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ACE 19
///ACE Nineteen; Dario Argento & the Techno Issue 2
//setesc ,,0 +//set acei, '019' +//set ace, '019'
//sethead 'ACE, the music zine, issue 19.'
//setfoot '[ Page %P ]'
//if &&exist(acecore.b), //run acecore.b:startup
//:spot
°
ACE, the new music zine ÛÛÛ°ß²ÛÛßÛÛÛÛÛÝÜÛßÛÛ²ßÛÛÛݲÛÛÛÛÛÛÛßÛÛßÞÛ
(Issue nineteen) ßßßß°ÜÜÛÛ²Ûß°ÞÛÝÛ²° ßßßß° ßßß²ÛÜÜßßßß
ÞßÛÛÛÛßßßßßß Ü²ÛÛÛÛÝ ÜÜÜÜÜßÛÛÛÛßßßßßß° ß
ÞÞÛÛÛÛÛÜܲÛÛÛÝÞÛÛÛÛÛÝÞ°ßÛÛÝÞÛÛÛÛÛÜÞÛÛÛ²ßÜÜ
ÜÜÜ ßÛÛÛÛÛÛÝÞÛÛÛÛÝÛÛÛÛÛÛÝÞÜÛÛÛÝÛÛÛÛÛÛÝÞÛÛÛÛÛÛ²ß ÜÜ
ßÞÛÛß ÛÛÛÛÛÛÝ ÛÛÛÛÛÛÛÛÛÛß °²ÛÛÛÝÛÛÛÛÛÛ ÛÛÛÛÝÞ° ²ÛÛÛ²°
ÞÜ °ÜÛÛÛÛÛÛÜÞÛÛÛÛÛÛ²ÛÛÛÛÜÞÛÛÛÛÛÛÛÛÛÛÛÝÛÛÛÛÛÛÞ ßÝ
ÜÛ²°²ÛÛÛÛÛÛÛÝ ÛÛÛ²ßßßÞÛÛÛÛÞÛÛÛÛÛÛÛÛÛÛÛÝÛÛÛÛÛÛß ÞÜÜ Ý
ßÞ ßß ßß²ÛÜÛ²ßß° ÞÛÛÛÜ°ÜÛÛÛ²ÛÛÛßßÛÝÛÛÛÛÛÛ Û²ß ß
The Entering Spot ÞÜÜÜÜÝ °ßß ÞÛÛßß²ßßßßÜ ÛÛ ÛÛÛÛÛ ÛÛÝ 33
----------------------- - ²ßßß ² ÜÜܲÛÛÛ ßßßÛÛÛÛ Ü² Ý -----
by The Naughty Tycoon. Ý Ü Þ° ßÝ Ý ß
ß ÜÜÜ²Ý Þ± ß ßßßÝ
ÞÛÛÛÛÝ Þ²ÛÜÜ Ü °
Þ ßßß ßßßßß²ÛßÝ ²
"If she worked at WaldenBrooks ß ÜÜÜ °ßß Ý ÞÛÜÝ
she'd run sales on Bukowski ° °°²ÛÛ²ßßÛÛÛÛÛÝ ß ÞÜ ÜÛÛ²ß
and I don't care how bad she °ß ° ÜÝ ÜÜܲÛÛ ßßÝ
looks now that she's got my housekey ß ßßÝ
if she worked at MusicLand she wouldn't get my business Ý
cause I was playing 999 and she asked me `who IS this?'" ß
(Boris The Sprinkler, "She's Got A Lighter")
It had been a while since I hadn't written some kind of welcome word for ACE,
so I decided to get back at it. Actually time isn't the only reason; there
are two more: 1) Eerie is WAY late in writing his articles and I want this
issue to be released somewhere between March 1, 9:00 pm and March 2, 9:30 pm;
and 2) he used the word "def" in his last Entering Spot and I hated it. You
heard me bud, I don't want to be associated in any way with the word "def",
because as the guy who used to run the full-of-long-haired-superstars-roster
Def American label said, "def" is an 80's word. And we're in the nineties!
<I guess it's the first time you see me running out of pills since issue 16>
(notice from eerie - HEY! come on, that was used SARCASTICLY!@ (this is an
inside joke directed to neuromancer, btw))
Anyway, this issue is filled with the usual stuff (reviews, columns, etc),
and there's also Eerie's reply to "The Techno Issue, Part 1" as well as an
exhaustive but pretty interesting portrait of Dario Argento, by Paranoid. I
guess you'd be right if you said that this really isn't our biggest issue
yet, but we're still rad, aren't we? <g>
Just a notice: Anarchy Bob is Pink Lincoln's new handle. He'll tell you
more about this in his column.
Don't count me on that, but issue 20 might be some kind of double issue, or
something. There'll be interviews with (probably) No Use For A Name, Ten
Foot Pole and who knows who else, as well as show reports and more stuff
that's been put away this month due to laziness, and much more (obviously)!
So stay tuned! (If you're able to recall when was the last time I wrote
this, you must really be a long-time reader.)
//end spot
//push :contents, 1
//end
===============================================================================
===============================================================================
//:contents
//push
//savepos
//set ace, &&(acei)
In this issue
-------------------------------------------------------------------------------
Columns
-------
The Entering Spot, by The Naughty Tycoon //goto :spot
ACE Credits //goto :credits
Snap, Crackle, Punk -- Yet another quiz, by The Naughty Tycoon //goto :punk
Plastic thoughts for plastic people -- & on the 8th day .., by Eerie //goto :plastic
Left of the right is cool, by Anarchy Bob //goto :left
Some, her, these -- Rancid = Fun, by Redge //goto :some
Features
--------
Dario Argento -- Stop splashing my walls with your blood, by Paranoid //goto :dario
The Techno Issue, part II, by Eerie //goto :techno
Punk Rock Resource Kit, by Anarchy Bob //goto :kit
Discography -- Punk rock on the big picture, by The Naughty Tycoon //goto :disco
Reviews
-------
Reviews //goto :reviews
The Oldies //goto :oldies
The Compiler's Picks, by Eerie //goto :comp
Picklists //goto :pick
//noprint on
Miscellaneous
-------------
//if &&exist(acemem.b), Inside stuff, for members to read //goto acemem
//if &&exist(acendx.b), The continuing ACE zine index //goto acendx
//if &&exist(acephame.b), ACE Hall of Phame //goto acephame
//if &&exist(acecore.b), ACE Application Generator //goto acecore:app
//if &&exist(acecore.b), ACE Automated Zine Printer //goto acecore:print
//noprint off
//end contents
===============================================================================
===============================================================================
//:credits
Credits for ACE issue nineteen
-------------------------------------------------------------------------------
ACE, the new music electronic zine, is published every month or so for the
hell of it. All that is written here is by their authors. You can, however,
copy the hell of it and give it to your friends, however you must give credit
where credit is due. For instance, to rip us off would be a very, very
stupid thing to do.
ACE assumes no responsibility for any damage caused to your computer, your
brain, your wallpaper or whatever could be damaged directly or indirectly by
us. Meaning: shit happens, and if it does, sue someone else, sucker!
Editors -
Anarchy Bob, Eerie, The Naughty Tycoon.
Contributing writers -
Anarchy Bob, Eerie, Neuromancer, Paranoid, Redge, The Extremist, The Naughty
Tycoon.
Contributing artists -
Eerie, Fluor.
BBS -
Patriotic Shock - +1-418-843-8919.
Email -
The Naughty Tycoon - aaa883@agora.ulaval.ca
The Extremist - extremist@odont.com
FTP Site -
ftp.prism.net - /pub/text/ace
Snail Mail -
24, Pierre-Curie, Loretteville (Qubec), Canada G2A 2H1.
Thanks for reading ACE.
//end credits
===============================================================================
===============================================================================
//:punk
//set q1 +//set q2 +//set q3 +//set q4 +//set q5 +//set q6 +//set q7
//set q8 +//set q9 +//set q10 +//set q11 +//set q12 +//set q13 +//set q14
//set q15 +//set q16 +//set q17 +//set q18 +//set q19 +//set q20
Snap, Crackle, Punk -- I mean, when will THIS really be a column?
-------------------------------------------------------------------------------
by The Naughty Tycoon.
Skimming through our back issues, I find myself in a very particular
situation: While this seems clear to pretty much everyone out there that
this probably IS a column (since it's in the "columns" section of the
magazine), one would be right if he pointed out that I haven't made any
"real" column (ie. a) topic; b) opinion; c) bitching and/or arguments)
since issue 16. *I SWEAR* I will send one in for the next issue, but for now
I just wanna do something that every damn 'zine writer has already done, but
not me: awards!
Okay. Now listen to me. This is NOT going to be a "they're late but they're
here: TNT's awards for 1995". I think it will be more like "the best/worst
[insert category here] EVER", so that means there's even more stuff to argue
about, so as usual, send me hate mail and stuff. You can reach me on my
board, Patriotic Shock (418-843-8919) and you can email me at
aaa883@agora.ulaval.ca. Here we go.
(I know that's cheating, but the winner won't be listed in the nominees.
That's due to the fact that a) there's absolutely no suspense when you're
reading a column alone, at home, and there's no need for you to wait for 3
minutes while the Beavis and Butthead type o' guys in front of the crowd try
to figure out how the goddamn envelope can be opened; and b) I'd waste my
time if I wrote the same thing twice anyway.)
(note: I must admit that most of the categories featured in these awards are
pretty lame, and in fact the whole idea is totally stupid. but it's easy to
read and it's easy to do, right?) (DOH!)
Category: Best song title
-------------------------
Nominees:
"Anarchy Bob At The Mayo Clinic" (Boris The Sprinkler)
"Middle Finger Response" (Propagandhi)
"Mendel's White Trash Laboratory" (Flop)
"Dept. Of Redundancy Dept." (8bark)
"Rambo Desperately Seeking Madonna" (Capitalist Alienation)
..and the winner is:
"Plastic Surgery Kept Her Beautiful" (SNFU)
Category: Best bass lines in a punk/ska song
--------------------------------------------
Nominees:
"Leanin' Like A Barn" (Tilt)
"Rejected" (Rancid)
"All You Need" (Sublime)
"Pastel" (Face To Face)
"Go Away" (88 Fingers Louie)
..and the winner is:
"Choose Between" (The Bollweevils)
Category: Best canadian punk band
---------------------------------
Nominees:
Ripcordz
Gus
SNFU
Propagandhi
Sprained Ankle
..and the winner is:
Chixdiggit
Category: Best live album
-------------------------
Nominees:
"Liveage!" (Descendents)
"Les 2 doigts dans la prise" (Les Sheriff)
"One + One" (7 Seconds)
"Loco Live" (Ramones)
"Live At Kings Head Inn" (Avail)
..and the winner is:
"Live At A Dive" (D.I)
Category: Most tracks on an album
---------------------------------
[note: this category obviously includes compilations. also, I counted the
number of TRACKS on the CD, not the number of songs.]
