercna:bythe ban.d,c:vc-yming

wor:i;cd OUL.quiœ wcll.

Tue timewle for the cvcnmg

was a bit out of wack, butmostof the people wcre willing tD wait a wbilt tD sec an old favoriœ likc the Beu Apostlcs play.

Though an old fsvoriœ, the band is quite new in relative tcrms and may vcry wcllbc one of the most original and bcst. The last wavc of jingle-jangle-psyclic- dclia ha, produo::d many young-

bands more conccmcd with mak- ing ir th.an fi.nding out wh= ir came from. 'lt' rcfcrs to dcdica- tion and undcrstandi.ng of music instcad of REM ::cguzgitation.

The Bcat Apostlcs display botb orig:inality and annpcn:ncy _

Band mcmbcr Paul LcB1anc on 1cad and vocals is joined by Steve Hcimbcck.cr on bass and Mark°Ihundcrcloud"Waltonon drums. Walton is consistently moàvating in the rolc of bcat

mulàtilicr of the trio.

H.c:imbccl:cr sharcs somc of the voc:a.ls with Le.Blanc in many songs and on oncs likc Hypnot- œdhis boomingvoia:mkes ovcr- all togcthcr, bc:coming a fourth instrument for the bmd. Le.B- lanc. as l.cad playcr, rounds out the band with his brassy voc:a.ls and c-ompcrcnt guirar licl:s..

Witii none of the band

=-

bers dominating one anothcr, a

nia: musical balmcc is reachcd.

The music is original but is bctt dcscnbcd as as jazz-fusion with a pank soul or. is comparable to Neil Young sitting in with Robert Fripp.

Thdr second. m.depcndendy finmo:d casscaz:. The AIi-Round.

should be availablc soon. The band also will be playing_ the National Hotel on March 18 and 19 wi.th I.iquid Ligbt.opcning the show.

1 ^{tt1 -~}

th.e Qll-Qro1,1nd

live!

OJ.JLY Tli'XT I.S 01(/6/Nlrt.. LA'lt)V-,.

-- -·e- ---- e

TBA (The Beat Apostles) Here Cornes Tomorrow

(Indie Cassette)

Musical expression can take on many forms of rock and roll, off the wall weird- ness, experimental, country etc. Weil was I ever ecstatic when I got my hands on TBA's tape "Here Cornes Tomorrow."

l've heard many things about this band ~ut when I think of them the word brilliant cornes to mind. Musically diverse is also another description that I would use to de- scribe these guys. On one hand you have the quirky and at times grating singing style of Steve Heirnbecker that rerninds one of a cross between Peru Ubu and Wall of Yoodoo. While on the other hand you have Paul LeBlanc whose vocal style leans towards a much more popish edge similar to the Jazz Butcher or New Mode! Arrny.

At times this tape takes on a straight ahead pop feel to it with both vocalists tak- ing turns at the helm examples of this are

"Big Red World" and "Here Cornes To- morrow." Other times you get ajazzy/ex- perimental feel to the music as in "Art"

and even a straight ahead jazz pop song

"Tuming Blue." One of the more standout tracks on this is "God Help Them" a beaut- ifully orchestrated acoustic song. Ex-Rip- chords singer Adele Leger uses her voice to really throw emotion into this track and it sure cornes through. Weil ail that's left to say is A- I guys.

Rhythm Activism Louis Riel In China

(lndie Cassette)

Now, what else would one expect frorn such. a politically correct band but songs rangmg from yuppie pest ~ontrol to a song

\

First Laugh and Joker's first'tape, and they rnean it except this tape is no laughing malter. 1t cornes to you ail decked out with a 12 page booklet that includes song lyrics and band photos. lt also cornes with some fancy metallic stickers, some impressive artwork and the eight track cassette. The artwork was done by Andrej Crkvenac and Dan Blunderfield. Life begins on this tape with a real hard rock song "Partycall/Bal- zac Boogie." Not just a song with a great groove but, a song with a simple message to enjoy life. "Like takin' life easy for the simple partying with friends is our greatest treasure / We like to get together and crank it up / Keep on playin; tif/ we blow the roof off. " The second track departs from the happier side of playing music as it tries to deal with the unfriendlys that occasionally show up at gigs. "Why can 't you accept others / appreciate what we 've got / lt 's up co al/ of you to make ail this hatred STOP!

I Why does it mean so much to you and ail of your friends / To pick up one guy and kick in his fucking brains / .. . /t's cime for a change or the scene won 't fast. "

With ail of the musical abilities that Joker has and uses the scene won't die be- cause of lack of talent or ability. The g:od- like guitar assault music like this can only be successful. Take their cover of Bud- gie's infamous track "Breadfan," Joker does an almost infallible cover that leaves your head pounding but, desiring more.

More is exactly what you get with the next , two tracks "Evil Lurks" and the most im-

pressive instrumental "Talking To Ghosts." Defi nitely an asset to any music collection.

The LI-150's

(Indic Cassette)

Once described as mod-core, it is now very apparent that the LI-150' s Ben Sherazi (Lead Guitar/Voices

,---:--- VOX Magazine , Decem

L to R Paul Leblanc, Mark Walton, Steve Heimbecker

_ · . · · : Th,urs, March 3

CATRANCH

: Friday, March 4

LIQUID LIGHT + ^GUESTS

Saturday, March 5

21 HUNDREDZ + INSOMNIACS

Thursday, March 10

CATRANCH

Friday, March 11

FEAST OF FOOLS + UNSIGHTL Y

Thursday, March 17

CATRANCH

Friday, March 1 8 / Saturday, March 1 9

lj

BEAT APOSTLES + LIQUID LIGHT

Thurs., Mar. 24/ Fri., Mar. 25/ Sat., Mar. 26

THREE O'CLOCK TRAIN + ^{GREYHOUND TRAGEDY}

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