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© REVIEWS ©
BRAID
Frame & Canvas
Polyvinyl Record Co.
Yet another typical *emo‘(tional)
band Irom the Midwest. One part
Sunny Day Real Estate, one pari Drive
Like Jehu, and no parts originality
makes Frame & Canvas the perlect
recipe tor an uninspiring melodic
sandwich Yes. this third LP is Braids
best, with its emotional outpouring of
abstract personal lyrics, but how origi
nal is this in 1998? The band has
worned on its musical talent and pop
sense over its live-year lifespan this is
most evident in the smgalong quality
of ‘The New Nathan Detroits' (track 1)
and "And* (track 10) on this new CD.
Hopefully they will put these qualities
to good use some day by not weanng
their mlluences so heavily on their
shirt sleeves. (PO Box 1885. Danville.
IL 61834-1885)
Jessica Lawson
, FUGAZI
End Hits ~
Dischord Records
When a music cube uses the word
maturity* to describe a change in a
band's sound, its usually a euphemism
for tired" or *ou! of ideas* or. ssen-
fially. ‘since I've loved (his band for so
long I really want »o like this Dul damn,
this one is really disappointing *
Not so here, in fact, while ftogazis
End Hits may lack the ferocious attack
of an album nke m un the atlfokef. it
is a testament to Fugazi s ever increas
ing songwntmg smarts, as wen as their
brilliant musicianship and unsur
passed ability lo lock together as one
massive, organic musical unit Yet tor
all you hardcore Fugazi addicts out
there, be forewarned this ones a lithe
different
For the most part the tunes on End
Hits are more upbeat than the dirges
heard on the last release, Bed
Medicine, some ot these tunes could
almost be classified as ‘pop ’
The album's first cut. "Break."
begins with some classic Fugazi gui-
tar/bass rhythmic play and a melodic
bass line reminiscent ot some ot the
bands earlier work on the ‘Repeater*
album Sparse guitar melodies weave
m and out ot the groove, while a creepy
piano line adds an unsettling texture.
The song dissolves into an odd. quiet
guitar/vocal break over wnich lan
Mackaye sings ‘can't ask for more/ so
why unfultilled/we take apart /every
thing we build." The original verse is
reintroduced, only louder and a bit
more jarring this time around
‘Break" sets up the album perfect
ly. both lyrically and musically: End
Hits is full ot contrasting moods and
dynamic s/ntts Underlying ail ot this
are Mactayrt and fellow smger/gui-
tanst Guy Rrcdoto s subtle yet insight
ful lyrics While Fugazi are by no
means trying to be spokesmen for
Generation X End Hits is full ot lyrics
■lescribinq i sociefv about 10 bursi ,i
me 'earns, barely holding tsetf togeth
er The suDiect matter of many it 'hese
lunes concerns a generation trying
lesperateiv to bold on to 'heir humani
ty m a world <fommated by technology
and corporate politics.
Case .n point The chorus to the
slow rocker ’No Surprise" has
Mackave's Leslie rotating speaker-
treated voice sinqmg “comes as no
surprise’ while Picciotto replies were
destabilized.' The song's hauntmQ
mmor-key guitar rilf, melodic solo
break, and slow groove is unusual 'or
Fugazi. but only serves to accent the
songs ending statement 'no CIA’' no
N S A / no satellite/ could mao our
veins ' Surprisingly, this sonq wouldn't
sound too out ot place on modem mck
radio, although the suotle breaks and
shifts as well as the compelling yncs
detmitefy would
‘No Surprise* is totiowed by a Iterv
punk number. ‘Five Corooraiions. All
the Fugazi trademarks are nere heavy
gjilar mtage and octave chord pound-
mg. brutal rhythm section attacks, and
lan Mackaye’s unmistakable yowl
"Five Corporations' r aiis against cor
porate Americas gradual and auDJie
takeover at .muallv every aspect >f our
lives « “Aackrtve .-ebs: Trover. :n
slowly/ grows so mnnihiv/ Mker. run
nieteiv/ I’s is i mp*: lmong; one
'heyve been nere ai nong. 'm* :gwi.