Nominees:
"Loco Live" (Ramones) [32 tracks]
"Les 2 doigts dans la prise" (Les Sheriff) [31]
"Boogadaboogadaboogada" (Screeching Weasel) [26]
"Greatest Hits volume 1" (Anal Cunt) [56]
"History Of The Bollweevils part 1" (The Bollweevils) [25]
..and the winner is:
"Laugh While You Can, Monkey Boy" (Sicko) [69 tracks]
(actually, I've heard about another album that was released 3 or 4 years ago
that also had 69 tracks, but anyway)
Category: Best ska/ska-core song
--------------------------------
Nominees:
"Go Wild" (Culture Shock)
"Face In The Crowd" (Homegrown)
"Veggicide" (Guttermouth)
"Dead Or Alive" (The Busters)
"Sink Or Swim" (Citizen Fish)
..and the winner is:
"Here We Go Again" (Operation Ivy)
Category: Longest punk rock song title
--------------------------------------
Nominees:
"Stick The Fucking Flag Up Your Goddamn Ass, You Sonofabitch" (Propagandhi)
"Lose Yourself Completely In The Idle Worship Of Elvira" (Ripcordz)
"Can't We All Just Get Along (At The Dinner Table)" (Guttermouth)
"Seein' Life Through The Bottom Of The Bottle" (SNFU)
"I Don't Wanna Be Learned/I Don't Wanna Be Tamed" (Ramones)
..and the winner is:
"Chanson pour faire danser les moines et pour faire fumer les grenouilles"
(Les Secrtaires Volantes)
Okay. Up to now, it's not even 150 lines long, so I guess I gotta do
something else to make it longer. Here's a quiz, it's not like the other one
I did 2 issues ago because it's only about song titles. I have over 300
records at home, so I have *many* song titles, so what I'll do is put 20 song
titles here and you'll have to guess who it's from. Here we go again (pun
pretty much intended).
What band wrote the following songs:
1) "1-3"
//noprint on
Your answer: //input q1, 50, on
//noprint off
2) "16"
//noprint on
Your answer: //input q2, 50, on
//noprint off
3) "17"
//noprint on
Your answer: //input q3, 50, on
//noprint off
4) "1944"
//noprint on
Your answer: //input q4, 50, on
//noprint off
5) "1967"
//noprint on
Your answer: //input q5, 50, on
//noprint off
6) "1995"
//noprint on
Your answer: //input q6, 50, on
//noprint off
7) "2 Rak 005"
//noprint on
Your answer: //input q7, 50, on
//noprint off
8) "25"
//noprint on
Your answer: //input q8, 50, on
//noprint off
9) "369"
//noprint on
Your answer: //input q9, 50, on
//noprint off
10) "39"
//noprint on
Your answer: //input q10, 50, on
//noprint off
11) "53rd & 3rd"
//noprint on
Your answer: //input q11, 50, on
//noprint off
12) "59 times the pain"
//noprint on
Your answer: //input q12, 50, on
//noprint off
13) "8-ball deluxe"
//noprint on
Your answer: //input q13, 50, on
//noprint off
14) "8-10"
//noprint on
Your answer: //input q14, 50, on
//noprint off
15) "Jeannie's Got A Problem With Her Uterus"
//noprint on
Your answer: //input q15, 50, on
//noprint off
16) "99"
//noprint on
Your answer: //input q16, 50, on
//noprint off
17) "999 Stoney"
//noprint on
Your answer: //input q17, 50, on
//noprint off
18) "Apt. #2"
//noprint on
Your answer: //input q18, 50, on
//noprint off
19) "December 93"
//noprint on
Your answer: //input q19, 50, on
//noprint off
20) "Page 3+1"
//noprint on
Your answer: //input q20, 50, on
//noprint off
//noprint on
Point here to check out your answers! //goto :punk2
//end punk
//:punk2
//locase q1 +//locase q2 +//locase q3 +//locase q4 +//locase q5
//locase q6 +//locase q7 +//locase q8 +//locase q9 +//locase q10
//locase q11 +//locase q12 +//locase q13 +//locase q14 +//locase q15
//locase q16 +//locase q17 +//locase q18 +//locase q19 +//locase q20
//set score, 0
//noprint off
Here are the answers!
---------------------
QUESTION ONE: "1-3" was written by Boris The Sprinkler
//noprint on
//if &&equ(&&(q1), boris the sprinkler), 'You got it!'
//if &&equ(&&(q1), boris the sprinkler), '//inc score'
//if &¬(&&equ(&&(q1), boris the sprinkler)), 'Your answer was: "&&(q1)".'
//noprint off
QUESTION TWO: "16" was unfortunately written by Green Day
//noprint on
//if &&equ(&&(q2), green day), 'You got it!'
//if &&equ(&&(q2), green day), '//inc score'
//if &¬(&&equ(&&(q2), green day)), 'Your answer was: "&&(q2)".'
//noprint off
QUESTION THREE: "17" was written by Ripcordz
//noprint on
//if &&equ(&&(q3), ripcordz), 'You got it!'
//if &&equ(&&(q3), ripcordz), '//inc score'
//if &¬(&&equ(&&(q3), ripcordz)), 'Your answer was: "&&(q3)".'
//noprint off
QUESTION FOUR: "1944" was written by Down By Law
//noprint on
//if &&equ(&&(q4), down by law), 'You got it!'
//if &&equ(&&(q4), down by law), '//inc score'
//if &¬(&&equ(&&(q4), down by law)), 'Your answer was: "&&(q4)".'
//noprint off
QUESTION FIVE: "1967" was written by Dayglo Abortions
//noprint on
//if &&equ(&&(q5), dayglo abortions), 'You got it!'
//if &&equ(&&(q5), dayglo abortions), '//inc score'
//if &¬(&&equ(&&(q5), dayglo abortions)), 'Your answer was: "&&(q5)".'
//noprint off
QUESTION SIX: "1995" was written by Mudhoney
//noprint on
//if &&equ(&&(q6), mudhoney), 'You got it!'
//if &&equ(&&(q6), mudhoney), '//inc score'
//if &¬(&&equ(&&(q6), mudhoney)), 'Your answer was: "&&(q6)".'
//noprint off
QUESTION SEVEN: "2 Rak 005" was written by Bracket
//noprint on
//if &&equ(&&(q7), bracket), 'You got it!'
//if &&equ(&&(q7), bracket), '//inc score'
//if &¬(&&equ(&&(q7), bracket)), 'Your answer was: "&&(q7)".'
//noprint off
QUESTION EIGHT: "25" was written by Veruca Salt
//noprint on
//if &&equ(&&(q8), veruca salt), 'You got it!'
//if &&equ(&&(q8), veruca salt), '//inc score'
//if &¬(&&equ(&&(q8), veruca salt)), 'Your answer was: "&&(q8)".'
//noprint off
QUESTION NINE: "369" was written by the Buzzcocks
//noprint on
//if &&equ(&&(q9), buzzcocks), 'You got it!'
//if &&equ(&&(q9), buzzcocks), '//inc score'
//if &¬(&&equ(&&(q9), buzzcocks)), 'Your answer was: "&&(q9)".'
//noprint off
QUESTION TEN: "39" was written by Coffin Break
//noprint on
//if &&equ(&&(q10), coffin break), 'You got it!'
//if &&equ(&&(q10), coffin break), '//inc score'
//if &¬(&&equ(&&(q10), coffin break)), 'Your answer was: "&&(q10)".'
//noprint off
QUESTION ELEVEN: "53rd & 3rd" was written by the Ramones
//noprint on
//if &&equ(&&(q11), ramones), 'You got it!'
//if &&equ(&&(q11), ramones), '//inc score'
//if &¬(&&equ(&&(q11), ramones)), 'Your answer was: "&&(q11)".'
//noprint off
QUESTION TWELVE: "59 times the pain" was written by Hsker D
//noprint on
//if &&equ(&&(q12), husker du), 'You got it!'
//if &&equ(&&(q12), husker du), '//inc score'
//if &¬(&&equ(&&(q12), husker du)), 'Your answer was: "&&(q12)".'
Note: If you wrote "Du" as "D", it didn't work. sorry.
//noprint off
QUESTION THIRTEEN: "8-ball deluxe" was written by 7-Year Bitch
//noprint on
//if &&equ(&&(q13), 7-year bitch), 'You got it!'
//if &&equ(&&(q13), 7-year bitch), '//inc score'
//if &¬(&&equ(&&(q13), 7-year bitch)), 'Your answer was: "&&(q13)".'
//noprint off
QUESTION FOURTEEN: "8-10" was written by Smut
//noprint on
//if &&equ(&&(q14), smut), 'You got it!'
//if &&equ(&&(q14), smut), '//inc score'
//if &¬(&&equ(&&(q14), smut)), 'Your answer was: "&&(q14)".'
//noprint off
QUESTION FIFTEEN: "Jeannie.." was written by Screeching Weasel
//noprint on
//if &&equ(&&(q15), screeching weasel), 'You got it!'
//if &&equ(&&(q15), screeching weasel), '//inc score'
//if &¬(&&equ(&&(q15), screeching weasel)), 'Your answer was: "&&(q15)".'
//noprint off
QUESTION SIXTEEN: "99" was also written by Screeching Weasel
//noprint on
//if &&equ(&&(q16), screeching weasel), 'You got it!'
//if &&equ(&&(q16), screeching weasel), '//inc score'
//if &¬(&&equ(&&(q16), screeching weasel)), 'Your answer was: "&&(q16)".'
//noprint off
QUESTION SEVENTEEN: "999 Stoney" was written by The Bollweevils
//noprint on
//if &&equ(&&(q17), the bollweevils), 'You got it!'
//if &&equ(&&(q17), the bollweevils), '//inc score'
//if &¬(&&equ(&&(q17), the bollweevils)), 'Your answer was: "&&(q17)".'
//noprint off
QUESTION EIGHTEEN: "Apt. #2" was written by The Vindictives
//noprint on
//if &&equ(&&(q18), the vindictives), 'You got it!'
//if &&equ(&&(q18), the vindictives), '//inc score'
//if &¬(&&equ(&&(q18), the vindictives)), 'Your answer was: "&&(q18)".'
//noprint off
QUESTION NINETEEN: "December 93" was written by Eric's Trip
//noprint on
//if &&equ(&&(q19), eric's trip), 'You got it!'
//if &&equ(&&(q19), eric's trip), '//inc score'
//if &¬(&&equ(&&(q19), eric's trip)), 'Your answer was: "&&(q19)".'
//noprint off
QUESTION TWENTY: "Page 3+1" was written by Fluf
//noprint on
//if &&equ(&&(q20), fluf), 'You got it!'
//if &&equ(&&(q20), fluf), '//inc score'
//if &¬(&&equ(&&(q20), fluf)), 'Your answer was: "&&(q20)".'
Final score: &&(score).
You suck!
//noprint off
//end punk2
===============================================================================
===============================================================================
//:plastic
Plastic thoughts for plastic people -- & on the 8th day, God fell & die.
-------------------------------------------------------------------------------
by Eerie.
