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Show 4 IE .Thursday, June 5, 1997 twitch 4! - punk musicians bang on their instruments because they want to piss off the Establishment, not just because they like loud destruction. That's why it wasn't surprising when the Sex Pistols' John Lydon (AKA Johnny Rotten) collaborated with Ministry in the late '80s. It also wasn't surprising when : Ian MacKaye of Minor Threat and Fugazi teamed with Ministry's Al Jourgenson and Paul Barker for Pailhead, and Jello Biafra of the LARD Pure Chewing Satisfaction (Alternative Tentacles) Like punk, American industrial bands consider "quality" the last priority of music. Attitude is more important, as is making a political statement. In short, industrial and Dead Kennedys teamed with Jourgenson and Barker for Lard. It has been eight years since Lard released The Power of Lard, a furious E.P. that took Ministry's signature stadium speed metal d and monstrously electronics and added Biafra'a over-dubbe- vocals. Like most of and Barker's pletho- ra of side projects (Lard, Revolting Cocks, Pailhead, Acid Horse, Lead Into Gold, 1000 Homo DJs), Lard was the musical release that Jourgenson and Barker needed to satisfy their once prolific output. It was also a return to revolutionary form for rs Jourgenson Biafra. Ministry and LuxaPan's (the pseudonym Jourgenson and Barker use for side projects to avoid problems with Ministry's label Warner) output has slowed to a virtual standstill this decade, with '96's Filth Pig being the duo's only release in almost five years. For fans who considered Ministry's drowning pace and confusingly textural production on Filth Pig underwhelming, Pure Chewing Satisfaction provides all the rage of the original Lard outing and Happy IHour Free Drying 7$$ Wash 50$ Wash Thursdays and Fridays Between 2-- 7 pre-Pi- Ministry. g L pm Lard's musical formula remains "War samel Pimp Renaissance," 'Moths" and 'Live Free or Die are all heavily riffed and distorted into a headbanging mess. Ministry drummer William Reiflin's percussion pummeling is deafening. And Biafra's vocals are clear, unlike Jourgenson's usual voice-bo- x rasp. Anyone concerned that Biafra is going soft in his old age need not worry. Every song is a state- ment from beginning to end. As a metal-bill- y backbeat plays in "I Be a Drug Sniffing Dog," Biafra yells about the hypocrisy of cops who abuse animals and oth- erwise break the law, as well as Jesus-frea- k child molesters who J moonlight as political subver- sives. It's one of the happier songs on the CD. the Pure Chewing Satisfaction isn't much different than past Lard efforts, but originality isn't most important for industrial punks. It's the message and the rage that matters, and Pure Chewing Satisfaction delivers both. Shan Fowler Brad 4 N II , BRAD (Epic) 247 S. 500 E. Salt Lake (next to the Holy Cow) Open 7am to midnight . 521-253- 4 w I 8x? (RCA) 6xf Brad's first Loose Groove release called Shame, easily bested Pearl Jam's sophomore album Vs., and should have received extensive radio play, because the songs were introspective, hooky, soulful and bittersweet, air-Wan- THWBSpIiy JKNE 12 Hg&WllttfflOP I - 1 $ $ Come Pncc with the HOTTEST Robinson and part Otis Redding, Smith's smooth sing- speak is a refreshing and gutsy change from the ubiquitous Cobain-Veddclones. cr Interiors, Brad's second album, features Smith's same smoothed gravel melodies and falsettos, atop a varied selec- - tion of songs from organ "Upon My Shoulders" to the mostly acoustic rock of "Circle & like ? Having been "discovered" by a roommate of Gossard's, Toback's association with Brad allowed for the recording of Perfect Flux Thing. Too bad the album isn't too hot. Like the album title, the songs on Perfect Flux Thing are repetitive and full of lyrical pretension, a pretension only California phase. Toback should be writing Denny's commercials, or playing bass in a band with an adequate lyricist, not trying. to combine Denny's and rock into a solo album. But, if I had connections to Pearl Jam, I'd squeeze a solo album wouldn't? out too. Who Christian Arial VJ NP THE HOTTEST HITS! J"tn & Coutcc Night ' I'f ' I 04M (fifiM) " ' - . i.jfi" v 1997 Europe: Sept. 1, Music in Culture Course application deadline extended JUNE 13 7-2- Hicli' AW "PM na The key to Brad's formula is Shawn Smith's voice. Part '60s soul crooner a la Smoky Last Chance!!! II "Every Thurspot II' 1 partially redeemed by tasteful JEREMY TOBACK Perfect Flux Thing II (drums). and Regan Hagar acoustic and electric guitar playing. Toback's voice also sounds too Vedderish and affected to warrant interest. Here's a lyrical sample from "California Phase," Rise and shineRise and shinethe ' IP I Interiors Interiors 9 (bass) One benefit of being in a is that you spin-of- f can easily negotiate a solo record deal, which is what Jeremy Toback has done. The II II II I ct Pearl Jam ESPN O ESPN 2 O MTV O VH1 Snacks O Coffee Bar O Good Tunes O Pool Tables II side-proje- called Brad, along with Shawn Smith (vocals), Jeremy Toback Line" to the '80s synth cheese of "Those Three Words." On Wet Wednesdays IS run his own; label Loose Groove and also release albums with a Soul On Tumbling Tuesdays S Playing in Pearl Jam has its benefits. Stone Gossard, PJ'S rhythm guitarist, was able to London "Vv Bans Some Vienna tlURQKI |