builds ’0 i miming, nnntir. mriin «
*e trows: ’his me- uus/'ih''. .in*
another t mere : nv mv minims nae
Figazi s softening. res .- rr;
•.rushes ■'’em
Tiber nogs <k« Daustii: anmsflu
barker hack- to 'he nrenwv- u 'he
F-ujaii it ltd: .wm* mugs :uc:r ,k
r *^ciD Monaotb F -sea' Dionon
mg ’*»negqi;iinr ire ernenmnfiin ir
more poppy irotarncmir F
Caotmn s in i matting; imw arrive
numnef n wnictr flssonam mHnniKS
•on in top ot me iimther wtr me
bow ’unkv nvthm .acjiiin uumniaierf
hv brief musts vt truv Recng:
‘Arnnotn s i nut'-emnn nine wrir a
tark' .erse 'hat pves m» o n mme- 1
neinnv. u.tirst tnr mis rutnn:
•Vrneggwtor s • ovmu mmv
nenrai entereo irnuim: tie unfiogia-
uon it i unqje cmnrtt "he rrfnnu ;ui»
ar neinav wii men* n .our mast or
lavs, .vnue he gnweru criitgp- w
emmd you it vnn mare stermrv it
Slut other racks. ;ucn & s naung;
Soy md *nk -nstv rmtimte wifr
the mtoioraiion if mmmaira jnsi;
modem loisesuons tmimton* :nme :i
led AHectare
All i n ill £nt Hits t u livery*
.•■♦Ml-founded »nd iving; breaming;
ock-.ind mu uhum Vhiiemis entasa
nay mow ^iqazi s. : tnnrwes nr ma
lan Mackave s «n aurmteft Cmap
r nck 'ant. t aso mnws hai his: anrt:
s n on tanner it towing: mwn ttmr
reauvitv nrensiiv .no assinn 'm
need, fids: Fmaz: n^v nsi » me ast
peal -orktiann c.nmemanef
TJms ttthms:
*ar Htu - Becnrrn
i me oumre .i uf t ms i
mve i .me uiuik- u vtnr t or> ’ttei
on me :ui n: tn* rtajae an this tie —
ttin rs-mtflnaimJS mav ne an ewnailiun
man talMiliai: rtKUiii JC iw’skhuI bv
wsimti'S'm -nit Racunt!: s Hit n
;muc r.iuitr, •h:k iuuc with out::-
iliMUi ttuiUK one mne: nt«*i ran •>««•
ousei!' wKijniu: uunruuv bums aim auiu
m raniumg anc a-'ngjng me nigrtt
Wit'
Keif tF.nuiiiK aireadv nave /»•
oearn ties* uuv: r Auinin >ia:;nuiie
am: Auanai
1, e mufjo: ” me -uiibanas
wm wwirawntn ^MRmuiiie r»jmi ,,, fm
Bmnwuir l v ■: un ne Hull wm :.ee
•pnniig: nil at 9KBh jeqas ngm onw
aut namr f me muigs don * suunc
arm nia: «r.woe ft’s "munrswi s voice m
®iv*e.’. bin with smgs line junrmv
'SfciifHtr Rmnecpf Teuuua. iait am:
jme wmicr runtains the vne 'Only
wi *ua>e: ;ate on wutn.bul mev Hied
me anwrau Auc fte weman iuve wen
•.me up anc went Awa* and my
awirtue ’ nine a Ball £w?v "one
-all 3t! me ttagii! "oese swigs are
ms: fB&ffdtas at wnai aur current
afliiL' itauuire think ’his ZZ is dis-
rnmwr trmiuur ileve Eartes abet £-
JmiHPd: wmtm is bhttnbuiec bv ACA
— a. mrdMtft vuulll be iuchv and tine it
ir me 3tnos It vuu au and vuu like
jornc araignt an mc country 'och
mats: marc hk line mese oavr: — bu» it*
fan -mi Recur® - C 5ex Arr94tj,
jamirMille
Dec iurnme*
sracp *vurxft
4^^t€^n•l«n^J. , Carmine
Bnae vuunwi! tur utter map 'his
urs; 'MiMiEie trjni electronic “amsi"
ilv-jc ams in ever.v .inempt at being a
wei smnaiMss and unerssmig album
Hiwe -aradiiras ttw man behind the
:jmmiicnM mimnw has devised a tui!
tTT: wrrm a! me must amiuynig
iiiumn ie msiT'J m recerti memurv
"rre anrrtv awnms and 'attimg drum-
tfl
me:; ::nne acros:: more i*e an 4fis
vole*., gam* soundtrack :n ^peea ban
what cuuic oave been ‘he oexf big
album trnm a maicr siaver n r echno
music
instead 9tice ’‘nursed and fs
aLcnmoany/ng • no ._ 2 aurailv amri-
sive m me bomt :f sonic sadism Dun ‘
bui vuurseit ’hrougn ‘his ike did
avoid at all costs' T<i4 At 3h St
New rork !1Y Tf3CU *
-eft Sordim
AM BGiETTA
Bitter Tongues
s ueied 9v Ramen
Oh good* Another band toilowmg
in me tootsteps ol Raictd-esgue San
- r ancisco Say Aiea pop ounk wa 'he
Clash Ann 3ereita gives empnasis to
tne tony in 'tong alav" with Bitter
Tumjues. ’heir new ’9-scng recording,
singing bitter songs ot 'attoos. 'evolu
tion. ang a wnuie bunch at aihe» bail
buy topics recently attended men ive
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IS FLAGPOLE MAY 13, 1998