"She's cooking salad for breakfast
She has tofu the size of Texas"
(Beck)
Wow, this last month I've written like 3 big-ass articles for other zines
(namely DTO & Superflu), plus the ACE stuff. Don't tell me I don't do jack
shit!#%@
We had a big time meet today at my place with the ACE editors & such local
eliteness as Paranoid, Redge, Neuromancer, The Extremist & token chick Ktema
-- why she was there, you ask? I guess only Neuro knows... Well, we sure
had a nice time listening to Superchunk, Boris The Sprinkler (Hey, I sort of
like that band, really), the Descendents tribute, etc., ragging at each
other, talking with Youngie Poo on the phone 'cuz he couldn't come, breaking
into a convenience store for Coke & potato chips, watching "Serial Mom" &
laughing all the way (even if Neuro hasn't really catched on the actual
plot). Oh yeah, TE had alot of fun drawing stuff in TheDraw & he sure was
amazed at how my EGA screen could do those nifty uncalled fades.
Hey, that's what I call true geek fun. You don't find that in boxes of
Cracker Jacks.
People keep on saying ACE has so much goodies it makes their brain explode.
Yeah, that much. Just as an example, here is the official recipe for "Chef
Eerie's rice & stuff mix" <tm>:
1) Cook some instant rice, but throw some beef (or chicken) base in the
mix. Nifty!@
2) Then, prepare some onion, mushroom or whatever vegetables there are in
the fridge, slice them & cook them. Spice 'em up with Worcestershire sauce!
3) When everything is done, mix everything together & add pepper, parsley &
grated parmesan cheese.
HOW MUCH OTHER ZINES DO YOU KNOW THAT EVEN TELL YOU WHAT TO EAT, EH?
Oh yeah, by the way. Not that you give half a shit or anything, but next
issue will be #20, and we may want to do it big & especially interesting.
Well, there's something here called "Sno-Jam" that's gonna happen in the next
month & we're gonna interview ALL of the bands that are gonna play - well, we
hope so. So that should give us a pretty good headline. However, YOU CAN be
part of that historical issue by writing stuff NOW & sending it directly to
US! "How is that possible?!@#" you ask? Well, it's possible through the
magic of that thing they called INTERNET!
OH MY GOD! WE'RE ON INTERNET ALREADY! CAN YOU BELIEVE IT?! You can now
email our beloved editor TNT at address aaa883@agora.ulaval.ca & hassle him
about ACE matter! We also got a FTP site, thanks to that Teletype guy (& to
Mogel for asking him). So for quick FTP access to all ACE issues - yeah,
even the French ones!@ - just visit ftp.prism.net in directory /pub/text/ace.
That technology thing sure is fun!@
Next step is now to get someone to put up a web page for us, 'cuz we're too
lame to do one by ourselves. If anyone cares, let us know.
Just wanna add a few words to this column to talk about the latest James Bond
movie, "Goldeneye". Well, the special effects rock more than alot of Bond
flicks, but the script is really stupid when it comes to "James, you're a
sexist dinosaur and you don't know shit about women." What the fuck, we
don't want a feminist lecture, we want a damn secret agent and tons of
dynamite everywhere!
James Bond is the man 'cuz he's a Brit and 'cuz he's so far away from fucking
politically correctness. But fuck, he looks so damn stupid nowadays it's not
even funny.
//end plastic
===============================================================================
===============================================================================
//:left
Left of the right is cool
-------------------------------------------------------------------------------
by Anarchy Bob.
Don't hold your breath, Pink Lincoln and his monthly (or so) column aren't
gone forever. Well actually, the names are gone, but i am still there, only
i'm using new names. Why? I could bring out stupid reasons that you would
probably believe, but i'll be honest with you. I've only changed because i'm
tired to be confused with some drug used by ravers. Yeah, it's that stupid.
In this issue, i won't make any really cool statements about how i think the
world should be run or how i hate everybody, but i'll just speak about myself
for a while. Not some kind of lame'o-i-need-to-fill-some-space stuff like i
did in ACE's first English issue, but rather something about what i've been
doing lately.
Up to a few months ago, my life was kinda dull. Of course, i had friends and
went out to parties like anyone else, but i don't think that's a really
thrilling life, do you? I had good ideas, but i mostly kept them to myself
and never acted on them.
Then one day, i met a really nice guy at school. ("Cegep", it's a stupid
thing we have after high school and before university here in Quebec) He's
the real thing, politico/hardcore/vegetarian/liberal/anarchist, the works.
This meeting could not have happened at a better time because I, on one hand,
was bored senseless and he, on the other hand, really needed help with the
organisation of some student protest against cuts.
So in about a week, i went from little bullshit to second bullshit in
command. I am now a member of many organizations and commitees and i have
less time on my hands but i'm having loads of fun. You have no idea how
thrilling it can be to be part of some big multi-level project. You get to
meet a lot of people you never even knew existed and for a few hours a week,
you can forget your differences and work as one big whole.
The moral of this story? Well, like SNFU said:
"Get off your ass and do something
Why sit in your ass and do nothing
You've got your freedom
Why not put it to use?
Before some assholes take it away from you"
//end left
===============================================================================
===============================================================================
//:some
Some, Her, These -- Rancid = Fun
-------------------------------------------------------------------------------
by Redge.
"Escalator
See you later"
(Sicko, "Escalator")
Let's have some fun.
Let's talk about some commercial stuff.
You got it! RANCID!
Well. What's wrong with them? I'll tell you what's wrong. They "think"
they are making punk music ("think" is a big word here 'cause I'm not sure
they are able to do so).
PUNK: Musical movement that started in England around 1975, in which the
followers show a provocating attitude towards a society they judge not in
capacity of bringing some hope to the youth. (From "Le Petit Larousse
illustr 1993", translated by me.)
Well, their music sounds like punk rock, but music is not the only thing.
You've got to have some lyrics that fit with the preceding definition.
My point is: The song "Ruby Soho" which is in third position on the
billboard of the most comercial local radio station (after Green Day and the
Smashing Pumpkins) is nothing but a song without all it needs to be a "punk"
song. Even a band like your uncle's one can have a song like this one.
Maybe with other words but always the same message... wait, errr.. I
forgot, there ain't no message in this song. Can you see what I mean?
You can't judge society in a stupid love song!
I wouldn't like them not to be so popular, if that's what they want, they're
doing it better than I would. But please, if you are a pop band, show
yourself like you should do, don't pretend to be something that you're not.
The world is full of people like that, well, we'll have to live with this
until our death.
Here is the place you often see the word -END-.
//end some
===============================================================================
===============================================================================
//:dario
Dario Argento -- Stop Splashing My Walls with Your Disgusting Blood!
-------------------------------------------------------------------------------
by Paranoid.
"Good taste is the first refuge of the non-creative.
It is the last-ditch stand of the artist."
(Marshall McLuhan)
Nothing happened in the seventies, they say. And they're right, mostly. But
that decade was good to movie fans, and perhaps nowhere is that more true
than in the horror genre.
In fact, it seems to me that the important 'events' in horror filmdom tend to
mirror the important news events of 10 years prior: The uneasy post-war
feeling of the late forties gave way to the sleazy paranoia films of the late
fifties. The fear of The Bomb was reflected in the monster movies of the
fifties and sixties. And the eventful sixties became horror's renewal in the
seventies, filled with new themes, culminating in the famous fright films of
1978 and 1979 (e.g. "Halloween," "The Brood," "Alien," the "Invasion of the
Body Snatchers" remake, "Phantasm"), many of them science fiction (remember
the moon in 1969?), more of them slashers (remember Charles Manson in 1969?),
all of them setting the tone for the boring eighties, a decade pervaded by
pathetic sequels and clones and sequels of clones. ("Friday the 13th" is
nothing more than a dull imitation of Mario Bava's "Antefatto," and yet it
spawned eight sequels, each worse than the previous.)
However, the greatest force behind the 'horrific' seventies was not an
American director, but an Italian one: Dario Argento, who is virtually
unknown outside the world of horror films. With wonderful images and tons of
innovations, Argento truly lifted the horror genre to new heights (from which
it has pretty much fallen). He is now regarded as the best of all
contemporary horror directors, as well as the most influential. He has been
called "The Italian Hitchcock," and although his films don't look or feel or
even sound quite like Hitchcock's, he has clearly been inspired by the big
man. Scenes from Argento's films have often been copied, and, not
surprisingly, many have also been parodied.
Like all Italian horror directors, Argento never put too much importance on
his screenplays. His mentor was the aforementioned Mario Bava, who created
many horror, science fiction and 'muscle' films with a striking visual style.
Bava never bothered much with scripts -- he often helped botch them, but
usually they were written by someone else. In his horror films, Bava started
a new style by exaggerating and having fun with the scenes in traditional
horror films: instead of standard bleeding, you would have blood pouring like
a waterfall. I don't think Bava, who died in 1980, ever meant his films to
be very serious, though some were surprisingly suspenseful. But the style
was there, and Argento adapted it and improved on it to create more serious
and more intense movies. It caught on, and in the seventies, the spaghetti
western was replaced by the 'thriller' as Italy's new commercial trend. This
gave way to a bevy of Italian writers and directors who would become famous
in the horror world -- Luigi Cozzi, Ruggero Deodato, Lucio Fulci, Umberto
Lenzi, Antonio Margheriti, etc. Most of these had started in film long
before Argento, but didn't get commercial success until the horror craze
began there. And it began with Dario Argento's first film, "The Bird with
the Crystal Plumage" (original title: "L'uccello dalle piume di cristallo").
The first three of Argento's films are good Hitchcock imitations, Italian
style. The stories are typical of Hitchcock's work, involving mysterious
killers and suspenseful murders and people being framed and false accusations
and all that, always leading to the discovery of the real murderer. In fact,
most of Argento's films -- all of them 'slashers' of some sort -- share one
thing: the murderer is someone who's been there all along, someone we might
not even think of suspecting, and, interestingly, very often a woman. His
first three films, which I call his 'Hitchcock Period,' have most of these
elements, but, of course, the violence is much more graphic than in any
Hitchcock film.
The comparison with Hitchcock doesn't end there, though: it is often said
from actors, producers and crew members that Argento is hard to deal with --
a perfectionist with an attitude, you might say. So was Hitchcock.
Obviously, Argento isn't as crazy and aloof as was Hitchcock, but his bad
temper is a minor legend. He likes to have his own way, hates to compromise,
despises censorship, and loathes commercialism, much more so than Hitchcock
ever did. But he's more in touch with reality than Hitchcock was. He likes
to talk to his fans, and even freely admits that one of the main reasons he
became a film director was to "be loved." Initially he didn't want to go on
making horror films, but he continued because he liked it.
So eventually Argento got away from those Hitchcockian films (which by then
were the commercial trend in Italy) and added a surreal quality to them, in
the form of fantasy and the paranormal. The first such film, "Profondo
Rosso," is, in my opinion, his best film. It does, like Argento's later
films, have paranormal elements, but there aren't too many and they don't end
up a burden on the story, as is the case in movies like "Suspiria." Like
Argento's first three films, "Profondo Rosso" belongs to the 'giallo' style
of filmmaking, which took its roots in paperback thrillers that sported
distinct yellow covers, books that were extremely popular in Italy in the
seventies.
After that, Argento somewhat departed from the giallo style and experimented
all over the place. One of the things worth noting about Argento is that his
tireless will to experiment is sure to have an effect on many filmmakers to
come. He has not spent his time trying to write the perfect story, nor even
create the perfect movie, but instead has constantly tried different things.
Considering that, the resulting movies are amazingly good. It's unfortunate
that people in North America always get to see censored and edited versions
of his work. Through mail-order video and with the help of critics and
magazines, he has nonetheless managed to bring his reputation as a master of
horror to the US and Canada. But his films are still constantly destroyed,
not only by the censorship, but also by the dubbing, which is always
pathetic. It's as if all of Argento's films were dubbed in English by the
same person doing all the voices -- monotonous voices.
One of the words that invariably comes back when you hear of Argento is
'stylish.' Ephraim Katz's Film Encyclopedia has perhaps the best overall
description of Argento the director, when it calls him "Italy's stylish
master of cheap blood and gore." Again, 'stylish' is the key word. American
re-editing and dubbing notwithstanding, none of Argento's films actually feel
or look 'cheap' when you watch them. The camera moves in a nervously
grandiose fashion, the blood and gore boast vibrant colours, the lighting is
brilliant, and the sound track is used in the most innovative ways. How can
you not like seeing a gruesome but colourful murder while a child melodically
sings 'la-la-la'? Ennio Morricone's taunting music in the first three films
and Goblin's weird scores in later films are used very effectively by
Argento, who usually participates in the scoring process.
Although he spends a lot of time on his screenplays and is usually helped by
one or two other writers, Dario's films don't have the most interesting of
stories. Which leads to the question: What would an Argento film with a
really good script be like? Some speculate that the answer might be found in
Michele 'Michael' Soavi's "Dellamorte Dellamore." Soavi has been an
assistant director and actor for many of Argento's movies, and Argento
produced two of Soavi's own movies. When Soavi decided to go on his own, the
resulting film became a wild success. It is now believed by many critics
that "Dellamorte Dellamore" will revolutionize the world of horror. The
film, about a lonely man's love for the dead, is both a horror story and a
satire of society and government. I haven't seen it yet, so I can't vouch
for this, but almost everyone seems to agree that this film is excellent and
wonderfully intellectual. Virtually all critics that I read were in awe of
the movie. One critic, though, says that the film is "further, unnecessary
proof that Michele Soavi is no worthy heir to mentor Dario Argento." See for
yourself when the film opens soon -- it's been delayed many times -- in North
America, under the title "Cemetary Man." Amazingly, it will be released
uncut. It is being brought here by October films -- the guys who also
brought us the excellent horror-tragedy "Cronos," about two years ago.
Around the same time that "Dellamorte Dellamore" was being filmed, "Trauma,"
a big-budget American film by Argento, was released. Argento's first (last?)
film to be produced solely in the United States, and with a mostly American
cast, "Trauma" turned out to be a disappointment for many fans and horror
critics. (I liked it.) After this 'sad episode' in his career, he is now
expected to make a 'comeback' with "Stendhal Syndrome," his first
Italian-language film in almost ten years.
But it seems to me that Argento is a bit lost right now. In an interview
about "Stendhal Syndrome," he says: "It represents my definitive return to
the classical giallo, in the style of 'Deep Red' or my very first films. I
have experimented a lot inside the genre, so now I guess it's time to go back
to my roots." It sounds like he's hesitating and isn't sure what to do. But
I would be extremely surprised if "Stendhal Syndrome" turned out to be a
disappointing film. After all, Argento has never _really_ lost his touch.
For Dario, as for many Italians, it's often all in the family: His daughter
Fiore shows up in "Phenomena" and "Demoni." His other daughter, Asia, is
slowly becoming an accomplished (political incorrectness warning) actress.
She was first featured in "Demoni 2," then played a small part in "La
Chiesa," and later took the lead in "Trauma." Recently, she was among the
huge cast of "La Reine Margot," a superb (and violent and erotic) big-budget
French epic based on a classic novel by Alexandre Dumas. She's now in
Dario's latest film, "Stendhal Syndrome." Two other Argentos, Salvatore
(Dario's father) and Claudio, are film producers, and have participated in
many of Dario's films.
In fact, Claudio Argento co-wrote and produced 1989's "Santa Sangre," which
marked the return of cult director Alejandro Jodorowsky. What a coincidence,
then, that next issue's subject just happens to be that same Jodorowsky. (All
right, I must admit: it's not really a coincidence. The fact is that I was
just looking for a good tie-in to next issue. Ah, I'm really glad I
confessed to you; I feel better now.)
//noprint on
Point here for Dario Argento's filmography (huge!@#) //goto :dario2
//end dario
//:dario2
//noprint off
Dario Argento's filmography
---------------------------
This filmography is in two parts: Part One lists _all_ the movies for which
Argento was both writer (or co-writer) and director. So when I say 'auteur,'
I don't specifically refer to the so-called 'auteur theory' (which states
that a film's director is the 'author' or 'creator' of a film), but more to
the fact that the director had basic artistic control over all the main
elements of the film. (This is not always the case, specially in Hollywood.)
Part Two is a sample of Argento's other work in the movies. He has done much
more than this, but these are the most important of his other endeavors.
All alternate titles are sorted in order of their frequency, and for my
French-speaking friends, I have also included, when known, the French title.
The running times listed are always for the longest version that I know of,
regardless of the length of the 'original' version. (Don't worry _too_ much
about length: both minor differences in the speed of VCRs and compression on
many laserdiscs can change the running time by as much as five per cent.) The
filmography is in chronological order, with my inevitable comments.
After the filmography, you'll find, in alphabetical order, a list of all the
other movies mentioned in this article, along with their alternate titles,
year of completion, and, when known, length.
Part 1: Dario Argento as 'Auteur'
----------------------------------
L'UCCELLO DALLE PIUME DI CRISTALLO (1969)
Argento's first film, some say his best. This 'Hitchcockian thriller' has
some decent acting, which is rare in an Argento film. The strange
avant-garde music by Ennio Morricone is great and well utilized. The most
recent release of the film is called "The Phantom of Terror." This is one of
the first movies to have Vittorio Storaro as cinematographer. Storaro went
on to become one of the best in the world. 102 minutes.
Other titles: "The Bird with the Crystal Plumage", "The Phantom of Terror",
"The Gallery Murders", "The Bird with the Glass Feathers", "L'Oiseau au
plumage de cristal"
IL GATTO A NOVE CODE (1970)
The English version is both cut and awfully dubbed, and not worth watching.
All in all, this is perhaps Argento's worst movie of the seventies, and has
been forgotten by many fans. Still, it _is_ 'stylish' and at times
entertaining. Much blood and some sex. 112 minutes.
Other titles: "The Cat o'Nine Tails", "Le Chat
neuf queues"
4 MOSCHE DI VELLUTO GRIGIO (1971)
An okay low-budget movie, but with bad actors (including Bud Spencer!). To
the best of my knowledge, this is not on video in English, but a French video
version does exist. The story sometimes feels like a cheap rip-off of
Hitchcock, albeit a good one, co-written by Luigi Cozzi. 105 minutes.
Other titles: "Four Flies on Grey Velvet", "Four Patches of Grey Velvet",
"Quatre mouches de velours gris"
LE CINQUE GIORNATE (1973)
I've never seen this film, and I have no idea what it's about. It was never
translated, so I assume it wasn't worth it. Title means 'The Five Days.'
PROFONDO ROSSO (1975)
Almost all incarnations of this film are cut in some way. Definitely
Argento's best film. Even versions cut by as much as 20 minutes are as good
as the original. (Pointless dialogue is most of what's missing from the
102-minute version.) The dubbing is slightly better than other translations
of Argento's films. This was the first film to be scored by Goblin, and --
Claudio Simonetti's solo work notwithstanding -- probably their best sound
track, and very appropriate for the film. 123 minutes.
Other titles: "Deep Red", "Deep Red Hatchet Murders", "The Hatcher Murders",
"Dripping Deep Red", "The Sabre Tooth Tiger", "Les Frissons de l'angoisse"
SUSPIRIA (1976)
A recently released English version of this classic film comes dubbed, uncut
and letterboxed. The dubbing is robotic, but doesn't really hamper the film.
The previous version was slightly cut and badly edited, and another, rarer,
uncut version comes letterboxed and with subtitles. Any fan will tell you
that this is not Argento's best movie, but mainstream critics liked it most.
Great cinematography and all-around fun. 95 minutes.
INFERNO (1978)
This is a sequel of sorts to "Suspiria," and part of an incomplete trilogy.
It's also sometimes referred to as "Suspiria Part 2." I personally find it
better than "Suspiria," as do many European critics. Mario Bava helped with
some of the special effects, or so they say. 107 minutes.
TENEBRE (1982)
The English version, "Unsane," is totally butchered and badly dubbed. That's
sad, because this movie is excellent and worth watching, be it in its
original title, with English captions, or in the uncut dubbed version, called
"Tenebrae." It looks and feels a lot like "Profondo Rosso," and the story,
although not original (a writer's acquaintances get murdered in ways similar
to the scenes in his book), is, in my view, Argento's best, with a nice twist
at the end. Unlike in the two previous films, there are no superfluous
paranormal elements here. 100 minutes.
Other titles: "Unsane", "Tenebrae", "Shadow", "Tnbres"
PHENOMENA (1984)
Probably Argento's weirdest movie. The English version is a piece of trash:
more than 30 minutes were cut, and the remaining parts were badly pieced
together. Also, the dubbing sucks. I'm not sure, but I think Jennifer
Connelly was dubbed by an Italian in the original version, which would mean
that she was re-dubbed by someone else for the English version. This should
only be seen in the uncut version, but it's really worth it. The bugs are
surprisingly good 'actors,' but the chimp really steals the show. Also stars
Donald Pleasence and Italian horror staple Daria Nicoldi. With beautiful
images and great lighting, this is extravagant surrealism. Original music by
Goblin, Claudio Simonetti, and Simon Boswell, with some of the scenes set to
hard rock by the likes of Iron Maiden and Motorhead. 115 minutes.
Other title: "Creepers"
OPERA (1987)
This time, Argento's traditional mysterious slasher goes to the opera. The
film's story is harder to follow than is customary with Argento, but it's
hard to even care: the visuals are some of the best he's ever come up with,
and the murder scenes are unbelievably wild and crazy and attractive. It's
been overlooked by many Argento fans, especially in Europe, but this is one
of my favourites. It's preferable to get a version with subtitles, because
the dubbing is as bad as it gets. Just plain fun. 107 minutes.
Other title: "Terror at the Opera"
TWO EVIL EYES ("THE BLACK CAT") (1990)
Argento's first English-language work, this is two-part collaboration between
him and George "Night of the Living Dead" Romero, adapted from two stories by
Edgar Allan Poe. Amazingly, the film got little coverage in horror
magazines, and fans of either director didn't pay much attention. It's a good
thing, because the movie just doesn't work. Romero's half is truly pathetic.
Argento's half, entitled "The Black Cat" (it actually draws from numerous Poe
stories), stars Harvey Keitel, and is slightly more effective, though not
what you'd expect from such a master. 120 minutes.
TRAUMA (1993)
Another English-language film, full-length this time, and Argento's first
(and only) film to be produced in the US. Far from the 'major failure' it is
now said to be, it's actually a decent movie, but different from Argento's
other work in that it follows a more conventional kind of storytelling. It's
not a success, but not really a failure. The film's actors include
Christopher Rydell, Brad Dourif, and Asia Argento -- Dario's daughter. Asia
is a good actress (pretty, too), but here her strange accent is a bit
annoying; it's as if her lines had been written by a dyslexic. In the end,
"Trauma" probably 'failed' because of high expectations. But I knew this
would be no masterpiece, so in fact I enjoyed it. 113 minutes.
STENDHAL SYNDROME (1996)
As I write this, Argento's latest film is supposed to have come out a few
days ago in Italy. The word is that he's back in top shape. The title
refers to a psychological condition once described by early nineteenth-
century French writer Stendhal. (Stendhal, who bore no first name, has been
hailed by some as the best psychologist of that century, because of his
uncanny ability to understand and describe, in his novels and essays, the
deepest of human emotions. The complex eponymous 'disorder' involves many
symptoms similar to those of severe schizophrenia. Stendhal apparently
suffered from these when viewing a specific painting.) Again, Dario's
daughter Asia plays the main part, that of a cop investigating a line of
curious murders, seemingly related to paintings of Boticelli and Rembrandt.
Dario went back to Ennio Morricone (who scored his first three movies) for
the music, and the movie features computer-generated special effects -- a
first for Dario. (The effects include a Lovecraftian fish monster!) Still,
Argento and his FX guy Sergio Stivaletti respectively insist that there is "a
lot of blood and violence" and "more than your average splatter this time,"
which makes me wonder if Argento isn't trying to please gore seekers at the
expense of style and atmosphere. We'll have to wait and see. Or at least I
will. The film is in Italian, and (if all goes well) should be dubbed and
released in North American theatres, probably near the end of the year.
Part 2: Dario Argento as 'Collaborator'
----------------------------------------
ONCE UPON A TIME IN THE WEST (co-writer, 1968)
Many people collaborated on the screenplay of Sergio Leone's masterpiece,
among them Leone, Argento, and Bernardo Bertolucci -- three of Italy's best
directors ever. The musical score by Ennio Morricone is constantly being
hailed as one of the greatest of all time. 165 minutes.
PROBABILITA ZERO (second-unit director?, 1968)
This movie is a ghost. I've only seen it mentioned in one reference book of
mine, with a 'co-directing' credit to Argento. (Strangely, they don't list
the other director.) I dare to assume that this means Dario was either the
second-unit director, or (somewhat less likely) the assistant director.
UN ESERCITO DI 5 UOMINI (co-writer, 1969)
By nothing more than coincidence, I recently came across this film on TV and
saw 'Dario Argento' listed as one of the screenwriters. It's a lame movie
(the kind they show here in the afternoon), but I put it here because I
figured perhaps it epitomizes the kind of 'action adventure' films that
Argento worked on before becoming a director. 107 minutes.
Other titles: "The Five Man Army", "Cinq hommes arms"
DAWN OF THE DEAD (co-writer, co-producer, music composer, 1977)
George Romero, like Dario Argento, has a knack for doing the same movie over
and over again without boring us. "Dawn of the Dead" is a sequel (or a
remake?) to his classic "Night of the Living Dead," and it's in fact much
better, with great special effects (by _the_ master, Tom Savini) and, well,
it's in colour. What's more, the whole movie intentionally feels like a big
social satire: we _are_ zombies, damn it! Having said that, there's not much
to say about Argento's music in "Dawn of the Dead." I guess he had loved
helping Goblin with the "Suspiria" sound track the year before, so he tried
his hand at composing. Most of it is atmospheric music, the kind you can't
really put on an album because it absolutely cannot be listened to on its
own. But it works fine for the film. A bad sequel, "Day of the Dead,"
followed, without Argento's collaboration. The Italian version also spawned
unauthorized gory sequels of its own. 140 minutes.
Other titles: "Zombies -- Dawn of the Dead", "Zombie" [French title],
"Zombi" [Italian title, followed by sequels]
DEMONI (co-writer, producer, 1985)
A ridiculous film that has achieved 'cult status' among gore fans. The
amazing thing is that there isn't much gore here -- most of the 'scary'
effects in this film consist of monster (or 'demon') makeup, which is
admittedly good. The film is poorly directed by Lamberto Bava, the son of
the legendary Mario Bava -- Argento's predecessor. The story is senseless,
plotless, and you couldn't give a shit about the characters, so they might as
well die choking on vomit; it wouldn't matter. And yet, for a reason I just
can't explain, I have to admit I found it bizarrely creepy, in a senseless
gothic humans-transform-into-demons sort of way. (Or maybe the film is just
so bad that is scares me.) Even more amazing is that Argento had a fair
amount of artistic control here. I don't know what he was thinking. Still,
this is an okay movie to watch if, say, you're with a bunch of friends, and
you're listening to music instead of the film, and laughing at the special
effects. Try it on dope and tell me how it feels. Bad dubbing. Songs by
several rock groups, including Go West, Accept, and Motley Crue, with
original music by Claudio Simonetti and Goblin. Endless 89 minutes.
Other title: "Demons"
DEMONI II -- L'INCUBO RITORNA (co-writer, producer, 1986)
The disgusting demons are back in this even-worse sequel to "Demoni." Again,
Lamberto Bava directs, and it's the same damn music as in the first. We even
see parts of the original on a TV. You see, some kids in a big building are
watching a documentary about the events of "Demoni," and suddenly one of 'em
demons, who evidently hasn't washed in decades, leaps out of the TV. (I kid
you not.) This is basically a deplorable remake of David Cronenberg's
"Shivers," with any kind of logic thrown out and replaced with cheesy
dialogue and botched dubbing. There's even another sequel to this bullshit,
"Demoni 3," directed by Umberto Lenzi, maker of crappy cannibal films. If
you still feel like watching the "Demons" films, watch out for opportunistic
American films called "Night of the Demons" and "Night of the Demons 2." The
covers feature similar close-ups of monsters, and the "Night of the" part of
the title is written in dubiously fine print. Then again, you might prefer
to watch these two, since their comedy is intentional. 88 minutes.
Other titles: "Demons 2: The Nightmare Returns", "Demons II -- The Nightmare
Is Back"
LA CHIESA (co-writer producer, 1989)
Argento was reportedly very involved in Michele Soavi's second feature film,
and even insisted on cutting some scenes. Visually, "La Chiesa" is much like
an Argento film. The plot, however, reminded me of "Demoni," with the events
taking place in a church instead of a movie theatre. Perhaps this is what
"Demoni" should have been. All in all, this is an enjoyable film, with
'shocking' imagery and a decent score by Goblin and Keith Emerson. As usual,
the dubbing sucks. 110 minutes.
Other title: "The Church"
LA SETTA (co-writer, producer, 1991)
Soavi's third feature is a dud, but for some reason it gave him a big
reputation as the new 'horror master' in Italy. It borrows from a number of
movies, including "The Omen" and its sequels. The plot is senseless and hard
to follow (perhaps because there _is_ no plot). Don't bother watching this,
it's just not worth it. 112 minutes.
Other titles: "The Devil's Daughter", "The Sect"
Other Titles Mentioned
----------------------
ALIEN (Ridley Scott, 117 minutes, 1979)
ANTEFATTO (Mario Bava, in Italian, 90 minutes, 1971)
"Twitch of the Death Nerve", "Bay of Blood", "Last House on the Left, Part
II", "Carnage", "Ecology of a Crime", "Blood Bath", "Before the Fact", "La
Baie sanglante" [French title], "Ecologia del delitto" [Alternate Italian
title], "Reazione a catena" [Alternate Italian title]
THE BROOD (David Cronenberg, 91 minutes, 1979)
"Chromosome 3" [French title]
CRONOS (Guillermo del Toro, originally in Spanish, 92 minutes, 1992)
DAY OF THE DEAD (George A. Romero, 102 minutes, 1983)
"Le Jour des morts-vivants"
DELLAMORTE DELLAMORE (Michele Soavi, in Italian, 1994)
"Cemetary Man"
DEMONI 3 (Umberto Lenzi, in Italian, 1994)
"Demons 3"
FRIDAY THE 13TH (Sean S. Cunningham, 96 minutes, 1980)
"Vendredi 13"
HALLOWEEN (John Carpenter, 93 minutes, 1978)
"La Nuit des masques"
INVASION OF THE BODY SNATCHERS (Philip Kaufman, 115 minutes, 1978)
"L'Invasion des profanateurs"
NIGHT OF THE DEMONS (Kevin S. Tenney, 92 minutes, 1987)
"Halloween Party"
NIGHT OF THE DEMONS 2 (Brian Trenchard-Smith, 96 minutes, 1994)
NIGHT OF THE LIVING DEAD (George A. Romero, B/W, 90 minutes, 1969)
"Night of the Flesh Eaters", "Feast of Flesh", "Night of Anubis", "La Nuit
des morts-vivants" [Also available in a colourized version, which sucks]
THE OMEN (Richard Donner, 111 minutes, 1976)
"Birthmark", "La Maldiction"
PHANTASM (Don Coscarelli, 100 minutes, 1978)
LA REINE MARGOT (Patrice Chreau, in French, 166 minutes, 1994)
"Queen Margot"
SANTA SANGRE (Alejandro Jodorowsky, in English, 118 minutes, 1989)
SHIVERS (David Cronenberg, 87 minutes, 1975)
"They Came from Within", "The Parasite Murders", "Frissons"
//end dario2
===============================================================================
===============================================================================
//:techno
The Techno Issue, part II -- The fourteen different shades of black
-------------------------------------------------------------------------------
by Eerie.
(Note from the ACE Staff: Well, it's part two of the discussion we started
in ACE #18 with an article from Pink Lincoln (now Anarchy Bob.) Next will
probably be his reply, but now that I think of it, maybe not, so you can just
as well submit something.)
---
Excerpt from part I: "So, like a modern day plague, techno will spread and
spread until it hits the charts. This is not mindless gibberish, punk rock
was diluted, commercialized and packaged in an easy to swallow format for the
masses."
---
Rock 'n roll is something that can be done very easily.
Seriously. Wanna start a punk band? All you need is a guitar, a voice & a
couple drums. Any idiot could do that. The structure of the songs are for
the most part, all the same (verse, chorus, verse, chorus...) & the tempo is
4/4 all the time, it just never changes.
Now what about techno? Well, from the second you have a 'puter & a couple
samples, you can compose. You'd have to be stupid to fail composing a techno
song. I mean, come on, get yourself a gabber bass drum sample & I swear
you'll create a hardcore song by the second.
Why am I saying this? I want to make a point. From the second you want to
play music, you can. The media you'll use depends on how you feel.
---
Excerpt from part I: "So what will they do? They will turn to someone or
something that pretends to have a meaning, a reason for existence, something
that considers itself a movement. And that is alas, techno music."
---
Techno music? Meaning?
The whole idea under techno music, if I got it right, is that you can use
technology on good purpose.
But isn't it true with ANY music?
From the second you plug your guitar on your amp, you are using technology.
Will you consider it as if the amplified/distorted guitar sound wasn't "real
music"? Of course not! "A GUITAR IS A REAL INSTRUMENT!@"
Well, what's so unreal with a keyboard, anyway? I mean, it does _exist_, it
sure is _solid_... It's just that instead of making music from percussion,
breath or strings, it uses electronic components. WOW, WHAT A DIFFERENCE.
---
Excerpt from part I: "But what does this mean? It means the next step in the
dehumanization of music will come. Mindless, feeless and cold music. We can
even look forward to a future in which music is performed and created by
complex mathematical algorithms."
---
I really can't figure out how techno could be classified as "mindless", "non
musical" or whatever.
Maybe it's the fact that's "it's looped all the time, it's got no
_originality_." But, hey, isn't it the case of rock songs? Same riff,
looped all over the verse & another one for the chorus (& sometimes, a
bridge & a solo, too.) I wouldn't exactly call that "original", if that's
what you mean.
Then is it simply because unlike "real" instruments, the keyboard doesn't
have an "instant" feel to it, since you can program it & let it play whenever
-- a keyboard can't change the melody if you don't ask it. Well, isn't
programming a keyboard the exact same thing as composing a symphony? From
scratch, you write a big-ass song that you can play endlessly.
Really, does who say techno is not music could just as well say that
CLASSICAL is not music!
---
Excerpt from part I: "But we need more (at least, i do). I mean great, it
brings people together, it's a wonderful sensorial trip to the outer planes
of existence and non-existence, but that's about it. I mean, music like any
artform, is supposed to be some representation of the artist's views on a
particuliar topic (might it be large as life), not just some musically
pleasing gibberish."
---
"But you can't play with your _feelings_ anymore!" So what? When you write
a story, do you keep on with the first draft just because it's the one that's
true? Of course not! You're gonna work with it, remove some parts, add some
others, etc. You're gonna _shape_ the "feelings" instead of keeping them in
a raw, unchanged form.
Then what? "It's not _true_ anymore"? Well, isn't what's art for?
Sublimate the "true" thing into a perception of one's view? Instead of
showing it off so that anyone has to decipher it themselves?
It is a "mind" thing. It's easy to understand why people can have a trip on
techno music, 'cause it offers direct access to the
whole thing by giving a
perception of it.
---
I just want to add that I don't even care about the "movements" around that
kind of music - as well as those around any other kind of music, be it punk
rock. (Read "My own private anarchy" from DTO #5 for a detailed
explanation.)
Thank you, who's next?
//end techno
===============================================================================
===============================================================================
//:kit
Punk rock resource kit
-------------------------------------------------------------------------------
by Anarchy Bob
(Disclaimer: I can not be held responsible for anything that happens to you
directly or indirectly after consulting this article. I apologize in advance
for any misprintings. If you get swined by any of those compagnies
(doubtful) tough shit.)
So, there i am staring at my computer screen with nothing to write about when
my mind flashes. Since Eerie mentioned how to copyright your stuff in the
last issue, wouldn't it be nice if you knew how to actually get your stuff
done? Well, here's a list of interesting places to call/write to when
nothing local to you will do.
(All prices are in American bucks)
For cheap CD manufacturing ($800 for 1000 compact discs), including mastering,
two color label, but not including film work and shipping, contact:
Mike at (313) 365 8574, box 40282 redford michigan, 48240
Punks With Presses: D.I.Y. Printing, 7" covers or CD covers + inserts:
$90 to $130 per 1000 Posters and Flyers: $55 to $130
Stickers: Glossy Paper and Vinyl.
Prices include ground shipping in the USA.
Call Jux, Brian or Gabe (510) 763-9432 or fax: (510) 763-6729
email: Jux@netcom.com write: Punks With Presses, PO Box 326
Berkeley, CA 94701
Aardvark Record Mastering: 10 years experience in cutting records. Cuts
normal and weird cuts including locket grooves, double grooves and inside outs
Price list too long to list. Call for details: (303) 455-1908
4485 Utica Street - Denver, CO 80212
Put Out Your Own CD: $950 for 1000 raw discs. Call or write Bleach recordings.
237 Page Street San Francisco, CA 94102 (415) 553-8725
//end kit
===============================================================================
===============================================================================
//:disco
Discographies -- Punk rock on the big picture
-------------------------------------------------------------------------------
by The Naughty Tycoon.
For all of you guys tuning in, it might be interesting to offer you
discographies of bands that are now popular, so you can know what they've
done and tell all your cool friends about it.
RANCID
------
SINGLE ONE [7"] (Lookout; 1993)
RANCID [LP/CD/CS] (Epitaph; 1993)
ADINA [video] (1993)
RADIO, RADIO [7"] (Fat Wreck Chords; 1994)
LET'S GO [2x10"/CD/CS] (Epitaph; 1994)
SALVATION [video] (1994)
ROOTS RADICALS [7"/CDEP] (Epitaph; 1995)
..AND OUT COME THE WOLVES [LP/CD/CS] (Epitaph; 1995)
TIME BOMB [video] (1995)
RUBY SOHO [video] (1995)
THE OFFSPRING (may be incomplete)
---------------------------------
THE OFFSPRING [LP/CD/CS] (Nemesis; 1989. reissued in 1995 by Nitro)
BAGHDAD [7"] (??) -- contains the song "Tehran" but they changed the lyrics
and it's now about Baghdad.
IGNITION [LP/CD/CS] (Epitaph; 1992)
SMASH [LP/CD/CS] (Epitaph; 1994)
COME OUT AND PLAY [video] (1994)
COME OUT AND PLAY [CDEP] (Epitaph; 1994)
SELF ESTEEM [video] (1994)
SELF ESTEEM [CDEP] (Epitaph; 1994)
GOTTA GET AWAY [video] (1995)
GOTTA GET AWAY [CDEP] (Epitaph; 1995)
BAD RELIGION
------------
BAD RELIGION [7"] (Epitaph; 1980)
HOW COULD HELL BE ANY WORSE? [LP] (Epitaph; 1981? 82?. reissued on cassette
in 1990)
INTO THE UNKNOWN [LP] (Epitaph; 1984. reissued on CD in 1990 or so)
BACK TO THE KNOWN [7"] (Epitaph; 1985)
SUFFER [LP/CD/CS] (Epitaph; 1988)
NO CONTROL [LP/CD/CS] (Epitaph; 1989)
AGAINST THE GRAIN [LP/CD/CS] (Epitaph; 1990)
80-85 [CD] (Epitaph; 1991) -- contains their first two 7"s and the 1st LP.
GENERATOR [LP/CD/CS] (Epitaph; 1992)
ATOMIC GARDEN [7"] (Sympathy For The Record Industry?; 1992)
ATOMIC GARDEN [video] (1992)
RECIPE FOR HATE [LP/CD/CS] (Epitaph; 1993. licensed the same year to
Atlantic for CD and cassette releases)
AMERICAN JESUS [7"] (Sympathy For The Record Industry; 1993)
AMERICAN JESUS [video] (1993)
STRUCK A NERVE [video] (1993)
STRANGER THAN VICTION [video] (1994)
STRANGER THAN FICTION [LP/CD/CS] (Atlantic; 1994)
INFECTED [video] (1994)
INFECTED [CDEP] (Atlantic; 1994)
INCOMPLETE [video] (1995)
21ST CENTURY (DIGITAL BOY) [video] (1995)
21ST CENTURY (DIGITAL BOY) [CDEP] (Atlantic; 1995)
ALL AGES [LP/CD/CS] (Epitaph; 1995) -- this contains songs from the LP's
"Suffer", "No Control", "Against The Grain" and "Generator".
JAWBREAKER
----------
note: I'm sorry, but I don't have the release year for those records. I think
they're in chronological order, but I'm no sure.
WHACK AND BLITE [7"] (Shredder)
UNFUN [LP] (Shredder. Reissued on CD in 1994)
BIVOUAC [LP/CD/CS] (Lookout)
24HR REVENGE THERAPY [LP/CD/CS] (Lookout)
BUSY [7"] (Shredder)
DEAR YOU [LP/CD/CS] (Geffen)
FIREMAN [video]
FACE TO FACE
------------
DISCONNECTED [7"] (Fat Wreck Chords; 1993)
DON'T TURN AWAY [LP/CD/CS] (Fat Wreck Chords; 1993. reissued in 1995 by Dr.
Strange)
NO AUTHORITY [7"] (Fat Wreck Chords?; 1994)
split 7" with HORACE PINKER (Medication?; 1994)
song on the PUNK USA compilation (Lookout; 1994)
song on the NORTH BY NORTHWEST compilation (Vagrant; 1994)
OVER IT. [EP] (Victory; 1994)
DISCONNECTED [video] (1994)
BIG CHOICE [LP/CD/CS] (Victory; 1995)
song on the SATURDAY MORNING compilation (MCA; 1995)
//end disco
===============================================================================
===============================================================================
//:reviews
//savepos
//push
Reviews
-------------------------------------------------------------------------------
//noprint on
This month again, pointing on an album title right here would bring you to
the related review. That's the power of technology, my friends.
Of course, press Page Down a couple times and you'll get the reviews in
normal order.
ANALEPTIK (Steven Snomed) //goto :rev01
BOYS FOR PELE (Tori Amos) //goto :rev02
CRIMINAL JUSTICE (D*Note) //goto :rev03
FILTH PIG (Ministry) //goto :rev04
HAPPY, HAPPY JOY, JOY IN A FUCKUP WORLD (Thicker) //goto :rev05
HEAVYWEIGHT (The Bollweevils) //goto :rev06
HOMAGE (LOTS OF BANDS DOING DESCENDENTS' SONGS) (Various artists) //goto :rev07
OH! [EP] (Skylab) //goto :rev08
ON (Echobelly) //goto :rev09
THE MANY MOODS OF THE VINDICTIVES [2xLP] (The Vindictives) //goto :rev10
THE SOUND OF MUSIC (Pizzicato Five) //goto :rev11
WHERE QUALITY IS JOB #1 [2x7"] (Propagandhi) //goto :rev12
//noprint off
//:rev01
ANALEPTIK
Steven Snomed (Hybrid Structure) Analeptik is the second important album
to be released on Hybrid Structure Productions (located in Montreal), the
first being Synthesthesia's Therapy (besides, there are two remixes of Snomed
tracks). Unfortunately, Steven Snomed's album cannot hold the comparison
with the aforementioned release. In fact, it sounds more like a live act
than a real studio album. The only interesting track is probably "Play =
303" with its powerful gabber bass drum, while the others (including a shitty
hidden track) are probably too repetitive and too long. -Neuromancer
* *. 11 Tracks; 65 minutes.
//end rev01
//:rev02
BOYS FOR PELE
Tori Amos (Atlantic/Warner) Everytime I listen to any Tori Amos record,
I wonder how in hell I could rate it under 4 stars. (Okay, suppose we don't
count "Y Cant Tori Read"..) There's a reason why, I guess. Like, her voice,
the way she makes the piano sound so magic all of a sudden, & of course how
she's always true. "Boys For Pele" has to be a great surprise for me for
it's been a long time since I've seen such an effort of doing stuff the way
no big time producer would do. In this record, she uses an harmonium, tons
of random delightfully sounding keyboards, a couple breakbeats & her voice
reaches PJ Harvey's tones at moments. The hardcore fans will drool like hell
& the critics won't understand. So I sort of have to like it. -Eerie
* * * *. 16 Tracks; 70 minutes.
//end rev02
//:rev03
CRIMINAL JUSTICE
D*Note (TVT) Who in hell are D*Note, you ask? Well, they're an acid
jazz band that had some kind of critical success. Heard the song "Iniquity
Worker" (a fine blend of jungle beats & raggamuffin blaze), it was enough to
convince me, so I bought the record. First thing you know, the first song,
"Criminal Justice", uses the same jungle beats & has a cheesy chorus. As for
the rest, it has virtually no beats, no substance, & on the rare times when
the sound rocks, it either stops right here or keeps on eternally, thus
making you end up with 8-minutes songs you really, & I mean _really_ don't
care about. I can't see who would like this, really. -Eerie
* «. 9 Tracks; 53 minutes.
//end rev03
//:rev04
FILTH PIG
Ministry (Warner) One word can define this album: heavy. If the
previous one, AKA Psalm 69, was _extremely_ fast, Filth Pig is slower, but
there's even more guitar. The album is less "industrial" too, so we could
say that they now sound like Helmet. On the album, Al Jourgensen goes on
with his destruction of the American way of life (just take a look at the
[splendid] cover), for example, by transforming a sweet little song like Bob
Dylan's "Lay Lady Lay" in some kind of nightmare. As we could have guessed,
all of this isn't very happy but you can explain that when you know that the
album has been recorded in an abandoned shed with Jourgensen wasting time,
between the recording sessions, shooting enormous spiders with his rigle.
Happy happy joy joy! -Neuromancer
* * * «. Specs unavailable!@
//end rev04
//:rev05
HAPPY, HAPPY JOY, JOY IN A FUCKUP WORLD
Thicker (independent) This is a band from Ste-Foy, Quebec, that sounds
like a crossover between Propagandhi and Blink. They have a great song about
the Ren & Stimpy show, and most of the other songs are based on the same
topics as Propagandhi ("Homophobia, What Are You Sick", "Pigs Around The
World", "Flag Fart"). This isn't really original, and the second bonus song
is not funny at all and it sucks, but I've seen a lot worse. Give it a try!
-TNT
* * *. 13 Tracks; 35 minutes.
//end rev05
//:rev06
HEAVYWEIGHT
The Bollweevils (Dr. Strange) Goddamn! The Bollweevils now have that
"full sound" Dr. Strange is known for, and that's great! Okay, they didn't
change their style that much, but this new album is a thousand times faster
than "Stick Your Neck Out"! This isn't as catchy, but some songs are really
good. They're beginning to sound like early 88 Fingers Louie ("Bulletman",
"Fence Sitter") and the drummer is one of the best ones around. This doesn't
have the catchiness of a classic, but Heavyweight outruns all the other
albums released this year (yet), energy-wise. -TNT
* * * *. 12 Tracks; 30 minutes.
//end rev06
//:rev07
HOMAGE (LOTS OF BANDS DOING DESCENDENTS' SONGS)
Various artists (Coolidge) Jack from Coolidge Records just proved that
the Descendents have influenced a lot of very diverse bands. 29 different
bands cover all the eras of the Descendents. There are some boring numbers,
but most of what's in there is pop-punk, in the purest tradition of those who
basically invented the style. There are very few known bands that participate
to this though: Pavement, Black Train Jack, Parasites, Bouncing Souls, Thrush
Hermit, Garden Variety. The best songs are those from Frank Phobia And Clem
("Kabuki Girl"), Shirk Circus ("Jean Is Dead") and Squatweiler ("Parents/I
Like Food"). The biggest weakness of the album is that most of the bands
sound exactly like the Descendents.. Not bad. -TNT
* * *. 29 Tracks; 75 minutes.
//end rev07
//:rev08
OH! [EP]
Skylab (L'attitude/Mercury) DUH. There's those times you listen to an
album you'd NEVER expect to be that good. Like, this is pure experimental
acid jazz; pure _craziness_, i must say. Not just the kind of stuff that
just sounds weird & leaves you with the feeling that you haven't understood
anything. Skylab's song constructs are so demential they should be given an
award or something. This doesn't even sound, y'know, "plastic" like some
techno. But, like, even the human voice is threatened & put down as yet
another instrument that only adds to the mix. & when the mix explodes, it
does so like a volcano. The song "Red Light, Blue Light" actually stones me
to a point I wouldn't have thought possible, & that's without using any drugs
of any kind. They climb so high, & when they descend, it's at the exact
right time. They're progressing, litterally, never even thinking about going
back or anything. I dunno, there's these times you feel like the music you
hear goes in the same way as you do. As in Skylab's "Oh!". -Eerie
* * * * «. 5 Tracks; 32 minutes.
//end rev08
//:rev09
ON
Echobelly (Rythm King/Sony) Okay, so this is my euro pop review of the
month. Echobelly sounds like any decent English alt-rock band, the
difference is the female singer, whose voice reminds me of Pat Benatar --
take it as a compliment or not, your choice -- &, uh, her lyrics, I guess.
But well, she talks S & M doesn't mean the music is of any appropriate
violence. By the way, some local critic said she sang like Beth Gibbons, &
just for that the guy should be shot. Do I want you to buy it? Do you even
care? I personally don't care. Unimportant record. -Eerie
* *. 12 Tracks; 42 minutes.
//end rev09
//:rev10
THE MANY MOODS OF THE VINDICTIVES [2xLP]
The Vindictives (Lookout) This double LP is a compilation of The
Vindictives' 6 first self-released 7-inchers, plus 4 songs that appeared on
compilations. They're friends with Ben Weasel (Johnny Personality even
played bass on Screeching Weasel's "Wiggle") and this shows a lot!
Ultra-catchy, powerful punk rock, there are very few weak numbers on this
one. "Get Lost", "The Terrible Monster" and "Impatient" are classics. If I
had gotten this album in 1995, this would have been in my top 10.. Now buy
it! -TNT
* * * * «. 28 Tracks; 55 minutes.
//end rev10
//:rev11
THE SOUND OF MUSIC
Pizzicato Five (Matador/Atlantic) The Japanese are so weird. Look at
this. Sixteen songs oscillating between dance/pop shiznit (rare) & acid jazz
delight (less rare :). Offers you a full hour of happy joy craziness
featuring "Groovy is my name", the official manga movie soundtrack; "If I
were a groupie" with its sensational drum loop; "Good", which just plain
rocks & of course "Number Five", a real-time jazz piece. Of course not all
of it is worth a listen ("Strawberry sleighride" is something Debbie Gibson
could have done, & "CDJ" is just too dance for me) but for the most part, it
makes your day bright & lets the sunshine in, if you see what I mean. "So
it's not Matador-sound?@" Hell, to some extent, yes, but that's like asking
if Pigeonhed was really Subpop-sound. -Eerie
* * * «. 16 Tracks; 66 minutes.
//end rev11
//:rev12
WHERE QUALITY IS JOB #1 [2x7"]
Propagandhi (Recess) No, this is NOT a new Propagandhi record. This is
actually a compilation of many things they released before "How To Clean
Everything". There are also live songs on it, stuff like that. "Die For The
Flag" is probably the best song on the album, and there's also an older
version of "Who Will Help Me Bake This Bread?" that's cool. But overall,
since it mostly comes from old tapes recorded in someone's basement, the
sound quality sucks big time, and most of the songs aren't that good anyway.
It's supposed to be a limited pressing of 200, but that might be a joke as
well. -TNT
* *. 9 Tracks; 25 minutes.
//end rev12
//end reviews
===============================================================================
===============================================================================
//:oldies
//savepos
//push
The oldies
-------------------------------------------------------------------------------
//noprint on
Pick one of those or read on to get all the reviews...
ANCIENT ARTIFACTS (D.I.; 1985) //goto :old01
BLUE LINES (Massive Attack; 1991) //goto :old02
DEFLOWERED (Pansy Division; 1993) //goto :old03
HATE YOUR FRIENDS [7"] (Lemonheads; 1992) //goto :old04
KILLATRON 2000 (Trigger Happy; 1994) //goto :old05
PLAY CELL (Tilt; 1993) //goto :old06
RID OF ME (PJ Harvey; 1993) //goto :old07
RIPCORDZ AS FUCK (Various artists; 1995) //goto :old08
STEREOPATHETIC SOUL MANURE (Beck; 1993) //goto :old09
THE GOOD, THE BAD AND THE ARGYLE (The Bouncing Souls; 1995) //goto :old10
THE SMALLS (The Smalls; 1990) //goto :old11
WHIP-SMART (Liz Phair; 1994) //goto :old12
//noprint off
//:old01
ANCIENT ARTIFACTS
D.I. (Triple X, 1985) Oh well. Almost a year ago, I decided that it'd
be a good idea to buy some of D.I's studio albums (I only had the live LP) to
see what it sounded like. I've been surprised, and I must say that this
album doesn't live up to ANYBODY's standards, I'm telling you! Some of their
classics are included there ("O.C. Life", "Falling Out" and "Stand Up") but
most of the other songs are pseudo-pop-experimental-punk-acid-trip that
really blows. On the CD reissue (1993 or something) you get 6 bonus songs
from a crappy live set somewhere and it doesn't add any bang for the buck
either. Go buy the live record or their later albums instead.. -TNT
* «. 9 Tracks; 25 minutes.
//end old01
//:old02
BLUE LINES
Massive Attack (Circa/Virgin, 1991) Well, that's the first ever Massive
Attack record. Starts with the hit single (it probably was one in UK) "Safe
from harm" & includes such perfect hip-hop as "Blue Lines" or "Five man
army", as well as songs that probably shaped that sound you like to call
"trip-hop". The big problem with this album may be that it's not that good
from the beginning to the end. Actually, at least 2 songs are just plain
impossible to listen to, 'cepted if you're a big fan of R 'n B. But for the
rest, it's more than alright. Just doesn't match with their latest,
"Protection", which will of course be reviewed next month. -Eerie
* * * «. 9 Tracks; 46 minutes.
//end old02
//:old03
DEFLOWERED
Pansy Division (Lookout, 1993) If you're a homophobe, skip this review.
Those guys are queer, and (almost) all the lyrics are about it. They're
probably one of the funniest bands around. Musically, the best songs are
"Deep Water" and their cover of the Buzzcocks' "Homosapien". They don't
really sound like any other band, but they don't have an original sound
either; this is really poppy, this is even slightly less distorted than what
the people at Lookout release nowadays. -TNT
* * *. 15 Tracks; 35 minutes.
//end old03
//:old04
HATE YOUR FRIENDS [7"]
Lemonheads (Taang!, 1992) I thought that this 7" was going to sound like
today's Lemonheads, but only heavier and maybe faster. I was right --
problem is, they were a little more experimental back then too. The title
song isn't good, "Ever" sucks too; there's only "Die Right Now" that is
_almost_ acceptable. Anyway. Don't buy this crap. -TNT
* «. 3 Tracks; 7 minutes.
//end old04
//:old05
KILLATRON 2000
Trigger Happy (Raw Energy/A&M, 1994) This record represents A&M invading
punk rock. This is extremely tight punk rock (they sometimes sound like Ten
Foot Pole, and they're straightedgers too). There are some pretty good
songs, but there are also some (almost) metal tracks that really suck dick.
"Lever" is a soon-to-be classic in the pop-punk world. Overall, it's not
bad, but it could have been _WAY_ better. Still good for a first full-length
album, but I'm still wondering: how the hell did they end up on A&M? -TNT
* * *. 13 Tracks; 30 minutes.
//end old05
//:old06
PLAY CELL
Tilt (Lookout, 1993) Back in time, this is Tilt's first full-length LP
that came out on Lookout 3 years ago. This doesn't sound like what they've
done lately, not at all, in fact this is like early Green Day with female
vocals. There are very few good songs ("White Homes" and "Yellow Bellies")
that are sung by Cinder; I personally think the 2 best songs on this one are
those written and sung by Pete ("Fool To Blame" and "Bad Seed"). Overall
this is listenable, enjoyable at most, but surely not quintessential. -TNT
* *. 14 Tracks; 30 minutes.
//end old06
//:old07
RID OF ME
PJ Harvey (Island, 1993) "Little fish, big fish..." Duh. PJ Harvey is
now following a very strange path, let's just examine what she was doing
three years ago when she released "Rid Of Me", which I think is her second
album (Her first would be "Dry".) Heavy guitars, loud drums, violent yet
slow stuff. Albini's special sauce mixes very well -- Actually it makes you
wonder if he had to change _anything_ from the original sounding. That
record is the one that the critics didn't understand because it sounded too
raw, if that can help you. I personally dig it 100% & recommend it to anyone
seeking for some destroy rock 'n roll. -Eerie
* * * *. 14 Tracks; about 50 minutes.
//end old07
//:old08
RIPCORDZ AS FUCK
Various artists (EnGuard, 1995) Diversity. That's all I could say after
listening to this album for the first time. This is a tribute compilation
for Paul Gott, Ripcordz' singer/songwriter, and this rocks! Even if you
don't like Ripcordz, give this one a try, because there are some very
different styles included in there. There's a ska song from the Planet
Smashers ("Cheez Metul") that's good, Punchbuggy's version of "Tearin' U
Apart" is pretty good too (maybe it's the best song they ever played), Random
Killing's cover of "Big Wet Kiss" is great too.. Anyway, this isn't really a
classic compilation because Ripcordz songs played by another band are still
Ripcordz songs anyway, but this is pretty neat. -TNT
* * * «. 12 Tracks; 30 minutes.
//end old08
//:old09
STEREOPATHETIC SOUL MANURE
Beck (Flipside, 1993) Beck signed with DGC mostly for one reason: his
contract let him release any stuff he want on other labels. This album, for
instance, is an example of the incredible productivity of America's favorite
folk-hop singer (& musician, needless to say.) "Stereopathetic Soul Manure"
is 23 songs of nonsense blabber, sometimes country, sometimes noise,
sometimes nothing at all. Includes "Pink noise", "One foot in the grave",
"Ozzy" & the supreme all-time classic "Satan gave me a taco". This sounds so
bizarre no one actually likes it, but hey, I do!@ Well, apart from the
sikrit s0ng at the end, which I really CAN'T STAND. -Eerie
* * * «. 25 Tracks; 65 minutes.
//end old09
//:old10
THE GOOD, THE BAD AND THE ARGYLE
The Bouncing Souls (BYO, 1995) They're touring now, so go see them while
you can! The Bouncing Souls are WEIRD. The only thing you can say after
listening to this (first?) full-length is that all the songs are totally
different. On their other releases, they sometimes sound like older Rancid,
but on this one they mix too many musical styles for any comparison to fit.
"These Are The Quotes From Our Favorite 80's Movies" is a classic, and "I
Like Your Mom" is great too. The only negative point is that they aren't
very catchy, and some songs are fillers, but still, this album is very
original. -TNT
* * * «. 12 Tracks; 35 minutes.
//end old10
//:old11
THE SMALLS
The Smalls (Independent, 1990) THIS SUCKS! Just by looking at the cover
you might think it's some kind of a 90's version of The Beatles' White Album,
well it surely ain't. Even though I don't like the White Album very much, I
must admit that it's at least 6000 times better than this piece of shit.
Damn, this sounds like Dayglo Abortions, but without the funny lyrics, and a
crappy voice to top it off, which means they're somewhere between Poison and
Celtic Frost (try to mix those bands!). Anyway. Do NOT buy this. -TNT
*. 12 Tracks; 40 minutes.
//end old11
//:old12
WHIP-SMART
Liz Phair (Matador/Atlantic, 1994) 3y3 ph34r L1z!*& I've seen two of
her videos & it really didn't convince me, but that was before I heard the
actual disc. WOW!@ Liz Phair's rock 'n roll is like Juliana Hatfield
without the cheesiness & the girlie voice. Those songs are just perfect,
they sound neato-clean as hell & the lyrics are especially cool. "Supernova"
is the ultimate indie-pop song, "Cinco de Mayo" & "Whip-Smart" rock like hell
& I just _melt_ everytime I hear "Nashville". Overall, ALL on this record
deserves props. It's been long since I've heard something so keen to my
ears. -Eerie
* * * * «. 14 Tracks; 42 minutes.
//end old12
//end oldies
===============================================================================
===============================================================================
//:comp
The Compiler's Picks (Greatest excuse in the world for an article!)
-------------------------------------------------------------------------------
by Eerie.
The first ever "Compiler's Picks" was featured in ACE #1. That makes it the
longest-living column ever to be published in this zine. I mean, even the
EDITORIAL doesn't exist anymore... (Okay, actually, we skip it every other
month, but well, it's always cool when it comes back.)
Let's get to the point & see what happens. I've done this compilation that
other day 'cuz I was bored. It started out as indie rock type of stuff, but
ended with quite heavy stuff. I tried to make it slow & moody, too, for the
hell of it. And well, I was doing it from scratch, without knowing where I
was going _exactly_.
The surprising thing is that I got Mudhoney to be in there _twice_, as well
as Pavement (but that's less surprising. :) Okay, enough babbling. Check
it out & send a tape if you want a copy or if you want your own homemade
compilation tape from the DJ master himself (COUGH COUGH).
Title: Indie Fix One
Author: Eerie
Label: P. Records
Duration: 60 minutes
Description: Funny thing we keep this, eh TNT? :)
Song Band Album
------------------------------- ------------------- ---------------------------
Royal Flush Free Kitten Nice Ass
One Born Every Minute Big Chief Mack Avenue Skullgame
Cut 1/2 Blues Beck Stereopathetic Soul Manure
Easily Fooled Pavement Rattled By La Rush
Youth Body Expression .. Mudhoney Piece Of Cake
Soon, Coming Closer Eric's Trip Purple Blue
Green Flowers, Blue Fish Superchunk Here's Where The Strings ..
Life And How To Live It R.E.M. Reconstruction Of The ..
Silver Rocket Sonic Youth Daydream Nation
------------------------------- ------------------- ---------------------------
Breaking The Split Screen .. The Amps Pacer
Something So Clear Mudhoney Every Good Boy Deserves ..
Continuing Struggle Wreck El Mundo De Los Ninos
Returning The Screw Fugazi In On The Kill Taker
Why Should I Coffin Break Crawl
Ironhead Helmet Meantime
Stuck Fudge Tunnel Creep Diets
Man Size PJ Harvey Rid Of Me
School Nirvana Bleach
Debris Slide Pavement Perfect Sound Forever
------------------------------- ------------------- ---------------------------
The question is: where in here is Liz Phair? Nowhere. I was probably
feeling really weird that day.
Stay tuned some other day for "Indie Fix Two". And till then, beware of the
imitations & that stuff.
//end comp
===============================================================================
===============================================================================
//:pick
Picklists
-------------------------------------------------------------------------------
by the ACE guys who care about it.
Still & forever, our beloved picklists are listed right here. Use them with
care or who knows what can happen!@
(I'd really be curious to get Paranoid's picklist someday. I'm sure he
listens to really weird music.)
Anarchy Bob
-----------
..AND NO ONE ELSE WANTED TO PLAY (SNFU)
BONUS FAT (Descendents)
BOOGADABOOGADABOOGADA (Screeching Weasel)
CAPITALIST ALIENATION (Capitalist Alienation)
ENJOY (Descendents)
I DON'T WANT TO GROW UP (Descendents)
LIVEAGE (Descendents)
LOVE SONGS FOR THE RETARDED (The Queers)
TABARNAK HARDCORE (Nothern Vultures)
TWO DOGS FUCKING (Dayglo Abortions)
Eerie
-----
BLUE LINES (Massive Attack)
CURE FOR PAIN (Morphine)
MELLOW GOLD (Beck)
OH! [EP] (Skylab)
PROTECTION (Massive Attack)
PURPLE BLUE (Eric's Trip)
RATTLED BY THE RUSH [EP] (Pavement)
THE SOUND OF MUSIC (Pizzicato Five)
VEUILLEZ RENDRE L'AME (A QUI ELLE APPARTIENT) (Noir Dsir)
WHIP-SMART (Liz Phair)
Neuromancer
-----------
ABOUT TIME (Pennywise)
BETTY (Helmet)
BIG CHOICE (Face To Face)
DAYDREAM NATION (Sonic Youth)
EXIT PLANET DUST (Chemical Brothers)
FILTH PIG (Ministry)
MEANTIME (Helmet)
PROUD TO BE (Dead Fucking Last)
SATIATE (Avail)
TETSUO (V/A)
Redge
-----
BEAT OFF (The Queers)
BEHIND BARS (88 Fingers Louie)
CHEF BOY R U DUM (Sicko)
HOW TO CLEAN EVERYTHING (Propagandhi)
LECHE CON CARNE (No Use For A Name)
RAMONES (Ramones)
RIBBED (NOFX)
SUFFER (Bad Religion)
TALES FROM THE CRIB (DBS)
WIGGLE (Screeching Weasel)
The Extremist
-------------
DUH (Lag Wagon)
FOR DANCING AND LISTENING (Guns 'n Wankers)
FRIENDLY PEOPLE (Guttermouth)
LECHE CON CARNE (No Use For A Name)
POST (Bjork)
RECIPE FOR HATE (Bad Religion
REV (Ten Foot Pole)
SYNCHRONICITY (The Police)
TEN (Pearl Jam)
THE DAILY GRIND (No Use For A Name)
The Naughty Tycoon
------------------
BUCKY FELLINI [EP] (The Dead Milkmen)
ENERGY (Operation Ivy)
HAPPY HAPPY JOY JOY IN A FUCKUP WORLD (Thicker)
HEAVYWEIGHT (The Bollweevils)
ICKY METTLE (Archers Of Loaf)
SATURDAY MORNING: CARTOONS' GREATEST HITS (V/A)
SICK'N'FUCKING TIRED (Screeching Weasel; bootleg compilation)
STRUCTURE (Monsula) -- thanks to Eerie <g>
THE DAILY GRIND (No Use For A Name) -- what the hell?
THE MANY MOODS OF THE VINDICTIVES [2xLP] (The Vindictives)
//end pick
===============================================================================
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ACE #19 and all of its contents is copyrighted to their respective authors.
Please call Patriotic Shock for any information about ACE zine
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